At the moment of writing there’s very little discourse about Laika online, mostly contained within Steam. And with Steam reviews being Steam reviews, people are defining this game through easily identifiable correlative qualifiers. It’s set in a motorized wasteland, kinda like Mad Max! You ride a bike, so it’s Trials with a gun! The combat involves air pirouettes, literally My Friend Pedro! It’s a cartoony castleroidvania, so basically Hollow Knight! It’s easy to dismiss Laika as a hodgepodge pastiche of all things indie, especially in the season motley of overmarketed 90 metacritic releases. The best thing the developers could do in this environment was to release the demo version. It takes 15 minutes hands-on to realize you’re dealing with something special here.
When broken down to bare essentials, the ingredients are pretty familiar. It’s a 2D-sidescroller and you’re on a bike. You balance the bike with the left stick and aim the gun with the right stick. Checkpoints are plentiful but it's always a one-hit kill for you or the enemies. Except, the bike is a large hitbox that shields you from bullets, and you have very little ammo in the clip before you have to reload the gun by doing an air backflip. These two are the brilliant integrals which allow Laika gain its own, completely unique moment-to-moment language. A bump on the road that sends you flying isn’t just an obstacle – it’s an opportunity: either a defensive one to shield yourself from fire or a chance to regain ammo with an iffy flip. It leads to encounters of positional enemy prioritization, risky acrobatics, resource management and split-second decisions. It allows for boss fights that serve as ultimate tests of these particular player skills in more patterned, elaborate bouts. It’s an unusual arrangement of mechanics you definitely need to try for yourself to see if it works for you. If it does though you’ll find such a sick, satisfying system that presses many familiar buttons but plays a totally different tune.
Another structural aspect that impressed me highly is the fundamental purity of Laika’s search action pace. I tend to go on the demo hunts every Steam Next Fest season, and it appears that the current trend in metroidvania design is maximalism – more skill trees, more abilities, more gameplay modifiers, more quote on quote things to mess with. There’s nothing wrong with this approach (in fact just recently I really enjoyed Astlibra, and I’m quite excited for Tevi too), but it makes me appreciate a game like Laika, where every upgrade feels like a radical option expanding power spike. In fact there are exactly two items that give you new traversal abilities – and they are such an exciting change of paradigm that make you rethink the way you approach every gameplay moment. It’s that game from the universe where System Shock 1 was the touchstone game design classic while more numbers driven System Shock 2 was relegated to a curious footnote in history.
The voice of Laika too is diametrically different from what you expect in the medium. Through the advent of prestige sad dad games we've been completely missing stories focused on motherhood and associated female growth – and Laika is that exact tale. The explosive growth of Soulslikes prescribed exposition, The Lore, as the main worldbuilding tool – Laika defines its world without a single written description of an event. The game goes against the established flow if it can benefit from it, but where it matters – Laika preaches to the choir. As in, the anti-imperialist narrative about war, the atrocities it brings and how it warps the combatants, is, to say the least, appreciated in our current world. So are the serene moments of tranquility in-between skirmishes, accentuated by a wonderful vocal soundtrack.
As you can see, I’m very passionately dazzled by Laika. It’s one of the best game I played and artistically it came at exactly the right time. Give it a chance, don’t let it slip through the constant whirlpool of game releases. It deserves to be recognized as a classic.
When broken down to bare essentials, the ingredients are pretty familiar. It’s a 2D-sidescroller and you’re on a bike. You balance the bike with the left stick and aim the gun with the right stick. Checkpoints are plentiful but it's always a one-hit kill for you or the enemies. Except, the bike is a large hitbox that shields you from bullets, and you have very little ammo in the clip before you have to reload the gun by doing an air backflip. These two are the brilliant integrals which allow Laika gain its own, completely unique moment-to-moment language. A bump on the road that sends you flying isn’t just an obstacle – it’s an opportunity: either a defensive one to shield yourself from fire or a chance to regain ammo with an iffy flip. It leads to encounters of positional enemy prioritization, risky acrobatics, resource management and split-second decisions. It allows for boss fights that serve as ultimate tests of these particular player skills in more patterned, elaborate bouts. It’s an unusual arrangement of mechanics you definitely need to try for yourself to see if it works for you. If it does though you’ll find such a sick, satisfying system that presses many familiar buttons but plays a totally different tune.
Another structural aspect that impressed me highly is the fundamental purity of Laika’s search action pace. I tend to go on the demo hunts every Steam Next Fest season, and it appears that the current trend in metroidvania design is maximalism – more skill trees, more abilities, more gameplay modifiers, more quote on quote things to mess with. There’s nothing wrong with this approach (in fact just recently I really enjoyed Astlibra, and I’m quite excited for Tevi too), but it makes me appreciate a game like Laika, where every upgrade feels like a radical option expanding power spike. In fact there are exactly two items that give you new traversal abilities – and they are such an exciting change of paradigm that make you rethink the way you approach every gameplay moment. It’s that game from the universe where System Shock 1 was the touchstone game design classic while more numbers driven System Shock 2 was relegated to a curious footnote in history.
The voice of Laika too is diametrically different from what you expect in the medium. Through the advent of prestige sad dad games we've been completely missing stories focused on motherhood and associated female growth – and Laika is that exact tale. The explosive growth of Soulslikes prescribed exposition, The Lore, as the main worldbuilding tool – Laika defines its world without a single written description of an event. The game goes against the established flow if it can benefit from it, but where it matters – Laika preaches to the choir. As in, the anti-imperialist narrative about war, the atrocities it brings and how it warps the combatants, is, to say the least, appreciated in our current world. So are the serene moments of tranquility in-between skirmishes, accentuated by a wonderful vocal soundtrack.
As you can see, I’m very passionately dazzled by Laika. It’s one of the best game I played and artistically it came at exactly the right time. Give it a chance, don’t let it slip through the constant whirlpool of game releases. It deserves to be recognized as a classic.
Cakewalking
6 months ago
- The main drawback of the game I'd day is not playing that well on small screens. The camera sometimes zooms out really far, especially during certain bosses and you can barely make out the sprite. Not a good fit for steam deck, but it was fine on my 24 inch monitor otherwise.
- Performance is a bit shaky for a 2D sprite game (unity moment) but devs promised to work on it
- I didn't have bugs, but my system crashed to bluescreen once during the gameplay (which is my system's problem) which completely wiped my very early save. I saw at least one other steam topic with the same thing happening, so be aware.