Tag Archives: puzzles

2018 Game Review Haiku, #31 – Quidget the Wonderwiener

Quidget, dog genius
Must solve a bunch of problems
Booby assistant

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.

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Slay away as Jason Voorhees in Friday the 13th: Killer Puzzle

As a young lad, many of the sleepovers with my then best friend resulted in us exploring the nearby woods at night, playing games together on our respective consoles–his a Sega Genesis and mine a SNES–and renting horror films to watch until the sun came up. These ran the gamut from things like Species to Deep Rising, but our favorites, meaning ones we rented multiple times for the local Blockbuster, were the Friday the 13th slasher films. These were, though it is embarrassing to admit to it, our first look at nudity and violence holding hands, a concept that stimulated our teenage brains to their very core, and we’d stay up late after the movie was over, tossing back ideas about what we’d do to take down the legendary Jason Voorhees ourselves, if we ever were unlucky enough to come across him. My plan often involved pushing him off a cliff.

Well, with Friday the 13th: Killer Puzzle, you aren’t trying to beat the man that won’t die; instead, you are him, on a mission to murder every final girl, nerd, officer, punk, etc., one after the other, until nobody’s left to bother you. This isometric top-down puzzler, across a variety of levels, has you sliding Jason across a grid until you literally bump into your victim, instantly murdering them. After taking out all the targets, a final mark will appear, and often reaching them is a puzzle of its own because you can only slide in so many directions. Each level ends with Jason using a stylish finisher move, which would normally be considered grizzly and ultra-violent, but not here, where the game’s cartoonish look keeps everything light and silly. I mean, I don’t know if stabbing a person through the chest with a baseball bat is even possible, but it’s funny to see the hockey masked man do it. Afterwards, your bloodlust gauge fills up, and once it is full, generally with a little help from Jason’s mom’s severed head–don’t ask–you can unlock a new weapon to equip.

Here’s the thing I didn’t expect to experience in Friday the 13th: Killer Puzzle–it’s addictive. The levels are short and satisfying. You can take stock of the layout at your leisure, even switching the camera to an optional top-down view, before making your first murderthon move. Each themed level introduces something new, such as animals you don’t want to harm, people running away from Jason right to an exit, obstacles keeping you from your victims, guards with gnus, and dealing with traps like holes, bodies of water, and electrified fences. Thankfully, it never becomes too much. At first, you can kind of fudge your way to victory, but as the level fills up with all these various elements, you have to slow down and, similar to chess, begin to think several moves ahead. It’s ultra satisfying to see your plan come together, and then you fall into the hole of wanting to at least see how the next level starts, ultimately losing a half hour before you even know it.

Friday the 13th: Killer Puzzle isn’t a difficult game. Levels rarely take longer than a few minutes. What I find ultra appreciative is that the game comes with hints and walkthroughs in it, which means I don’t need to Google anything on my phone when I get stuck or exit out and come back later, losing momentum. At any point, you can click on Jason’s mother’s severed head–still don’t ask–and she’ll either give you a single hint of what to do next or walk you through every single step in fast-forward. You can also undo any more, even ones that kill Jason, or simply restart the level if you feel like you’ve borked it bad enough. I have resorted to using the in-game walkthrough a few times, but only after giving the level a good shake, and I love that it is included, and the language around it is super friendly and not condescending.

Friday the 13th: Killer Puzzle was released, for free, a few weeks back on…yup, you guessed it–Friday, April 13. I believe it is available on phones, but I’ve been playing it in bursts on Steam, and I’m probably halfway through all the levels it came with, currently sliding around Jason from Jason X, not my favorite entry in the series. Anyways, this cute freebie comes from Blue Wizard, the developer behind Slayaway Camp, which shares similar gameplay, but more voxel-based graphics. If I ever see the end of Friday the 13th: Killer Puzzle and really want more puzzle-driven mayhem, I’ll know where to turn to next. Even if it doesn’t have a dedicated button in the pause menu to making the chi chi chi ha ha ha sound effect.

2018 Game Review Haiku, #29 – Umfend

An experiment
Creates echoes from the past
Work harder, smarter

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.

2018 Game Review Haiku, #28 – Grim Legends 2: Song of the Dark Swan

Queen, mortal danger
These objects full of darkness
Use that nice otter

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.

