Category Archives: impressions

I hilariously keep forgetting Team Kirby Clash Deluxe’s name

At first, I thought it was called Kirby Battle Royale–y’know, the game where 100 Kirbys jump out of a plane, land on an island, and must fight each other to death. Then I thought it was Kirby Star Allies, which is some new thing full of big reveals coming out real soon for the Nintendo Switch. Lastly, I thought it was Kirby’s Blowout Blast…but nope, none of those are right. I mean, yes, they exist and are all technically games starring the titular pink vacuum-beast, but the game I am playing and constantly forgetting the name of is Team Kirby Clash Deluxe. Oy vey. Look, there have been a lot of similar-sounding and looking Kirby-based games coming out of Nintendo these last few years, and it is difficult to keep them all separate.

Evidently, to make things even more complicated and layered, Team Kirby Clash Deluxe is a spin-off of a mini-game from 2016’s Kirby: Planet Robobot, available as a free-to-start digital down on the Nintendo 3DS eShop. It’s a game entirely made up of boss fights from previous Kirby-starring games, with all your favorite cute-as-heck baddies showing up, like Waddle Dee, Meta Knight, and King Dedede. RPG elements like leveling up, class types, and unlocking new weapons and armor sets are the key to making your Kirby super strong. You can take on the fights somewhat alone, with three computer-controlled Kirbys–should it be Kirbies?–or you can team up online with other real-life players; I’ve not tried the latter, and I’m doing just fine without human help, though I guess then I’m missing the whole point of this experience. For what it’s worth, I’ve never done much online multiplaying on my Nintendo 3DS, save for Animal Crossing: New Leaf and a few matches of ScareScraper slash Thrill Tower from Luigi’s Mansion: Dark Moon. I like flying solo.

Now, the fighting in Team Kirby Clash Deluxe is not the most technical or satisfying combat system this side of the moon. It’s mashy and chaotic and that’s never really been the focus of Kirby games, of which my favorites are Kirby’s Dream Land 3 and Kirby’s Epic Yarn. Speaking of the latter, I seemingly still have my case and instruction manual for it, but no longer the disc. Boo to that. Also, not-favorites in the franchise include Kirby and the Amazing Mirror. Anyways, you can freely switch your Kirby between four different classes, which are as follows:

  • Sword Hero
  • Beam Mage
  • Dr. Healmore
  • Hammer Lord

These classes are basically locked-in versions of when Kirby would copy an enemy’s ability for his own nefarious purposes in a traditional game. Y’know, but sucking them into his mouth and swallowing them whole. Class-wise, they are easy to figure out, with Sword Hero being a general warrior type, Beam Mage being a ranged wizard, Dr. Healmore is your cleric, and Hammer Lord is most definitely a tank. I’m putting all my chips, and therefore Gem Apples and currency fragments, into Beam Mage, buying weapon and armor sets as they unlock because trying to spread out my spending on multiple classes, without using real money–more on that in a bit–is a fool’s errand. I really like the Beam Mage’s Time Stop ability and the fact that I can keep my distance from bosses and let my AI-driven team get in close for me. As fights progress, the boss will drop stone tablets, and if you collect all four of them you can perform a supermove that deals massive damage; other than that, the strategies are mash attacks and heal and dodge when necessary and obvious.

Let’s now talk about the free-to-play stuff. Team Kirby Clash Deluxe‘s freemium currency is Gem Apples, and there’s a tree in your main hub area that will give you five Gem Apples every 12 hours. Naturally, you can also buy Gem Apples for real cash money through the nearby shop or upgrade the tree itself for better harvests, and I wish I could tell you what the best deal is, but I honestly haven’t even looked at the prices. Each boss fight requires a certain amount of Vigor to take on, which recharges over time–it’s basically your standard energy system to restrict you from playing too much at once. You can instantly refill the meter by eating a Gem Apple or leveling up. Gem Apples are also used to unlock new boss fights and, along with additional currency requirements, acquire new weapons and armor. At first, everything only takes a few Gem Apples to do, but as you progress the amounts required will increase, insisting you pay real money for more; thankfully, I’m as patient as an anaconda hunting its prey and don’t mind checking in every 12 hours or so for my free Gem Apples, stockpiling them until I can unlock the next whatever.

