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I SEE RED Free Download GAMESPACK.NET There’s something to be said about a game that puts style above all else. It’s always a risky proposition for developers and publishers alike. A fancy user interface and nonconventional visuals can quickly turn off an audience that would have given you money for something more conventional. Sometimes, developers don’t get to make more than one game before they go belly up in this day and age. That’s why I always respect a game like I See Red from Whiteboard Games and Gameforge. This is a twin stick shooter with roguelite elements, graphics straight out of Sin City, and an attitude that would have fit the original Xbox era. However, after a great first impression, all the little problems with a game built for style over substance begin to bubble to the surface, making me wish I was playing a nostalgic favorite rather than this lackluster modern pretender. There’s no denying that I See Red starts strong. You play as a spacefaring warrior whose looks remind me of Marvel’s Starlord, wielding laser guns and shock batons against a horde of faceless opposition. You crash into an enemy ship guns blazing and take out a soldier in an amazingly satisfying manner to summon the title card. You learn about the intriguing grapple hook mechanic and feel how weighty the guns feel when you shoot them, all with the promise of randomized levels and varied arcade challenges. It makes for a great demo, and that promise is what initially drew me to the game. TOP/BEST ADULT VIDEO GAMES IN UNITED STATES OF AMERICA (USA)

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Unfortunately, I See Red can’t live up to that initial impression. First to go was the thoughts of roguelike progression. Whiteboard Games has technically designed a roguelite experience, but it’s very light on the elements that make the genre sing. You pick from a set of seemingly preset encounters whenever you start a new run. Instead of random weapon drops and unknown dangers ahead, I See Red is a linear experience that plays at popular tropes of rogue games. This shift drastically changes my expectations for what to expect from a game. A rogue of any stripe can get away with repetition and threadbare storytelling because the excitement lies in meeting new challenges head-on and knowing that you may never see the same room twice. When judged against other straightforward top-down shooters, I See Red loses points across the board. Even if it were more in line with roguelikes, I See Red hits a snag that trips up many games trying to go for the endless dungeon approach. Outside the excellent tutorial, I See Red has very little room for players to get good at playing. It shoves you right into the fire with a limited set of weapons and healing power-ups and asks you to make due, only becoming fair once you get past this initial frustrating hurdle. Deaths are common, progress is minimal, and the fact that all the levels repeat makes you feel every extra second it takes to reload into the menus before you get back to the action.

A Frantic Twin-Stick Shooter that Embraces Destruction

Everything from battle royale games to trading card games gives new players a friendly path to success, and I’m not sure why roguelikes and games that admire them can’t figure out how to jury-rig their RNG to do the same. Thankfully, I See Red isn’t all lost potential. Once you get past the first couple of stages and see more variety in the weapons, the combat starts to sing in a way it doesn’t in the early hours. The fact that your spaceman can grapple weapons, healing items, and empty boxes around each arena is an interesting new wrinkle on familiar gameplay. The fact that you can also hurl those boxes to take out goons is chaotic in a way I very much appreciate. What is disappointing is that nothing beyond that grappling hook demands my attention as I go through the motions. The crumbs of the narrative you collect as you progress are run-of-the-mill, and the close-up shots of the player models in these few storytelling moments explain why the camera usually hangs so far out from the action. A more average Ruiner, I See Red is missing the variety and depth to make a great twin-stick roguelike shooter. Fire Pro Wrestling World

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Like a Scotsman adding pennies to a swear jar, we’re being inundated with roguelikes this year. I See Red is the latest top-down, twin-stick, roguelike shooter belting out fast action and lethal punishment for mistakes. Only this time, it’s in black and white. Oh, except for every enemy and organic upgrade material, they’re in red. Hence the name. Given its cybernetic world and your rage-inflicted character being plastered in chromatic material, it actually does make sense thematically. I’ve had some real duds with twin-stick shooters this year, most recently with Maze Blaze and the earlier Blackwind. Is I See Red one to break the disappointing mould with its high-octane, minimalistic gameplay that combines Hotline Miami with Ruiner? It should be a match made in furious Heaven. I See Red goes for the ‘thrown into the deep end headfirst with bullets, explosions and a no exposition required’ approach. No introductory cutscene to get you settled, no sir. You awake in a cold, dark and sterile facility not even knowing your name nor role. You pick up your pistol and get to work blasting away at the figments of red that teleport in before you. Of course, you’re felled by the end of this initial sequence, as is standard fare for the roguelike genre. Scooped up and escorted to a safe base by a rather gruesome looking fellow, you realise you can be cloned.

