Alright, it's been a while but we're back again to cover the PC Gaming Show, the Xbox Showcase and the Ubisoft Forward. After this, that's it, that's all, we're done here. PC Gaming Show The Most Questionable Stuff 3. Road to Vostok (???) Choosing to look down on a game for overt familiarity from the word ‘go’, even if all it has done at this point is have its existence announced to the world, is not inherently an act to be proud of. Much of gaming iterates and builds upon what came before, much of the medium as it stands (for good or ill) exists because someone looked at a past work and were inspired to develop their own take on the material. How many excellent games would cease to be if people decided that “it’s just a clone of X” was a valid argument in itself? I establish this now to make it clear that I do not roll my eyes at Road to Vostok for taking the form of a sparsely-populated shooter set in a post-apocalyptic wilderness area… but rather because it loo
Still have some newer writing in the works, but for now enjoy this trip down memory lane with another review from the archives. This time: the delightful throwback platformer about a cartoon squid...
Developed by Alex Barrett & Samantha Davenport (Squidlit Ink. LLC)
Released on March 2nd, 2018
Version Played: Windows PC (also available for Nintendo Switch)
Released on March 2nd, 2018
Version Played: Windows PC (also available for Nintendo Switch)
So I’m a fairly easy lay for the mascot platformer – partially of because the child-like whimsy it evokes in me, partially because these tend to be rather interesting games on multiple levels.
Mechanically there’s various divergences that have come about in the post-Super Mario Bros space, from exploration-centric “Metroidvania” games to those works which toy with more specific gimmicks (like Sonic the Hedgehog’s speed or Sparkster’s rocket pack). And then there’s the variation in aesthetics, sound design, graphical detail, presence of an overarching narrative or themes… in short there's a lot to love there.
But they also tend to deliver on immediately memorable, utterly endearing protagonists that you want to root for, which further helped sell them to the target audience of, y’know, children. Whether or not the mascot in question “clicks” with the player – while not the only or most important thing – does help build the kind of audience goodwill that makes an experience still in their heads.
Squidlit is very much a game that accomplishes this goal, doing so by going back to the roots of the genre and embracing its quaint, simple charms. If someone besides HAL Labs were handed the reins to hypothetical Kirby’s Dream Land spin-offs and spiritual offshoots, it’d look a lot like this. For the most part, that’s a quality that works in its favour.
Mechanically there’s various divergences that have come about in the post-Super Mario Bros space, from exploration-centric “Metroidvania” games to those works which toy with more specific gimmicks (like Sonic the Hedgehog’s speed or Sparkster’s rocket pack). And then there’s the variation in aesthetics, sound design, graphical detail, presence of an overarching narrative or themes… in short there's a lot to love there.
But they also tend to deliver on immediately memorable, utterly endearing protagonists that you want to root for, which further helped sell them to the target audience of, y’know, children. Whether or not the mascot in question “clicks” with the player – while not the only or most important thing – does help build the kind of audience goodwill that makes an experience still in their heads.
Squidlit is very much a game that accomplishes this goal, doing so by going back to the roots of the genre and embracing its quaint, simple charms. If someone besides HAL Labs were handed the reins to hypothetical Kirby’s Dream Land spin-offs and spiritual offshoots, it’d look a lot like this. For the most part, that’s a quality that works in its favour.
Per the tradition of 90s platformers, the plot’s light on detail and doesn’t waste much time setting up stakes. Players take on the role of one of the eponymous Squidlits, village-dwelling cephalopod inhabitants of what appears to be a familiar sort of low-key fantasy realm. Sentient animal creatures make up the populace – along with a few predators like sharks grown from cocoons – and are ruled over by a seemingly self-proclaimed moth God Emperor.
Events quickly swing into motion from the outset, as your Squidlit is sent to stop the God Emperor’s dastardly scheme within seconds of starting the game. There’s some running through fields populated by adversarial creatures, exploration of a magical library overrun by sentient books, some time spent in the castle town and inner sanctum of the God Emperor, and… that’s about it. Aside from the specifics of the evil plan and the search for a way to counter it, it’s very much a straightforward run through themed levels loosely connected by narrative.
What elevates the plot – while also making it sort of besides the point – is the sharp wit of Squidlit’s script, particularly with regards to dialogue. Every character encountered who isn’t plot-relevant typically is caught up in amusing circumstances (like a mother-daughter squid duo with a fondness for trees), armed with verbal puns and charmingly self-aware gags about the game world. It’s hard not to smirk while playing.
That’s not all Squidlit has up its sleeves, assuming of course that squids have sleeves. The moment-to-moment platforming makes solid use of space, throwing sufficiently challenging foes and the odd environmental puzzle your way. It also manages to offer a handful of compelling boss encounters that I think back on fondly; one involving a tome needing to have its magical weapons nullified before it can be properly subdued remains especially memorable.
Events quickly swing into motion from the outset, as your Squidlit is sent to stop the God Emperor’s dastardly scheme within seconds of starting the game. There’s some running through fields populated by adversarial creatures, exploration of a magical library overrun by sentient books, some time spent in the castle town and inner sanctum of the God Emperor, and… that’s about it. Aside from the specifics of the evil plan and the search for a way to counter it, it’s very much a straightforward run through themed levels loosely connected by narrative.
