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Thomas Was Alone | Review



Can­ ­rec­tangles make y­ou cry?

Prior to playing Mike Bithell’s independent puzzle platformer Thomas Was Alone, I’d never had to ask myself that question. Of course they couldn’t, I’d probably have scoffed in response. How could mere shapes, flat and boringly symmetrical ones at that, ever be able to evoke such a heartfelt reaction?

However, after actually playing Thomas, and being exposed to a delightful and heartwarming tale of scattered, unique individuals putting aside their differences and finding solace in a newfound friendship, I’m no longer so sure. Even now, as I stare at the white fuzz and sharp corners of my computer screen, I’m having trouble expressing exactly how transfixed and overjoyed I felt while playing.

One thing, however, is for certain. The answer to a certain other question, one by the name of “are games art?”, has become easier to answer.

Thomas is a small red rectangle and, as you’d likely have guessed from the title, he is alone. A rectangular AI trapped in a digital world without any companions at all, he lives a bleak and unfulfilled existence, allowed only to jump around the minimalistically designed 2D environment in vain. However, that all changes when the very code of the system around him malfunctions, allowing him to cross over into the territory of other AI residing within the world.

Gradually, he meets up with many of these other squarely shapes, none of them looking, performing or behaving quite like he does. Each has not only a radically different personality, but also distinct physical strengths and weaknesses. Chris, a short orange square, can’t jump very high at all, but he’s small enough to fit through tight spaces. Claire, a huge blue square, is a similarly short jumper and doesn’t even have the benefit of a petite build, but she has the miraculous and unique ability float on water. The goal in each level is to align each character with their respective white silhouette scattered around the level, and to do this, player will need to switch between the different shapes and have them work together to make up for their shortcomings.

The story amongst all of this is conveyed through a narrator, in this case the enthusiastic and incredibly talented humorist Danny Wallace, who has officially confirmed my theory that British people are born with a gene that makes them funnier than anyone else. During play, he voices the inner thoughts and feelings of the various shapes, and paired with Bithell’s wonderfully written script, he succeeds brilliantly in bringing these shapes to life, projecting onto them relatable flaws and distinct personality traits that make them wholly sympathetic and lovable. How ironic that a game starring flat shapes has some of the most three-dimensional characters you’re likely to ever see in a game.


However, it’s the way that they’re characterized through gameplay that makes Thomas’s story truly remarkable. When you first meet Chris, it’s easy to understand his insecurities and cynical outlook on life. He can’t jump very high at all, meaning he has to rely on others to get atop platforms and cross chasms. Of course he should feel inferior and thus insecure. Once you play as him and see the world through his eyes, it just makes sense. Similarly, a green square named James, whose gravity is completely inverted and thus walks upside down, feels like an outcast, as if he doesn’t belong in this world.

Those are just a few examples of the ingenious way Thomas fleshes out its story and character through play and contributes to its overall theme of friendship. Once you’ve used every character to aid one another and position themselves in all the right places, a satisfying sense of bonding is immediately felt. You catch on to the notion that these characters are putting aside their differences in order to form an intimate and caring group, one whose members gradually ease up to the idea of friendship, viewing the world and their futures more optimistically in the process. It’s an absolute marvelously feeling of character growth that rivals some of the best examples of character development seen in other mediums, and as a sort of take-away lesson, it may very well have players contemplating and reflecting on their own lives and experiences, which is a titanic achievement for any game.

What also helps elevates Thomas Was Alone from merely a great experience to a transcendent one is its soundtrack. It simply cannot be overstated how effective David Housden’s score is, which is ironic considering its understated nature. With masterful grace, he’s adopted what I like to call ‘the NES music mentality.’ Rather than try to emulate the orchestrally complex but rather forgettable game scores of today, he’s left the musical gruntwork to simple electronic beeps alongside the occasional piano and violin, instead focusing on creating melodies that feel concentrated and emotionally resonant to their core. It’s clear that Housden and Bithell were certainly on the same page when it came to the narrative, as the music perfectly gels with each chapter’s themes and progression.


If there’s any fault with the game’s story here, it’s in the final tenth of the game. Without wishing to spoil, the narrative takes a sudden U-turn in its last levels, introducing an entirely new plotline and completely readjusting its focus. Although the characterization and writing continue to be strong in these moments, the game begins to explore themes that seem unnecessarily complex and detached from the core theme of friendship that’s been in place up to that point, going so far as to actually contradict it in some ways. It feels distractingly desynchronous, an attempt to squeeze more out the game’s premise than is reasonably possible, and the ultimate ending, coming across as brief and muted, is a supreme letdown and feels like potential sequel set-up.