To escape Subject 13, Franklin Fargo must defeat Minesweeper

I purchased Subject 13 recently during Xbox’s Spring Sale for a couple of reasons: 1) it was cheap, coming it at a mighty low $2.80 2) it was billed as a traditional point-and click adventure game and 3) the graphics, from the few screenshots I saw, made it look pretty and mysterious and something akin to Myst, wherein there’s an island and puzzles to solve. I finished it off the other night feeling frustrated and dissatisfied, especially as I stubbornly felt the need to see it through, and I would not recommend it to anyone if, like me, the above reasons seem initially intriguing.

Subject 13 comes to us from French video game designer Paul Cuisset, though I’ll be honest and did not immediately recognize his name or work. Shame on me, as a fellow Paul. Evidently, he was the lead designer of Delphine Software International and the creator of Flashback, which is listed in the Guinness World Records as the best-selling French game of all time. That’s cool and all, but I’ve never played it and was way more jazzed to learn that he had a hand in making 1994’s mega-hit Shaq Fu, of which one day I’ll tell a story about. Still, the man has clearly been in the business for a while, and there have been some ups and downs; one of the more recent ups was Subject 13‘s successful Kickstarter back in 2014, which helped bring the game to phones, PC, and consoles.

Right, let’s get to it. Subject 13 opens up rather dramatically with a man named Franklin Fargo–no, really, that’s his first name and last name put together–attempting to off himself by driving his car into a river. However, as he begins to drown beneath the water, something happens and he is magically transported into an abandoned research facility. Here, a strange, disembodied robotic voice encourages him to use his special noggin to solve puzzles and make his way out of the compound. All righty then. Oh, and the robotic voice also refers Franklin as Subject 13 and refuses to answer many questions so right away you know something is fishy. It’s a decent bit of science fiction storytelling though it’s both predictable and under-delivered, with most of the details tucked away in hidden audio logs.

The gameplay is pretty straightforward stuff for adventure games, with Franklin exploring a small area or number of areas, picking up commonplace items, examining them up close, and using them either individually or combining them with others to solve puzzles, the majority of which are based around logic. Don’t be surprised to find yourself dealing with combination locks and slide puzzles and doing a bit of math on the side. It’s not The Witness, but few games are. I truly didn’t mind the puzzles, even if they never felt like they were natural in the world and clearly stuck out as something to do to slow progress, but a couple were extremely obtuse and resulted in me looking up solutions online to keep my momentum going.

Oh, and let me touch upon the final section of the game. Spoilers incoming…even though I kind of dropped a big one in this blog post’s title. After all your exploring and puzzle solving and chasing after holographic women, the only way out for Franklin Fargo…is through a game of Minesweeper. Now, it doesn’t immediately look like Minesweeper because of, y’know, copyright issues, but it’s the same idea nonetheless. And honestly, I’m not too bummed about this, because I enjoy a round or two or three of Minesweeper, but it shouldn’t be used as a final, climactic showdown. Don’t think too hard about the fact that this ancient device is guarding itself via a firewall based on Minesweeper. Also, there’s an Achievement tied to beating this part in under twenty, but the clunky look and nature of the beast means you need to play it slowly or start over again, and it’s the only Achievement I didn’t get for the game…so boo-hoo to that.

Here’s the hard truth–Subject 13 lacks polish and modern, friendly mechanics. It wasn’t designed to have them, but it needs them. I understand that this wants to call back to an era of gaming where adventuring was a little more imperceptive and up to the player to truly figure out, but some of that was left behind for a reason, to make the experience more inviting. For instance, moving the main character around is absolutely terrible, with Franklin strutting forward like a goalless gorilla, unable to make it up some steps or around a corner unless he approaches them from a very specific angle. A more traditional point-and-click interface would have worked better, especially when you often have to walk from one side of the screen to another, and it takes just long enough to have me reaching for me phone to check my email or the weather for tomorrow. Some items are extremely well hidden and, with no internal monologue from Franklin, I never even knew I was supposed to be looking for a bucket. Lastly, while the UI for your inventory is neat-looking, it never made it easy to pick up an item and compare it to another or, if you selected the wrong one, deselect it and try again; I felt like I was always fighting against the system.

I’m not all angry ogre, so here’s what I liked about Subject 13. The soundtrack is subtle and New Age-y, relies on futuristic synth-heavy tracks, but also enough soft sounds to lull you into a moody yet pleasantly relaxed atmosphere that doesn’t get in the way of exploring and solving puzzles. For testimonies, the game’s audio log collectibles, you can always see how many you have found in the chapter percentage-wise, as well as total, which I appreciated as I wanted to get them all in one go. Lastly, instead of “continue” the game uses “carry on” in its menu options, and that is so adorable I’m over here making large cat eyes and nodding enthusiastically.

