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‘Party Hard’ Review: Interesting Concept, Poor Execution

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Party Hard
Developed by: Pinokl Games
Published by: tinyBuild Games
Available on: Windows, PS4, Xbox One
Release date: August 25 2015 (Windows), April 26 2016 (PS4, Xbox One)

Originally released on the PC in August of 2015, Party Hard is now available on both the Xbox One and PS4. With a top-down perspective and gameplay that feels like a mash-up between Hotline Miami and the Hitman series, has Pinokl Games created a must have for stealth junkies?

The plot is rather simple: you play as a character who can’t sleep due to incessant noise coming from a nearby house party, and once the clock strikes 3 AM, our “protagonist” decides that the only resolution to his problem is going on a murderous rampage. After quelling the initial party scene, we take a tour around the United States, visiting various other parties, and senselessly murdering all attendees. Between missions, the player is treated to short cutscenes in which we see a back and forth discussion between police officer John West and an interrogator, as they discuss West’s investigation of the so called “Party Hard Killings”. Both the script and voice acting during the cutscenes are incredibly weak; the direction and outcome of the narrative are so easily discernible after the first cutscene that there’s virtually no suspense, intrigue, or payoff, leaving me to wonder why the developer even bothered including the story elements at all.

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Like countless other indies, Party Hard uses a pixelated art style, and while many would argue that said style is timeless, with so many other developers opting to adopt a similar aesthetic, any game going the pixel-route needs to have its own unique flare if it’s going to stick out, and Party Hard just doesn’t have memorable imagery. While games like Hyper Light Drifter and the aforementioned Hotline Miami make pixels look “next gen”, looking at Party Hard only gives off the impression that its just another pixelated game. With that said, for fans who enjoy the art style, while definitely unimaginative, the game still looks good for what it is.

There’s minimal variance in the level design throughout the campaign, and considering the main questline only consists of 11 missions, it’s disappointing that 2 levels share virtually the exact same rooftop location and layout. Perhaps the coolest part of the game is how each time you re-load a level, the general layout of the party-goers and the type and location of traps may change. For example, when doing the night club level, sometimes there’ll be a huge line up at the door, and other times there’ll be a huge crowd in the indoor pool. This element of randomness certainly adds a layer of replayability and unpredictability to the game. There are also completely random events that occur, like a UFO appearing and dropping some aliens into the party zone. These events don’t add all the much to the experience, but they give the game some charm, and they’ll make you laugh from time to time.

All of the levels are packed with people to murder, with most maps having well over 40 party-goers roaming around. Unfortunately, the game’s frame rate can’t keep up with all the action happening on screen, as frame rate drops are common, sometimes plummeting all the way to zero and freezing for a few seconds when you set off an area-of-effect trap that hits multiple people. I also experienced various glitches ranging from minor to exceptionally frustrating, such as comical instances of dead bodies getting up and dancing, and an extremely annoying occurrence on one level where the final person I needed to kill was invisible, forcing me to roam around blindly stabbing the air until I found them. I cannot attest to whether or not the PC version of the game has these issues, but the console version is certainly riddled with bugs.

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Contextually the game is just a mess. Described as a stealth-action game, the player must navigate around each level, eliminating party-goers sneakily, while not getting caught. The player is equipped with a knife which can instantly kill victims, and each level has several traps lying around, ranging from torture devices to firepits. If you’re seen stabbing someone, the witness will rush to a telephone to notify the authorities, but if you walk into a group of people and push someone into a camp fire, for some illogical reason, no one will identify you as the perpetrator. One level  has an illuminated dance floor which can be rigged to explode, killing anyone on it. While it makes some sense that no one saw me fiddling with the floor’s electrical box, why is it that none of the surviving party goers go on alert, even for a short while, after 20+ people just died in the middle of the party? Instead, everyone just keeps dancing, as if nothing happened. You can set up a bomb right out in the open and no one will bat an eyelash, but the cops will arrest you if you pick up a sleeping person and gently put them down on the other side of the room. It’s pretty obvious from the get-go that Party Hard isn’t a game that takes itself seriously, but even so, the way the AI reacts to you and your actions is just so illogical and inconsistent that I found myself never being even slightly immersed or invested in the scenarios the game tried to sell me.

