glitchhikers

Paratopic Review — Surreally Dull

by Jed Pressgrove

Paratopic will try anything to unnerve you. Hard-to-follow but violent plot? Check. Abnormal-looking humans? Check. Disturbingly garbled dialogue? Check. Dubious VHS tapes? Check. Far from a personal vision, this crude horror tale from developers Jess Harvey and Doc Burford is one of the most derivative and snooze-worthy games of the year.

Right away, Paratopic appears to be an amateurish idea thief that thrives on the devices of other works of art. The opening line of dialogue, “You have an enemy, friendo,” recalls the deadpan, subtly threatening, and amusing language of the No Country for Old Men antagonist Anton Chigurh, but the character who delivers these words carries no significance outside of informing you that you’re playing as a smuggler at the beginning of the game. Paratopic’s introductory scene takes place in a dimly lit hallway, and that, coupled with the PS1-era visuals, forces a comparison to Silent Hill, which comes to mind again later in the game when a mutilated human body with a television for a head stumbles toward you. Such imagery might be more frightening if it didn’t rely on overused concepts and if the game’s script gave one a reason to care about the vaguely defined characters.

In other sequences, Paratopic not only swipes material from another game but also seems to do its damnedest to be as monotonous as possible as part of some uninspired attempt to build suspense or to acknowledge the little things in life. Three times you must steer a car for minutes on uneventful stretches of road. Besides steering and ramming the car into rails (which never results in any damage to the vehicle), you can look around and turn the radio dials to hear ominous-sounding gibberish from commentators. With these driving scenes, Paratopic clearly copies the 2014 independent title Glitchhikers. While Glitchhikers itself is an uneven blend of surrealism and the common human experience of taking a late-night drive, it never comes across as a ripoff of another game like Paratopic.

Paratopic gets close to being subversive when it has the player, on multiple occasions, wander in the woods and take snapshots as a photographer. The picture-taking is quite meaningless by itself. Because this activity isn’t presented as part of a photo mode within a larger game, the scenes in the woods are meant to simulate the mundane actions of a hiker in a strange, isolated place. A more humorous tone might have allowed Paratopic to satirize the cliched fetishization of scenery in games like Firewatch, but the extended walks in the woods ultimately function as a dreary way to build up to a nasty discovery. The photographer, the innocent bystander, is nothing more than another first-person shell from which the player laps up the game’s overly deliberate weirdness. As a story, Paratopic favors mood over substance, but the mood, pathetically, is not even halfway extraordinary.

Critical Riffs: Fez, Snot City, Glitchhikers, Love Worker

by Jed Pressgrove

Fez

This ballyhooed platformer combines Nintendo nostalgia and esoterica to make us go “Wow.” We’re supposed to do the talking because Phil Fish’s pixel art has next to nothing to say. The game has cute dialogue and plenty of places to see, but the perspective changing and puzzles make for rigid and tedious exercises, as opposed to the revelations uncovered with practice and experimentation in the cryptic masterpiece Solomon’s Key. Don’t buy into the bullshit about Fez’s ode to relaxation. Fish called his work “a ‘stop and smell the flowers’ kind of game.” No, that was 2009’s vastly superior Flower.

Snot City

James Earl Cox III is a more accomplished artist than Phil Fish. Snot City won’t win any awards for maturity or sensitivity, but the game’s subversion of clean-cut problem solving in games is unpretentious and original. Snot City establishes itself as a race against time in which you have to find new abilities to unlock paths and save the day. Although it’s tempting to stand still and take in the unusual environment, message prompts and fidgety animation reinforce the urgency to move. One could criticize Snot City as an inside joke on game design, but Cox’s conclusion is an unforgettable sensation.

Glitchhikers

This game from Silverstring Media captures the suspense of normal human life through an appeal to the senses. Simulating a late-night drive on the highway, Glitchhikers awakens the universal fear of running off the road with every blink of an eye and every look out the side window. The game wrecks when it starts talking. Although sure to garner comparisons to filmmaker David Lynch, the heavy-handed dialogue between imaginary hitchhikers and the driver overlooks ordinary, relatable concerns (work, family, etc.) of people who drive tired at night. By primarily appealing to dark, surface-level philosophy, Glitchhikers proves that commoners don’t matter when you’re up your own ass.

Love Worker

Earlier this year, Vaida shared Talks with My Mom, a modest story that surpassed Gone Home’s nonsensical and irrelevant portrait of gay identity and family. Vaida’s Love Worker is more of a minor achievement yet registers as genuine escapism. You move left and right hurling bombs in the middle of an industrial area full of walking suits. Rather than kill, the bombs add color. Not as naive as it might seem, Love Worker refashions the robot, a symbol of compulsory work, into a songwriter: “As a machine/I can’t compete/With what humans do.” This combination of song and game isn’t new, but few independent shorts concentrate on joy like Love Worker.