It's a solid, T-for-Teen introduction to both horror and adventure games - which is precisely what Google Stadia, its launch platform, needs. Gylt isn't a revelation in terms of mechanics or style, but that's part of its charm. Simple spatial puzzles and fetch quests pad out the gameplay as Sally investigates the gray, spooky world and confronts truths about her younger cousin. As is common in adventure games, items are littered around the world to help Sally on her quest - keys for locked doors, inhalers for health, and batteries for her flashlight, whose beam injures the big bad beasties. The main gameplay conceit involves ducking behind low walls and overturned desks to avoid the detection of the black, cone-headed creatures patrolling the town. Gylt takes things slow, introducing mechanics like walking, looking around, ducking and interacting with objects one at a time, with clear on-screen prompts and plenty of space for players to test out their new tools. Eyeballs peer from the tops of tentacles growing out of the goo. Eyeballs peer from the tops of tentacles growing out of the goo, and bipedal beasts with long claws and inverted faces stalk the walkways. Sally's hometown is abandoned and looks like an earthquake hit it, while its corners and doorways are infested with black sludge monsters. Sally searches for Emily, who's been missing for a month, through the desolate rooms of their school as monsters stalk her footsteps. Gylt is a third-person horror title that follows tween Sally into a twisted, Upside Down style world that has also consumed her young cousin, Emily. Stylistically, it's different than anything the studio has created so far it's narratively thin, though its world is rich and eerie, filled with creeping beasts and light emotional turmoil. Tequila Works' latest release, Gylt, fits this mold perfectly. Overall, the studio's strength lies in building moody worlds bursting with emotional intrigue, rather than completing a single, clear narrative arc. The studio's approach to storytelling works best in The Invisible Hours, a non-linear VR experience that sacrifices player input in order to resolve multiple narrative threads. They're slightly creepy, with a touch of ennui and too much story for a single game to contain. After that, Tequila Works released a murder mystery set inside a trippy mansion casino, a heartwarming platformer about a long-lost civilization, a narrative-driven VR title, a world-building app for iOS, and the official VR project for Sony Pictures' Groundhog Day.ĭespite the differences in mechanics, a common thread runs through many of Tequila Works' titles. It starts with Deadlight, a dark, side-scrolling action title set in a lonely zombie apocalypse. At least, that's how it seems after scrolling through a list of games the independent Spanish studio has released since 2012. I enjoyed it for the most part.The developers at Tequila Works get bored easily. Only one collectible you'll probably have to look up, it's in a really stupid place - that for most will be impossible to find without a guide. You're essentially running after this kid and unless you read everything - you don't know why. I just don't like how they did the story. I'm fine with them (cute, adorable - nice animations, etc). You have no idea why your (spoilers) cousin chooses to run from you every chance she gets or again why. If you choose to not read any "books" this game is kind of mindless. Maybe it's my age, but I chose to focus on the latter. Either you wanted a mindless horror game with monsters or you delve a bit deeper into the emotional core of the title. At the core of this game - it is about 1) finding your cousin and 2) finding out why she went missing in the first place. Where do I begin with this game? Maybe I should point fingers at the trailer for stressing its horror elements. This review contains spoilers, click expand to view.
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