When you get caught committing murder, a single police officer will attempt a one-man raid, but all the player needs to do is jump through a window (or one of the other shortcuts that the police can’t use for whatever inexplicable reason) and the officer will simply give up and go home. Using a shortcut to dodge the fuzz will cause an unkillable NPC dressed like Nintendo’s Mario to appear and block the shortcut, but luckily the police can be easily avoided by simply walking away from them for long enough. In most stealth games the player is penalized for leaving a trace, but here the player can kill people and freely leave bodies out in the open as there’s next to no punishment for doing so. There’s no sense of escalation either; no matter how many times the police are called, only one officer at a time is sent to the scene of the crime. Apparently if you kill enough officers eventually the FBI will send agents after you, but I never felt the need to kill the cops, since they’re too lazy to even chase me across the screen.

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The game’s core mechanics range from poor to incomprehensible. Even after my 6~ hour play through, I still don’t understand how some things work, simply because they seem completely random and irrational. Countless times I’d kill an isolated individual, completely out of sight of anyone, and then rush off into a crowd to mingle inconspicuously, only to have a cop single me out as the killer for absolutely no reason. Sometimes bouncers will attack you on sight, and other times they’ll completely ignore you. There’s simply no way to know how they’ll react, leading to extremely frustrating encounters. Perhaps these issues would be excusable if the gameplay was fun enough to cover up all the flaws, but unfortunately that’s not the case. Party Hard is excruciatingly repetitive,  and it’s not helped by the fact that nothing you do in the game is actually fun. Most of the time you’re just waiting for targets to isolate themselves, or setting off traps, which may sound exhilarating, but it’s really not. All the animations in the game are incredibly dull, giving the player no satisfaction through execution.  To top it all off, the game’s musical soundtrack is decent, but the ambient noise and the ear piercing non-stop screeching that occurs when people get frightened led me to have my TV on mute more often than not when playing.

Upon completion of a level, you’re given a numbered score, but seeing as the game doesn’t have online leaderboards, how are we supposed to know if our score is even respectable? The least they could have done is implemented a letter grade, because getting a B+ on a mission actually has meaning, unlike a random number like 5659. Overall, the game feels much like its own scoring system: hollow, confusing, and a waste of time.

"When the snows fall and the white winds blow, the lone wolf dies but the pack survives." - Eddard Stark

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Game Reviews

‘House of Golf’ is No Hole-In-One, But it is Below Par

‘House of Golf’ may feel appropriate for Switch, but a lack of variety and reused content make this course nearly reach above par.

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Perhaps adding the word “mini” to the title would have been far more appropriate regarding the in-game circumstances of Atomicom’s newest family arcade sports styled game House of Golf. In the slew of golf games currently available on the Nintendo Switch, House of Golf may feel the most appropriate for the console’s capabilities due to its key focus on simplicity, portability, and accessibility, but a lack of diversity in individual hole design and reused content nearly makes this humdrum course reaching above par.

Simplicity is a key focus within House of Golf’s core mechanics. Controls, menus, and even gameplay are as simple as video games can get. The left analog stick operates the camera and holding down the A button fires your ball with a distinct power meter located on the right-hand side of the screen. Your goal is to attempt to achieve a hole-in-one or stay below a par number that changes depending on course and difficulty- just like regular golf, mini-golf, or any form of golf you can imagine. It never gets more complicated than that.

