PLATFORMER WITH A SCREW LOOSE
Also for: Linux, Macintosh, Nintendo Switch, PS Vita, Windows, Windows
Apps, Xbox One
It's certainly no delight to lambast the retro-flavored charm of the indie
platformer Iconoclasts. After all, it was developed by one
single man over a period of ten years. His name is Joakim Sandberg, but
he calls himself Konjak. His universal game design skills are obvious,
with 2D-art design and animation clearly being his forte.
Iconoclast's tale about the young mechanic Robin, and her struggles
against religious dogma, evidently stems from the mind of someone dying to
tell stories.
Konjak harbors some neat ideas. Iconoclasts seems to take a jab at old, rigid "truths" about designing games. Watching the weird, detailed boxes and triangles that make up the environments of his game makes me recall old 8-bit platformers. Those sidescrollers looked blocky because of hardware
limitations, but here the squares seem elaborate and weird. My take is that they somehow prove a point that is reflected in the narrative: Why should we stubbornly stick to the old ways, when we have the tools to improve them?
Konjak truly believes in his concept. How he alone managed to finish a project this size is beyond me, because these kinds of production values would be quite an endeavour for any indie studio with a full staff. But the question must still be asked: How does actually playing Iconoclasts compare against other similar games? Well, I
have tried ambitious one-man games before, and especially enjoyed the
cult classic Cave Story (2005), which has a lot in common with this game. I booted up Iconoclasts hoping for
something similar.
And now that I've finished it, I look back upon an experience
that started off strong - probably elevated by a great first impression - only
to eventually deteriorate.
The sad answer is that Konjak could have done with some trustworthy workmates.
They would have given him feedback on what works and, more importantly, what
does not. When designing a game so rich in content, Konjak was bound to screw
some of it up. Every aspect of the game has a streak of good in it,
overshadowed by some flaw that makes it hard to enjoy.
Let us begin with the story. On a conceptual level, it is great. Iconoclasts
takes place in an elaborate world ruled by a religious cult, called the One Concern. It
dictates the lives of all citizens, including their profession and where they live. You are Robin, the tomboyish daughter
of a humble mechanic. As the game begins, she has decided to defy the rules and pick up the wrench of her
late father.
She helps out fellow villagers in need, until she one day gets
caught in the act by agents sent out to enforce the law. This sets her off on a long, rebellious journey to rid the
world of the oppressive regime. Along the way she meets new allies, and in a
few short segments you get to play as a couple of them.
The world-building is detailed and rich, but the story contained within is too
bewildering. Too many interludes change the point of view, and the cutscenes
often take place in unfamiliar locations and reference characters we've never
seen. Throw in a lot of vaguely defined terms - how about "Transcenders",
"Penance", "Isi", "Progenarians" or "Mother" - and it's hard to understand what's going on. Who belongs to what faction, and how are they related?
Besides, I had a hard time parsing the dialogue itself. Although Konjak
(who is Swedish) knows English well, he doesn't quite yet master the craft of
writing authentic dialogue. Too often I had to read the lines a few times
before comprehending them. It's a shame, because the I can sense greatness brewing beneath the surface level.
It's just not communicated through its characters.
Enemy encounters are a nuiscance. Early on standard enemies are
straightforward enough - just shoot to kill - but they gradually turn into
invulnerable beasts the further you play. For each new enemy type you
need to learn when to parry, what move to make or what weapon to use. You
don't get a lot of clues. Do you need to get in close with the wrench? Or blast
it to bits with your gun? What type of ammo is effective? Just take a guess and
pray that it works.
The boss fights are also hit-or-miss. My favorite is a late, simple duel
where you briefly play as a crippled, sword-wielding man stumbling towards
his firm human adversary. It is clean, neat and simple, clearly
communicating attack windows and how to avoid incoming blows. As I beat him we
were both down to our very last sliver of health. The next hit would be the
decisive blow.
But we also get a number of overly complex bosses, cluttered with graphical
details that makes it hard to determine what to do and where to go. In some
cases the sprites are so big they leave very little room to maneuver. One
particularly bad design is against a stealthy, invisible boss. The rules take
a while to figure out. Once you do, you can win by repeating the same attack
pattern for the long-winded remainder of the fight. It feels added to justify a poorly executed
stealth mechanic, that thankfully never returns.
The controls are slick and, for the most part, well-suited to the intricacies
of the level design. You have a good map that often pinpoints where to go. But
some weird movement restrictions makes life hard anyway, particularly on the
complex Tower level. Robin can crawl through narrow spaces, but once she
leaves them she often can't get back inside. It only works if the opening is
on ground level or high enough so that she can barely reach it, in which case
she grabs on to the ledge, pulls herself up and crawls inside. Anywhere in
between, and she can't enter.
I could go on in detail about the broken crafting-and-tweaking mechanics -
allegedly implemented on a last-minute whim - that disincentivizes searching
for hidden crafting resources. Or how about some of the puzzle solutions hinges on such pixel-perfect jumping and timing, that it's hard to tell whether
I'm on the right track. All such complaints mount up to the same problem -
everything bugs me in some way.
Iconoclasts has potential, but fulfills very little of it. I adore the 16-bit
art style. The world looks inviting thanks to all the details in the lush
scenery, the colorful character gallery and the way they move to express
themselves. The game delivers personality through style alone, and I sense
some substance beneath all that surface. But none of it breaks through the
barrage of minor flaws. It never grabs me and pulls me into the story.
The gameplay and story both are too unhinged. It might walk that tightrope of
a plot and arrive safely on the other side, but the close calls are way too
many. This is not a pleasant ride on its shoulders. It's definitely teetering
on the edge of a lower review score. It's saved by getting its narrative
together for a strong final act, with some good boss fights and a fine conclusion to the tale.
But overall - and please forgive me for using another metaphor - it feels like playing a great game
in a room full of mosquitoes: No matter how good it is deep inside, everything surrounding it stings and sucks a little.
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