To think of shadows is a serious thing in Deadlight

Deadlight is all style, no substance, which results in a very cool-looking slice of perfunctory–and often clunky–2D action. A shame, really. Unfortunately, when it comes to playing videogames, looks only get you so far, and I found much of my so-far early goings with Deadlight frustrating and shrouded in obtuse darkness due to its shoddy controls, stilted voiceover work, and strange mix of gameplay styles. I’ll explain more shortly.

Deadlight is set in 1986, and a zombie plague has decimated the world. Or maybe it’s a shadow plague, since no one seems to like referring to them as anything other than shadows when clearly they are of the flesh-tearing, brain-munching zombie ilk. Just, y’know, wreathed in shadows. Anyways, you play as Randall Wayne, a grizzled survivor trying make his way through Seattle. Oh, and the way you know it’s the 1980s? Those cassette-tape loading animations and knockoff Tiger LCD handheld-game collectibles should clue you in. Otherwise, it’s just another dark, grim world. Your goal: reach the Safe Point.

Clearly inspired by literature works like Stephen King’s Cell, Cormac McCarthy’s The Road, and Robert Kirkman’s The Walking Dead, as well as taking cues from other side-scrolling games like Limbo and Out of This World, Deadlight, early on, feels really good. Like, really good. I still don’t mean control-wise, but Tequila Works really nails the atmosphere of a world gone to shit, especially in the first act, where all the focus is getting through one scenario to another in a single piece, which often meant avoiding fighting shadows and using other methods to get around. Mr. Wayne is no supersoldier, just a guy taking advantage of everything around him to stay alive, and whistling at a zombie so it walks towards you and right into the pool of electrified water is hilariously satisfying.

There’s a little bit of everything in Deadlight. From the beginning, it’s mostly about running, jumping, climbing, crawling, and moving through the environments while avoiding enemies. This is all well and good, except the jumping feels sluggish, and when you let go of the analog stick Mr. Wayne continues to run a step or two further, which inevitably leads to messed-up jumps and other problems. Limbo‘s jumping never felt amazing, but that game moved at a much slower pace, even when a giant spider was chasing you. Combat comes in two forms: your ax or your gun. Ammo is limited, and I think I’ve used the gun more for solving puzzles than popping the heads of shadows off. You can swing your ax pretty well, but you’re limited by a stamina meter; all in all, the vibe is constantly avoid combat, and so that’s what I did. Lastly, there’s puzzle-solving, and a lot of what I’ve seen involves hitting switches/pulling levers and hightailing it somewhere else; alas, because of the previously mentioned problematic running, this can be a challenge, and Mr. Wayne suffered many deaths before the timing of it all could be determined. Trial and error is okay when implemented sporadically, but it really feels like every room you go into in Deadlight is designed to kill you first, then teach you how to live.

Again, it’s a shame the game plays so poorly and is unfocused, as visually, it’s astounding. Shadow Complex helped bridge the gap between 2D planes and 2D.5, and Deadlight uses this trick to create some stunning images of shadows appearing in the background and walking towards you from the distance. There’s a good amount of zooming in and out, highlighting different parts of the area, and a lot of it is well detailed despite the fact that Mr. Wayne is going to run past it all in a few minutes. While I found a lot of the voicework to be hammy, the art used in the cutscenes is what you’d expect if The Walking Dead comics were colored and a webcomic, and while they are a stark contrast to the actual gameplay graphics, they help build a consistency nonetheless.

I don’t know how much more is left to see in Deadlight. Currently, I’m still inside the Rat’s test chamber of terrible ways to kill one’s self. It’s not very clear how I’m supposed to get Mr. Wayne from one side of the room to the other, and all it takes is a misplaced jump to die and give me enough pause to reconsidering how I’m spending my gaming time. Might have to end up looking for an online walkthrough as my Xbox 360’s hard-drive is nearly filled, and I want to download and play Dust: An Elysian Tale, but in order to do that, I need to beat Deadlight and feel done enough with it to hit “uninstall.” It seems like it’s a pretty straightforward experience from beginning to end, though I can guarantee I won’t 100% it as I’m positive I’ve missed a secret or two along the way.