So, similar to my approach with Pokémon Shuffle, Disney Magic Kingdoms, and other free-to-play games, I’m okay taking it slow in Team Kirby Clash Deluxe, so long as I get to see a majority of its stuff. Some of these armor sets look adorable on the ol’ pink sphere. I doubt I’ll get my Kirby up to level 50–he’s currently sitting rotund at level 12–but I’ll keep checking in on this until the Gem Apple requirements truly become too steep to climb.


Brave’s videogame transformation is not surprisingly rote

I’m sure I wasn’t alone in being slightly baffled as to why Brave, that character action romp from 2012 developed by Behaviour Interactive and published by Disney Interactive Studios, not to be mixed up with another similar-sounding series, was being offered as a Games for Gold freebie this month for those on Xbox One and Xbox 360, but then I realized it is probably the closest thing Microsoft has that’s Irish-like in honor of St. Patrick’s Day. I mean, let’s look at the facts–Scotland is totally near Ireland, and Kelly Macdonald’s deeply relaxing and soothing accent might as well be coming out of a banshee’s mouth. I guess those are all the facts.

Actually, no, another fact–I love Brave. I’m specifically talking about the animated movie here, the one where Princess Mérida, determined to make her own path in life, defies a custom that brings chaos to her kingdom. Granted one wish, she must rely on her bravery and ultra-good archery skills to undo a beastly curse and bring about peace to both her kingdom and family. That said, I do not love the videogame version of Brave, though I have just about squeezed every bit of entertainment from it by the time this post goes public. By that, I mean I popped all but one Achievement, the one for beating the game on its hardest difficulty setting.

This tie-in take on Brave doesn’t follow the film’s events scene by scene. Instead, it’s kind of a side happening, with Mérida chasing after her mother, now in bear form (uh, spoilers?), and discovering that a magical blight has befallen the land. To stop it, she’ll need to defeat Mor’du, along with a number of generically traditional evil creatures. There’s under ten levels to get through, and you’ll do them linearly, and they are all linear themselves, following almost the same exact progression, but more on that in a bit. The story never really becomes its own thing and never rises above an excuse to have a bunch of monsters to destroy; at least the hand-drawn cutscenes are more interesting to watch than the ones using in-game graphics, which, and this is not uncommon for this generation, are extremely ugly and lacking life, character. I mean, the inside of any castle section might as well be from the chopping floor for Demon Souls or Oblivion.

Brave‘s gameplay is far from courageous or anything unique. There’s running around, jumping on platforms, loosing arrows, and hitting plants and enemies with your sword. Oh, and I can’t forget the section where you play as her bear-mother Elinor, or the parts where you control her bear-brothers to solve beyond straightforward puzzles involving levers and switches. Honestly, I was surprised to discover that this kind of played like a twin-stick shooter. Using the right stick, you can loose an arrow in mostly any direction and change the element it is based on–earth, fire, wind, or ice–which is necessary for affecting the environment, as well as dealing more damage based on an enemy’s weakness. Fire boars hate ice, for instance. That said, the arrows sometimes don’t go where you want them to, and it reminded me a lot of trying to hit enemies in the background in Shadow Complex.

Look, this is obviously a family-friendly title, and thus, the action is okay, never trying too hard to be more than a standard affair. On the default difficulty, it never, ever even came close to challenging. My go-to plan for dealing with enemies was to fire at them from a distance and then, if they got close, double-jump and stab downward into the ground with Mérida’s sword for a damaging slam move. The only time it ever got tricky was when there were multiple enemies on screen with different weaknesses, requiring you to either switch your element out on the fly or take on a single set of enemies out first. The final boss fight–or rather final boss fights–have a bunch of these, but by that point in the game, Mérida is full of upgrades and more than capable of taking a few hits.

Speaking of that, the upgrades are what one expects in these types of games–more health, deal more damage, element effects last longer, potions restore more life, etc. They each require a specific amount of gold, which you earn from defeating monsters and cutting up flora. One playthrough alone of the game will probably only net you enough gold coins to buy maybe one-third of all the upgrades. So choose wisely or, if you are like me and want every Achievement, be prepared to grind out some money, and this includes purchasing the co-op specific upgrades. The ones you definitely want early on are increasing your power move meter more quickly, either from dealing damage or receiving it, the range at which you suck up gold coins, and the minion-summoning power for the earth element.