I bought another game alongside Subject 13 during this sale, namely Anoxemia, and though it is not exactly the same type of game, I’m hoping I enjoy it much more than this, whenever it is that I get around to playing it. See, I’m not always good at immediately jumping into my purchases, though I did on this one and am unhappy. Or maybe I need to give Flashback a good swing–the original, not the 2013 remake version.

SUPERHOT’s time only moves forward with the player

We’re a few months into 2018, or twenty-great-teen as the kids are callin’ it, and I’m finally cool enough to play SUPERHOT. Y’know, that mega indie hit from…well, it originated as an entry in the 2013 7 Day FPS Challenge, but was a full release on consoles and PC in 2016. Strangely, right now, the game is everywhere you look–it was a freebie for March’s Gaming with Gold on the Xbox One, which is how I acquired it, it was a freebie last month for Twitch Prime’s new Free Games with Prime program, and it’s currently one of the games bundled in Humble Indie Bundle 19. My lordy-loo. I guess there is just no avoiding it at this point. After all, SUPERHOT only moves when you do.

Okay, some setup, of which I will absolutely nail down the mechanics of this game, but not its narrative. SUPERHOT is an independent first-person shooter developed and published by the appropriately named SUPERHOT Team. The game mostly follows traditional first-person shooter mechanics, with you trying to take out enemies shooting bullets at you. The twist to all this is that time within the game only progresses when the player moves. Remember when Neo in The Matrix used bullet time to his advantage? It’s like that, but always. This often creates unique opportunities for the player to assess their situation and respond appropriately, turning each gunfight into one massive, slow-crawling puzzle wherein you’ll dodge a bullet, punch a dude, grab his gun out of the air, and shoot him in the face with it before a second goes by.

Now SUPERHOT‘s story…exists on several metanarrative levels. First, the player plays a fictionalized version of themselves sitting in front of a computer receiving DOS prompts, getting a message from their friend who offers them a supposedly leaked copy of a new game called superhot.exe, claiming that the only way to access it is with a crack. Second, launching the game immediately thrusts the player into a series of seemingly unconnected puzzle-combat rooms via different points of view, all based around killing hostile red dudes via the cool time slowdown method, after which the game glitches out and disconnects. After this crash, the player’s friend sends an updated version of the .exe file, which is apparently a new version of the game that fixes the “glitches,” and you go further down the rabbit hole, doing as the large, blocky text on-screen says because…that’s what a good videogame player does. Look, it’s something of a connective tissue, and that’s fine, but story is not at all the reason I’m playing SUPERHOT, nor what I will ultimately remember about it five years from now.

Visually, the developers got lucky. The game is presented in a minimalist art style, with enemies in ruby red and weapons in stark black, in contrast to the otherwise white and gray environment, which has the effect of everything popping before your eyes, especially those red bullet trails. I suspect this look was picked because it was quick and easy to implement during its days as a jam baby, but it really works great to boil SUPERHOT down to its essentials–an area, enemies, and all your tools to kill them quickly seen. When you shoot a red guy, he explodes into a bunch of polygons, like a window breaking, and it’s super satisfying to both see and hear. Once you successfully survive a level, the game replays all your actions like a mini action movie trailer, and you can save and edit the replay into GIFs and such, if that’s your thing (it’s not mine). Oh, and one can’t forget the classic bit of the booming “Super, hot!” voiceover that loops after you’ve obliterated every red dude in your way.

I enjoyed playing SUPERHOT; the playing of it was enjoyable. I didn’t really understand a lot of stuff around the edges or what story it was trying to tell, but that didn’t diminish the fun I had from slowly dodging an incoming bullet, throwing my empty pistol into the face of a red dude, catching the shotgun that they tossed upwards, and unleashing a spray of bullets in their direction, all within the blink of an eye. Every room was a puzzle, open to interpretation, and I played a few challenge levels and endless mode after the credits rolled, but it lacked something the frenetic, bouncy campaign had, nor did it do anything new. I’m glad I got to finally play SUPERHOT, and if you’ve not yet…well, it’s time to stop time, get yourself a copy, and start slowly making your way to the complete and total domination of red dudes.

2018 Game Review Haiku, #19 – ERROR: Human Not Found

Death of a robot
Sparks an investigation
But first, logic gates

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.