Streets of Rogue Review: They Let You Do What?

by Albert Lim

Streets of Rage, released in 1991 for Sega Genesis / Megadrive, was the story of badass cops who take to the streets, bringing the fight to the criminal syndicate which has thrown their city into chaos. The thing that really made it stand out for me was that you could choose to join the bad guys and become the head of the syndicate. It wasn’t the first game to offer alternate endings, just the first one that made me sit up and say “whaaaat?”

After that came Chrono Trigger, Knights of the Old Republic and Grand Theft Auto. Most recently, Legend of Zelda: Breath of the Wild was shown to have a mind-blowing range of options. The possibilities available in games are insane and I’m not actually sure that there are even boundaries anymore. We’ve come a long way from 1991. But when I saw this game, I knew I needed to play it (and not just so I could write this).

Crazy Characters, Drugs, & Violence

In the free demo version of Streets of Rogue, the roster of playable characters includes archetypes such as “soldier,” “hacker” and “thief.” It also has more… unique… options, such as “jock (you are as dumb as a bowl of fruit),” “werewolf (you can go berserk)” and “investment agent (you’re rich but addicted to drugs).” That should tell you the kind of ride you’re in for.

Violence is definitely plentiful here, and it’s not a game to bust out in polite company. Oh, did I mention the drugs? Many a time, an unmarked syringe will be found, so of course you have the option to inject yourself with it. The investment agent and comedian characters even start with cocaine in their inventory.

streets of rogue big mode

Music and Soundtrack

Video game soundtrack aficionados will likely harbor fond memories of the theme to Streets of Rage 2, and while they obviously couldn’t just steal it for Streets of Rogue, I’m happy to report that the theme used is surely a callback, complete with 90’s club music vibes. At a first glance, this looks like a mashup of Gauntlet and (original) Grand Theft Auto, and plays much like how you’d expect it to.

Gameplay and Progression

You run around completing quests, and when everything is either finished or failed, an elevator to the next level can be used. There’s only so many things you can do: kill this person, get that item (which is probably on a person), rescue this person (or gorilla), or destroy that thing. Levels are randomly generated right before you enter them, and each time you pass a level you might get an extra ability.

streets of rogue

There are a few quirks about going through this game which really highlight its absurd nature, and might affect your gameplay experience just a little bit, if you aren’t successful at switching your brain all the way off. If you play as the doctor, you can walk up behind people and knock them out with chloroform. I’ve almost never gained any kind of agro from doing this – not even from doing it to a bunch of gang members all standing next to each other. I did agro some bodyguards when I did it to the drug dealer they were protecting, so there’s that.

You can also have sword-wielding, gimp mask-wearing “slavemasters,” guarding their (purchasable) slaves, and police officers are just happily strolling around the cages. I’m going to go ahead and look at this as a hilarious and unfortunate collision of unrelated factors in a randomly generated video game, rather than some form of thinly-veiled social commentary. Interestingly, if you’re playing a hacker and a cop sees you remotely trying to access a computer network (really now, is an advanced information technology degree a requirement for entry into the police academy?) they agro and break out the batons.

streets of rogue flamethrower

The free demo only offers a quick-start option, as well as a limited choice of how many people can play at once. There is a paid version available on Steam, which offers such extravagant extras as additional characters, quests, modes of play, and the ability to save your game. That isn’t to say that this made for an incomplete experience. Quite the opposite, actually – the inability to save your game added to the fun. In most rogue-like games I’ve played, the “no saving” was a feature, and I think they should have just gone all-in with that here.

Final Thoughts

The wide variance in randomly generated levels and quests made this a perfect “mindless fun” experience. Some levels were very difficult for many characters, and if you were interested in completely avoiding combat or bloodshed, they would even be impossible. You do get bonus points for using stealth, completing missions without using guns, not killing anyone, and so on. However, if you were set on going as far as you can without at least indirectly causing anyone’s death, you’ve definitely got your work cut out for you.

