Full Motion Video games are like a 6 year olds school play, terrible but we are never allowed to say. Instead we smile politely and clap and say it was good. The heyday of FMV games was the early 90s when Sony released Johnny Mnemonic and became the first film studio to release a video game…back when the ‘video’ part of that meant just that.
Soon after Electronic Arts followed up with Mark Hamill in Wing Commander III (and IV). The 90s were awash with FMV games, Night Trap (1992), 7th Guest (1993), Phantasmagoria (1995). It was going to be the next big thing.
Full Motion Video never worked though.
The reality was very different from the hype. Usually offering limited gameplay and using second rate actors who couldn’t create a scene if they had a tantrum in a shopping mall. It was gamers who saw through the hype to realise they actually offered very little and the FMV game died along with punctuality, Fax machines and MC Hammers’ parachute pants at the end of the 90s.
So when ‘Not for Broadcast’ landed on my desk, I was less than excited.
A full motion video game with what looks like second rate actors in grainy rendered footage and cheap backdrops; where you play an trainee broadcast editor for a nightly news programme.
Look, it’s not that hard. Choose the angles, roll the ads, and bleep the swears, but as the tutorial warns you, just keep in mind that how you show these people will change their lives…and maybe yours.
The controls are simple enough and you are introduced to them well in the first level broadcast and the game is outstanding. You begin a year in the job at the start of a new government taking power and one of your first edits is a statement from the winning party leaders.
Things become more sinister and your choices are more subtle as the game advances. For example, having picked up the skill of editing out swear words over a couple of broadcasts, you are then instructed by the station boss to bleep out overly critical statements of the government as well. So when a faux gangster rapper, who spends the entire interview lying and talking garbage, takes the stage for an unrehearsed song that criticises the government, what do you do? Do you edit out the swearing and the criticism or do you allow it and make this prick a hero or perhaps allowing it will get this prick arrested? The choice is yours.
Not for Broadcast consistently puts you in these difficult and subtle positions; asking if you will cooperate to keep your job because you need to to keep your family together? Or if seeing what is happening under this new regime and the impact that has on your family, will you try to undermine it?
The impact of your choices plays out in text based updates of family life between broadcasts and is tied to what is going on in the country.
This heavy theme of coming police state and your facilitation of it is juxtaposed with the actual broadcast material which is pure comedic gold. So much so, that I don’t much care about my family updates I want to get to the shows. There’s so much going on it’s glorious.
Not only are the jokes puerile in that we frequently deal with the leader of a multi-national company called Rymmington Svist and at one point interview an ex-con called Tit-Wank Tony who unleashes everything on a live interview we might have secretly wished for in our head, but the stories and presentation of each item is delightfully observed and presented.
We have to manage a god awful teenage drama presentation about bullying, a bizarre new sport that has an imaginary round and is invaded by streaking nude protesters, a new tv show for kids about farm animals boufing, one of those inexplicable letharios that seem to do and offer nothing and yet are nationally famous lying in bed hosting a quiz about himself, and so many more wonderful characters that offer delicious comment on society. It is glorious choosing what to do with them? Do you deliver the clean edit you are supposed to or do you broadcast the rants that are supposed to be off-screen? Do you present the message these terribly self-righteous people want to deliver or do you show the tired, eye rolls of the individuals forced to share an interview with them.
Do you cut the adverts short to expose your lead anchor slagging off the guests he is returning to interview or not? There are lots of choices here and all of them are recorded in your edit that went out to the nation that you can rewatch at anytime.
Not for Broadcast isn’t without some small problems though.
I had occasional crashes and had to restart levels and failure and loss of viewers means you are sacked and have to restart the level as well. This can be a bit tedious as we’re running a show here and there are often lengthy things to repeat, but these issues were very infrequent and are enormously outweighed by the sheer fun the game consistently delivers.
Not for Broadcast is still in Early Access and some people like to leave Early Access games alone until they have launched, but you really shouldn’t here. It’s entirely worth it even as it is, despite there being more updates in the pipeline.
Not Games just released one of those, a second large update made during the lockdown of the last 18 months, which has not hampered their style or commitment one bit as they simply introduced an hilarious lockdown of their own in the game, developing a storyline about teddies that come alive and hunt people down requiring society to hide in our homes.
