Flinthook (2017)

Flinthook is one of these games that seems almost perfect from the start: a great soundtrack, beautiful 2d-pixel graphics that closely remind me of Bitmap Brothers games (one of my all-time favorite classic studio when it comes to aesthetics) and more or less solid controls that makes the game initially fun to play.

The most similar game in terms of approach is Rogue Legacy: randomized level architecture based on various room segments that repeat ad nauseam in countless different configurations, single runs that either end with your death or a win against one of the few bosses and a metagame where you can earn advancements even if you die in single runs. Flinthook’s unique gimmick is the eponymous hook that allows you to fling yourself through the level segments at high speeds and avoid various traps. In theory.

In praxis, the hooking-mechanism works most of the time, but the times when it doesn’t often becomes a critical failure that traps you in a harmful loop that’s hard to escape. One major annoyance is that if you aim for a ring to hook but instead hit one of the spike balls, the hook gets deflected. Often, when it looks like you should hook, you don’t. The auto-aim works most of the time, but when it fails, it mostly does in the most unfortunate situations. Some rooms are designed in such a way that it’s almost impossible to escape without a major loss of health.

Traps in general are another problem. While the graphics are lovely, they are so busy and every rooms is stuffed to the brim with shiny things to look at, that the traps themselves are easily to miss, even when you know what to look for. Especially the ground plate spikes that shoot for the whole length of the plate, not just the part you’re standing on. I really hate those plates.

Shooting is a bit annoying as well, as your range is never as far as that of the enemies while their shots go through walls, unlike yours. That makes the game somewhat unfair, as it forces you to get close to the enemies, while they can snipe you from afar.

I also hated the slow-down mechanism and the time-barriers, which felt like something stuffed into the game purely to annoy the player and often aggravated the issues I had with individual room designs. All the little issues, hard-to-see traps, the less-than-ideal hooking mechanism, the time-barriers only highlighted the main issue of the game: the individual rooms.

Most of them are okay, offering the right balance between difficulty, stuff to find, enemies to kill. You get into the flow of things, fling yourself through the level, makes short process of the enemies and suddenly you’re in a room where you need a lot of luck just to escape alive.

The game is full of that and if you play long enough, you really get tired of seeing these badly designed rooms kill all the effort you put into every run. At some point advancing because of this becomes a terrible, boring grind and you’ll likely stop before ever reaching the ending.

The Raven and the Reindeer (2016)

There are three types of fairy-tale re-tellings (1) those that miss the mark by a wide margin (2) those that feel quiet alright by changing some elements and updating others and reminding us why we loved those stories in the first place and (3) the very few that improve upon the originals and replace them in your personal canon.

Actually, the original I remember isn’t the Hans Christian Anderson story, which I know I read as a kid, but whose memory who overtaken by the breathtakingly beautiful Russian animation from 1957, which for me was the most definitive version until now. Despite not having seen this for years, I remembered the tension between Gerda and the bandit daughter despite this being a kids movie. There was something there, if extremely subtle at that.

Vernon aka Kingfisher marvelously took those elements from the original tale, embellished them and spun them into a tale that is still recognizably the Snow Queen, but also something different. The rough story skeleton is the same, but some of beats are subtly and sometimes not so subtly altered to change it from the girl setting out to get the guy to the story of the girl who grew into her own, saved a guy (lets not pretend that Kay isn’t an ass in all of the versions) and got the girl.

At the end of the story I felt utterly like cheering and happy and nodding in agreement. This is how you do a re-telling.

Eden Green (2015)

This was a particularly interesting read for me, as I felt like I was enjoying the novel for things the author didn’t meant me to enjoy. The main character’s big fear, being infected with alien bio-machinery and slowly changed into something inhuman, was something I felt completely disconnected from. I did enjoy the bio-machinery, the strange and weird transformation Eden and her two associates went through, but this felt less like a source of genuine body horror (which I think was the intention), but the joy at seeing cool and neat transformations.

It probably depends on your reading protocols and interests, which in my case meant the changes, both body and mind, were the meat of the novel, as was the intriguing if somewhat lackluster exploration of an alien world. I found the super-rationalistic attitude of the main character amusing, and I’m not sure if that was intentional and to be taken serious or meant to be perceived as a character flaw. Also her constant resistance to the bio-machinery in her body was initially merely irritating until it became deeply annoying when it was established as the main thrust of the books final part.