What elevates the plot – while also making it sort of besides the point – is the sharp wit of Squidlit’s script, particularly with regards to dialogue. Every character encountered who isn’t plot-relevant typically is caught up in amusing circumstances (like a mother-daughter squid duo with a fondness for trees), armed with verbal puns and charmingly self-aware gags about the game world. It’s hard not to smirk while playing.
That’s not all Squidlit has up its sleeves, assuming of course that squids have sleeves. The moment-to-moment platforming makes solid use of space, throwing sufficiently challenging foes and the odd environmental puzzle your way. It also manages to offer a handful of compelling boss encounters that I think back on fondly; one involving a tome needing to have its magical weapons nullified before it can be properly subdued remains especially memorable.
I was taken aback by the sheer brevity of the game – it’s possible to reach the end within an hour – considering the variety of scene changes fit into the game’s runtime. Brevity isn’t so much of an issue, however, since the experience is a mostly well-tuned ball of charm and whimsy. Central to this is the player-controlled Squidlit themselves; from their adorable waddle to the occasional dose of humorous quips through dialogue choices, this critter feels like the half-remembered 90s mascot we never got but should’ve had.
The other side of this game’s success lies in its more widely publicized feature: its visual and technical adherence to that which could be developed on a Game Boy. The development duo of Alex Barrett and Samantha Davenport went out of their way to shape the graphical fidelity and level design around the limitations and inherent qualities of Nintendo’s acclaimed handheld. The synthesized beats of the soundtrack were even composed on an actual Game Boy, lending greater authenticity to their use in the game proper.
Some may find this degree of dedication perhaps unnecessary – modern technology can mimic or embody the styles of yesteryear admirably – but for my part I find the effort endearing. It comes off as a sign of passion, for a time in games history when whimsical creations were the rule (and not the exception, as is so often the case).
Never mind that as an aesthetic, Barrett and Davenport manage to make the green-hued 8-bit look work. There’s a clear sense of detail and depth to particular areas, leaving no illusions about what they’re supposed to be embodying. Plus, little touches like flowers and animals bobbing to the beat of the current track give a further sense of cohesiveness to Squidlit.
The other side of this game’s success lies in its more widely publicized feature: its visual and technical adherence to that which could be developed on a Game Boy. The development duo of Alex Barrett and Samantha Davenport went out of their way to shape the graphical fidelity and level design around the limitations and inherent qualities of Nintendo’s acclaimed handheld. The synthesized beats of the soundtrack were even composed on an actual Game Boy, lending greater authenticity to their use in the game proper.
Some may find this degree of dedication perhaps unnecessary – modern technology can mimic or embody the styles of yesteryear admirably – but for my part I find the effort endearing. It comes off as a sign of passion, for a time in games history when whimsical creations were the rule (and not the exception, as is so often the case).
Never mind that as an aesthetic, Barrett and Davenport manage to make the green-hued 8-bit look work. There’s a clear sense of detail and depth to particular areas, leaving no illusions about what they’re supposed to be embodying. Plus, little touches like flowers and animals bobbing to the beat of the current track give a further sense of cohesiveness to Squidlit.
If there’s a downside to this nostalgia-as-well-considered-mission-statement mentality, it’s that it leaves the game feeling a bit too rooted in past design conventions. For example: I like the look and the utility of the lead Squidlit’s ink squirting move, used for both boosting jumps and defeating enemies, but found it awkward to perform while traversing levels. It’s an issue exacerbated somewhat by how increasingly mandatory it becomes for normal platforming AND boss-specific scenarios, cutting into the fun mood that was otherwise pervasive.
Additionally, while I get the devs’ adherence to their chosen presentation meant it’s a logical tradeoff, it was hard not to long for certain conveniences often taken for granted elsewhere. The game doesn’t allow for saving when quitting, likely a measure introduced to make sure players experience it in one sitting. Getting stuck in one portion of a level, then, is a test of endurance and patience lest you sacrifice your progress to refresh and return later.
I can’t complain too much, though. Squidlit was borne of affection for the past and carries itself well in that regard. It doesn’t really break free of genre expectations, but then that wasn’t the aim – it’s a damn solid, if slight, throwback to earlier platformers by design. The best thing I can say in its favour is that I now expect a half-dozen sequels experimenting with and building on the fundamentals of this first outing… and I’d be quite pleased by that.
Additionally, while I get the devs’ adherence to their chosen presentation meant it’s a logical tradeoff, it was hard not to long for certain conveniences often taken for granted elsewhere. The game doesn’t allow for saving when quitting, likely a measure introduced to make sure players experience it in one sitting. Getting stuck in one portion of a level, then, is a test of endurance and patience lest you sacrifice your progress to refresh and return later.
I can’t complain too much, though. Squidlit was borne of affection for the past and carries itself well in that regard. It doesn’t really break free of genre expectations, but then that wasn’t the aim – it’s a damn solid, if slight, throwback to earlier platformers by design. The best thing I can say in its favour is that I now expect a half-dozen sequels experimenting with and building on the fundamentals of this first outing… and I’d be quite pleased by that.
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