Outpost 9 Demo is a callback to The Thing and Alien

In Space, No One Can Hear You Scream

I don’t often sit down to write about the demos of games, but Benjy Bates’ Outpost 9 demo is something I actually find myself wanting to write home about, purely because of how well it handles tension and how much of a “thriller movie” it manages to be with nothing more than a bunch of green pixels, some cheesy writing, and a point-and-click interface.

Outpost 9 Demo

The demo’s short, clocking in at maybe 20 minutes, but it left me not only wanting more of Bates’ stylish and tense adventure, but now I’ve got The Thing and Alien queued up to watch tonight before bed.

Design and Graphics

Outpost 9 uses its minimal, distorted, and retro visual style as its strongest tool when trying to harken back to classic thriller flicks. The UI feels like something you’d find in either of the movies; complete with glitches, static, scan lines, and old design philosophies. The bright green can be a bit tiring on the eyes if you’re playing in the dark, and the text can be hard to read at times, but overall the style works. It’s a bit weird that the mouse just uses your normal pointer instead of one that matches the rest of the game’s aesthetic, but it’s an early demo so I can let that slide. 😉

outpost nine characters

Gameplay

The goal of the Outpost 9 is to escape from whatever space-station-outpost-thing you and your comrades have been trapped in, all the while an alien of unknown origin and undescribed appearance stalks the corridors, hunting you down as you try to solve puzzles and find clues about the truth behind whatever the hell happened here.

Music and Atmosphere

And here’s the touch that really, really drives home the game’s atmosphere – punctuating the dread-inducing music playing in the background is a steady beep; your motion-tracker, giving you a rough estimate of how close the beast is to you. The faster the beep, the more you should panic.

From what I could tell, the beep will only ever get faster after you perform an action. It doesn’t speed up after every action, but it won’t get faster while you’re just standing around thinking. To avoid the alien, you need to head back to the upper vent that’s being used as a “safe” room.

I’m worried that having to run all the way back to the same safe room every time you need to hide will make things feel repetitive if it goes on too long, so I hope there are extra rooms that you can run to and hide in as the game progresses.

outpost nine map

Final Thoughts

There’s not much else to say about Outpost 9, at least from a gameplay perspective. It’s simple and straightforward- solve puzzles, work towards escape, and avoid the monster as best you can. And while the current demo’s really short, it does just enough to pique the player’s interest in whatever the final product will be.

There’s a lot of care and effort put into the design here, and it shows. Personally, I love the idea of games going and emulating the popular movies and media of their developers’ generations. Seeing how classic tropes and stories from other mediums can be molded to apply to games is an interesting cultural phenomenon, one that I think we’re going to see a lot more of as games continue to grow and dev tools become easier to get and work with.

There’s so much potential for games to revisit ideas presented in classic films and books, and I think Outpost 9 is a fantastic example of a game that’s doing just that.

You can find the demo on Gamejolt, here. It’s free, so, uh, just go check it out, yeah?

Dead Cells Review: Rinse, Repeat, Roguevania

You can tell a game is amazing when you have a hard time putting it down, continually making excuses for “just one more round,” or sitting down to play a match or two and suddenly it’s midnight.

Dead Cells is the first game in a long time that had me staying up well past my bedtime constantly looking at the clock attempting to justify those extra 30 minutes of playtime instead of going to sleep.

dead cells portal

Dead Cells is a 2D side-scrolling action game developed by French developer Motion Twin. Marketing itself as a “Roguevania,” it combines exploration and platforming from the Metroidvania genre with Rogue-like elements such as permadeath and procedural generation.

There isn’t much in the way of story. You play as a headless body that has been reanimated by some sort of sentient green mold. Your character is informed by a knight that you have been doing this for eternity; constantly rising from the dead to slay monsters only to die and show up back in the executioner’s chamber. Afterward you are given a weapon and are sent off to see how far you can get.

