2016 Game Review Haiku, #60 – Make It Rain: The Love of Money

Swipe to make money
Fill your bucket with green stuff
Digitally rich

–

Here we go again. Another year of me attempting to produce quality Japanese poetry about the videogames I complete in three syllable-based phases of 5, 7, and 5. I hope you never tire of this because, as far as I can see into the murky darkness–and leap year–that is 2016, I’ll never tire of it either. Perhaps this’ll be the year I finally cross the one hundred mark. Buckle up–it’s sure to be a bumpy ride. Yoi ryokō o.

Sherlock Holmes: Crimes & Punishments is a crime, my punishment

I’ve seen one episode of the much lauded and Cumberbatch-starring Sherlock crime drama series, and even then I think I fell asleep towards the end of it. It wasn’t from total boredom, I swear. See, going into it, I wasn’t aware that every episode is basically a mini movie, clocking in at around 90 minutes. I was not prepared for this, thinking it would be much shorter, like a typical serialized drama (see Criminal Minds or Stranger Things), and starting the episode just before bed proved to be my undoing. One day, I’d like to watch more, but I haven’t reached that right one day yet.

In terms of videogames, I’ve never played one based on Sir Arthur Conan Doyle’s Sherlock Holmes detective stories, and there have been quite a few of them, especially from Frogwares. Well, I’m here to muse about Sherlock Holmes: Crimes & Punishments, the tenth entry in their series, which I and everyone else subscribing to a Gold membership on Xbox One got for free back in March 2016. Strange enough, a year earlier, I also got a free copy on my PlayStation 3 for PlayStation Plus, along with CounterSpy and Papo & Yo. Here’s an early spoiler: I’ve uninstalled both versions of the game.

Plot is actually a difficult thing to describe for this game. Mostly because there isn’t a main through-line. There’s an overarching story about group of terrorists called the Merry Men, who are attempting to overthrow the government and free the people of the United Kingdom from debt. It’s extremely minor in the grand scheme of things, showing up once early in the game and then at the very end where you are tasked to make a moral choice, one that probably seemed epic in the developers’ minds, but didn’t actually matter. Other than that, Sherlock Holmes: Crimes & Punishments is split into six separate cases, with some being direct adaptations of Sir Arthur Conan Doyle’s work, such as “The Fate of Black Peter.” Each case is self-contained, and they range from a train that mysteriously vanishes to a murdered archeologist in a bath house to the theft of exotic, poisonous plants from a botanical garden. I came away enjoying a few of these cases, but ultimately not caring too deeply about the characters involved or the actual outcome, so long as it netted me an Achievement in the end.

Gameplay is, more or less, a traditional point-and-click adventure game. Except you aren’t using a mouse to hover over items and click on them. Instead, you control Sherlock Holmes–and sometimes Watson or a dog!–and you can play in third person or first. I went with the latter, as I found it easier for examining areas and moving around with a solid camera angle. You look at items in the world, speak to witnesses and suspects, solve a mixed bag of puzzle types, and finally make enough deductions to pin the crime on someone. My favorite part was connecting clues to make deductions and see ways the crime could have happened, as well as analyzing witnesses to learn more about them and open up dialogue options. Sure, L.A. Noire did it better, but that’s okay.

My biggest problem with Sherlock Holmes: Crimes & Punishments has to do with its loading screens. I’m not against loading screens and will never be against them, as I understand their purpose, even in this day and age of modern gaming, but you have to travel to and fro a whole bunch in this game, often returning to your apartment on Baker Street multiple times during a case, and these loading screens are drab and long, probably worse than the ones in Secret Agent Clank. Backtracking is the name of great detective work. Unfortunately, each time you travel to a different place, you are treated to a loading screen in the form of Sherlock riding inside a horse-drawn carriage to the actual place you are going. Sometimes he is alone, sometimes Watson is there with their knees awkwardly close, but regardless you are just watching Sherlock read a book or look out the window the entire time. You can open your notebook during the ride to review clues and such, but I began to use this downtime as great moments to play on my phone. Honestly, I would have rather watched a generic bar fill up. I’d estimate you see this screen roughly 15 to 20 times during any given case.

