Whilst there is a thinly layered attempt at an overarching plot, anyone expecting this area to shine should re-set their expectations at the door ; your (literally) faceless character does not speak, is referred to only as “the hero”, and the closest the game comes to introducing any other characters are the bosses that are slain as quickly as they are introduced. The titular Outland that you inhabit is the driving force behind your quest, but due to the vagueness of the plot you’re never really sure just what it is you’re accomplishing – not that any of this ever detracts from the action; if anything, the mysterious, shadowy, detail-free art for both characters and backgrounds is so lusciously vivid that you cannot help yourself but to explore further.
Sadly the Ikaruga comparison is inevitable given your character’s ability to switch instantly between red and blue polarities. As well as enemies also appearing in one of the two colours (and being vulnerable only when attacked as the opposing colour), the standard platformer mould is shaken up with shmup-esque bullet patterns being spewed out by a variety of sources, where you must take up the correct polarity to avoid taking damage. Without saying too much, there are plenty more uses of the mechanic as the game progresses, and you can expect some fiendishly cunning platform sections as well as bullet patterns so gorgeous you almost forget their deathly properties. Yes, it’s a borrowed idea, but given the prestige of the source material it’s a bold decision to do so, and a high accolade to see it done justice.
Despite the deceptive HD sheen, Outland’s roots are indisputably two-dimensional. Controls are tight and responsive, with your character springing about and bouncing off walls in a satisfyingly agile manner. Your enemies span a variety of jungle inhabitants - spiders, birds, tribesmen and the like - and combat with these is equally primitive and yet rewarding; despite a relatively small arsenal of moves at your disposal, there is still plenty of room to do things very right or very wrong if you do not make the effort to learn enemy patterns and respond accordingly. Checkpoints too, are well implemented: whilst never frequent enough to allow you to slouch through a section entirely, they’re paced sensibly enough to avoid sending you too far back upon death. Whilst secret-granting masks are hidden in the less obvious nooks and crannies of the Outland, doubloons (coins to you and I) are more readily dropped by enemies and breakable pots – however, aside from the odd shrine dotted about that will upgrade your health & special capacity, there is little use for such currency. More use could easily have been made of these with the addition of collectible items and equipment, however as far as missed opportunities go this is a surprisingly minor one given how well the game plays without it.
Branching out from a central hub, you progress through a variety of different areas, with a subtle yet often-present gold shimmer marking out your path and lightly holding your hand through the game. Whilst this could easily annoy some gamers, navigation rarely feels like it should be the focus of your efforts, and there seems to be an awareness in the implementation that keeps it helpful whilst avoiding it ever getting too intrusive or patronising. The ‘Metroidvania’ comparisons come with the new powers you earn as you progress through the levels, allowing you new ways to traverse old environments. With this being kept almost exclusively to secret-finding exercises rather than as part of the main narrative, the backtracking is entirely optional and, thanks to a comprehensive network of teleportation points, this never gets too convoluted. Whilst it not being a necessity may be a relief to some, its rather half-hearted nature is a touch disappointing to those looking to fill a secret-plundering void, and unless you are purposefully ignoring your inquisitive side as you play through, there will be little left of the world to explore once you are nearing completion of the main quest.
Whilst the focus is undoubtedly in the adventure mode, there’s a decent range of additional modes to look at as part of the package too. Each of the game’s areas can be revisited in ‘arcade mode’, where your kills and pickups rack up your score whilst items boost your multiplier, all whilst you aim to complete the area in a given time frame. Co-op play is a pleasing inclusion too, with the only downer to this being that this has to be done online with no option available for a “same sofa” mode. The sweetener to this is the inclusion of additional co-op challenge levels that, despite their brief nature, give co-op partners a good window to flex their skills on the global leaderboards.
All in all, it’s hard not to like Outland. Even the most barebones play through of the main quest will eat up 6 hours; whilst some will scoff at this it’s important to look at the medium, and given the quality of those hours it’s very hard not to recommend at such an aggressive price point. There are very few downloadable games available today that offer such a complete experience and whilst the lack of marketing is unsurprising given Ubisoft’s franchise focus, it’s an even bigger shame that by borrowing some ideas it will fall under similar scrutiny as an unflattering cover band, as there’s enough originality in there to bring its inspirations together into one solid, cohesive package.
Players: 1-2
Genre: Platformer
Developer: Housemarque
Publisher: Ubisoft
Platform: Xbox 360 XBLA
Version: European
Pros:
- Oozes style
- Controls solidly & precisely
- Challenging but always fair
Cons:
- Limited replay appeal
- Borrows many of its core ideas
- No local multiplayer
Score: 9/10