This allows all sorts of observed fun of lockdown; people wearing pants only on the bottom half, fake backdrops and people pretending to be outside, people caught eating lunch and not ready for the camera to be on them and forgetting to switch it off.
The death-teddies eventually invade the studio and become another difficulty to deal with as does a passing storm that electrifies some of the buttons making them unusable. The game winds up the chaos continuously with each broadcast and never lets you stop laughing.
I tell you this is the best Full Motion Video game I have ever seen and is one of the best games of any type I’ve played all year. An hilarious ride with stacks of replayability.
Not for Broadcast is available for about $25 and is worth every penny in current form with more updates to come. My Friends…the revolution will be televised, just put me in charge of broadcasting it will you.
Mood is required for this one – Lights out… Headphones on… It’s time for some horror.
Reficul 666 is a survival horror game from MAG Studios, who seem to specialise in this genre. Taken as an FPS, there is something sweeping the globe as night falls and it is knocking out all communications. You are going to be on your own, in your little part of town, attempting to meet your friends and trying to survive the nights’ terrors.
Snug in the safety of your house is where you begin your journey to survive, but it just so happens that a portal that leads to the demon lair is in your town, wouldn’t you know it.
“Alexa, How Does My Day Look?”
Pals have left notes to meet you and a local priest has apparently been preparing, so you had best get ready…these things always come down to you to solve. You are armed with a torch, pistol and lighter and you are sent on something of a linear adventure to navigate.
Live observations at the movies reveal that you should not show the monster too soon. Part of the terror is the build up. The horror movie The Descent did this very well. Sometimes the reveal is a disappointment, sometimes not. It’s a fine line in horror between getting it right and making it naff; Reficul 666 does it right. By placing the character in constant darkness save for the direction of the torchlight or the dim holy glow of the bible most of the surroundings are hidden and you can never be sure of what or where something is unless you are looking at it and when you do catch sight of a demon or a shadow it works.
Was it different when the boss demon appears at the end? No, you can’t see him clearly unless you direct your torch right at him. And what a great job the dev has done on him, he looks like a terrifying version of Dave Grohl’s devil.
Reficul 666 does a great job of making your skin freeze. They have incorporated a whispering of demons that increases in volume when you are near them; a nice warning mechanic, but also one that builds tension very well. When the whispering about dragging you into the darkness begins, it drives your anxiety levels up and the heart rate rises, then racing up to you are some shadowy demons and terror overtakes you entirely for a moment.
Peek through your fingers, I am not exaggerating. It is not a jump scare, it’s just an excellent user of tension and delivery. No matter how long I played the game and even when I carried a Holy Bible that would shock the approaching demons out of the way, it still made the hairs stand up momentarily, each time one glided towards me round a corner.
Maps are good and it has a relatively tight open world environment, unfortunately this is where most of the positives end for Reficul 666. It’s all a little dated graphically, there is little to no interaction with the environment beyond opening doors. The game has almost no colliders at all. Kick a box to reveal a key, knock a chair or a glass of alcohol over, make it smash, start a fire; these are things that make a gameworld feel alive and also provide other opportunities for gameplay.
Step into these rooms and sadly there is none of this here, plenty of areas are just rooms with boxes or a bed in and serve no purpose. There’s too much of this and you quickly learn that investigating this world serves little purpose despite it being possible to enter many of these houses.
Into The Catacombs, I Presume?
Repaid by understanding this you are left with a linear adventure where you follow notes from one empty house to another until you eventually transport to the catacombs of the demon. It is a little uninspiring, but the catacombs level is planned better and has a decent feel to it, despite still suffering from looking good but having too little interaction.
Raw music sound is virtually non-existent, it’s just the murmurings of the satanic shadows that stalk you. Most of the time the only other thing I could hear were my clogs snapping heavily on the metal road. At least that’s what they sounded like I was wearing. Perhaps the whispers are all you need in a horror game, but I think people underestimate the subconscious addition sound done well can give a game and there are probably opportunities here.