One of the more troubling parts of Sherlock Holmes: Crimes & Punishments appears in every single case chapter. Well, I guess one could not see it, but when I’m roleplaying the titular Sherlock Holmes I’m being as observant and scrutinizing as possible, which means checking every corner and shelf and thing for clues. That includes the telescope his keeps in the main room on Baker Street. If you look through it, you’re treated to the fixed sight of this busty woman:

Now, nothing happens. Sherlock makes no comment, the woman simply stands there and stares back, and about five seconds of silence passes before you are booted out of the telescope’s point-of-view. I examined the telescope at the start of every case, just as I did with Toby, to see if anything would happen or change. Nope, same sight, same seediness. I figured she would come into play at some point in the game, for some case or another, but that never happened, and I think all we got in terms of reference was a quickly dismissed line from Watson at the end of the game, implying that Holmes should stop doing that creepy thing with the telescope. Evidently, after doing some research outside the game, it turns out this character is from a previous entry in the series. Hmm.

Sherlock Holmes: Crimes & Punishments was a game I didn’t expect to frustrate and bore me as much as it did, but I’m the kind of person that not only likes to finish what I start, but sometimes needs to. So I persevered and finished, only to realize I missed two Achievements and had to go back and replay a couple cases. Thankfully, you can mash your way through most of the dialogue and cutscenes, as well as skip every puzzle if you wait a minute or two. Still couldn’t do anything about those cutscenes. If there’s one deduction I reached, it’s that this was not iceberg-like pacing and lackluster detective work equals enjoyable, and I don’t expect to try any more future–or previous–mystery adventures starring the eclectic Sherlock Holmes in 19th century London.

Runaway llamas don’t stand a chance in Alto’s Adventure

I think I can confidently say that, of all the winter sports out there, I’d be most inclined to try my hand–or rather feet–at snowboarding. Something about skis and the way your legs move and cross between one another scares the life out of me. Sure, sure…the reality of being locked then to a single board might not be a safer bet, but somewhere in my mind I’ve come to terms with this as the better, easier to grasp option. Granted, I wouldn’t be doing the same death-defying actions as seen in Alto’s Adventure, keeping myself constrained to the bunny slopes and nothing crazier than that.

Here’s a truth-pill to swallow: I downloaded Alto’s Adventure from the Windows 10 store not because it was free, but rather because its logo was stylish as heck and contained a llama inside the letter a. Guess that’s all it takes to hook me deep since I knew next to nothing else about the game at that point. Turns out, it’s an endless runner. Er, endless snowboarder. Endless llama collector? It’s one of those things, and here’s how the developer Snowman pitches it from their website: “Alto’s Adventure is an endless snowboarding odyssey, set against a beautiful and ever changing alpine landscape. The game features fluid physics-based movement, procedurally generated terrain and stunning dynamic lighting and weather effects. The core mechanic centers around an easy to learn, yet difficult to master one button trick system that allows you to chain together increasingly more elaborate trick combos to maximize the players speed and compete for high scores and distances.”

Basically, this is how your time on the mountain goes in Alto’s Adventure. You click start, and your protagonist begins to snowboard towards the right side of the screen. As you zip forward, you want to collect runaway llamas, coins, and power-ups, as well as hit ramps to do tricks and chain together many into a single combo for a hefty amount of points. The mechanic is simple, but tough to learn; press the jump button to land on roofs and ropes to automatically grind, and if you press and hold the jump button, you’ll begin to do a backflip. Knowing when and for how long to hold that jump button is key. When you land a successful trick, you are granted a temporary speed boost and blip of invincibility. There are also obstacles to avoid, such as chasms, rocks, and angry elders that will chase after you for disrupting their…I dunno, elderly sleep.