Less convincing were the psychological changes. Sure, I completely buy that getting your brain blown up and then re-assembled by alien bio-machinery will force changes to your personality (and the part with the memories was neatly done), but I didn’t really bought that it would mean the characters would turn psychotic, just different.

On that account, I found the ending was the typical esoteric ending where the writer thought it was kind of positive and I though it was quite the opposite. If you write from the perspective of monsters (even if I don’t completely buy they are monsters), I want to see them succeed, accept what they are and go on with their lives of murder and mayhem. I’m a fan of happy endings.

Company Town (2016)


It’s like Terminator, only completely different. But don’t worry, that part comes in very late and isn’t the main appeal of the novel. In a nice reversal it’s a book with a seemingly generic or at least not at all-enthralling hook (action girl with issues has to play bodyguard for the heir of a stinking rich family that takes over a city that is part of an oil rig), but once you start reading its hard to put down.

Ashby throws a lot of stuff on the wall, a rapid fire of little ideas to give texture to the setting, a few big ones to inform the plot, and wraps it around a heroine that is easy to get comfortable with. Plagued like most of us with small and big things (cold mother, strange, defacing disease that has become both boon and bane for her), trying to muddle through life.

Then things get more complicated, relationship- and plot-wise. A Faustian bargain is made, at least it feels so a bit to the heroine, even if some of it comes from genuinely trying to be good and a killer stalks her friends. It’s a lot, and surprisingly enough, for all the ideas Ashby throws at the wall, most of them stick and build a dense, often unexpected trip that’s really hard stop. At close to 300 pages, this feels more like a hundred page novella, burning fast and bright.

If you asked me what the bigger message or topic was, I probably came up blank, but as far as intensity and sheer fun goes, this is right at the top.

Dead Things (2013)


As far as urban fantasy goes, Dead Things does what most entries in the genre do, trying to find a slightly new angle on an old topic (this time the main char is a Necromancer, hailing back to the trope codifier of all things urban fantasy, though its different in style and tone), wrapping it up into a personal viewpoint that should be enticing enough to get on with the ride and enjoy it.

I do like the main concept, I like the plot-hook, but I find the main character a bit flat, especially given what happens. Not completely to the point that I didn’t like the book or the main char, but to the point that I though some of his reactions, especially to gruesome murder and mayhem where on the cold side. This kind of fits with his character to some degree, but it doesn’t feel entirely intentional and more like the author had not the best handle on his own character.

It’s still a fun and short read that doesn’t overstay its welcome, and the author had some neat world-building ideas. Also I like the feeling that even the most powerful people including the main character, are easily hurt and every bruise and hit is felt. Makes the stake feel real and the tension is definitely there. I’ll check out the sequel to see whether it gets more interesting.

The Hangman’s Daughter (2017)


This takes place in the same setting as Veteran, but around one or two hundred years later. The main character comes of as slightly psychotic manic pixie girl who captures a ship of 6000 prisoners to find the few prisoners who killed her father, while also setting up a deep black ops operation for the CIA with a penal legion as a plausible deniable ops team to take on various targets. The first book is concerned with setting up the legion, both for future prospective buyers and the audience reading this. Manic pixie girl and her legion take on a miner’s asteroid that has been taken over by a communist virus, and things go from bad to clusterfloppery very fast.

It’s a no holds barred tour de force full of violence and gore and plans inside of plans. Characters get introduced and killed off at breakneck pace and it you usually have to decide who is least offensive asshole on the block, as there are few if any who could be called nice or good. There are a lot of future settings made up by writers that I rather live in than in any of David Smith’s worlds, but damn is it a fun ride, even if I’m flip-flopping between hating the main heroine (she’s awfully nonchalant about human lives, even prisoners) and wanting to see her survive to know what comes next. Can’t wait for the sequel.

Afterparty (2014)


I read Daryl Gregory’s phenomenal short story Second Person, Present Tense when it came out in 2005 and ever since then he was on my list of writer to look out for. There are a few science fiction writers who like to make a go at where brain chemistry, consciousness and egos cross, but none made it feel so effortless and personal as Gregory did in that short but impressive story.