Reficul 666 is listed as being in early access and indeed many of these issues could be developed and improved if early access goes well. The issue here is that Reficul 666 is a repackaging of an earlier effort called Reficul VR which was effectively the same game published back in 2018. There have been some improvements since then, but they are minor and cosmetic.
Peek at the core design and mechanics of the gamed and they are pretty much the same and it lacks depth. It needs a clear outline of what it hopes to become and a developer log that tracks progress to have confidence to part with what is a relatively high price for the current available material.
It’s Not All Bad
Now, there are actually lots of places Reficul could go from here to become a good game. You could have safe houses that you need to secure, perhaps some base building elements, meeting some of your other friends could be good, especially if their character is developed and they then get killed. All sorts of things here have potential, but one thing is certain it needs more of something.
Reficul 666 does have one hell of an atmosphere, but it needs to develop and finish well. Available on Steam in Early Access, you’ll get about an hour or two out of Reficul 666, but it is a long way from justifying the price point in current form.
Of course in another form Reficul666 read backwards spells something else – Lucifer. Like the first word in every paragraph you just read.
Did your ordinary German soldier in 1943 who was fresh out of school at 18 know he was one of the bad guys in WW2? I’m a bit confused about The Happy Little Virus. Normally in games you play the hero, sometimes the bad guy, but when you do it’s clear. I think I’m the bad guy in this…
The game is played in imagined circuit boards, in a kind of Tron way, where you are in the grid, on the motherboard of a computer or in the servers. You play a virus…so a bad guy (right?) and there are companies to choose from to ‘attack’ on the menu screen.
One is for Guide Dogs and the other is a Cancer support charity… we’re hacking and stealing from these people? We’re definitely the bad guys! Right? Perhaps we are fighting corruption or abuse? No, there are suggestions that rich people want guide dogs because they are trained to poo on command. You are sent to hack and steal from various addiction, wildlife and support charities. We’re definitely the bad guys.
Happy Little Dalek-like Creature
In The Happy Little Virus you control a small Dalek like creature in a 2.5D shooter and you have to run through circuit boards, which are effectively corridors. You gradually collect weapon power-ups through the course of the game and your progress saves after each level.
The early levels are just corridor shooters and lack a zing about them to draw you in, but if you persist the game does develop a bit. You are presented with wider levels, giving you choice about how to tackle opponents. Enemies (the good guys) are similar Dalek shaped creatures but represent anti-virus software and sometimes can reproduce in hubs on some levels.
You (as the virus) can take over these hubs and replicate yourself a few times. This gives you a form of extra life in some of the more challenging levels. Levels also develop a variety of additional features. You can regain health from circuit board resistors and there are firewalls, which act as little laser gates that can be activated on and off sometimes. If you are smart you can use these to your advantage making some of the faster anti-virus Daleks career into them as you sidestep like a matador.
Sound & Visuals
The music and sound effects are not up to much, it’s there, but pretty rote and unobtrusive. The colours however are vibrant and look good, with bright greens making borders and circuit connections and some levels using luminescent lighting to provide a different type of challenge than just more enemies. The gameplay curves nicely in difficulty although the final level is something of a chaotic overwhelming challenge.
There are a variety of different weapons on offer through the game and they are quite inventive, you don’t just shoot things, although of course in a robot shooter, you do have a laser. You can blow a blast on a diffuser that shatters opponents – only at point blank range mind you, you can blow bubbles that capture enemies and bounce them off into space and off the board and you can gather up the shattered bodies of your enemies into a debris whirlwind and fire them at your enemies.
The more enemies you face, the more cluttered your narrow play area and corridors become with these shattered bits of anti-virus robot. This can be a help to you as it slows down the advance of your enemies allowing you to retreat a little and gather yourself; but it can also hinder you by rendering your long range laser redundant with too much debris in the way to hit the intended ‘good guy’.
The weapons then work best at a variety of distances and best against certain types of enemy. This all means you need to become pretty good at switching between weapon types and picking attack and retreat as weapons cool down. all-in-all it’s a pretty good fire system and definitely the strength of The Happy Little Virus.
If the combat is well constructed the level design and gameflow is less impressive. Although the difficulty is well planned and scaled, the essence of the game does not change very much and this makes play somewhat repetitive and slightly irritating. On top of this the constant messaging is just odd and awkward.