Visually, Alto’s Adventure is a beast. No, not the domesticated South American camelid kind that you are constantly trying to nab, but rather a discernible powerhouse. The graphics are minimalist, but highly evocative. I won’t say they outshine Journey, but they are hanging out in the same boat, for sure. There’s a full day/night cycle as you do each run, with fully dynamic lighting and weather effects, including thunderstorms, blizzards, fog, rainbows, shooting stars, and more. There is something hauntingly beautiful about racing through the snow as a storm cracks and flashes off in the background and surviving it all to watch the sun rise and cast its warm, orange-yellow rays on every edge of the landscape. Despite the levels being randomly generated from a bunch of similar parts, each run still feels highly unique.

My next favorite aspect besides the visuals is the goals system. It’s pretty much the same idea from Jetpack Joyride, wherein you are tasked with completing three goals while trying to handle your main goal of just getting as far as possible. Sometimes these goals are simple and naturally occurring, such as collecting a number of coins or hitting a specific tier of points, and others are more challenging. The one I’m currently stuck on is asking me to do two triple backflips in one session. Eek. There are evidently 180 goals in total to nail, and doing these level you up, which is how unlocking new characters to play as is gated. Each character controls a little differently too.

I don’t mean this as a slight, but I’ve been enjoying Alto’s Adventure in the same manner that I do my clickers, like Time Clickers and AdVenture Capitalist. It’s something that I play in short bursts, clicking every now and then, and just sort of zoning out and relaxing as things happen around ,e. The early parts of a snowboarding run are especially calming, and I love zipping through a stretch of no obstacles and only sick jumps. There are absolutely moments where you are highly involved in timing your jumps and ensuring you don’t crash, but a lot of Alto’s Adventure‘s fun comes from taking in the sights and seeing how the world changes from one moment to the next, even when that next moment is you zooming headfirst into a pile of rocks hidden at the bottom of a steep slope.

The first to finish this free-to-play Ben-Hur race is the last to die

It sure has been a lot of games completed haikus–seven in a row!–and nothing much else here on Grinding Down for these past few months, and that’s fine. This happens every year. My archives prove it so. Summer is crazy-busy for me at the day job, which basically means I find myself with both less free time to think and write about all them videogames in my possession. Plus I’m trying to get some comic books done for MICE. Do not fret; I’m still playing things here and there, jumping from game to game and system to system like an unchained glutton, but unfortunately I’m just not finding the time slash energy to put down all my hot takes. That is until now.

The other night, while mindlessly scanning the list of new releases on Xbox One’s store, I noticed a free-to-play thing called…Ben-Hur. Hmm. Curiosity got the better of me, and I had to know what exactly this was. Not because I’m some huge fan of the 1959 film starring Charlton Heston as the title character or even the least bit interested in this new re-imagining of the source material (though Morgan Freeman’s hair looks amazing). I’m just forever bewildered by tie-in videogames of all shapes and sizes, whether they are for movies, comic books, or even pizza-delivering establishments. I went into Ben-Hur thinking it’d be a quick, lackluster experience that existed only to constantly urge you, the player, to stop playing, drop some cash, and go sit in a movie theater instead, and I wasn’t disappointed in that prediction. At least I got a bunch of Achievement points, right?

Here’s how Ben-Hur goes, and try not to blink or you’ll miss the entire rundown: you participate in a chariot race where need to mash the A button to accelerate–but not too much as your horses will tire–and pull the left and right triggers to whip opponents on either side of you in hopes of taking them out for good. The natural goal is to come in first place, and you can do this by being a strong racer or simply eliminating the competition. Whipping the horses or running opponents into traps and other obstacles on the course does the trick. A season is made up of three individual races, each with their own number of laps and opponents. That’s it.