I’ve not played many of these tie-in games to Pixar/Disney properties I love because, well, they are often not what I want. Here’s a link to my thoughts on that The Incredibles game, which still hurts to think about today. I can’t say I was surprised by how Brave turned out, and I’m only holding out hope now on the rumor of a LEGO-based game for the upcoming The Incredibles II. That said, I’m sure if I ever get a copy of the videogame takes on WALL-E, Up, or Toy Story 3, I’ll foolishly give them a honest chance, forgetting all the missteps I’ve seen along the way up to this point.

Well, as they famously say in Scotland, lang may yer lum reek, Brave. I never want to play you again.

Paul’s Preeminent PlayStation Plus Purge – Ultratron


I’m trying to think of what the first “bullet hell” shooter was that I ever played or, at least, the first time I came to know the term. It might be U.N. Squadron. Or maybe 1943: The Battle of Midway. It was definitely something back on the SNES, because I remember cementing my dislike for the genre early in my gaming history. Though I’m sure some could argue that those titles don’t necessary meet the definition of a “bullet hell” shooter. Regardless, clearly from my examples there, it is a genre I don’t play often, and I could blame it on a strong lack of eye-hand coordination–which is also why I don’t play many fast-paced first-person shooters–but the truth is that I simply do not find this style of gameplay all that interesting.

Anyways, this post is about Ultratron, another “bullet hell”-esque shooter from Puppy Games, the same company that put out Titan Attacks!, which I previously played and uninstalled from my PlayStation 3. For lack of a better description, Ultratron is a twin-stick arena shooter inspired by classic arcade titles, updated and improved for the 21st century. The story is uninteresting and thus: the last human in the universe has been slain by evil killer robots. As the only remaining humanoid battle droid left, you’ll be fighting through over 40 arcade levels to take on the four giant boss robots of the apocalypse to…I don’t know. Get revenge? Make them go away and feel bad about their decisions? Grow as a metallic entity? Spoiler: I’ll never find out, as I only got slightly past Bellum, the second boss.

Ultratron‘s main goal is to obliterate wave after wave of incoming robot hordes. As you progress further, these tiny robots become tougher, rocking shields, explosive firepower, and other ways that they can damage you. However, as you destroy them, they burst into gold coins that you and your little pet droid can pick up, and there’s a shop-like screen at the end of each wave that lets you purchase new shields and smartbombs, along with special abilities and power-ups to increase your firing capability. They get tougher, you get stronger, rinse and repeat until your wiring no longer works. Also, there are a few challenge levels between waves, tasking you to dodge all enemies or, shockingly, shoot all enemies, with the money you earn at the end being determined by your performance.

Aside from this, there’s not much else seemingly to do in Ultratron. Which is a shame because it looks super slick. The game, without a doubt, takes its old-school style and runs for the hills with it; there are flashy gun effects, glossy animations, and a confined, stylized arena motif that truly makes you feel trapped and on your own to survive. That said, this ultra bright aesthetic often made it difficult for me to discern what was happening in the arena, with fruit trails blending into one another and swarms of teeny-tiny robots getting lost in the action. Also, text pops up in the bottom left of the screen, which is already condensed to begin with, in the middle of a dogfight, making it next to impossible to read while fighting off an enemy or dodging bullets.

Lastly, every time I typed the name Ultratron for this farewell post, all I can think of is the theme song to Ultraman. Enjoy.

Oh look, another reoccurring feature for Grinding Down. At least this one has both a purpose and an end goal–to rid myself of my digital collection of PlayStation Plus “freebies” as I look to discontinue the service soon. I got my PlayStation 3 back in January 2013 and have since been downloading just about every game offered up to me monthly thanks to the service’s subscription, but let’s be honest. Many of these games aren’t great, and the PlayStation 3 is long past its time in the limelight for stronger choices. So I’m gonna play ’em, uninstall ’em. Join me on this grand endeavor.