The game has you slashing your way through countless enemies across a variety of environments, all while collecting gold, blueprints and “cells” all of which can be exchanged for new weapons, abilities and upgrades that persist after death. Gold is used to buy weapons from shops found throughout the world, or to pay tributes at special doors. Blueprints are dropped by enemies and will grant the player access to additional abilities and weapons such as rapiers, dual daggers, spears, bows and bombs. Cells are used to unlock and upgrade said blueprints, but only if you can make it to the end of a level. Upon death, you will lose anything you are carrying and spawn back in the aforementioned executioner’s chamber. The game promotes exploration with secrets to find and runes to collect. Secrets vary between gold, health and blueprints. Runes are gained from defeating elite enemies which can be found throughout the world. Runes permanently unlock access to areas that were previously unreachable to the player.

dead cells ice spell

My favorite aspect of this game is the art style. Motion Twin absolutely kills it with Dead Cell’s presentation and visuals. The world has a dark and gloomy feel to but at the same time, has these vibrant and saturated colors. Every environment has its own color theme. The Promenade of the Condemned has a woodland feeling to it with a cool blue-green color pallet. The Ossuary has piles of burning bodies and gore hanging from hooks that’s complimented by a red, purple and pink pallet. The Graveyard, which is probably my favorite level, has this 80’s horror theme of pink and blue.

Monsters are also visually appealing. Every level has a few enemies that are unique to that area, whether it be giant, sword-wielding skeletons or slugs that drop explosive eggs when killed, or teleporting zombies, every monster has this extra little bit of personality that makes them all feel pretty unique.

For an Early-Access title, Dead Cells has some of the best combat I’ve experienced in a 2D action game. Tight controls are partly responsible for this but I have to give credit to the weapons themselves. Rapiers will inflict critical damage after a dodge roll, Assassins blade will crit if struck from behind. Frantic blades do more damage when you are below 50 percent health. Every weapon has its own unique ability that suit a variety of play styles. In addition, some weapons and abilities also come with special effects and modifiers: Certain items can cause minions to spawn from slain monsters, others will poison enemies when damaged and others will fire grenades or arrows when used. All of these combine to create a combat system that is extremely satisfying, and will often times trick the player, or at least myself, into a false sense of security before murdering them unexpectedly while on a killing spree.

dead cell enemies

This leads to some of the issues I have with Dead Cells. The game is great, but it isn’t perfect. Most of my problems are deeply seated within a lot of these Rogue-like titles: RNG. Random number generators are what a lot of Rogue-like titles rely on to keep gameplay fresh, but that also means that you are at the mercy of whatever the game decides to give you. If you like daggers, but the game gives you swords and spears with horrible rolls, tough luck.

Another complaint comes from the scaling of enemy damage. For instance, the green zombie. A monster found in the early levels but persists into the later ones as well. If they hit you with their jump attack it does a decent amount of damage in the first area, but nothing to serious. However once you travel to another area like the Ossuary, that same green zombie will one shot your character if you don’t have any health upgrades.

dead cells combat

Outside of these issues, the rest are just minor frustrations with the games mechanics. For example, a swinging mace over a pit of spikes serves as an environmental hazard. If you are hit while going in the direction the mace is spinning you will be locked in a stagger animation and receive numerous hits until the mace decides to just let you go. There isn’t much the player can do once they are struck and it just results in having to chug a health potion.

For all its faults, I have a hard time staying angry when I play Dead Cells. The vibrant colors and tight combat are an absolute joy to experience. Every time I start a new playthrough I find myself excited and constantly exploring the same areas hoping to find a new item that will allow me to progress further than the last time. Even despite the game waiting for me to get a little cocky and drop my guard before brutally murdering me, my salt never lingers for very long.

Dead Cells is available on Steam for $16.99. If you have 20 dollars to spare, I highly recommend picking this one up. Motion Twin deserves your money so they can continue to create other little gems like this.

Fleshforward Demo Review: Resident Evil 2D Gone Wrong

Editors Note: As of the date of this posting, this game is still currently in development.

I’m a strong believer in subtlety. Games that give playful winks and nudges towards their inspiration are far more appealing than games who beat players over the head while shouting “do you get the reference?” In this case, Fleshforward tends to do the latter.