My first session with Ben-Hur lasted a total of twenty-eight minutes, in which I both won the season without breaking a sweat–or my chariot–and popped 8 of the 10 easy-as-pie Achievements. I’ve since gone back and gotten one more Achievement, and a part of me wants to get the last one, which requires destroying every opponent in every race of a season, but I think if I don’t get it the next time I play this will simply be removed both from the Xbox One and my memory. The tricky part is that you, the titular Ben-Hur, must destroy all the chariots yourself; they can’t be destroyed by other players or their own undoing. That’s as challenging as this live-or-die race gets, and the most hilarious cause-and-effect happening is seeing these health power-ups tossed out on to the track the moment you take a teeny tiny bit of damage.

Turns out, Ben-Hur was published by AOL and developed by Float Hybrid, which creates “branded experiences,” and Krome Studio, the developer of games I actually enjoy, such as Ty the Tasmanian Tiger. Maybe that’s what was missing from Ben-Hur: boomerangs and that distinct-sounding Australian English that I’ll never be able to perfectly replicate. Oh, and no, this did not inspire me to purchase a pair of tickets for the new movie. If anything, I’m inclined to stay far, far away.

2016 Game Review Haiku, #48 – Ben-Hur

Take the reins, Ben-Hur
Steer this freebie, for glory
Easy Gamerscore

–

Here we go again. Another year of me attempting to produce quality Japanese poetry about the videogames I complete in three syllable-based phases of 5, 7, and 5. I hope you never tire of this because, as far as I can see into the murky darkness–and leap year–that is 2016, I’ll never tire of it either. Perhaps this’ll be the year I finally cross the one hundred mark. Buckle up–it’s sure to be a bumpy ride. Yoi ryokō o.

You’ll never take this 60,000 Gamerscore away from me

It was only a couple of months ago that I was touting my latest small victory, of hitting a Gamerscore of 55,555 perfectly on the dot. Now, over my years of gaming since gaining an Xbox 360 and loving the quest of popping many Achievements, I’ve normally only gone after the, in my zany and hairy mind, seemingly milestone-esque amounts, such as 10,000, 20,000, and so on. The big numbers. You can find posts on these ::ahem:: achievements by clicking here. However, I saw an opportunity then to do something silly, and I rounded out that post speculating that I’d hit 60,000 by the end of the summer or 2016. Looks like I second-guessed my ability to do numerous tasks and receive digital rewards for them. Shame on me.

Well, here, enjoy the photographic proof. You’ll notice that I finally upgraded my user pic–I think this colorful dude looks pretty close to me, or, at the very least, close to how I imagine people in the real world view me–as well as gained a couple more friends/followers:

Speech time. I’d like to personally thank the following games for helping me along the way, in whatever ways possible, since mid-March, because, without them, I wouldn’t be here today talking about 60,000 Gamerscore:

• Tom Clancy’s The Division – Thanks for having so many collectibles to collect, even if all I got in the end was a rosy pink jacket. Just kidding. Got a ton of Achievements from running around an empty map of New York City in search of cell phones and abandoned laptops while friends did actual missions.
• Gears of War 2 – Thanks for a fairly okay solo campaign and multiplayer modes that allow me to play against the AI instead of thirteen-year-old kids that like to curse. At some point, I’ll be back to get all them dog tags.
• Saints Row IV – Thanks for just kickin’ back and saying, “Have at it!” I’m still working towards a few goals in Steelport, but the fact that there’s a menu keeping track of all your stats, such as how many kills you’ve gotten with a specific weapon, is extremely useful.
• Hitman Absolution – Thanks for being the sort of game that lets you be sneaky sneaky and then all-out action hero when things go wrong. I hope to write about you soon, as I’m having a much better time in your world than I did in Blood Money.
• Tekken Tag Tournament 2 – Thanks really goes to Bandai Namco for making Tekken 7, as well as giving this one out for free during E3! Tekken has always been one of my favorite fighting game series, though I strangely never got to play any of the Tag games. Until now. So far, I pretty much only use Jun Kazama.
• Microsoft Treasure Hunt – Thanks for providing that 10G Achievement of revealing a trap on the first level, which helped me nail the 60,000 mark perfectly. You’re a blessing. Also, I promise to come back and play you at some point, as you seem like a mix of Minesweeper and a rogue-like, which…yeah, sure.