There are about 25 levels in all and they are grouped into rough themes, culminating in destroying and stealing from organised religion. It doesn’t feel like there is a narrative, rather that you are being subjected to the developers prejudices. If you can ignore this, it will take you about five hours to complete Dalek Training school.
The Happy Little Virus is a reasonable FPS puzzle game and is available on Steam. It has some good design in weapons and a reasonably well planned difficulty curve, but the messaging falls flat and the game is a bit repetitive and lacking fun after a short while; kind of in the way that Candy Crush is a challenge but isn’t actually fun.
The Happy Little Virus provides the sort of frustrating challenge that trying to bounce a tennis ball on the edge of the racket does, you want to go again because you know you can do better, but you also know the experience and result isn’t going to be much different and when you finish you probably won’t ever do it again, unless you’re a bad guy and then nothing you do makes sense.
If there’s anything of a new hotness in the gaming world, it’s definitely roguelikes. Crawling out from under the towering presence of open world survival titans like Minecraft, RUST, and ARK as well as the battle royale scene with Fortnite and Apex Legends, Roguelikes have been slowly rising to the top over the past few years.
Passtech Games’ first debut into the genre comes out of the gates fast and hard, and became a smashing success out of Early Access. Curse of the Dead Gods features creative and exciting mechanics that make it stand out among the crowd, as well as a striking art style reminiscent of Mike Mignola (of Hellboy fame).
Curse of the Dead Gods starts you off with a simple premise: You’re an adventurer trapped in the ruins of a Chatac temple, heavily inspired by Mayan and Aztec culture. You get a machete and a pistol and you’re off to find the way out.
Or are you?
Cursed To A Miserable Fate
Well, it turns out you’re cursed to roam this labyrinth of never-ending traps and enemies forever. As you go deeper, you become more corrupted and the game steps up the difficulty. Eventually, you may find yourself face to face with a champion of the Dead Gods. If you survive….well, you’re back at the start of the temple.
“Why are you cursed?” you ask, sitting on the edge of your seat.
Well….I dunno? The game unfortunately lacks a strong story behind the amazing gameplay. There are some tidbits of lore tucked away behind unlocks by defeating enemies, but there are no cutscenes or dialogue about who you are and where you are. It all requires a bit of digging, which to me felt like a letdown.
Now, that’s not to say that all roguelikes need stories with them. A good setting is all you need to play Risk of Rain 2, or a creative deckbuilding component to get lost in Slay the Spire. But for a game with such striking visuals and a rich setting with plenty to draw from, the game falls a little flat for me.
The combat is where Curse of the Dead Gods really shines.
Curse Of The Dead Gods vs Hades
Those who craved more difficult combat from Hades or more thoughtful dodges like in Dead Cells will be right at home here. You start with five points of stamina, which is used by dodging, combo finishers, and some two handed weapons. You can regain stamina by waiting, but that makes you a sitting duck. Instead, you need to weave your attacks with your dodges, and stay safe. If you manage to perform a good parry, you’ll even regain some stamina to keep the flow of combat (as well as feel really rewarded when you land a sorely-needed parry).
On top of that, the game offers a ton of weapons and weapon combinations, with 11 total weapon types to choose from, and each type offering 8 unique weapons within them. That’s a LOT of variety, more than you usually get from your average roguelike.
Now that you’ve got the rhythm down, you’re able to fly through some of these levels, and I mean fly. Maybe I’m just too into roguelikes, but I found most levels being really short, and combat not being enough. Maybe there wasn’t enough enemies that spawned, or maybe they were just not that difficult in the first place, but I often breezed through most of the first 5-7 rooms. Maybe I’m just too used to the infinite spawning hell of Risk of Rain 2 or the constant fear as I turn up the heat in Hades, but I breezed through more rooms than I’d like to.
Unique Light System
One of the unique mechanics added to the game is the light system. Simply put, you got a torch and you gotta use it! Having your torch out lets you see traps ahead of you, spot enemies and loot, and overall make your life easier. The downside is that your torch takes up your main weapon, so you have to offset higher damage for vision. On top of that, if you get hit by an enemy or a trap while it’s dark, you’ll take more damage.
