No sooner had I wished for a change of pace and scenery am I dragged underground and into the second act. When people say it’s all about the journey, not the destination I’m not sure they’re referencing experiences like the first hour of Deadlight but I think the old adage applies. I’m also interested to see how they mix things up because, at the moment, everything feels quite similar - both in the way I’m approaching situations and in what I’m seeing.
Tequila Works has done a great job of making me think on my feet, but have scuppered too many attempts with how poorly the game controls. One thing that these issues play into is the tension found in Deadlight. I’m definitely being coaxed through by the game’s presentation, and the puzzles and encounters are fun when the controls don’t make it feel like my character has two left feet. That said, for all of the faults I have found I am still having fun with Deadlight. Lines are delivered so inconsistently, with the actors either chewing scenery or being seemingly unable to appropriately express any sort of emotion. None of this is helped by some of the worst videogame voice acting I’ve heard in a long time. The story is straightforward, but attempts to add depth are misguided and ham-fisted. Again, poor execution holds everything back. Story beats play out via animated, comic book-style, cutscenes and through the character's inner monologue. An argument could be made in regards to ‘grounding’ the character and giving him some weight, but in practice it has led to unfortunate ends for Randall Wayne (or whatever his name is - they seem interchangeable). For a game that wants to push the player to react quickly, Deadlight is not quite providing me the tools to do that. The controls that felt stiff in the beginning still feel unresponsive and clunky. Whilst the aesthetics, overall feel of the world and some of the game’s systems feel solid, it lacks the sharpness and polish that put the aforementioned games into a league of their own.
Unfortunately for Deadlight, it is nowhere near as well executed as the games it has taken so much inspiration from. Everything from the silhouetted character and oppressive darkness, to the gruesome ends that follow a mistimed jump has undoubtedly been influenced by Playdead’s undisputed classic. The way the game moves feels very similar to the latter, whilst its heavy tone, and graphical style owe a lot to the former. Whilst the games are different mechanically, there is no doubt that Tequila Works drew huge inspiration from the likes of Limbo and Shadow Complex. Platforming is stiff and demands precision. Twenty Minutes In ĭeadlight is undoubtedly a homage to beloved but deadly classics like Prince of Persia. Having finally been afforded the opportunity to play this game - one that has always caught my eye - I decided to see first hand how harsh the burgeoning wasteland of the Pacific Northwest could be. Re-released in 2016 as Deadlight: Director’s Cut, developer Tequila Works has added little more than a fresh coat of paint and a few small refinements - things that would have gone unnoticed had I not read about them in researching the game for this article - to bring it to current generation hardware. A 2D puzzle and action platformer set against the zombie-filled, Frank Miller-inspired, backdrop of 1980s Seattle, it certainly stood out upon its initial release in 2012. The presentation, aesthetic and period setting have always drawn me towards Deadlight.
0 kommentar(er)