A Never-Ending Roguelite Journey

Why? No idea. It’s cyberpunk, get on with it. This basic structure justifies why you can die-and-retry as much as you like and probably feeds the narrative purpose of why your cybernetically implanted protagonist wants to send everything around him into bloody oblivion. There’s meagre real direct story as you progress, aside from mementos that allude to our avatar’s history and family pre-violent destructive tendencies to all things that exist. Towards the end there’s a brief cutscene that shows why they’re so angry, but that’s kind of it. Without much of a narrative hook, I See Red purely depends on its gameplay to keep you invested, as even the hints to the past are fleeting and superficial. After the opening title card in Rhinotales’ FMV thriller She Sees Red, you are boldly told that EVERY CHOICE MATTERS. I could have done without the fourth-wall breaking advice, especially since this declaration turns out not to be true. A pure example of an interactive movie, the game offers no puzzles or even any real player agency; nevertheless, it’s slickly filmed and a fun if sometimes confusing ride. The basic premise is that there’s been a murder of a nightclub security guard, and a detective is sent to investigate. As the player, you aren’t physically involved in the action, but rather an unseen overseer, akin to a television showrunner; you ultimately guide the main points of the story, then sit back and let the writers and actors do their thing. Fireworks Mania

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While the detective interviews people and pores over clues (with help from an assistant and some serious inductive reasoning that would make Sherlock Holmes blush), you are intermittently sent back thirty minutes into a visual re-enactment of the past to watch more of the crime and subsequent escape attempt being carried out and make choices on behalf of the murderer. Once you see a decision play itself out, you then return back to the present to watch the detective analyze what happened. After making a half-dozen or so choices for the killer in this way, the story reaches a conclusion. You are then encouraged to replay to make different decisions to reach a different outcome. Filmed in Kazakhstan and written in Russian, She Sees Red offers you a choice of watching with English dubbing or the original voices of the Russian-speaking cast. Of these two options, I can confidently advise that subtitles are the way to go. (An impressive twenty-one different languages are available.) Not only does dubbing present the usual problem of voices not matching lip movements, the dubbing itself is laughably bad. Most of the voice actors (including the detective) do not have a Russian accent, which is quite distracting considering all of the characters are Russian. Hilariously, the person portraying the nightclub owner sounds fresh out of a Spaghetti Western, ruining all the tension the game is trying so hard to establish. While the English subtitles unfortunately have some typos, they are at least able to effectively convey the dark mood throughout.

A Story of Vengeance, Violence and Pain

Thankfully, the live-action performances are excellent. The lead investigator is played to perfection by Belarusian actress Veronika Plyashkevich, whose wry bravado encapsulates the lack of intimidation her character feels from the nightclub staff. Boris Polunin (the club’s owner and her primary adversary) matches Plyashkevich step for step, being appropriately bemused and defensive without the over-the-top performance sometimes seen in this type of story. The two have a delicious chemistry that carries the narrative. After the initial investigation of the murder scene, the detective searches the dark back halls and offices of the nightclub following clues left by the killer, her assistant and nightclub staff in tow. All the while the club remains fully packed with a thumping bass filling the air. The back of the club is appropriately seedy, with flickering lights, broken doors, and a dirty kitchen that contrasts well with the owner’s office which is garishly opulent.

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The atmosphere is supported by high-quality cinematography, with transitions between the past and the present done seamlessly. One scene that stands out shows the murderer from the back entering a hallway. As they do so, the camera reverses to show the investigator peering down the same hallway, fresh on the trail. You also may see the fleeing killer engage in a fight scene or two depending on choices you make for them, and the professional camera work helps intensify the action. Never once while playing did I feel a scene contrived or clichéd. There’s a warning from the outset that the game is for mature audiences only and that you’ll see plenty of violence and gore. In a few instances it is indeed unavoidably graphic, and those who are squeamish or don’t have a taste for realistic violence should steer clear. Otherwise there’s surprisingly (and refreshingly) little cursing, and only one scene that contains brief nudity. For those interested in some behind-the-scenes footage, there is a gallery that fills up as you make progress.

What keeps She Sees Red from the upper echelon of full-motion video games is its choice structure. Most scenes are a few minutes long, and afterwards you are presented with one of two options and given about five seconds to pick before a decision is made for you. Then you passively watch another scene unfold, make another choice, and so on. Unfortunately, not all of the choices matter. Some don’t affect the outcome at all, merely offering up a slight variation on the ensuing action. Even more disappointing is that it isn’t always clear what each choice means or why it matters. For example, at one point you are asked if the murderer should look at the wall or search a desk. The game offers no reason to make one selection over the other, nor is there any indication why the character can’t do both. Sometimes when this occurs, the result is trivial, while other times it makes a significant impact on the ending without any way to predict how. There is one choice halfway through the game that ultimately decides if you will be seeing a good or a bad ending; while the “correct” choice can be deduced, it is disappointing that a seemingly minor decision impacts the finale so significantly. FINAL FANTASY VII REMAKE INTERGRADE

ADD ONS/PATCHES AND DLC’S:I SEE RED