I’m not smart enough for ERROR: Human Not Found’s computer-science puzzles

I’d like to think I’m not afraid to admit when I’m not good at something, but that’s probably not the case one hundred percent of the time. So, in that honor, here is a short list of activities and skills I can confidently say I absolutely stink at and you can silently judge me all you want from your side of the computer screen because that’s the Internet for you, all stares and snippy comments:

  • Cooking
  • Running
  • Confronting people
  • Arm wrestling a bear
  • Sports
  • Walking on snow
  • Mathematics

Now, it’s that last listed item there that plays a part in today’s blog post, which is all about ERROR: Human Not Found, a free point-and-click/visual novel adventure on Steam that examines that differences between humans and artificial intelligences. Certainly not breaking any new ground, and yet I continue to be unable to stay away from this subject matter, fascinated by the themes and characters in things like Battlestar Galactica, Ghost in the Shell, and Robert A. Heinlein’s The Moon Is a Harsh Mistress, to provide a few examples. I mean, as Black Mirror has rightfully and accurately predicted, we’re moving ever closer towards a technology-driven future, and it is going to be both sleek and shiny and bleak as hell. It’s best to start prepping for it now.

In ERROR: Human Not Found, you play as sassy Grace Fortran, a computer scientist stationed on the Noah Sphere, a space-based research station. There’s celebration to be had, what with the first artificial intelligence being successfully uploaded into the physical body of an android. Yahoo and wahoo. Alas, no time for cake and cheers just yet, as Grace must quickly move to clear her name in the mysterious death of this very AI who is murdered not twenty-four hours after the upload. She’ll have to work together with Ada, another AI body-bound, to search the station for clues, question suspects, and solve various computer-science related puzzles to get the job done. Grace will ultimately need to determine the fate of AIs while exploring their relationships with humans and the world at large, and it’s all pretty standard stuff, save for the hints that they might be better at running the government than the flesh-and-blood models.

This is interactive fiction, with a stronger emphasis on fiction than interactive. CelleC Games’ ERROR: Human Not Found is broken up into different chapters, and each one contains the same style of gameplay. You’ll have conversations with Ada and other members on the station, make a couple of dialogue choices, explore a limited environment (usually consisting of a couple of screens) for clues, and then take on a puzzle or two. Rinse and repeat until the story concludes, so long as you can get past the puzzles, which are, more or less, logic gates. I mean that both literally and figuratively. Now I was able to fudge my way through the bulk of them, guessing here and there, but the last one, which is based around binary code, stumped me for a bit, forcing me to walk away from the game for several nights. Then, because I can’t stand starting something and not seeing it through, I went back for one more hard, stubborn-drive swing, to finish this off.

Would you like to know how I solved the final computer science-themed puzzle? Well, for starters, I had The Descent: Part 2 on in the background, and let me tell you something…it’s a terrible sequel to a strong adventure horror film about a group of young women getting lost inside an unexplored cave and discovering a race of flesh-eating subterranean humanoids. It’s fine to listen to, but don’t waste your eyeballs on it. Instead, I had the game open in a window, as well as the notepad application, and I jotted down each successful attempt to match a number with the what-I’m-assuming is its respective binary code, because you only get so many tries. For instance, 8 is 1000 or 14 is 1110. Again, if you are currently salivating and ready to jump down my throat and call me stupid because this is so obvious to you, please remember that I started this post by being honest about the things I’m no good at, and this is one of them. The more I knew ahead of re-starting the puzzle, the further I got, and it took me ultimately six attempts to finish.

Evidently, there are three different endings to see in ERROR: Human Not Found. I’m fine with the one I got, though I can barely remember it now, some days later when typing up this post. I appreciated the game’s love for all things scientific and mathematics, with a number of nods at popular players in these fields, like Grace Hopper and Isaac Asimov. There’s even an exhaustive database full of profiles on these characters if you want to read more. However, I can neither recommend it to those looking for a story-driven game or something puzzle-y, as it doesn’t truly succeed in either of those departments.

All Our Asias surreally explores Yuito’s dying father’s mind

Even the Ocean was one of my favorite games in 2016. Analgesic Productions crafted a game of platforming and exploring, with just the right amount of challenge to not make it feel like a cakewalk, while also weaving a tale of friendship and loss and impending doom that, to this day, still sits inside me, gnawing at my stomach. Aliph’s quest to fix a bunch of power plants to stop the foretold invasion of flood-bringing monsters is not a straightforward affair, nor a happy one, but it’s something she does because…someone has to take charge. More power to her, if you ask moi.