::a round of roaring applause while some bouncy exit-stage-left music plays and I’m ushered away behind the curtains::

So, is 70,000 Gamerscore possible in 2016? Hey, anything‘s possible. It’s the doing that takes work. Believe in me, dear readers, and I’ll see you when I get there.

Fending off an alien invasion as the POTUS in Saints Row IV

Saints Row: The Third was a game I expected to severely dislike, but really enjoyed and even found myself going back to long after completing it to wrap up all its challenges and Achievements, as well simply goof around in. That said, I felt like I had my fill and so I didn’t immediately jump on Saints Row IV when it fell from outer space back in August 2013. I held out, using my limited and sporadic superpower of seeing the future, knowing that Microsoft was going to put up a digital copy of it for free for Gold members in April 2016. Strangely, I started playing it and Sunset Overdrive almost simultaneously, but found a simulated Steelport much more fun and enjoyable to explore.

Shortly after the final events of Saints Row: The Third, The Boss and some of his pals–I played that game as a male character, in case you forgot–are called upon to assist MI-6 agent Asha Odekar in infiltrating a Middle Eastern compound. This is to assassinate former STAG leader Cyrus Temple and prevent a nuclear missile strike against Washington D.C. You know, action movie stuff. The Boss manages to kill Cyrus with ease, but is unable to stop the launch of a nuclear missile. Taking matters into his own hands, he climbs aboard the missile and disarms it in the sky, earning America’s unwavering adoration to the point of being elected the President of the United States. Many years later, aliens show up, abduct all his friends, vaporize the planet, and keep The Boss trapped inside a simulation of Steelport. How rude.

Here’s the truth: Saints Row IV is basically Saints Row: The Third, but with superpowers. I’m totally okay with that. You no longer need to drive cars because you can leap over buildings in a single jump and then glide across districts. Don’t worry; you can still listen to the radio because it is now simply in your head. Mission icons that are on the opposite side of the map take just a minute or so to reach, thanks to super sprinting and the ability to climb up walls. Glitches are par for the course, though there were a few times where the game froze on me and I was unsure it was deliberate or not. It usually wasn’t. But yeah, it’s Saints Row: The Third, but speedier, punchier, and even more zany thanks to there being very few rules inside a simulated environment.

The plot is basically about The Boss gathering up his or her friends, leveling them up to be the best and most bad-ass companions possible, and then taking on Zinyak. I won’t lie and say a part of it didn’t remind me of Suikoden‘s progression towards a grand castle and army. A lot of the missions carry over from Saints Row: The Third though there are a few new ones, like using a UFO to destroy people and the environment for points, as well as high-speed races on foot through the city. A majority of the game’s main missions are constructed in a way to limit the amount of superhero powers you can use, and there’s even throwbacks to things like Metal Gear Solid and side-scrolling brawlers like Streets of Rage. Alas, both of these sections are relatively short and exist only to be jokey.

I’ve beaten Saints Row IV and am now in “clean up” mode, going after a handful of Achievements and whatever challenges seem possible. Those gold medals for races? Nope, not going to happen. Taunting 50 aliens? Eh, unlikely. However, I totally can get X number of kills with specific guns as that’s merely a matter of rinsing and repeating. Plus, there’s an Achievement for spending 40 hours in digital Steelport, and I’m probably only like 10 hours away from that benchmark. So, works in progress. The only thing I’m not looking forward to is grinding out the Dubstep Gun challenge, as dubstep is more like dumbstep. Thank you, thank you. No, please, no autographs.

Just recently, Volition announced its newest game, which is called Agents of M.A.Y.H.E.M. It’s an open world action adventure title set in the city of Seoul, starring a bunch of unique Super Agents from all over the world. I can’t help but see some striking similarities between it and Saints Row IV, though I think having a superhero-powered game on a newer, more powerful console is a wiser option these days. Saints Row IV definitely chugged and dropped to a very low framerate on the Xbox 360 when trying to do some super super sprinting or when there was a bunch of chaos happening thanks to black holes and explosions. Hopefully I’ll be done with digital Steelport by the time Seoul needs saving.