But further dips into his work left me less impressed. Good writing in general, but his other novels just didn’t speak to me the same way as SPPT had. And then I read Afterparty. It has a different set of characters, the main hook is different (a drug that once you overdose gives you your own personal god, whether you want to or not) and it thankfully goes on for far longer.

But overall, it has the same energy and verve, it’s interested in a similar set of topics and it gives you something to think about even when you close the book. It’s probably my favorite book from 2014, and a strong contender for one of the best books recently overall.

Part of the attraction is just how the book frames the entire debate: the main character is a staunch atheist who is also completely convinced that she has found god, even when she knows its all just brain chemistry. And she’s not happy with that.

As a concept, it might be blasphemous to true believers, but it’s just as uncomfortable for the true atheists. What Lyda and her friends who overdosed suffer from isn’t exactly mind control, but it’s a close cousin where you can believe whatever you want, but that drug-induced personal god won’t take no for an answer and leave. Always there, always making you feel like you have direct access to a higher truth.

It’s one thing to know its fake when you’re not afflicted, but when it’s always there, always on, it becomes its own kind of truth.

There’s a lot more going in the novel than just that. Someone has started distributing the drug she and her friends overdosed on, even as it should be impossible. And her journey to find the source and shut it down leads to personal revelations that while long overdue and necessary, still cut deep. Meanwhile, lots of characters, each with their damage, their own stories that are just as compelling Lyda’s.

The story has just the right length with a pitch-perfect ending, but it still makes me want to see more from this world and its characters.

Holy Fire (1996)


Given the current political climate and development, it doesn’t look like our world is heading the direction of Sterling’s Holy Fire, but maybe we’re just right before the mass upheaval and megadeath phase. The future depicted in the novel is one that is both dystopian and utopian at the same time, depending to a large extend on your age and also personal inclinations.

It’s a meditation of the impact successful longevity treatments have on society, and how a world where old people have most of the power feels like. Sterling could have gone for easy targets here. It’s pretty clear where his sympathies lie, but you never get the feeling that the gerontocracy is cardboard evil. It’s the outcome of a likely future history where the survivors of years of plagues and death have developed a stance toward personal responsibility (regarding health) that makes sense but still feels incredibly cold.

Funnily enough, I would fit rather well into the gerontocracy, as I’m rather risk-averse and security-prone. But even I can see the drawbacks of such a system. The gerontocracy has plateaued, which is okay in the short and even medium term, but forever is a long time. With such a time-frame, out-of-context problems will crop up, and to at least have a chance of surviving them requires a different attitude. You need dreamers and risk-takers, the weird and the strange ones willing to go where nobody else has gone.

Even if that doesn’t happen and the gerontocracy of the book manages to keep the reigns of power and exist for a very long time, it’s easy to see why it doesn’t look much like living. Risk-aversity and forethought are not a bad thing per se, but as in many things there needs to be a balance. If all you do is focused on prolonging your life, at some point you’ve forgotten what actually living means. There are fates worse that death.

Metroid (1986)

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Metroid is the granddaddy of the whole Metroidvania-genre, and while it’s not the first game that had a large, explorable world in a 2d platformer perspective, it’s the first where all the disparate elements came together into something whole and fitting, where each aspects fed into the next and created one of the best genres we have today.

From adventures Metroid cribbed item-gated progression, though it incorporated them seamlessly into the gameplay (rockets to open various doors, different fire modi to access new areas). From its precursors it took large worlds, but made them continuous and deliberately designed instead of generated on the fly. But the big gamechanger is that as old as Metroid is, it’s one of the earliest games on my Metroidvania-playlist that is actually fun to play, even today.

Sure, there are some elements that makes it less accessible today: after dying your HP-counter doesn’t get refilled much and if you need rockets you have to farm them. This adds difficulty to the game, as farming items from enemies often results in losing more health again.

But it’s the kind of pointless, grindy gameplay that just isn’t fun and only artificially extends the gameplay. The other thing it lacks is a map, which is arguably something you can do without (if your memory is good enough) or do on paper, if you’re so inclined. That said, there’s a LUA-script out there that gives you a modern Metroid-type map and recovers all HP and rockets after respawning, which makes the gameplay experience much smoother.