There are some sconces and whatnot that you can light in some chambers so you can see better, but in my experience they always seem to be extinguished by an enemy as soon as I light it. Instead, I opt to just light one of the baddies on fire (a totally valid strategy) and use them as a natural source of light.
You’ve cleared this floor and you’re ready for the next one. You approach the door, pick your path, and BOOM! You gain some corruption. What’s that? Well, if you fill up the little purple bar in the bottom right, you get a curse. Curses can be wildly different, I’ve had some easy ones that make almost no impact in my run, versus some that made me regret every choice I made so far. It helps keep the game fresh without going overboard. You can also get corruption at any shop you visit, since the game allows you to purchase new relics and weapons with either gold or blood.
Curse Of The Dark Visuals
Now that we’ve talked about most of the core mechanics, let’s talk about the visuals.
Curse of the Dead Gods is a beautiful game, hidden under a very dark world. The art style is grim and beautiful, very reminiscent of Hellboy and The Walking Dead (not the show, the graphic novel).
The floors you run through as you traverse one of the three temples offered (with a fourth coming later this year) are unique and each one stands out from the others. The enemies are unique and interesting, as well as the bosses that await you at the end. Some sections of the game I have felt were too dark, even with my trusty torch in hand.
The few cutscenes the game offers are very well done, with the intro cinematic simple yet powerful. Even the brief scene when you receive a new curse is beautifully animated and iconic. I do wish there were more, to better explain the world or the dead gods we’re fighting against, but maybe that will come in a future update.
Scratch Your Roguelike Itch
At the end of the day, I’m a sucker for roguelikes. Curse of the Dead Gods scratches all of my itches, with unique mechanics presented in an interesting world. However, I do have a couple (minor) issues with the game.
As I stated, the gameplay has a steep learning curve, but plateaus fairly quickly for me. Maybe I didn’t play enough, but by the third temple I was breezing through most floors with little to no issues.
I have no issue picking up a new game, flying through the tutorial and learning the game. But there are just so many mechanics I have to keep in mind while playing the game, that it slowly becomes decision paralysis.
Do I run and dodge to find a place to light this room and fight? Or do I risk it and hope I don’t get hit more than a few times?
Is this weapon really worth that much corruption? Would I be better off with what I have right now?
Do I dodge? Do I parry? Do I need a new weapon for this next floor? Do I want to get a relic? WhichstatdoIincreasenext? WhichcurrencydoIneedtounlockthenextweaponorbuff?
There are a lot of things to ponder about in this game, which I worry will be a turnoff for those who aren’t prepared for it. Especially those coming off the heels of Hades, another similar title with far less decisions to make that actually impact the game.
Curse Of The Dead Gods Review Summary
Would I recommend it? Absolutely, but with a caveat.
For those who are not as invested in roguelikes as I am, I would watch our gameplay footage first to see if it’s something you’re willing to play.
If you like roguelikes, or want a unique and moody atmosphere for a game, by all means pick up Curse of the Dead Gods today.
Squirrels…Shifty buggers I always thought. Stashing things, hiding, staring at you and running off abruptly like you caught them saying stuff about you or making some sort of plan to get you. I was looking forward to this NUTS review and playthrough. A pleasant squirrel surveillance puzzle game; a chance to have them endeared to me.
Cream chinos – check.
Blue shirt – check.
A chance to be David Attenborough for this NUTS review. Nope…a chance at revenge.
Last year a squirrel defeated me. No ordinary squirrel mind you, clearly the local Ninja Warrior champion. He kept invading the garden and stealing the bird food.
I tried lurking at windows to shoot him with a super soaker, I tried making squirrel baffles that meant he couldn’t climb onto the bird table. I hated him… he beat me time after time and every time he just used to sit there staring at me through the window, eating the food. NUTS was going to be military grade training for me in tracking and understanding the enemy.