2016 Game Review Haiku, #39 – Ridiculous Marathon

Running, being chased
Avoid those trucks, the spike traps
One day, nothing left

–

Here we go again. Another year of me attempting to produce quality Japanese poetry about the videogames I complete in three syllable-based phases of 5, 7, and 5. I hope you never tire of this because, as far as I can see into the murky darkness–and leap year–that is 2016, I’ll never tire of it either. Perhaps this’ll be the year I finally cross the one hundred mark. Buckle up–it’s sure to be a bumpy ride. Yoi ryokō o.

Gears of War 2 continues its virile fight against the Locust horde

A part of me somehow knew that if I waited long enough I could get all of the Gears of War games for free thanks to Xbox’s Gaming with Gold program. Well, not exactly free, as I am paying money to be a Gold member, but free from the outside looking in. It started out with the first Gears of War, which I played through and found myself dumbfounded over how this became a popular, blockbuster series, even if I was having fun with the active reload mechanic. I find it perfunctory and fine, but nothing amazing, and you can feel free to call me names in the comments (if I approve your abhorrent name-calling comment for all to see, that is). Then Microsoft gave out Gears of War 3 and Gears of War: Judgment, but I was holding my breath for the second entry in the series so I could at least play them in some sort of sensible order. Lo and behold, it was a freebie for February 2016, completing the path forward.

Gears of War 2 takes place shortly after the end of the first game. The Coalition of Ordered Governments continues its fight against the Locust horde, who are attempting to sink all of the cities on the planet Sera. Sergeant Marcus Fenix leads Delta Squad down into the murky depths of the planet to try to stop the Locust from destroying Jacinto, one of the last remaining safe havens for humans. I feel like, other than the part about sinking planets, you could use this same description to summarize the first game, too. Either way, there are a couple of small side stories to explore, such as what happened to Dom’s wife Maria and a civil war brewing between the Locust and the Lambent.

Gameplay remains largely unchanged from the first Gears of War, though you can now pick up fallen enemies and use them as cover against incoming bullets. These are lovingly referred to as meatshields, which I approve of greatly. Regardless, you’ll push forward in linear levels, hiding behind cover and popping out of it to shoot the bad dudes. You’ll also have an AI-controlled partner with you for most of the missions, and I assume this character can also be controlled during the co-op campaign. I found Dom, at least on the “normal” difficulty, to be mostly a waste of space, especially during that boss fight against the Leviathan. Truth be told, and maybe this has to do with my recent practice with the Gears of War 4 Beta, I did pretty good in the campaign, only seeing red a handful of times, and those really only occurred during the two separate fights against Skorge, as I wasn’t sure exactly of what to do. Okay, okay…maybe an unseen Ticker got me now and then as well.

Alas, I’m still not enthralled with the running and gunning of the Gears of War series. I liked finding the collectibles in the levels, which should not surprise anyone following Grinding Down, as well as when you got to ride a Brumak near the end and just massacred everything in front of you. There’s also one level inside a giant monster where the focus is not on pelting Locust with bullets but rather surviving all the weird internal organs.  Those stand out as the highlights of the campaign for me.

Since beating Gears of War 2, I’ve been dabbling in its multiplayer modes. For various reasons. One is to clean up some Achievements I’m close to getting, like performing all the different execution methods or using proximity mines to kill ten enemies. Two…is that I fully expect to never return to Gears of War 2 once I start playing the third one, which I’m in no rush to load up, and so I want to make sure I get everything out of this game that I can. Or rather, that I want. I managed to get into one online multiplayer game with real-life people and had my butt handed to me swiftly, and so now I’m sticking to local matches against bots, as well as the Horde mode (solo and on “casual” difficulty). I also plan to pop back into the campaign and grab the remainder of the collectibles, considering I already got half of them my first time through this brown, brown world.