Similarly, Yuito’s mission in All Our Asias is also on a bit of a time-crunch. This is a completely free to play, surreal as surreal gets 3D adventure, about Asian-America, identity, race, and nationality. It comes from Sean Han Tani, one part of Analgesic Productions and the co-creator of Anodyne, which, alas, I’ve still not gotten to play. In this one, you play as Yuito, a Japanese-American hedge fund analyst in his early thirties. His estranged father is dying, and it’s too late for Yuito to communicate with him; however, thanks to advances in technology, despite his father being on life support, he can enter his father’s Memory World, which is a supernatural landscape full of the man’s experiences and secrets. The technology is nascent, and the process is risky, but Yuito has questions and wants answers.

Gameplay is twofold–walking and talking. To explore this Memory World, Yuito glides around inside a tiny tank-like vehicle, something that instantly made me think of that bright red tank from the PlayStation 1 Ghost in the Shell game (I briefly experienced it via one of those demo discs). You’ll find people to chat with, who will often guide you to the next area or offer a tidbit of info about this strange, hypnagogic realm. He’s trying to learn more about his father, but not everyone is forthcoming with information; in fact, there’s an entire sidequest about restaurants and instituting new tax policies that I didn’t entirely understand or see how it was connected to the big picture, though it does tackle issues about race and shared sympathy and other sensitive topics generally not explored by this medium. Movement is slow, most likely deliberate, which gives you time to observe the environment and eat up the soundtrack. You can do a short-hover jump to help with ledges and staircases, but this is by no means a puzzle platformer, and beating the game gives you a cool upgrade to help speed exploring up…though I didn’t feel compelled to keep playing.

I genuinely love the look of All Our Asias. Sure, my first gaming console was the Super NES, but when I eventually did that terrible thing of trading in a ton of my games to get credit to buy a PlayStation 1 from Toys”R”Us, rest in forthcoming peace, I was taking a big step, one that would forever impact my history with gaming. Here was a console I was getting myself, not as a birthday or Christmas gift, but through the sacrifice of others, and boy was I going to get the most out of this system. I played the heck out of Final Fantasy VII, Metal Gear Solid, Bushido Blade, Silent Hill, The Granstream Saga, Chrono Cross, Resident Evil, and so on. I become one with low resolutions and polygons, with fog designed to purposely mask load times or pop-in, with in-game character models with next to no details beside shapes and some color. Exploring All Our Asias forces your imagination to see things bigger and better, to look past its flat textures and chunky models; it’s a blend of walking simulator-esque gameplay and emotionally complex storytelling, drenched in 32-bit visuals, and I love it.

Sound-wise, All Our Asias is a dream. Again, I’m never not lost on the difficulty of describing music via words, but please, take a listen. It’s soft, it’s mesmerizing, it’s soothing. You’ll at once feel like you are floating above a city skyline on a gorgeous September morning while also zipping through the innards of a dying man’s mind where thoughts and memories race against each other, fighting for attention, scrambling for security. Somehow, the soundtrack never overtakes the story, but provides ambiance and a haunting sense of dread, and I can’t get over how pretty of a tune “Somewhere’s Meadow” and “What Will He Retain?” are for the ears. Getting lost a couple of times and unsure of where to proceed next wasn’t frustrating, as it just meant I got to listen to some more songs.

Right. All Our Asias is not perfect and certainly not for everyone. It’s focus on narrative and slowly moving towards the next story beat will probably feel like a chore for many; however, I found myself instantly sucked into this world, curious to know more, much like Yuito himself. I won’t stand here and say I understood everything it was going for and definitely could not relate to some of its themes, but your mileage may vary, and you won’t know until you give it a click.

In Assassin’s Creed: Revelations, you fight ideas with bombs

I’m continuing to work through the Assassin’s Creed games…well, the ones I have anyways. Left to go in my current collection are the topic du jour (psst, that’s French for Assassin’s Creed: Revelations), Assassin’s Creed III, and two entries from the Assassin’s Creed Chronicles sub-series, which I’m lead to believe are a bit different in structure and style. I’ve already played the first game, the second game, the sequel to the second game, and the one featuring pirates and battles at sea. I like each of them to varying degrees.