House of Golf may claim that its selling point is that it contains over 130 different holes divided into 5 different environments- or rather rooms- and 3 difficulties, but variety becomes bland after less than an hour of playtime. Despite there being five different environments, after completing one course on either the medium or hard difficulty setting, you practically have experienced all there is to do. Courses always remain compact and easy to navigate, but the game never gets challenging or adds some sort of flair that allows each hole to stand out from one another. It is a shame considering that the fluid gameplay foundation the courses are built on might just be the most tightly controlled golf game available on Switch.

As the title of the game implies, every course is designed around the interior aesthetics of a house- a rather small one at that as the game chooses to focus on table-top scenarios- quite literally. Each hole is rapid-fire short and manages to achieve a miniature sense of scale. They are stylized well but the game often reuses assets for each room despite the settings being entirely different. The atmospheres themselves manage to create a comfy aesthetic for each hole that only adds more cheerful feelings to the laid-back easy-going gameplay on top of a soundtrack that is extremely mellow yet quaint, but when you are on a nine-hole course that never completely changes that atmosphere can become tiresome.

What initially seems like House of Golf’s greatest strength though is being able to choose any environment, hole, and difficulty directly from the get-go, but this feature quickly takes the game south rather unintentionally. As soon as you open up the game, players can accommodate to their own personal skill level leaving the vast majority of them to skip more than a third of the levels. With no learning curve or incentive to play the game on its lowest difficulties, House of Golf rapidly begins to dwindle in new content.

When it comes to the ranking system, it is designed exactly like a traditional mini-golf game where your goal is to achieve a set number of strokes that will keep you above par. Stars will be awarded to players based on performance- a hole-in-one obviously being the highest gold star rank a player can achieve and a triple-bogey being the lowest. These stars, however, only unlock one feature: golf ball designs.

Extra unlockable golf ball designs are the only in-game rewards to collect throughout the game- and it is nothing to look forward to or worthwhile to commit to. They are charming to gander at for more then a couple of seconds, but they serve no real purpose in the long run- not even when it comes to the multiplayer. Rather then these rewards being applied to each individual player’s ball, House of Golf does not allow players to choose what golf ball design they wish to use. For some ridiculous reason, whatever player one chooses is applied to every golf ball.

Speaking of, while the singleplayer can be rather tiresome, House of Golf’s one notable addition that might just keep you on the course for longer than a few hours is the inclusion of a local multiplayer ranging from two to six players. Multiplayer presents a higher-stakes challenge for each course, which makes gameplay not only far more satisfying to win at but overall entertaining to play. Due to the compact course designs, often you can mess with your friend’s positions and overthrow the score of each hole. Multiplayer was clearly the go-to way to play as it is the first option that appears on the main menu.

One thing that should be noted is that only one joy-con is required for everyone to play as there is no other option to use multiple controllers- a convenient addition that you have to wonder why more games do not have it on the Nintendo Switch. It is by far the game’s most redeeming quality that absolutely deserves mentioning. For a game where one player controls the field at a time, this streamlines a lot of issues outside even that of the game itself.

It is no hole-in-one to ride home about, but Atomicom has managed to create an arcade-style sports game that is a mix of both simplistically relaxing and mildly infuriating. In its final state, the lackluster courses can make this one turn into a quick bore, but adding a few friends to the multiplayer scene can turn House of Golf into a few delightful hours. At its retail price of ten dollars, any Switch owner planning on picking up House of Golf should wait for it to land in a sale target-hole. It is not bad by any means, but there are better places to look to fill your golf fix, especially those looking for a single-player experience. For a cheap alternative, however, it might just be worth it for the multiplayer alone.

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Game Reviews

‘Riverbond’ Review: Colorful Hack’n’Slash Chaos

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Sometimes a little bit of mindless smashing is just what people play video games for, and if some light sword-swinging, spear-stabbing, laser-shooting giant hand-slapping action that crumbles a destructible world into tiny blocks sounds like a pleasant way to spend a few hours, then Riverbond might just satisfy that urge. Though its short campaign can get a little repetitive by the end, colorful voxel levels and quirky characters generally make this rampaging romp a button-mashing good time, especially if you bring along a few friends.

