Review | West of Dead

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I was never so happy to see a witch. Wearing a horned skull and emitting the kind of presence you feel long before you see it, "like a storm," according to the thick dub in Ron Perlman. In West of Dead, a rogue game set in a wild underworld, your interactions with her are the only persistent progress you can make.

It always starts at the bar. However deep you traverse the crypts, the snow-capped forests where the dogs roam, the deepest mines of purgatory, death spits you back into place, the less with any weapons, upgrades and abilities you acquired in your last one race. Then you dust off and enter the crypts again, taking two tier 1 weapons for company.

There are only a few corners left to start the shooting. the combat of West of Dead combines double stick shooting with a cover system and throws out some extra tactical wrinkles, like lights in some rooms that stun nearby enemies and loot spells that can, for example, halve the cooldown or restore some health, and if you can, immerse yourself in cover right after you get hit.

Gameplay: Electrosphere Project

is not a Frozen Synapse 2 or one superhot, with an amazing idea that fundamentally reinvents the people who shoot. It's a simple structure and, in the dark limbo of West of Dead, it relies on the right rhythm to keep you engaged. My first two or three runs on crypts they were disastrous stumbles, but gradually the rhythm and nuances of combat began to flow. I noticed exactly how many hits it took my six snipers to stun armed enemies and how many shots it took to destroy the cover I used to hide behind. I noticed that enemies tended to follow him back to the previous corridor, where they were easier to eliminate.

West of Dead is brilliant at telegraphing every little detail of combat, from the moment an enemy is alerted to your presence, including the moment they point at you and just a perfect dodge check for you to avoid damage, and that's if you're not behind cover.

Both the controls and visual feedback are slippery enough that the barrier between you and what you imagine yourself doing melts away. It's essential that a game like this, which asks you to lose everything when you die and start from scratch, look fair and consistently readable.

If the West of Dead combat wasn't sewn with so much art in this enigmatic world, it could feel more like a game. The game's visuals seem to be true shading, from objects to lighting, even though that can get in your way during the adventure.

hear the voice of Hellboy while you inhabit a shadowy underworld of dark black outlines it seems very Mike Mignola, and the somber guitar lines, circling crows and whiskey gargling narration create a genuine sense of atmosphere.

But the game is not just marvels. In some races, it's possible to traverse a certain area in just a few minutes, picking up some decent weapons and character upgrades along the way. On more unfortunate attempts, considerable time is spent tracking down and exploring branches of rooms you missed for the first time. Later, the ability to teleport alleviates this dead time, which is great until you die again. Still, at least you're not mechanically traversing the same layout of corridors and arenas.

Other games have explored the same themes and mechanics as West of Dead, but rarely does it all add up to that cohesion. The fight is always fair in the West of Dead, however brutally difficult, and it always feels like you're suffering for a reason.

In general, the game still needs some corrections such as its control that is lost at times, the excess of darkness and other parts that are kind of repetitive. But overall, the game has more positives than negatives!

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