There are also challenges to spot throughout the world, which can be accessed alongside the career mode in the pause menu at anytime. Each section has its own camp area which acts as your central hub, unlocked once you earn the required number of stars by completing career races. Divided into sections, the game’s map consists of varying terrain ranging from forest greenery and muddy mountain roads to barren sand dunes and treacherous snow and ice plains. It’s an astonishing achievement made all the more impressive by the fact that the entire expanse can be traversed seamlessly without a single loading time to spoil the ride. But Fuel’s 5,560 square miles of terrain takes the concept of an open-world racing game to incomprehensibly dizzy heights. Even Need for Speed has dabbled with an open-world setup, and Midnight Club: LA recently offered a prime example of racing at your own leisure.
Open-world racers are nothing particularly new though, what with Burnout Paradise and Test Drive Unlimited dipping their toes into the boundless waters of unrestricted driving. In Somnio is an example of a game that continues to push the edges of the medium, blurring the line between interactive media and film-making, leaving us in critical territory where we find ourselves unprepared despite years of traditional games analysis.Fuel has already made headlines this week as the biggest game ever with a Guinness World Record to show for it. There are exceptions to this, the found footage genre brings to mind handheld cameras or go-pros as a storytelling method, but this is comparable to how we would think about a painting: is it a watercolor, oil based? Both of these examples serve as framing for the audience, but we judge the artwork itself by its thematic substance and stylistic intent. In few other mediums do we define their genre by their basic building blocks the way we do with games, it would be absurd to refer to the notion of ‘moviefeel’ or to ground our expectations of a radio show’s content by the particular microphone they used. Most would probably consider a release like In Somnio to fall under the ‘walking simulator’ or exploratory adventure category, but simplistic vernacular that reduces an experience to such crude classification fails the artistic significance of the work. There’s something really exciting about experimental titles in the indie scene that pull on lessons from film, even as it becomes increasingly difficult to classify their genre in terms of gameplay. Welcome to the outer rim, Commander, otherwise known as the 11th circle of hell, Space Hell. If that wasn’t bad enough, imagine a prolonged session of hurtling through the galaxy at light speed in a boat that’s on fire, and your entire crew is cats using VOIP with webcam microphones, also, the cats are on fire. The criminally underrated Pulsar, on the other hand, is more about ensuring that new crew member you picked up at the space station isn’t actually a youtube troll in disguise, threatening to rip out your engine components while you aren’t looking to please his unseen audience of twelve year olds. The metal hull groans, pockmarked by laser burns and penetrated by the sharp teeth of a federation drone still poking through the fuselage, making you wonder if the life support systems will hold for one more desperate jump.
#BOUNDLESS GAME WAYPOINT FULL#
It’s the unrelenting tension of being hunted across the galaxy, barely making it from waypoint-to-waypoint while your engine huffs fumes, begging for even the dream of a full tank. It’s brutal, unforgiving, and ultimately so bite-sized that it compels you to keep playing for hours on end. The typical experience of FTL is exploding in space moments after you finally discover the key pivotal item to make that new experimental ship build snowball through the rest of the game.
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