Developed by small Italian developer, Linked Rooms, Fleshforward is a RPG Maker game that waves its inspirations around like someone wearing a Make America Great Again (MAGA) hat, or a #feelthebern t-shirt to a nightclub.

It’s an isometric RPG that blends stealth and real-time combat with the old turn-based inventory management of 90s RPGs. It has a similar inventory and world design to Resident Evil 2. You fight zombies. You have limited space on your character requiring you to make frequent visits to the safe room’s storage box.  Levels are broken up into smaller areas that are chunked up by black loading screens. The way I describe this game to my friends is that it’s like Shining Force meets Resident Evil 2 – but worse.

fleshforward apartment scene

The Good

Before I rip into this game, I’m going to start with what it does right: atmosphere. The game opens with a car driving down a road, and text bubbles indicating a driver who is attempting to contact someone via a radio, however no one is answering. A few moments later it cuts to black along with the sound of tires squealing followed by the sound of impact. Afterward we see are fiery remains of the car, and our protagonist laying on the floor, text-bubbling in pain.

Throughout the demo, there is no music outside of the safe room. Everything is dark, lights flicker, water has pooled in areas on the floor, and the game just has this great sense of loneliness and tension that really captures what it means to be the sole survivor.

The Bad

Unfortunately, that’s pretty much everything positive I have to say about this game. The rest of Fleshforward is a awkward, poorly written mess that seems like it was written by someone who just played Resident Evil and Silent Hill over the past weekend.

While I shouldn’t fault it for being a RPG Maker game, I’m going to. With other brilliant examples such as Hyper Light Drifter, Undertale, OneShot, etc., it’s hard not to call Fleshforward lazy. Everything looks muddy and gross. Even though it’s in 8bit pixels, it still manages to look extremely low resolution. The textures in general are ugly and the low lighting means you often have to squint just to make out details of the objects and environment.

The game also likes to hold the player’s hand a lot. It tries to show itself off as a survival horror RPG that highlights exploration and crafting, but most doors are locked, there isn’t much to interact with in the environments, and when you finally manage to escape the first area, the game limits the places you can explore with text bubbles that say “you shouldn’t go this way for this contrived reason.”

The controls are also nothing to write home about. Inputs feel delayed, and the whole control layout is just weird; why does pressing A hide the HUD? Why does X bring up the pause menu? Why is R the shoot button and E the reload button? These are questions I kept asking myself while playing the game.

Fleshforward has this presentation that presumes it will play like a turn-based RPG, but instead it has this awkward real-time combat system. You get a weapon fairly early on, you can press W to equip and unequip it, the gun fires a projectile straight ahead damaging whatever it hits. But the damage seems to be based entirely on RNG, so it can take anywhere between 1 to 4 shots to kill something. Meanwhile, the zombies can damage you just by looking in your general direction, so engaging in combat just results in you losing health while the zombies are still approaching you.

fleshforward stealth

The game also has this “stealth” mechanic where you can press C and your character will start to tip-toe around like a cartoon character in an attempt to avoid the zombies, but it only works about half the time. Sometimes I would be hiding in the shadows only for a zombie to spot me several feet away, and other times I “snuck” past a zombie underneath a street light. More often than not I found that the easiest solution was to simply sprint past the zombies instead of taking it slow and sticking to the darkness.

fleshforward louis dying

The writing is probably my biggest issue with this game. I get that the developers are Italian, but simply using Google Translate is no excuse for the horrendous writing in this game. There’s an overuse of profanity, which normally would be ok, but when “fuck” is the third word in every sentence it starts to feel forced and unappealing. The game is also rife with typos and awkward sentences. I get that English isn’t their first language, but it’s still no excuse.

The story itself feels pretty generic: cop stumbles into zombie town, cop meets some character who’s actually a bad guy who speaks like a villain from the 80s. The two must work together to stay alive and that’s pretty much it. I don’t have anything to say other than been there, done that.

