The bright colours caught my eye, and since I was stuck at some hunters in a room on the way to the Silent Cartographer, I thought I’d give it a go. I’m glad I did. Denshattack bombards you quickly with different controls, and it’s an assault on your concentration for the first few levels as you battle to remember to grind around corners, jump ahead of blockages, and find routes to the collectibles. However, as soon as I realised that it’s an experience meant to be repeated, with you working out the best places to perform stunts and where there are quick switches between rails, then it turns into a much calmer experience; the first one or two runs through a level are there for research, before then trying to nail a proper run.
In Denshattack, you control a train which can jump between the rails (both double and single) which have, for some reason, been installed around large areas of Japan. You do stunts as you jump, choose which route to go down, and explore varied locales including the inside of a volcano, a factory, and a mountain. At one point I jumped on a Ferris wheel and rolled it down a hill, knocking over satellite dishes and rolling through the bay.
It feels like a Dreamcast game, with colours, very solid-feeling worlds, high score chasing, multiple objectives, and short levels. But it builds on the last twenty-five years of game design, pulling in everything that makes gaming more accessible nowadays.




There is a story. Someone who takes photos told my character about denshattack, and as a train operator she decided to become the best. There’s someone who I am travelling to see in order to challenge her, but on the way there are others to beat. I’m sure there’s more nuance to it than that, but I missed it.