All right, here we go. Assassin’s Creed: Revelations is the third and final chapter in the so-called Ezio trilogy. It picks up right after Assassin’s Creed: Brotherhood, which, I had completely forgotten, ended with a big ol’ killer twist. Anyways, spoiler alert for a 2011 game…in three, two, one. Desmond Miles has fallen into a coma due to the stress of being forced to kill his ally Lucy Stillman while being controlled by Juno, the hologram attached to the Apple of Eden. In an effort to save Desmond’s mind, Rebecca Crane places him back in the Animus, in the machine’s safe mode called the “Black Room”. Alas, the only way to repair his mind is by reliving his ancestors’ memories until there is nothing left for them to show Desmond, at which point the Animus can separate Desmond from Ezio and Altaïr and awaken him from his coma. Er, yeah–it’s not at all confusing. And so, you jump back into the perspective of the still suave but older Ezio Auditore. Four years after ending the life of Cesare Borgia, Ezio has traveled to the former Assassins’ fortress in Masyaf to discover the secrets Altaïr had previously unearthed and find the true purpose of the assassins.

Phew. Look, at this point, I’m not really paying all that much attention to the plot, especially since I’ve already heard that, despite the game’s boasting subtitle, there are very few revelations to learn in Assassin’s Creed: Revelations. I’m here for the running around, rooftop climbing, knife throwing, stealth stabbing, hay jumping, bomb tossing, collectible finding antics. Also, buying different dyes for Ezio’s outfit always makes me happy, especially the green-themed ones, and watching Constantinople grow due to his influence and the money roll into your bank account in larger amounts is extremely satisfying.

As far as I can tell, this plays just as well as Assassin’s Creed IV: Black Flag. I think by this point in the series Ubisoft tightened the controls and really made everything feel both good and natural. I’m finding myself not making as many  jumping mistakes when climbing up tall towers, and the hookblade upgrade really helps move things along quicker, with Ezio now able to leap higher and use ziplines conveniently placed around the city. Otherwise, it’s an Assassin’s Creed game, and so you probably already know what you do in these games, generally. Strangely, there’s some optional first-person platforming sections when playing as comatose Desmond, and they are about as fun as you might initially expect. I’m going to finish them all for the sake of Achievements only. Also, if the Templars become too aware of your actions, they will attack one of your dens, and the only way to get it back is through a tower defense minigame, which I do not like one bit.

As of this writing, I’m somewhere in…sequence 5 (of 9) for Assassin’s Creed: Revelations. I’ve only seen two or three instances of tailing missions so far, and they honestly weren’t that bad compared to others. Otherwise, everything has been par for the course, with some fetch quests, some platforming challenges, some hidden murdering, some open murdering, and a whole lot of collecting treasure, purchasing shops, and completing challenges. For some reason, I really like these kinds of games because there is always something to do, a goal to go after, not just the main quests. Even standing around idle will eventually help, with money being deposited in your bank account every twenty minutes.

Perhaps the thing that separates Assassin’s Creed: Revelations from others in the series, at this point in its release, is its focus on bombs. For those that don’t know, bombs are explosive weapons used by assassins from as early as the High Middle Ages, and they can be employed for a variety of tactics, including escape, assault, and distraction. Ezio can craft his own bombs by looting dead soldiers for materials or he can purchase them from illusive shopkeepers, and I have found myself using them more than expected; if anything, they are great distraction items, especially if you need to make a quick getaway. Still, the controls for them can be fiddly, and trying to use them effectively in the middle of an eight-on-one sword fight does not always work out right. It does add some variety and options to the missions though.

I don’t expect to learn much by the end of Assassin’s Creed: Revelations, but coming to it many years later, and not right after the previous game, wherein many were beginning to suffer from Ubisoft fatigue, I’m having a fine ol’ time. I also have to wonder how many, if any, are even playing this game’s multiplayer; I’ll give it a try after credits scroll, but I won’t hold my breath.

