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Grimshade Review — Grim Indeed

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Grimshade promo art

In this decade’s brave new world of crowd-funded video games, one need not be unusually observant to see a trend in throwback RPGs. Among these are massive hits (Pillars of Eternity, Wasteland 2), PlayStation-style JRPGs (Legrand Legacy), and characterful new turn-based adventures that hearken to several different styles (Earthlock)—and among them are also games like Grimshade.

Also inspired by JRPGs of the ’90s, Grimshade combines an isometric overworld—one that actually looks a little bit more like Infinity Engine games such as Baldur’s Gate than Japanese RPGs—with tactical turn-based battles. Boasting a huge world, lengthy story, and a complex battle system, there is certainly a lot of game to be had in Grimshade.

Similarly to the aforementioned Legrand Legacy and Earthlock, Grimshade had to be looked at, in case it was another diamond in the rough waiting to be discovered. Unfortunately, when a title comes in this hot (translation issues and all sorts of glitches abound in the current for-sale version) the question is not whether it contains any value in its sheer volume, but rather if it is worth seeing through.

As in JRPGs of yesteryear, players begin with a tenacious young soldier-ish and gather a party of ragtag misfits as they “blah-blah magical war”, “blah-blah verbose world exposition”, and, of course, the trademark mysterious amnesiac kid. The game is nothing if not an on-the-nose emulation of JRPG patterns, filtered through visibly sweaty writing; comprising try-hard humour and sub-Tolkien obliqueness that all fantasy writers probably remember committing to paper at some point.

Part of this might be down to the translation, as Talerock, the developer, is a Russian indie team. The language gap withstanding, however, Grimshade‘s tedious structure cannot be ignored. One way or another, the early hours force a lot of expository dialogue around the edges of a generic dungeon-punk setting.

Purely from an execution standpoint, the look and feel of Grimshade‘s fantasy world Ree’fah is not a weakness. Character designs are simple and effective (though the dialogue portraits can seem off-model from the rest of their depictions) and the city of Brann, where the game begins, is fairly well developed. The original soundtrack is also a highlight, helping bring each setting to life in the tradition of old school JRPGs.

At the same time, the game has far fewer interesting encounter types than there are battles, echoing some of the worst of the JRPG tradition: the tedium and grind. Even the battle backdrops, which remain essential to these sorts of turn-based RPGs for continuity of location, are very limited—one example had an early story sequence, happening indoors, suddenly switch to the city streets for the battle screen.

In the terms of a JRPG throwback, the game has none of the “take a step” sort of random encounters. Enemies can be encountered wandering in the world or during story sequences. Mechanically, Grimshade‘s battles sit about halfway between the relatively hands-off positioning of say, Chrono Trigger, and the detailed, grid-based battles in the Trails in the Sky games, closest to the recently re-released Radiant Historia.

Players arrange their party on a three-by-four grid and face off against enemies that stand on an opposing grid. With no overlap between the sides, the ‘tactical’ aspect tends to boil down to tanks up front, squishies at the back. In teaching this early, the game makes very clear from the word go that player choice is a secondary concern.

Grimshade‘s battles simply do not provide an exciting hook for the RPG fan. Encounters are designed with strict parameters, where experimentation kills and enemies must be dealt with in repetitive, prescribed fashion. The early hours are not button-mashing boring like Final Fantasy XIII, but they are rigid in a way that the aforementioned Radiant Historia never was.

Grimshade’s art is beautiful but its battles are rigid.

For example, the first time push attacks are introduced makes and breaks both games respectively. In Historia, players learn to push enemies into other enemies for extra damage or to move them side-to-side so that their charging attacks fizzle harmlessly. In Grimshade, enemies start whipping player characters left and right long before the game even introduces a method of delaying their attacks.

Another mechanic, ‘Avoid Tokens’, further restricts player choice by preventing all damage dealt until the tokens are spent. This mechanic should create another layer of strategy, but initially just lengthens each round of combat. Not to claim that such design decisions are explicit missteps , but they reduce battles to little more than Simon-says: not a great foot to start off on.

The game promises a bigger world beyond the early game city of Brann, but the development resources appear to have been spread very, very thin. For instance, the same extreme economy in the design of battles applies to the quest log, which offers very little guidance beyond the immediate next objective. Other games also focus on a linear critical path with little to either side, but even reused locations will have lots of interesting details. The opening of Final Fantasy VII is a clear comparison point, given how it too spends a long time establishing its characters in the city of Midgar.

A lot of work went into developing Grimshade’s world, but discovering it is not a lot of fun.