I’m definitely not immediately launching into Gears of War 3, even with the way this campaign ended on a cliffhanger. I’m okay waiting a bit. There’s plenty of other games currently in circulation too, such as Sunset Overdrive, I Am Alive, and Saints Row IV. In the meantime, if you are in the mood to play some Gears of War 2 and want to help me progress through Horde mode (I crashed into a wall around wave 6), hit me up on Xbox One.

Antenna’s quadrupedal machine searches for answers to loneliness

The really dangerous part of playing numerous short, free indie games is that, if I don’t get to writing about them immediately, I forget a lot of details. They lose that initial woah impact, and my memory is not all that it is cracked up to be these days, and I blame knowing too many Game of Thrones family trees on that. For example, I completed Antenna a couple weeks ago and, other than a tricky puzzle involving matching rhythmic audio tones, I’m having trouble remembering much of what unfolded. Or maybe that’s exactly what LWNA’s Antenna is supposed to be–a mysterious adventure into the unknown, where the darkness hides the light, where you are just as lost as the quadrupedal machine you control.

In terms of story, it’s more of a question–am I alone? This is what our leading robot ponders and then sets out to answer. It scans the radio spectrum for answers, hoping to be heard, while also wondering if it is meant to be heard. There’s a lot of ambiguity to Antenna, and this is especially clear in some of the radio chatter you pick up, which hints at life elsewhere, but never stays long enough to prove the theory true. I’m okay with there not being a whole lot here, as it is, in this case, more fun to wonder than it is to know.

Yet here’s what I do know. The game has a simplistic, but stunning look, one that continues to impress me since the hey-days of 2010’s LIMBO. The forefront is all dark silhouettes and white pupils, and the backgrounds are misty, murky swaths of muted color. Just enough to make you believe there is more in the distance, even if you’ll never get there. Antenna‘s in-game world is not massive or that diverse, but you’ll move your four-legged tank beast across empty plains where radio towers grow, as well as underground, and your imagination will fill in the necessary gaps. I imagined this place as some failed project to build a station on another planet that all got left behind, with our little WALL-E wannabe left to keep things going.

Naturally, a large part of Antenna‘s world and mechanics revolve around sound, which comes from…Arddhu. Not sure if that is a person or company or magical lost city in space. Either way, make sure you have the volume turned up, though I did find a few parts of the radio static hard to listen to or just a wee bit too sharp for my delicate man ears. When not solving puzzles based around specific sounds, there’s a good amount of atmospheric, ambient sound, like drips of water on metal pipes or the cling-clang of the robot’s legs as it walks.

Interestingly enough, the game requires extensive use of a keyboard, as well as the mouse wheel, to be played. No controllers allowed whatsoever. Originally, I tried playing this in bed on my laptop, with no mouse, not realizing how essential it was to even begin the game. You’ll do a lot of holding in keys and pressing other keys simultaneously, and at one point it felt like a game of finger Twister as you tried to keep everything in place, but still do one more action. There’s also some puzzles to be solved, but they most involve finding a particular pitch or tone and matching it with another to turn on some machinery or move to the next scene. Alas, the game didn’t run great on my ASUS laptop, stuttering from moment to moment and dropping audio occasionally, but I was able to see the whole thing through regardless.

I don’t know. Antenna‘s a neat thing from newcomer studio LWNA, and it’s free, so I can’t not recommend you at least give it a try and see if the sensation of uprooting a tower piece by piece using the powers of your fingers and keyboard gets your senses all thingy. I mean, it did for me, but to each their own. I might not have picked up on the game’s meaning or subtleties, but I like its look and courage the developers have for dropping something like this out into the wild with not much behind it in terms of description. May we never be alone, surfing the airwaves, praying that someone else is out there doing the same exact thing. Though I’d be totally okay with being a spider-esque, tower-building robot.