Such narrative missteps would likely have sunk lesser stories, but I’m happy to report that the tale of Thomas and friends is so strong that, when taken as a whole, the story is far from a letdown. In fact, I dare say this is some of the best storytelling in games we’ve seen this generation, and definitely something that other developers should aspire to. Although an incredibly short game, lasting at most around 3-4 hours, it manages to maintain a brisk pace and not once feel as if it’s beginning to drag.

But lo, I haven’t discussed Thomas’ core gameplay yet. At times it can be a legitimately ingenious puzzle game, one that requires you to carefully coordinate each character’s movements, usually to form stepping stones for other characters to climb ledges or leap chasms with. It can certainly be tricky, but once you’ve analyzed the level layout and made everything click, executing the solution and matching everyone up can yield a feeling of mental satisfaction not unlike that of beating a room in Portal. Although your difficulty mileage in puzzle games will certainly vary, I can at least say for myself that there very few situations where I got outright stumped, and even when I was, a little perseverance and extra strain on the grey matter usually did the trick.


Even when the puzzles are less complex or when the game throws a few varied surprises your way, the drive to continue playing and get to the next level never ceases. You’ll be compelled to further unravel the story, for sure, but there’s also simply a gratifying nature to running and jumping around the world, to glide along the floor and deftly catch a ledge. Thomas plays very smoothly throughout, so the fact that the game is equal parts platformer and puzzler is no problem at all. If anything, it’s what lends the game its absorbing pace and variety.

Unfortunately, there are points where Thomas can be a bit tedious to play. Once you’ve gathered a sizable roster of characters, switching between all of them can be lethargic to say the least, and there will be many a case where you’ve figured out the solution to a level but still have to navigate each person through their route, all the while impatiently tapping your foot. The jump button isn’t the most responsive around, which can lead to characters sometimes drooping off a ledge despite you having squeezed X with the might of an anaconda. It should also be said that levels aren’t safe from the possibility that you’ll screw yourself over. More than once I had to restart a level because either the stubby Chris got stuck in a room that he had no way to get out of, or I forgot to leave Claire behind so someone can cross a pool of water. Nitpicks for sure, especially considering how infrequent they were, but issues nonetheless.

It should finally be mentioned just how great Thomas looks. There is no Havok physics engine or complex lighting effects to be found, and yet the game looks immensely pleasing to the eye. Bithell took the minimalist, corner-clad look of the game and ran with it, creating a consistent and distinct visual style to the game. Although the environments tend to be rather monochrome, sporting mainly greys, blacks and whites, this is definitely fitting with the story’s theme of finding friends in a seemingly boring world, and indeed, the backgrounds contrast very well against the colorful main cast. As the game progresses, you’re treated to levels that look increasingly vibrant and varied, evoking an almost spiritual feel in places, and the minimalist animation throughout is nothing but charming.


The “are games art” debacle will likely rage on for eternity, and no definitive answer will probably ever be drawn. However, the next time us pro-interactive entertainment people valiantly step onto the stage with our arguments in hand, I’d encourage that in addition to the pre-packaged Shadow of the Colossus and Bioshock answers, that we also dedicate a pedestal to Thomas Was Alone.

Thomas Was Alone is an exercise in beautiful simplicity and a seamless marriage of story and gameplay. Mild niggles about the gameplay and ending aside, this is about as captivating and purely enjoyable as gaming gets. A game fundamentally about friendship, it’ll absolutely make you laugh, wonder, gasp and yes, perhaps even cry. In a world where the disposable God of War: Ascension can cost $50 million to make, the conversely memorable Thomas’ shoestring budget is proof that there’s still an irreplaceable spot for creativity, talent and ingenuity within the industry. Thomas can be proud of the fact that he’ll never be alone again, as I will be right by his side every step of the way.

(Reviewed on Playstation 3. Review code provided by Sony and Mike Bithell. Many thanks.)


