The demo ended with more audio, as she explained that seeing evidence of her son sent her into a rage. At the end of the passage was her son's coat. I made it safely into a cave, where I made an awful discovery: The tunnels were lined with piles of toys and clothing that belonged to Old Erik's victims. I finally sprinted past him, and my headphones filled with the sounds of her gasps and its frustrated bellows. I tried again, and died after noticing too late that the tree I was edging closer too was actually the same murderous creature. Helland says the game borrows from Norse mythology, and the troll that chased me down fit that description.
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I followed a series of clues her son left behind – fortuitously enough, he collected reflective toys – working my way through a cabin (complete with a pounding door), before running into something terrible. The excellent audio does much of the heavy lifting, whether it's the sound of the wind kicking up, her son's sing-song voice off in the distance, or her own breath hitching up with fear. It's creepy, and I got the sense that she's just as apprehensive of what lurks in the shadows as I was. The mother heads into the forest at night to rescue him, armed only with a flashlight and her resolve. The demo begins with audio of her being interrogated by the police, which also cuts in as a narrative device as the story progresses. You play as a mother whose son has been taken by someone (or something) called Old Erik. Considering the setup, it shouldn't be too tough. Instead, the goal is to sell a feeling of overwhelming dread throughout the whole story. – Jeff CorkĬreative director and game designer Ole Helland says he doesn't want to subject players to strings of jump scares in his horror game, Through the Woods. Even good guys need to blow off steam sometimes. After I destroyed it from below, I celebrated by knocking down a few buildings, standing in traffic, and sending cars flying. The battle culminated with a fight against the mothership itself. I only had seconds to hit the red panels, a tricky feat considering they were spinning around behind shield panels. One looked like a dumbbell, and had a series of panels that fanned out like petals in a flower. Aliens' weak spots were helpfully marked with red lights, and they came in a variety of tricky forms. From then on, I got better at pinpointing my shots with subtle head movements. Try as I might, I couldn't fly faster than the speed of guilt. My first errant shots tore apart skyscrapers and blew up cars on the street. I zipped around and fired energy beams at them, and quickly learned that I was just as much of a menace as the robots. The demo was fairly simple – waves of enemies came from a saucer-shaped mothership, and I had to intercept and destroy them before they wrecked the city.
It looked interesting displayed on a monitor, but the sensation of flight that comes via the VR headset ratcheted it up several notches. I waited to play the until an Oculus Rift was connected to the PC, and it was worth it. As someone who may or may not have spent his formative years running around his house with a towel clothespinned to his shirt, I was immediately sold on the concept. It's a first-person superhero game, where you fly around the world and fight robotic aliens. Megaton Rainfall caught my eye the first time I saw it in the Indie Megabooth. This story includes contributions from the GDC 2015 crew, including Jeff Cork, Kim Wallace, Matt Bertz, and me (Tim Turi) Check out our evolving, expanding list of the best indie gems from GDC 2015. We've got boots on the ground at GDC 2015 and controllers in our hands, playing and vetting through dozens of upcoming indie games to let you know what's worth getting excited for. The Game Developers Conference in San Francisco is a mecca for intelligent talk about triple-A game design, but it also hosts a huge assortment of indie games. Update: We continue looking at the greatest indie games of GDC 2015 with Push Me Pull You, Super Slam Dunk Touchdown, and more.
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