Anodyne is an enjoyable top-down dungeon crawler that's weak on story but strong on ambience.
- Beautiful art style and musical score
- Satisfying balance of combat and puzzles
- Enjoyable combination of nostalgia and surreal settings.
- Jumping puzzles get annoying
- Promising storyline loses its focus
- Hunting down collectible cards feels like filler.
Few games spend as little time hiding their inspirations as Sean Hogan and Jonathan Kittaka's Anodyne. Mere minutes in, you can see its obvious debts to The Legend of Zelda: Link's Awakening in the design of the trees that adorn the top-down environment, though it adds contrast by way of hefty helpings of surreal encounters and disturbing imagery. Ultimately, it emerges as a memorable game in its own right, even if it struggles at times to overcome the limitations of its own ambition.
That ambition manifests itself most prominently in the seven or so hours of disjointed narrative, which hints at our reluctantly changing relationships with gaming concepts as we age. More to the point, subtle hints littered throughout the narrative suggest that the protagonist is using gaming as an anodyne (or painkiller) for his emotional suffering. Here we find no quasi-elven protagonists in the vein of Link; in their place, we're presented with a white-haired fellow with the perhaps symbolic name of Young, whose Coke-bottle glasses serve as his only possession remotely resembling a shield and who uses a prosaic broom in place of a sword. The action takes place entirely in his unconscious mind--Young is a closer relative of Braid's Tim than of Zelda's Link. Gone, too, is the simplicity of a story that focuses on saving a princess; in its place, we're left with an unfocused story about saving the world that transpires through fragments of Young's dreams.
Young's struggle to enjoy the classic dungeon-crawling role-playing game that unfolds around him is never so apparent as in the many moments when flashbacks from "real life," as it were, butt into the gameplay. Young may spend several hours swatting bats and energy-belching frogs with his broom amid fantasyscapes and postapocalyptic freeway ruins, but we find him most haunted by memories depicted in fractured vignettes that reference family struggles and the pain of leaving home. At times, such as when Young tries to converse with a fisherman only to push him to his death in a whirlpool or when he encounters a strange man muttering incoherently, Anodyne assumes an air better suited to horror than to lighthearted action adventure. This isn't the first instance of developers using retro environments normally associated with 16-bit fun to explore darker themes--the first Corpse Party, for instance, used it to greater effect--but Hogan and Kittaka effectively use the contrast to tackle lightweight philosophical questions.
Indeed, these moments are the backbone of Anodyne's appeal. As it is, the promising ideas of the thin narrative's first couple of hours lose their power long before the end, and the haunting vignettes themselves devolve into a heap of broken images increasingly bereft of meaning. In its worst moments, it becomes pretentious nonsense.
The combat excels in a simplistic Zelda-circa-1991 way thanks to commendable hit detection and a wealth of simple but satisfying single-screen puzzles, but the core gameplay never advances far past Young's basic broom swatting, which you encounter within the first few minutes, despite three upgrades. Later on, a rapid succession of often frustrating jumping puzzles feels forced and ill-suited to the top-down design, and the absence of a means of playing with a gamepad is disappointing in light of Anodyne's obvious affection for early consoles.
Still, if you take the time to explore all of Anodyne's nooks and crannies, you'll find hours and hours of gameplay in store. The problem is that much of this exploration centers on the careful and necessary hunt for 50 collectible cards that serve as the keys for new content all the way up until the final boss, and the ages' worth of backtracking involved at times feels like an artificial means of extending the running time. Many cards drop from the fun but generally easy dungeon bosses, but finding other cards involves performing maddening jumping puzzles and retracing your steps throughout an entire zone in search of the single chest you missed. A system of warp portals makes this process easier than it could have been, but the whole concept ends up feeling like exploration for the sake of exploration rather than the hunt for gear upgrades that makes Zelda games so memorable.
Anodyne rarely feels like a waste of your time despite these shortcomings. It makes up for the deficiencies of its narrative through the beautiful visuals you encounter as you trudge through everything from unsettling suburban neighborhoods to crumbling temples, and the poignant musical score surges with emotional power. At the most basic gameplay level, as you swat slimes and scoop up dust for use as a raft across bodies of water, it maintains a degree of fun. Above all, Anodyne never lets you forget that it's a game more concerned with the journey than with the destination, and at 10 bucks, it's a journey worth taking.
@Caldrin It defies belief. It looks like what it is: an ancient relic from long ago. Let's all go out and buy Amstrad Spectrums so we can be as 'cool' as these reviewers and play games that look like shit.
I quite dont mind, old school graphics too much. I mean, graphics need to be funcional and pratical, and that is all it needs to be. The problem of these old school graphics is that a lot of devs use it as a cane, rellying on our feelings of nostalgia. And this is just too easy, everyone does that, but a lot of them does not have a gameplay or interesting enough story to back it up. And nostalgia can get old really fast if you get my meaning.
A lot of experiences tend to get old and cliche too fast, now, there are some fantastic moden games with old school graphics. Like To the moon, Cthulhu saves the World, VVVVVV and such. But those are fat and between.
I think part of art is choosing the best medium and artistic techniques for conveying information, just as part of computer programming is choosing the latest and most efficient algorithms available. Would cave paintings be considered beautiful by today's standards?
Sing whatever praise you will of this game's graphics, but I'm afraid your statements won't have any legitimacy if the statement "...for 1992, when better technologies weren't available to video game developers" weren't added at the end.
That said, this retro-style graphics is the one of the best technologies available for evoking nostalgia, so if we were to use the efficiency at evoking nostalgic feelings as the major criterion for evaluating graphical technologies and artistic styles for the purpose of this game, then the developers have undoubtedly chosen well.
So really, it depends on what criterion you choose, i.e. what you're trying to achieve.
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I don't get how 8-bit graphics can be considered bad graphics at all, even less a bad art styIe. Even though it was a technical limitation at the time, I still think it looks gorgeous. If you don't appreciate it, fine, but there are plenty of other games that try to do their best to emulate reality - even though that's not even close to the definition of good graphics. A shame, really, that that has somehow become the golden standard.
@calvinsora That's a good point to be discussed: realism on games. What's the point? It's obvious that some games benefit from realism (FPSs, for example); but, on the other hand, I think that overelying on realism can kill the ludic aspects of a videogame. Soccer games, for instance. They are SO realistic you actually need one analog stick for turning your player clockwise, the other analog stick to walk, a button to run, 4 buttons for different kicks, a button for swtiching between players, another button for whatever... Add to that weather and environmental realism. Hey, do I really need this in a computer game? If I want realism in a soccer game, what am I doing instead of call some friends and go to a park and play actual soccer? I find the old arcade soccer games, the ones who relied on three buttons and not more, much more fun than, say, PES 2013.
Besides, realism is always a way to force us to keep upgrading our graphic cards.
It may be only me, but I don't mind about graphics or realism. I prefer to give more relevance to plot, game mechanics and fun, and let the graphics be only a medium and not an end on itself (which is, I believe, the main problem here).
Of course you can play it with a gamepad with about 2 minute work. Ever heard of Xpadder? A nice little utility that lets you map all keyboard buttons or the mouse to a gamepad.
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@McGuirex3 It's a response to how bored many of us are with the drab bullshit that passes for cutting edge these days.
I agree with you, we are in year 2013, we pay thousand dollars for cpu and gpu but they make retro style 90's games.
@McGuirex3 Just ignore them, think they can capture old spirit but are plagiarism of old classics and will never ever reach their highs.