the best ‘monster fiction’ is never about the monster and umurangi generation knows this - the monster, in this case, is neoliberalism.
-The power and futility of images
-The unreconcilable friction between self expression, documentation, and occupation
-The urgency and necessity of cultural perseverance and joy, even as bloody torrents surge through broken dams
-The act of bearing witness to the places and people whose glittering specificity will be dashed and diluted by apocryphal, self-absolving media narratives scrawled by the servants of those who erased them
-The film reel collectibles are TOO SMALL!!!!!!!!!!!!!!!
-The unreconcilable friction between self expression, documentation, and occupation
-The urgency and necessity of cultural perseverance and joy, even as bloody torrents surge through broken dams
-The act of bearing witness to the places and people whose glittering specificity will be dashed and diluted by apocryphal, self-absolving media narratives scrawled by the servants of those who erased them
-The film reel collectibles are TOO SMALL!!!!!!!!!!!!!!!
There's a story in my head that I've been searching for, searching for as long as I can remember. Somewhere along the way, I realised that I couldn't find it anywhere else, and would have to tell it myself. Until I found Umurangi Generation.
This isn't that story, exactly, but it was a hand reaching out across the vastness of digital space, resting on my shoulder, telling me I'm not alone. We're all here, all watching the same thing on the same screens, but seeing different things through different eyes. Living in the final moments before the light burns out forever, making what we can with what little we have.
Few games are so evocative and creative and atmospheric. Few works of fiction period feel so intensely relatable to me.
A modern masterpiece.
This isn't that story, exactly, but it was a hand reaching out across the vastness of digital space, resting on my shoulder, telling me I'm not alone. We're all here, all watching the same thing on the same screens, but seeing different things through different eyes. Living in the final moments before the light burns out forever, making what we can with what little we have.
Few games are so evocative and creative and atmospheric. Few works of fiction period feel so intensely relatable to me.
A modern masterpiece.
Adam Smith, in The Theory of Moral Sentiments:
“Let us suppose that the great empire of China, with all its myriads of inhabitants, was suddenly swallowed up by an earthquake, and let us consider how a man of humanity in Europe, who had no sort of connection with that part of the world, would be affected upon receiving intelligence of this dreadful calamity. He would, I imagine, first of all, express very strongly his sorrow for the misfortune of that unhappy people, he would make many melancholy reflections upon the precariousness of human life, and the vanity of all the labours of man, which could thus be annihilated in a moment. He would too, perhaps, if he was a man of speculation, enter into many reasonings concerning the effects which this disaster might produce upon the commerce of Europe, and the trade and business of the world in general. And when all this fine philosophy was over, when all these humane sentiments had been once fairly expressed, he would pursue his business or his pleasure, take his repose or his diversion, with the same ease and tranquillity, as if no such accident had happened. The most frivolous disaster which could befall himself would occasion a more real disturbance. If he was to lose his little finger to-morrow, he would not sleep to-night; but, provided he never saw them, he will snore with the most profound security over the ruin of a hundred millions of his brethren, and the destruction of that immense multitude seems plainly an object less interesting to him, than this paltry misfortune of his own.”
Regardless of the critiques one could have for Adam Smith’s philosophy (such as the ones at the core of this very game), this is a concept I think about a lot, how only the noblest and fewest of us are as driven by real tragedy as by personal issues. The unfortunate fact is that most of us would have to lose a finger before we would raise one, and at the risk of revealing myself as a part of the morally inert masses, this is what made Umurangi Generation a total miss for me. The premise seems simple, just walk around and fulfill requests for certain photos, but the real appeal is in the tragic story that’s being told in the background. There’s no direct presentation of a plot, just location after location full of details to soak in about what’s happening to this world. The environmental design and the progression of this quiet narrative are handled well, but even in the worst circumstances depicted, my little finger is still firmly on my hand. Without any personal stake or investment in what’s going on, I have a hard time caring about any of it. My friends in this story may be in terrible trouble, but they aren’t my friends, they’re the stationary and silent 3D models that have just been labeled as such. The world may be going through horrible things, but this isn’t a world I know, and I haven't been given the time or the reasons to have any connection to it. The mechanics of the core photography widen the gap between me and the world even further by introducing layer after layer of abstraction, whether that be through a time limit to take all the photos, scattering tiny little collectibles to find, or having to use very specific lenses for each shot, constantly reminding me that this is all artificial. I imagine that the game works best for the people who can draw parallels between the world of the game and the world they see around them, and thus connect to it with the same sense of reality, but as someone unable to do so, I went through it, finished it, and took my repose and diversion with the same ease and tranquillity as if it had never happened.
Addendum: This was another game taken from my suggestions list from user Cold_Comfort. Apologies for sounding fairly negative, but if a game’s unique, I would say it’s worth a look just by default, and this one certainly qualifies. I also want to give a shoutout to the developer, who actually said hi on Twitter even when I was poking fun at the game. They mentioned they used to be an armchair game critic just like me back in the day, so it was wonderful to have some assurance that I may make something worthwhile some day.