Paul’s Preeminent PlayStation Plus Purge – Lone Survivor

I’d never survive in an actual post-apocalyptic universe. That’s just the harsh truth, one that I’ve come to terms with long ago. There’d be mutated monsters stalking the streets, high levels of radiation eating away at our health, and my bone-dry skeleton curled up inside a bathtub because I couldn’t even bother to try to scavenge for food and water and decided that lying down and closing my eyes for forever was the easier path. Also, if the monsters are even the teeniest bit speedy, I’ll never make it due to…well, cardio.

And that brings us to the ever-so-cheery and delightful Lone Survivor from Jasper Byrne, which is a post-apocalyptic survival horror game with retro-styled 2D graphics and a somber-yet-sick-as-all-gets soundtrack. Please note that Jasper Byrne also contributed to Hotline Miami‘s soundtrack. Well, in this disease-ridden world, the player controls a nameless man-boy, who wears a medical mask, and…well, I don’t honestly know what this person’s true journey is, his desires. He may very well only be following directions provided to him via apparent hallucinations, telling him to go check out this room or that room or use violence to take out the monsters. For me, the clear and only goal was to survive, and exploring the spooky, grimy apartment building you are currently stuck in will reveal a staggering amount of special items, weapons, door keys, pills, notes, and a bunch of different types of food to help in this endeavor.

Lone Survivor is kind of like a point-and-click adventure game, but you also have a pistol and can blast monsters with bullets until they stop moving while trying to keep your hunger, thirst, and sanity meters in check, sleeping now and then too. Still, many of the items you find can be used on other items to solve a specific logic-based puzzle; for instance, early on, you find a pair of scissors and, later, when your passage is blocked by a bulging mass of flesh, you know exactly how to use them. You can also combine items together and even cook food for better results. Otherwise, you’re exploring the nearby hallways and rooms, hiding from or killing monsters, while trying to piece together what is happening and maybe looking for a way out. Your apartment, which has a bed, radio, and stove, acts as a mini-hub, which you can return to using magical mirrors and save your progress.

Silent Hill 2‘s influence here is clear. For one, there’s a man you meet in your dreams with a cardboard box on his head that will probably get you thinking about other men with oddly-shaped heads. Similar to James Sunderland’s quest to find his wife, you are running around a spooky apartment building brimming with locked doors, where things aren’t always what they seem to be. Also, there’s a terrible map system here, just like in Silent Hill 2, and I found myself getting lost constantly, unsure of where to actually go for main and side quest purposes. I’d rather have a blank map that allowed me to annotate it myself than try to parse someone else’s notes on it. Lastly, the shooting is almost purposefully clunky, which means you have to decide early on if you want to waste ammo or use chunks of rotting meat to distract monsters.

Evidently, your interactions with the game’s world and inhabitants result in different endings upon completion of Lone Survivor. Immediately, this stressed me out. I mean, it’s not like this is competing with Chrono Trigger or NieR: Automata in terms of number of endings, but still, now I’m over-thinking every choice I make, like whether or not I should take the green pill before bed because I desperately need batteries to proceed but this might affect the ending I get. Gaah. Given that a single playthrough takes around four to six hours to see credits roll, I most likely will only ever see one ending for this game, and it won’t be any time soon as I’ve already uninstalled it from my PlayStation 3, giving up after an hour or two of meandering back and forth, growing hungrier and more insane by the minute, not sure of why I have these items in my inventory or their ultimate purpose or how to even cook food.

Thankfully, if I ever do want to give Lone Survivor another mighty swing of the horror stick, I have a second copy on Steam, ready to go. Or I could return to Soul Brother, one of Byrne’s earlier projects, and a lighter one at that, if my goal is to feel enlightened instead of devoured.

Oh look, another reoccurring feature for Grinding Down. At least this one has both a purpose and an end goal–to rid myself of my digital collection of PlayStation Plus “freebies” as I look to discontinue the service soon. I got my PlayStation 3 back in January 2013 and have since been downloading just about every game offered up to me monthly thanks to the service’s subscription, but let’s be honest. Many of these games aren’t great, and the PlayStation 3 is long past its time in the limelight for stronger choices. So I’m gonna play ’em, uninstall ’em. Join me on this grand endeavor.