Three Years In The Making
NUTS was originally a short demo created in 48 hours for Global Game Jam in 2018. So much good comes out of that annual event in encouraging developers to just go ahead and make that idea with the specific goal of perhaps starting them down the road to completing something. NUTS is a great example of that journey. Published by NoodleCake it has taken three years to get from that short demo to the full game you see today. You can still download and play the original demo from Itch.io. Jonatan van Hove (Joon in the listed designers), the original Icelandic designer has left it there for posterity.
NUTS is a beautiful, calm game, that bears a lot of similarities to Firewatch. In both games you operate in a remote location of natural beauty with only a more experienced colleague in telephone contact with you as the other human, who offers guidance and tasks. Here your job is to save the Melmoth forest from developers by proving that the area is a significant squirrel habitat and that they live here.
Lights, Camera, Action
After a brief set up you are into the game and it’s pretty simple, with few command options. You pick up cameras and place them to track squirrels, then you return to the caravan, hit record and watch the playback in the morning to see if you captured any on film. If you did you go out and move the cameras to try and ultimately find out where these squirrels are coming from and going to. That’s it; you play on your own, set cameras and scrub video for stills of them to print and fax to your boss for the next mission.
That’s all you do for the whole game. Review over… go photograph some squirrels.
I am aware that this sounds implacably dull and cyclical gameplay, but it really isn’t. It is remarkably engaging. You can be cautious and place cameras quite close together and be certain of tracking their route, you can try to find high wide angle positions or examine the land and take your best guess as to where they might go from where you saw them last. This approach is most rewarding as you scrub the video the next morning to see if you were right.
It’s great when you cut down the chase with a well deduced guess in placing the camera and, surprisingly it’s also quite joyous when you are totally wrong and stare at empty video for 90 seconds and realise you’ve been had…the cunning blighters.
Sure, there has been some criticism of the needless walking back and forwards but you find new routes, new possibilities for your cameras and the sprint function dramatically cuts down the retreading of steps or the return walk to the caravan. It honestly never bothered me one bit.
Let’s Talk Aesthetic
NUTS takes a different slant on look as well as gameplay. At first I am reminded of those stories of kids turning orange from drinking too much Sunny Delight day after day.
Well NUTS looks like it fell into a vat of Sunny Delight and you are wandering around playing the game through a diving mask filled with Sunny Delight. The entire game is presented in stark pastel shades of green, purple and yellow. Again though, this works and it is a clever choice that gives this game a very pleasing aesthetic. Imagine they made your standard glossy natural looking forest, the game would appear a lot duller and perhaps the gameplay intrigue would not be enough to save it.
In addition, the abstract colour palette makes Melmoth forest and the game in general both pleasing to the eye and memorable. It also allows the game to take something of a minimalist approach to surroundings. I don’t know how they do it, but what I noticed while putting together our NUTS review is the environment is entrancing – and the design of the levels makes this visual approach work for highlighting and negotiating different terrain in a way it just wouldn’t if it were plainly shown as a grey rock and green tree in clear definition.
I got about five hours of pleasant gameplay for this NUTS review, and the only replay value are tapes left lying around from when your boss was surveying the squirrels some time ago.
You may miss them as you progress through each of the six levels. You don’t need them to complete the game, but given a large part of the game is the narrative then it certainly adds to the game to seek them out.
Let’s Go NUTS
All in all, NUTS is definitely worth a pecan. It’s basically a giant game of hide-and-seek and has a great feel to it all round. It’s a good example of simple ideas done well – work. So go check it out and bathe yourself happily in this luminous squirrel conundrum. The story is strong, the gameplay straight forward, but engaging and you’ll have a good time discovering what these squirrels are up to.
The discovery is going to make me treat the one in my garden with a little more respect…I might even give him some nuts.
This Prim review was based on the demo available from Common Colors’ website, Steam and Itch.io. Check out the links below for more information.
I’m a reaper. No I’m not a man from the village come about the hedge. You might have an image of the Grim Reaper, some hellish agent of Death and destruction in your head and that I’m pretty handy with a scythe, but to Jonas Fisch the German designer behind this game, it means I’m supporting him to make his vision of a point-and-click adventure game become reality.