Final Thoughts

Overall Fleshforward has a small glimmer of potential. If the developers were to focus more on the atmosphere and tighten up the gameplay then they would have a solid product on their hands, but as it stands, the game plays like someone who learned RPG Maker over the weekend in an attempt to make their own version of Resident Evil. Clunky controls, awkward combat, and the worst stealth system I’ve seen in ages turn the game into an exercise in tolerance instead of an actual video game.

If you’re thinking about maybe picking this game up once it releases, I’d just recommend getting Resident Evil instead.

Animator Recalls Development of Conker’s Bad Fur Day

Louise O’Connor worked as an animator and voice actress on Conker’s Bad Fur Day, the 2001 game which combined a child-friendly veneer with bawdy, referential humor in the vein of South Park and Eminem. Originally released for the Nintendo 64, the title has become more than just a cult classic — it’s known as one of the best games of its generation. I recently had the opportunity to speak with O’Connor about CBFD, its legacy and so much more.

She originally came into the game industry by happenstance. “I studied classical animation in college and wanted to pursue a career in feature films,” she said, noting she was a big fan of Disney’s work. “A couple of my friends managed to land a job at a ‘game studio’ in the middle of England, and that’s how I found out about animation in the games industry.” O’Connor applied for a position at Rare, a prominent developer. She got the job and was placed on the team working on CBFD.

By this time, the project had made its famous transition away from a title in the spirit of Banjo-Kazooie. “The foul-mouthed, adult version of Conker is the only version I ever knew,” O’Connor said. “I have a warped sense of humor anyway, so I was quite happy to be able to work on characters that were a bit different. We all had an opportunity to inflect our own senses of humor into the game — some people are more warped than others though!”

Reviewers would later decry the game as sexist or otherwise problematic, but while she was making it at least, CBFD’s content didn’t bother her. “I think you must take [CBFD] as it is,” O’Connor said. “On its surface, it’s a very tongue-in-cheek comedy game.” She pointed out that ultimately Berri, the titular character’s girlfriend, who saves Conker’s life. “There is so much more depth to the world and characters than there initially is on the surface,” O’Connor said. “I didn’t get offended by it. I think it was a product of its time.” Still she confessed the game would likely be different if the team made it today.

O’Connor enjoyed serving as the voice of Berri. “We have an on-site recording studio here, so I would just pop up to the studio and we’d record some lines,” she said, adding that, while the director had a rough script, much of it was ad-libbed. “Honestly, I loved doing the voices — although I think my efforts are terrible. We had so much fun.” As O’Connor pointed out, by working as both an animator and voice actress, she could bring the character of Berri to life in a multiple ways.

O’Connor was only one of three animators on the team. “We looked after all the gameplay animations and cutscenes,” she said. “There are so many animations in [CBFD] — everything was bespoke and full of character. I even learned to juggle so that I could animate Conker’s juggling properly!” Her efforts paid off, as the game is frequently described as one of the best-looking titles for the Nintendo 64. “It makes me feel incredibly proud,” O’Connor said. “I think our passion for the project is what led us to the beautiful end-result.”

During the game’s development, the team didn’t have any inkling they were working on a momentous title, according to O’Connor. “We didn’t have a clue,” she said. “We knew we had made something that we loved and that looked beautiful, but you can never tell whether something is going to be successful.” Though CBFD wasn’t a great financial success, O’Connor enjoys its widespread acclaim. “I love meeting Conker fans,” she said. “Over the years I’ve had the chance to meet so many people who have loved our little game.”

O’Connor was unsure if there would ever be a true sequel to CBFD. “You can never say never,” she said. “I think, if it did happen, it would be very different, as the team [members] have all gone their separate ways now. I know for [Rare], as a studio, it’s not something we’re looking at for now.” O’Connor is currently working on a pirate-themed game called Sea of Thieves. “I’m looking at cool stuff and running a multi-discipline team of very smart and creative people,” she said. “I have the best job in the world.”

Jon Hochschartner is author of “The Animals’ Freedom Fighter: A Biography of Ronnie Lee, Founder of the Animal Liberation Front.” Visit his website at Hochschartner.com.

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