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There really isn’t much of a story here outside something about some mystical leaders being imprisoned by a knight, and Riverbond lets players choose from its eight levels in Mega Man fashion, so don’t go in expecting some sort of narrative thread. Instead, each land has its own mini-situation going on, whether that involves eradicating some hostile pig warriors or reading library books or freeing numerous rabbit villagers scattered about, the narrative motivation is pretty light here. That doesn’t mean that these stages don’t each have their various charms, however, as several punnily named NPCs will blurt out humorous bits of dialogue that work well as breezy pit stops between all the cubic carnage.

Developer Cococucumber has also wisely created plenty of visual variety for their fantastical world, as players will find their polygonal hero traversing the lush greenery of grassy plains, the wooden piers of a ship’s dockyard, the surrounding battlements of a medieval castle, and the craggy outcroppings of a snowy mountain, among other locations, each with a distinct theme. Many of the trees or bridges or crates or whatever else happens to be lying around are completely destructible, able to be razed to the ground with enough brute force. Occasionally the physics involved in these crumbling structures helps gain access to jewels or other loot, but this mechanic mostly just their for the visual appeal one gets from cascading blocks; Riverbond isn’t exactly deep in its design.

Riverbond boss

That shallowness also applies to the basic gameplay, which pretty much involves hacking or shooting enemies and environments to pieces, activating whatever task happens to be the main goal for each sub-stage, then moving on or scouring around a bit for treasure before finally arriving at a boss. Though there are plenty of different weapons to find, they generally fall into only a few categories: small swinging implements that allow for quick slashes, large swinging implements that are slow but deal heavier damage, spears that offer quick jabs, or guns that…shoot stuff. There are some variations among these in speed, power, and possible side effects (a gun that fired electricity is somewhat weak, but sticks to opponents and gives off an extra, devastating burst), but once an agreeable weapon is found, there is little reason to give it up outside experimentation.

Still, there is a rhythmic pleasure to be found in games like this when they are done right, and Riverbond mostly comes through with tight controls, hummable tunes, and twisting levels that do a good job of mixing in some verticality to mask the repetitiveness. It’s easy for up to four players to get in on the dungeon-crawling-like pixelated slaughter, and the amount of blocks exploding onscreen can make for some fun and frenzied fireworks, especially when whomping on one of the game’s giant bosses. A plethora of skins for the hero are also discoverable, with at least one or two tucked away in locations both obvious and less so around each sub-stage. These goofy characters exist purely for aesthetic reasons, but those who prefer wiping out legions of enemies dressed as Shovel Knight or a sentient watermelon slice will be able to fulfill that fantasy.

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By the end, the repetitive fights and quests can make Rivebond feel a little same-y, but the experience wraps up quickly without dragging things out. This may disappoint players looking for a more involved adventure, but those who sometimes find relaxation by going on autopilot — especially with some buddies on the couch — will appreciate how well the block-smashing basics are done here.

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Game Reviews

‘Earthnight’ Review: Hit the Dragon Running

Between its lush visuals and its constantly evolving gameplay, Earthnight never gets old, from the first dragon you slay to the hundredth.

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Earthnight

In Earthnight, you do one thing: run. There’s not much more to do in this roguelike auto-runner but to dash across the backs of massive dragons to reach their heads and strike them down. This may be an extremely simple gameplay loop, but Earthnight pulls it off with such elegance and style. Between its lush comic book visuals and its constantly evolving gameplay, it creates an experience that never gets old, from the first dragon you slay to the hundredth.

Dragons have descended from space and are wreaking havoc upon humanity. No one is powerful enough to take them down – except for the two-player characters, Sydney and Stanley, of course. As the chosen ones to save the human race, they must board a spaceship and drop from the heavens while slaying as many dragons on your way down as they can. For every defeated creature, they’ll be rewarded with water – an extremely precious resource in the wake of the dragon apocalypse. This resource can be exchanged for upgrades that make the next run that much better.