The Half-hour Hitbox: April 2014

Well, this turned into a terrible month, and so I haven’t been writing about games a lot here these last few days, but I still continued to add to this thing, like a man who pokes a fire looking for it to grow, to spread. And spread it has, so here are some short paragraphs about the games I’ve played for a bit, as well as the ones I’ve played for a good while and just haven’t gotten around to giving them their fancy own blog posts. All in due time, or possibly never again; I really can’t say right now.

Line ’em up, knock ’em down.

The Everloom

When does a dream become a nightmare? Is it when you can’t escape it? The Everloom is a minimalistic adventure game by Lucas Paakh that dances around these questions while guiding the player through a realm where imagination runs wild. It’s basically fetch quest after fetch quest, and I’d easily dismiss it as flat boring gameplay-wise, but it’s absolutely gorgeous to both look at and listen to. The pixel graphics are crisp and colorful, with some amazing parallax scrolling effects when moving throughout the forest section. Some bizarre characters and outcomes, too.

Where Is My Beard?

A strange and cute little Flash physics-based puzzle game. Man, that was a mouthful. Where Is My Beard? tasks you with rolling a bearded face–also known as a decapitated head–into non-bearded face-shapes to decorate them with facial hair. Sometimes this involves building a bridge across a gap and other times involves playing with gravity just right to that the ball hits every single target. There are 20 levels in total, and only two really roadblocked me for a bit; thankfully, when you refresh the level, all the pieces you put down remain in place, so you can tinker with placement and keep trying things without having to rebuild your schematic from scratch. It’s got a fun art style á la The Binding of Isaac. Oh, and watch out for the crabs…

Castle of Illusion Starring Mickey Mouse

A PlayStation Plus freebie for April 2014 and, from what I’ve played so far, a walk in the park. Granted, I only did the first world and am now in the toy-themed levels, but it’s a fairly mundane platformer, and yes, there’s irony there, given that it is set in a fantasy land and magical castle. You walk left and right, you jump on enemies to kill them, you collect things, you throw projectiles, and the bosses all follow a simple pattern. I love me some Disney, but this is just a little too tame for me, though it’s nice that the game came packaged with the original Genesis title as well.

Deadlight

A freebie on the ol’ Xbox 360 this month for the Games With Gold campaign. Deadlight is a mix of Limbo and Shadow Complex, but with zombies–also called shadows–and more of a focus on puzzle platforming and avoiding combat when possible. I haven’t gotten too far, and so far, it’s okay. I’d probably be more impressed if I haven’t read most of The Walking Dead comics–all of volume one–and followed the show so closely, as they are pretty similar in both looks and story-telling. Also, the main character’s jumping is really clunky, and that’s something you want to make sure is right in your platforming game, that jumping to platforms feels smooth.

Disney Magical World

I’ve definitely got a bigger post in the works for this Animal Crossing: New Leaf-wannabe and still own individualistic collectathon brimming with classic Disney characters and gimmicks. Not going to say anymore other than it has surprised me, and it’s kind of what I need right now in my life: a solid bit of distraction that does not make me work too hard to progress.

Metal Gear Solid

Yup, my journey through all of the Metal Gear games continues, and I beat Metal Gear Solid over a couple of sittings, taking around 11 hours or so. As you might expect, I have many things to say about this one and Solid Snake and the use of FMV and remembering locations differently, meaning we’ll leave it for another day. Next on the list is…VR Missions, which I don’t expect to be very exciting, though I do hope they offer more of a challenge than the n00b-friendly ten in Metal Gear Solid‘s main menu. I wonder if I’ll be able to do ’em all.

Wallace & Gromit’s Grand Adventures, Episode 3: Muzzled!

Not really picking up where the last episode ended, Wallace and Gromit meet Monty Muzzle, who comes to town to try and raise money for a dog shelter. Unfortunately, this mustached man has ulterior motives, and it falls upon Wallace and Gromit to save some dogs and get the townspeople’s money back before Monty can slink away. What follows is more of the same single item-only puzzles and funny dialogue. I looked up a solution or two, but enjoyed everything regardless, especially the idea of a fish and chips-flavored pie. Again, this episode ends on a big cliffhanger, one I really hope doesn’t get dropped as we move into the final act of this grand adventure.

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The Half-hour Hitbox is a new monthly feature for Grinding Down, covering a handful of videogames that I’ve only gotten to play for less than an hour so far. My hopes in doing this is to remind myself that I played a wee bit of these games at one time or another, and I should hop back into them, if I liked that first bite.