Reapers are what Jonas calls his supporters in his updates on the development of his Kickstarter. Jonas Fisch is developing a game called Prim about the daughter of death and you can download the demo at these links for free now on Steam and Itch.io
Watch The Prim Game Review Here
Prim is the name of the main protagonist, a young girl who needs your help to escape the Underworld. You play with her, directing her actions and investigations. In turn, she will give up clues about objects she observes and describes. It’s standard point-and-click adventure game stuff. It’s done really well though, top drawer stuff; think Monkey Island set in the Nightmare before Christmas. And about a minute after I thought this Jonas himself described it as just that in one of his Kickstarter videos I was watching.
Jonas has clearly achieved what he intended. What do these comparisons actually mean though? Well the end result is something spooky, cute and comedic, backed by an ace story. Prim ticks all these boxes.
The story opens with an explanation that Prim is death’s daughter; well he’s called Thanatos, which is the name of the Ancient Greek Angel of Death, but he looks pretty much like the Grim Reaper styled skelly bones figure of death we are all familiar with. Prim dreams of a young boy in the real world, the land of the living and has an overwhelming urge to go and see him.
Thanatos, her father, naturally (should that be unnaturally?) won’t let her, warning of serious dangers if she does. This disagreement must be entrenched, because the game opens, after a little narrative explanation, with Prim locked in her bedroom by deathly daddy and she wants to get out. You are going to help her. It is this portion of the game you play in the free demo and I urge you to play it. Everything about it screams good.
Mechanics & Fluidity
The mechanics are fluid, there is none of the common frustrations with point-and-click adventures here. You have no trouble directing Prim to climb ladders, stand on chairs, combine tools, look at small things in the far corner of a wall; the hit detection is clearly very well made. There are also some nice developments that show Jonas knows what bothers people. He has made the game a single button interface…with everything. You want to combine items – Left mouse, want to use an item – left mouse, want to open things – left mouse; the only thing that isn’t is opening the inventory, for that you just flick the scroll when and then everything in it is….yep – left mouse. It is so simple and intuitive that you almost don’t notice it and it makes the whole experience so clean and fluid, an absolute necessity for a successful point-and-click adventure.
On top of that you have beautiful black and white hand painted images for the scenes that add to the setting of this cutesy house in hell. It’s very Adams family in vibe and Prim is a little like Wednesday…only less violently serious. Prim is a very likable character and is superbly voiced by Maria Pendolino. In fact everything about this game is slick, clean and works perfectly. There are no glitches in this demo, nothing is missing. There’s even a whopping spooky score laid over it all. On top of this clarity of form it is laced with nice touches and a tonne of humor, at one point a disco ball drops from the ceiling and death takes a cheesy dance, it’s delightful and unexpected.
Jonas Fisch clearly knows his stuff, he has made smaller adventure games in the past and obviously honed his craft. His pitch videos on Kickstarter are full of vim and charisma demonstrating a turn of phrase and explanation. This should not come as a surprise given his day job is as a secondary school English teacher in Germany. You can see his bright, playful intellect in the use of the word ‘reapers’ for his fans. It is playful and wields a duel meaning. Not only does it reflect the game subject, but it is also addressing those who have funded him and will in the near future, reap the rewards of backing him.
Hitting The Goal
The Kickstarter reached its base goal in just 22 hours and is well on the way to breaking all of its stretch goals. This is a good thing, because it means we can expect an eight hour game of many more levels and puzzles to follow this demo. Great, because I really want to know what is through those doors at the top of the stairs. To see what I mean you will have to go and play the demo.
Is Prim Worth Playing?
I’d like to round this Prim game review off with a very strong word of advice. If you do one thing today, it should be to head on over and download this.
The demo gives you about 40 minutes of play and shows you exactly how the game is going to be. After that I predict you will immediately slap it on your wishlist and sign up for his newsletter to guarantee you Early Access two weeks ahead of anyone else.
How do I know you’ll do this? It’s because I’m not normally a fan of games like this and it was the first thing I did upon completing the demo. The game is scheduled for release in 2022; that is a highly ambitious timeline, but when you play the demo you can see all the mechanics are in place and Jonas seems so calm and organised that I believe him…maybe also his wry grin to you on his videos reveal he has done a deal with the devil to ensure he reaps the rewards that are surely heading the way of Prim.