Grimshade attempts to create a feeling of epic scale by suggesting the bigger world beyond the game screen, but without offering much to cling onto. Perhaps what Talerock has developed was a labour of love, but its love is not necessarily the same as the players’ enjoyment.  A less ambitious epic with better quality of life, a shorter, less scattered story, and more time given to designing encounters for variety and experimentation would have mended several of the game’s most egregious problems. With luck, the developer will learn from Grimshade and go on to better and more recommendable success.

One should keep an open mind with long games, especially those that are ambitious and clearly made for the love of the medium (I could not tell you how but I played through days of dull, repetitive musou missions to be extra sure that Valkyria Revolution was not good). Like with so many RPGs, though, one can be tricked into hoping the story picks up, or at least tricked into hoping that the mechanics become intrinsically engaging with more familiarity.

True, too, I do not think I have ever played a game available for retail that was as unfinished as Grimshade. Unfinished games on Steam are a dime-a-dozen, but I cannot be certain I have the strength to trudge through to see the rest of a game that, doubtless, bit off more than it could chew. Besides, if this really is as large a world and extensive a narrative as promised, one should never feel obligated to push through hours of also-ran adventure hoping for an uncertain and potentially imaginary catharsis.

OnlySP Review Score 1 Fail

Reviewed on PC.

Mitchell is a writer from Currawang, Australia, where his metaphorical sword-pen cleaves fiction from reality daily. When he's not writing, he plays video games and watches movies. While thinking about writing.

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198X Review — A Nostalgia Trip Without a Destination

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198X

Some short stories feel more like chapters—snipped out of a larger work—that struggle to make sense on their own. 198X represents a translation of that ethos to video game form. As a result, the game feels unfulfilling, though that does not detract from the overall quality on offer. Ultimately, the player’s appraisal of 198X will depend on whether they place more stock in story or gameplay because while the former leaves much to be desired, the latter will be a hit for anyone with fond memories of the 8- and 16-bit classics.

In the framing and overall structure, 198X is decidedly modern, but everything else pulses with a retro vibe. At its core, the game is a compilation, weaving together five distinct experiences under the auspice of a story of personal development. From the Double Dragon-infused ‘Beating Heart’ to the turn-based dungeon RPG ‘Kill Screen’, each title feels slick, if a little undercooked. Those old-school originals could only dream of being as smooth as these throwbacks. However, the two-button input methodology results in the games feeling just a touch too simple, though their brevity—each clocking in at a maximum of 15 minutes (depending on the player’s skill level and muscle memory)—makes that less of an issue than it might have been. If more depth is present, it is hidden well, as the game lacks any sort of tutorial to guide players. Nevertheless, the stellar presentation goes a long way towards papering over the cracks.

The pixel art aesthetic of 198X is staggering. Each of the worlds that players make their way through is pitched perfectly to fit the mood it evokes. From the grungy brawler of the first game to the more melancholic mood of the open-road racer, the screen is drenched in lavish colour and far more detail than one might expect from such a seemingly simple art style.

Easily a match for the visuals is the audio. The in-game sounds of a car engine or bone-crunching strike are low-key, which allows the music to come to the fore. Those tunes are all from the electronic genre, simple, yet layered with enough depth to not feel tedious or tiring. Easily overshadowing all the rest though is Maya Tuttle’s voice-over narration as The Kid. Her tone is one of pervasive resignation that works to reinforce the same mood within the script.

That melancholia will surely strike a chord with anyone who has grown up on the fringes. The Kid speaks of once loving and now hating the Suburbia of their childhood, where memories of happiness collide with a contemporary feeling of entrapment. The words and lines are powerfully evocative—made even more so by the connection between the gameworlds and the prevailing emotion at that point. The problem is that they amount to nothing. The story comprises of these snippets—these freestanding scenes of life lived lonely—that never coalesce into anything. The Kid may find an arcade and speak of finding some sort of home and a source of strength, but it goes nowhere. The game ends just as things start to get interesting. Setting up for a sequel is no sin. Plenty of other games and media products—from Dante’s Inferno to Harry Potter—have done just that. However, to be effective, such first parts need to offer a story in and of themselves, not just the promise of a story to come, and that is where 198X falls apart.

With each game in the compilation being a straightforward, one-and-done affair and the overarching narrative feeling like a prologue at best, 198X is wafer-thin. The presentation is simply remarkable, and the package has enough variety to be worth a look, but the unmistakable impression is that something is missing.

OnlySP Review Score 2 Pass

Reviewed on PC. Coming soon to Nintendo Switch, PlayStation 4, and Xbox One.

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