This simple story forms the basis for a similarly basic, yet engaging gameplay loop. Each time you dive from your spaceship, you’ll see an assortment of dragons to land on. Once you make a landing, you’ll dash across its back and avoid the obstacles it throws at you before reaching its head, where you’ll strike the final blow. Earthnight is procedurally generated, so every time you leap down from your home base, there’s a different set of dragons to face, making each run feel unique. There are often special rewards for hunting specific breeds of dragon, so it’s always exciting to see the new set of creatures before you and hunt for the one you need at any given moment.

Earthnight is an acrobatic, dragon-hunting ballet that only becomes more beautifully extravagant with every run.”

Earthnight

Landing on the dragons is only the first step to slaying them. Entire hordes of monsters live on their backs, and in true auto-runner fashion, they’ll rush at you with reckless abandon from the very start. During the game’s first few runs, the onrush of enemies can feel overwhelming. Massive crowds of them will burst forth at once, and it can feel impossible to survive their onslaughts. However, this is where Earthnight begins to truly shine. The more dragons you slay, the more upgrade items become available, which are either given as rewards for slaying specific dragons or can be purchased with the water you’ve gained in each run. Many of these feel essentially vital for progression – some allow you to kill certain enemies just by touching them, whereas others can grant you an additional jump, both of which are much appreciated in the utter chaos of obstacles found on each dragon.

Procedural generation can often result in bland or repetitive level design, but it’s this item progression system that keeps Earthnight from ever feeling dry. It creates a constant sense of improvement: with more items in your arsenal after each new defeated dragon, you’ll be able to descend even further in the next run. This makes every level that much more exciting: with more power under your belt, there are greater possibilities for defeating enemies, stacking up combos, or climbing high above the dragons. It becomes an acrobatic, dragon-hunting ballet that only becomes more beautifully extravagant with every run.

Earthnight

At its very best, Earthnight feels like a rhythm game. With the perfect upgrades for each level, it becomes only natural to bounce off of enemies’ heads and soar through the heavens with an almost musical flow. The vibrant chiptune soundtrack certainly helps with this. Packed full of driving beats and memorable melodies with a mixture of chiptune and modern instrumentation, the music makes it easy to charge forward through whatever each level will throw your way.

That is not to say that Earthnight never feels too chaotic for its own good – rather, there are some points where its flood of enemies and obstacles can feel too random or overwhelming, to the point where it can be hard to keep track of your character or feel as if it’s impossible to avoid enemies. Sometimes the game can’t even keep up with itself, with the performance beginning to chug once enemies crowd the screen too much, at least in the Switch version. However, this is the exception, rather than the rule, and for the most part, simply making good use of its upgrades and reacting quickly to the challenges before you will serve you well in your dragon-slaying quest.

Earthnight

Earthnight is a race that’s worth running time and time again.”

It certainly helps that Earthnight is a visual treat as well. It adopts a striking comic book style, in which nearly every frame of animation is lovingly hand-drawn and loaded with detail. Sometimes these details feel a bit excessive – some characters are almost grotesquely detailed, with the faces of the bobble-headed protagonists sometimes seeming too elaborate for comfort. However, in general, it’s a gorgeous game, with its luscious backdrops of deep space and high sky, along with creative monsters and dragon designs that only get more outlandish and spectacular the farther down you soar.

Earthnight is a competent auto-runner that might not revolutionize its genre, but it makes up for this simplicity by elegantly executing its core gameplay loop so that it constantly changes yet remains endlessly addictive. Its excellent visual and audio presentation helps to make it all the more engrossing, while it strikes the perfect balance between randomized level design and permanent progression thanks to its items and upgrades system. At times it may get too chaotic for its own good, but all told, Earthnight is a race that’s worth running time and time again.

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