Story – 9/10

Gameplay/Design – 8/10

Visuals – 9/10

Sound – 10/10

Lasting Appeal – 8/10


Overall – 9/10

(not an average)

Platforms: PC, PS3, PS Vita

Developer: Mike Bithell, Bossa Studios, Curve Studios

Publisher: Sony Computer Entertainment

Rating: Everyone (ESRB), 12 (PEGI)

Now an occasional contributer, Michael Urban is the former Editor-in-Chief at OnlySP and has the nickname "Breadcrab" for reasons his therapist still doesn't understand. From the moment he first got hacked in Runescape, he's been uninterested in multiplayer games and has pursued the beauty of the single-player experience, especially in terms of story and creative design. His hobbies include reading, writing, singing in the shower, pretending to be productive, and providing info and feedback regarding the games industry. It is an industry, right? You can ask him a question or send him spam at Also, follow him on Twitter or the terrorists win. (@MichaelUrban1)


American Fugitive Review — A Grand Tale of Theft and Auto



American Fugitive gameplay screenshot 1

The original Grand Theft Auto rocked the virtual world with its violent gameplay from a birds-eye view perspective back in 1997. Once the series moved to a third-person, 3D perspective with Grand Theft Auto III, few gamers looked back and few developers attempted to replicate the original style. More than 20 years later, Fallen Tree Games has become of those few with American Fugitive.

Players control Will Riley, a man convicted for a crime he did not commit and filled with the desire for revenge. Once he has escaped from prison, Will must find old friends—and meet some new ones—to run errands and discover the person who killed his father.

The game is played from a top-down perspective in a 3D open world. More reminiscent of Chinatown Wars than the original Grand Theft Auto, the camera adds a level of complexity to American Fugitive, as players often will not see what lies beyond the edges of the screen. While a behind-the-character perspective would, at times, not go amiss, players will eventually grow to familiarise themselves with the camera, respecting the callback to classic open world titles.

American Fugitive gameplay screenshot 2

The open world itself is also reminiscent of classic titles, with simplified designs regularly complimented by the detailed art style. The game’s animated, cartoon design scheme is fitting of its fast-paced action gameplay, always managing to keep the player on their toes and keen to discover more. Technically, the game plays almost flawlessly, with no significant performance issues to disrupt the player while they explore the map.

Players can explore the rural open world of Redrock County on foot or in a vehicle. The vehicular gameplay may take some time for players to familiarise themselves with, with some overly slippery mechanics leading to some unfortunate collisions, though fitting to the game’s tone. Thankfully, most environments in the game are destructible, so sliding off the road—if the player follows the road to begin with—does not often lead to disaster.

Despite beginning the game as a seemingly innocent man, Will doubles down on his criminal actions once he escapes from prison. Akin to Grand Theft Auto, the player can hijack cars, kill civilians, and attract the attention of police. Most residential buildings in the game can be robbed by the player, often leading to tense confrontations with the homeowners or police, so players must continue at their own risk.

American Fugitive gameplay screenshot 3

The ‘wanted’ system in the game works similarly to Grand Theft Auto games, with players accumulating up to five stars depending on their behaviour. The stars often accumulate a little too quickly, however, with additional stars regularly added simply for evading police. Oftentimes, the player may possess a full wanted level—complete with large police vans and circling helicopters—within a minute of committing a minor offense. While this over-the-top gameplay design is fitting to the pace of the game, it may lead to frustrations within the main story missions by bringing the player’s progress to a halt.

The missions are also reminiscent of those in Grand Theft Auto, tasking the player with a wide variety of tasks to keep them busy while the story evolves. While many of these missions may seem disconnected to the main narrative structure, they are unique and regularly keep the player entertained, ranging from simple fetch quests and car robberies to full-scale shootouts. The game’s fast-paced gameplay and lack of loading screens also make the poorly-placed checkpoints bearable, especially when the beginning of missions require the player to drive to a certain location.

American Fugitive‘s storyline is simple in design but entertaining enough to keep the player engaged. The game’s ‘cutscenes’ exist in the form of text atop character designs; while some simple voice acting would elevate these scenes with more dramatic tension, they are short enough to maintain the player’s attention and continue the missions at a fast pace. Players will find themselves surprisingly engrossed in the story, wanting to see it through to its full conclusion.

American Fugitive gameplay screenshot 4

Accompanying the fast-paced gameplay and narrative is the game’s music. From slow, explorative themes to fast-paced tracks, American Fugitive‘s original score is reminiscent of some of the best soundtracks across different media—from television’s True Detective to video gaming’s Red Dead Redemption 2 and The Last of Us. Each song accompanies the gameplay nicely, ramping up and down as the player makes the appropriate actions, and, along with the expert sound design, add the auditory sprinkles atop a visual and narrative treat.

American Fugitive, simply put, is fun. Fallen Tree Games has added its own unique twist to a classic gameplay formula, and utilised a simple but engaging narrative and a beautiful original score to maintain the player’s interest until the very end. Despite a few minor flaws in gameplay, the game stands strong against its competition. Players looking for a fast, fun, and mature sandbox game should not miss American Fugitive.

OnlySP Review Score 4 Distinction

Reviewed on PlayStation 4 Pro.

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