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The LUA-script sadly only works for the NES-version of the game (and hacks of it), not for the one-year earlier (1986) released Famicom Disk System version. That first version had slightly better sound and three save banks (if you want to play it, somebody fan-translated it).

Although, some of the stuff Metroid did was actually quite lenient. Once you get an item, even if you die on the route back, you still have it once you respawn. With that in mind you can plan for one-tour exploration trips without worrying about getting back to spawn points (the elevators between levels). Most of the difficulty of the early game is the lack of any equipment. The only real difficulty spike later on is the Mother Brain and the area before her, which is just incredibly hard.

Overall though, this is it, the transformation point from which on Metroidvania-games or likelike games became actually fun to play.

Roidz (2012)

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There are a couple of graphical hacks for Metroid, of which Roidz is my favorite. The art direction is a subtle improvement on the original, making it look as good as some of the late NES-games without being very-in-your-face with the changes. The hack has a tendency to change the layout of the item rooms into small puzzles, which I didn’t appreciate as it broke the atmosphere and took me out of the game (and the whole, find the breakable wall-thing is neither clever nor adds anything to the gameplay). But overall, this is one of the best hacks, and if you then go back to the original it feels drab and lacking visually.

Chaos Engine (1993)

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The Chaos Engine is in my opinion the magnus opus of the Bitmap Brothers, that showcased the most refined version of their highly recognizable art direction combined with almost perfect playability. It’s a top-down action shooter where you have to traverse four worlds with each four levels to final confront and if possible defeat the eponymous Chaos Engine.

The first few levels start easy but get noticeable harder in each successive level: new enemies that move faster and more erratic or can even climb walls, that can fire more deadly projectiles and can take on more damage than before. The only advantage you have is to collect as much money as possible in each level, to buy upgrades and keep pace with the arms race.

What adds to the immense replayability of the game is that every level has countless secrets that allow you to collect even more money, often offering two or three different paths through each level and various exits. I don’t remember any other game of this type that had such an amount of content and variety, at least if we’re talking about top-down shooters. You’ll always wonder what the best way to collect to most amount of money each level is and whether you’ll find a new secret on your next run.

You’re also not alone, a second soldier is always following you, though this is also one of my biggest gripe with the game. The second soldier is more obstruction than useful tool and how the game shoves him into your face gets annoying very fast. The second soldier also acts incredibly stupid most of the time (Dos-version). You can increase his intelligence, but by the point you have enough money to do so, you rather wish you could kill him forever. Sadly the game forces you to resurrect him repeatedly.

Overall it’s pretty hard. Coins appear after you hit an enemy, but shortly afterwards disappear again. You need them to power up, or you’re soon hopelessly outclassed, but if you’re too fast to collect them, you might bump into another enemy who comes from the same spawn point as the first one.

Shooting is only 8-directional and you can’t move while you’re shooting, while your enemies don’t seem limited by this as much as you. Your hitbox is quite large while enemies have a seemingly smaller one and often you miss them by a single pixel. The later levels are quite trying, and the final boss is extremely difficult due to how the controls limit you. Also later on you often can’t outrun enemies and if you don’t start hitting them once they appear, you already lost valuable hit points.

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SNES version

The game was released on a buttload of systems: Amiga and later Amiga CD32, Atari ST, on floppy disk on MS-Dos and later in an enchanced CD-version (which despite a patch for stuck keys remains almost unplayable, as the patch doesn’t really alleviate the problem), and on the Genesis and the SNES.

The floppy disk version for MS-Dos is quite good (but has weak sound). The SNES (screens above) version looks a bit more colorful, has actually a soundtrack and is much faster, including much faster enemy spawning, which makes coin farming from spawning enemies more difficult and the whole game even more nail-biting hard.

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The Genesis version has more muted colors, but has a similar tempo as the Dos-version and is in general better balanced for playability, and just as the SNES-version has sound as well. Both the SNES and the Genesis show also much better AI for your companion.

The one major drawback of the Genesis version is that you can’t exchange abilities with your partner, which makes the early game easier if you take the Scientist and use his medkit in the Dos- and SNES-version.

The European version of the Genesis Chaos Engine (both Genesis and SNES US-versions are called Soldiers of Fortune) has three selectable difficulties, which is not in the US-version and neither in any other.