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Tropico 6 Review — Bananas and Hammocks



Tropico 6

Tone is a curious thing—sometimes overlooked, but nonetheless capable of defining a game’s personality. In few genres is the value of this part of the gaming experience as pronounced as the tycoon simulator. SimCity, for example, takes a neutral, po-faced approach, while Frostpunk leans hard into survival territory to create a singularly grim atmosphere. Tropico 6 takes a different route, lampooning past global politics in a goofy and fun nation-builder that, nevertheless, probably should have taken a little longer in the delivery.

Tropico 6 comes as a salve to anyone tired of the aesthetic status quo in gaming. Pseudo-European historicism, metropolitanism, grimdark naturalism, and dystopian visions are all absent, replaced with an approximation of the tropical idylls that adorn tourism posters the world over. Further detail in the visuals might be appreciated, but certainly is not needed, as the coconut palms, golden beaches, and tracts of forest convey a paradisiacal atmosphere. The look is bolstered by the cheery calypso soundtrack. The uptempo beats are sure to get toes tapping, even if they do become overly familiar and borderline tiresome after extended play.

Muting the audio in favour of a personal playlist circumvents the issue, but it should still be mentioned in light of the time sink that Tropico 6 demands. Fans of city builders will be aware that the balancing act required to maintain a happy citizenry and profitable industry can take tens of hours. Tropico 6, as with its predecessor, complicates this process through the inclusion of eras. In the tutorial (and sandbox, if they so choose), players begin in the Colonial Era, fulfilling tasks that move the action forward through the World Wars, Cold War, and Modern Times periods, each of which unlocks additional mechanics—industries to increase profit margins, edicts to mollify the population, world monuments to steal, and political superpowers to bargain with.

The incremental addition of new toys gives freeplay a sense of structure for anyone who seeks it. Otherwise, the game includes 15 missions to help players get a grip of the gameplay outside the limitations of the tutorial. Although these missions are stories, they do not combine into an overarching narrative. Each quest is bookended by narration from Tropico’s second-in-command, Penultimo, as he and El Presidente recount snippets from the island nation’s history. The situations encapsulate the silly tone that the game aims for, including buying Tropico’s freedom from colonialism by smuggling out gold hidden in coconuts and trying to put a Willy Wonka parody out of business. Less amusing are the bugs apparent in some of these missions, as objectives will sometimes stop appearing, leaving players no way to complete the adventure. Thankfully, gameplay-affecting problems are few and far between, with perhaps the most notable being the lack of acknowledgement for fulfilling import demands from non-Superpower trading partners.

For El Presidentes who would prefer to write their own destinies, Tropico 6 offers a robust sandbox mode. Players can begin a campaign in any era, with an archipelago randomly generated according to options such as aridity, topography, and size. Custom victory objectives can also be set, alongside other variables that affect the difficulty.

However, players hoping for a real challenge may want to search elsewhere. Rarely does Tropico’s economic state fall into an irremediable spiral, even with the toughest conditions in place, as gaming the expenditure of profit-producing industries is always possible to increase revenue from exports. Meanwhile, the threat of being ousted through enemy invasion is slim, and the encounters easily won. Although rebellions are possible, citizens will endure decades of dictatorial oppression, homelessness, and a 0% approval rating without ever rising up, even in the absence of police stations and military forts. The other major loss condition—being voted out—is a non-issue, as elections can be delayed indefinitely without any notable ramifications. Economic corrections therefore usually require only time. In this respect, Tropico 6 feels geared towards newcomers to the genre.

A key absence is the granular micromanagement of the likes of Planet Coaster. Nevertheless, the context of being El Presidente rather than a business owner goes some way towards explaining the difference. A curious side-effect of this altered perspective is Tropico 6’s political engagement. Colonialism, Cold War paranoia, nuclear threats, and neo-liberal global economies are among the cultural developments mentioned, but the game takes an irreverent approach to them all. Some commentators may, as a result, criticise Tropico 6 for making light of problematic historical moments (perhaps justifiably), but the veneer of humour that rules over every aspect of the project pushes such concerns out of mind.

This trait is just another example of how the flippant, devil-may-care tone proves to be Tropico 6’s greatest asset. However, even a thoroughly enjoyable romp amidst a winning environment is not enough to elevate the game beyond its contemporaries. Tropico 6 matches and even exceeds the breadth of content found in fellow city-builders, but it does not delve deeply enough into its simulation to take the genre forward a step. For some prospective players, the lack of depth may be too great an impertinence to brook, but everyone else will find a delightful management sim with one of the best settings the genre has ever seen.

OnlySP Review Score 3 Credit

Reviewed on PC.

Damien Lawardorn is an aspiring novelist, journalist, and essayist. His goal in writing is to inspire readers to engage and think, rather than simply consume and enjoy. With broad interests ranging from literature and video games to fringe science and social movements, his work tends to touch on the unexpected. Damien is the former Editor-in-Chief of OnlySP. More of his work can be found at

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ZED Review — A Boring Walk



ZED Review Screenshot 1

Players intrigued by the premise of ZED will have to look elsewhere for a game that delivers on the promise of an emotional journey set amidst surreal landscapes. Although the game does have fascinating visuals, the lack of any real gameplay makes the entire experience dull and uninspiring. However, despite being an altogether terrible experience, the ending is still somehow emotional.

ZED tells the story of an ageing artist suffering with dementia who must recover his lost memories  to create one final artwork for his granddaughter. The player assumes the role of the artist, stuck in his own twisted mind, to collect important objects from the course of his life and bring him peace.

Gameplay entirely consists of two things: walking around to find objects and solving basic puzzles. In all of the game’s areas, only four objects are to be found. Finding the objects is an incredibly simple task in most levels as the design is linear and leads the player along a path or through a small collection of rooms to find these items. Occasionally, one of the objects will be placed in a ridiculous location. Breaking the linearity in this way is incredibly frustrating and forces the player to backtrack and find hidden paths that are not immediately obvious. As for the puzzles, they take seconds to complete even without searching for the striking blue solutions on the walls of the level. Such a simplistic and unoriginal gameplay loop makes the incredibly short game boring to play through.

The environments are genuinely fun to look at and do a brilliant job of capturing the mayhem inside the mind of a man whose memory is failing him. Disappointingly, the game has no interactive elements within the environments beyond the key items, toilets, and plush toys. Even then, interacting with these objects requires specific mouse placement, which is almost impossible to predict as a cursor has been omitted for the sake of immersion. The game has many quirky assets, yet the lack of interactivity makes them feel worthless.

Eagre Games tries to create an immersive experience, though falls flat for a number of reasons, the most annoying of which is the load screens. The player progresses the story by unlocking doorways to reveal the next scene. However, after getting this glimpse of art, the player is thrust into a brief black loading screen which ruins the point of revealing anything at all.

The narrative is told through voice-overs that belong to the protagonist’s daughter and two different sides of his deteriorating mind. Subtitles are turned off by default, yet, without them, the player has no way of knowing that the artist’s voice is represented as a dual identity. What is being said makes little sense as is, let alone without the context of a warring ego and id.

By the end of the game, the player just wants to see the result of this painful object search and, surprisingly, the conclusion is overwhelmingly touching. Against all odds, ZED somehow manages to finish on a high that acts as a reminder that anything is possible if you chase your dreams.

The ending is the only redeeming feature of this boring experience. ZED is short, uninspired, and disappointing. For a game that sounded so promising, weak gameplay prevents it from having any real emotional impact. Hopefully, the strong development team at Eagre Games will learn from its mistakes to create something that is as fun to play as it is to look at.

OnlySP Review Score 1 Fail

Reviewed on PC.

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