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Erm. Well that was a thing, wasn’t it. I was expecting the fight at the end with a Big Daddy, and I think I was right about who Sally was, but I didn’t expect… Booker. Wow.
But is he that Booker, or a different one? Is there an unending list of Bookers and Comstocks throughout the multiverse? And which Elizabeth is she?
And what does this mean for Episode 2? So many questions.
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Just a quick mention of this, as I’ve only played about 90 minutes and it’s supposedly less than twice that long. As I enjoyed BioShock Infinite, and I found a cheap copy of the DLC, I thought I’d give it a go.
It’s confusing. Elizabeth doesn’t look right. Plasmids and Vigours have become mingled into one thing. Rapture feels weird.
I think that Sally, the girl we’re looking for is basically Anna from Infinite (and therefore Elizabeth), so presumably this is a parallel universe retelling of the same story? Maybe?
Also: Cohen is a bad, bad man.
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I’ve been playing this a lot over the last few days. It’s not perfect. From the outside it looks like a tedious tree moving game, and there’s not actually much more to it than that, but it has a hook.
Part of it is “growing”. At the start of each day, Doshin returns to his normal size, which means he can’t pick up certain things and flattens ground and walks slowly. Making the little people live (or alternatively, hate) him enough makes him grow, and therefore do more stuff more quickly.
The ultimate aim is to get all the little people to build every variation of monument they can. You do this by helping them expand their villages (provide them with trees and flat land, mainly), and if you populate them with the right colours of tribes, they create a statue. One of the statues looks like a poo.
So far, I’ve managed to coax them into creating 8 or 9 of the 16 or so required monuments.
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Uh. I’m really not sure what to make of this game. It was pretty funny, so there’s that. The story was unusual, following the decisions you make on your life’s journey from tiny swimming lifeform to fully grown monster, but there wasn’t a lot to it.
The closest game to it, that I’ve played in recent years at least, is Hatoful Boyfriend. There’s the similar story-and-multiple-choice-reaction thing going on, and the many ending resulting from this. Most choices affect one of each of your monster’s stats: Ferocity, Kindness, Cleverness, etc., and the events involve interactions (and possible consumption of) cats, children, other monsters, and so on.
At the end, you’re tested to see if you can ascend to become a monster elder, or whether you’re destined to dissolve and become one with the spawning pool for a new generation of monsters. I ended up with the latter.
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Lumo is how you remember old Spectrum isometric games played. You know the ones, like Batman and Head over Heels and Knightlore. Only you remember wrong. Because although we all loved them back then, they were a pig to control and the hardest things ever.
Take the idea of these games, and view them through a rose-tinted lens, and you have Lumo. It both pays homage to, and lampoons, the 8-bit isometric arcade adventure genre.
You begin in “the real world”, visiting a small-time retro gaming event. One of the machines on display malfunctions, and you’re sucked into a world where you’ve become a super-deformed wizard and electrified floors and hidden cassette tapes are the order of the day. You move from room to room, overcoming platforming challenges or puzzles, collecting four artefacts. Collect them all and you just might return home.
Where Lumo succeeds is in evoking the feeling of those old games. Not just in the viewpoint, but in the sort of objects, room layouts and traps you encounter. Several rooms are almost carbon copies of classic ones, triggering the retro glands. Some rooms contain more front-and-centre references, literally including sprites or screenshots. There are nods to 80s computer games and UK gaming culture of the time everywhere. In one section, you ride a lift and the music playing is Your Sinclair’s very own Whistlin’ Rick Wilson and his classic “Hold My Hand Very Tightly (Very Tightly)”. They played it on Radio 1 once, you know.
Sometimes the game will deviate from the Ritman/Drummond/Ultimate template into other areas. There’s a minecart section, and several bonus areas that ape Ballblazer, Zaxxon, Horace Goes Skiing and Nebulus amongst others. Some of these work well in isometric, some (*cough* Horace *cough*) do not.
Where Lumo performs less well is mainly due to this 45 degree viewpoint. Also a complaint with many of the classic titles, seeing where you are in space relevant to platforms you need to land on can be a struggle. One particular section in a later area of the game has you navigating a bubble between spikes, and it’s near impossible to determine where it will actually pass. Failing a screen because your pixel-perfect jumping isn’t up to scratch is one thing, but because it looks like the landing area is in front of you when it’s actually up in the sky several squares away? Not great.
Thankfully, and unlike isometric titles of yore (unless you cheated!), infinite lives help stave off throwing your gaming device through a window. Some of the more tricky, long, or “perspectively challenged” areas still cause the red mist after several dozen deaths, but these are rare.
It’s definitely a game aimed at 80s Speccy kids, and is worth playing for the nostalgia if nothing else. In itself it’s pretty decent too. It may lack a little polish perhaps. And maybe a few rooms should have been tweaked to reduce the viewpoint issues a tad, but there’s a lot to like here anyway. Oh, just one more thing: Make sure you install the update before you play. There are nasty save game bugs otherwise!
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