It has been quite a while since we last heard about Three One Zero’s upcoming space exploration title, ADR1FT, but in a new interview published at Polygon, we get our first look at the game along with some juicy new details to share with you.
If you haven’t heard the story of Adam Orth by now, well, you’re a bit behind the times. If any of you remember the ill fated hashtag #dealwithit, you know where Orth’s drama began, ended and has now provided him the means for a revival in the form of his first game at his new studio, Three One Zero. ADR1FT is a game that Three One Zero hopes will include an emotional punch while also hoping to innovate the first person genre of exploration narrative driven titles.
ADR1FT stars an astronaut who is the only survivor of a space station that was seemingly destroyed while he slept. The game, as described by Orth, is a metaphor of sorts that coincides with how his simple online mistake left him searching for answers on how to start over and piece things back together. The game will not feature any sort of guns or aliens to fight, and will focus mostly on different types of objectives that will keep you immersed in the experience that Three One Zero is hoping to provide.
Three One Zero is looking to have ADR1FT on the PS4, Xbox One and PC sometime during 2015 as they’re currently half-way through development according to the interview on Polygon. The team is also working on a VR version of the game, but hasn’t yet decided if it will be a final platform yet.
The first screenshots of ADR1FT have also been released by Three One Zero and show the game in its actual state on the Unreal Engine 4. The previous shots of the game we were provided were actually prototype screens of the game, so take a peek below at the mysterious beauty that Three One Zero is currently crafting.
We’re working on getting in touch with Three One Zero to see if we can line up an interview with the developers to learn more about the game as it nears its completion. We’ll be sure to continue covering ADR1FT so don’t forget to follow us on Facebook and Twitter to stay up to date with all the latest.
198X Review — A Nostalgia Trip Without a Destination
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.
Reviewed on PC. Coming soon to Nintendo Switch, PlayStation 4, and Xbox One.
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