“Let us suppose that the great empire of China, with all its myriads of inhabitants, was suddenly swallowed up by an earthquake, and let us consider how a man of humanity in Europe, who had no sort of connection with that part of the world, would be affected upon receiving intelligence of this dreadful calamity. He would, I imagine, first of all, express very strongly his sorrow for the misfortune of that unhappy people, he would make many melancholy reflections upon the precariousness of human life, and the vanity of all the labours of man, which could thus be annihilated in a moment. He would too, perhaps, if he was a man of speculation, enter into many reasonings concerning the effects which this disaster might produce upon the commerce of Europe, and the trade and business of the world in general. And when all this fine philosophy was over, when all these humane sentiments had been once fairly expressed, he would pursue his business or his pleasure, take his repose or his diversion, with the same ease and tranquillity, as if no such accident had happened. The most frivolous disaster which could befall himself would occasion a more real disturbance. If he was to lose his little finger to-morrow, he would not sleep to-night; but, provided he never saw them, he will snore with the most profound security over the ruin of a hundred millions of his brethren, and the destruction of that immense multitude seems plainly an object less interesting to him, than this paltry misfortune of his own.”
Regardless of the critiques one could have for Adam Smith’s philosophy (such as the ones at the core of this very game), this is a concept I think about a lot, how only the noblest and fewest of us are as driven by real tragedy as by personal issues. The unfortunate fact is that most of us would have to lose a finger before we would raise one, and at the risk of revealing myself as a part of the morally inert masses, this is what made Umurangi Generation a total miss for me. The premise seems simple, just walk around and fulfill requests for certain photos, but the real appeal is in the tragic story that’s being told in the background. There’s no direct presentation of a plot, just location after location full of details to soak in about what’s happening to this world. The environmental design and the progression of this quiet narrative are handled well, but even in the worst circumstances depicted, my little finger is still firmly on my hand. Without any personal stake or investment in what’s going on, I have a hard time caring about any of it. My friends in this story may be in terrible trouble, but they aren’t my friends, they’re the stationary and silent 3D models that have just been labeled as such. The world may be going through horrible things, but this isn’t a world I know, and I haven't been given the time or the reasons to have any connection to it. The mechanics of the core photography widen the gap between me and the world even further by introducing layer after layer of abstraction, whether that be through a time limit to take all the photos, scattering tiny little collectibles to find, or having to use very specific lenses for each shot, constantly reminding me that this is all artificial. I imagine that the game works best for the people who can draw parallels between the world of the game and the world they see around them, and thus connect to it with the same sense of reality, but as someone unable to do so, I went through it, finished it, and took my repose and diversion with the same ease and tranquillity as if it had never happened.
Addendum: This was another game taken from my suggestions list from user Cold_Comfort. Apologies for sounding fairly negative, but if a game’s unique, I would say it’s worth a look just by default, and this one certainly qualifies. I also want to give a shoutout to the developer, who actually said hi on Twitter even when I was poking fun at the game. They mentioned they used to be an armchair game critic just like me back in the day, so it was wonderful to have some assurance that I may make something worthwhile some day.
As someone who got pretty heavy into street photography again this summer, I wanted to give this genre a second chance despite my lukewarm experience with Toem a couple months ago, but in my first impression of Umurangi Generation I just got reminded of some of the same design philosophy and issues as i had experienced back then. However I eventually found more intention here than in Toem.
The gameplay loop consists entirely of following a restriction of checklists with the photos you need to take for the game. Add to that, an incentivesed speedrun for a bonus if you complete all of the bounties in the current location below ten minutes, which seems utterly antithetical to the joy of photography.
Is the act of being a gamefied contract worker really the only possibility for these types of games? Does it really also need a ticking timer in the corner to stress me out on top of that?
And I can understand the feel for the existence of the former, but only because we are trained to expect some kind of tangible objective to follow as gamers and game designers. Umurangi Generation to my suprise actually found a way to elevate this game design obligation. (I get into that a bit further down) "If there are no conditions to be met how else could you call it a game, how else would the game know you did the thing!" could be argued. My problem with this notion is that every photography game I have played inevitably turns the inherent creativity of that artform into something different instead of searching for a way to fully embrace it.
For about fifteen minutes of trying to check off the ten-solar-panel-bounty from the list in the second level "Otumoe Tai" I was naively ignorant towards the little, extra symbol next to that objective, because I genuinely didn't even want to consider that the game asks for further, more specific restric.. I mean conditions to take my shots. I legit thought my game was bugged or some shit, but turns out I was truly a bit naive and that Umurangi Generation wants it's players to take most of their pictures with a very particular lense or distance to the sub- and objects for successful progression. In those twenty minutes my efforts at photography became really uninspired and after that realisation the recovery from this seemed pretty usless to me and the game.
The timer, which in my playthrough continued in red numbers upwards to infinity (it should just disappear after you failed or only be unlocked after your first completed run of a level) for no apparent reason other than to tease me with exactly how much time I have been wasting in this game, was not encouraging a different mindset.
There were two levels after which I gave up on trying to loose myself in "making art" and just tried to speedrun the act of pointing at the right thing with the right thing in the right way, but failed each time to get the bonus and dreaded to complete tasks in which I was asked to count a bunch of things again. If I had known this game was more about counting shit, finding specific stuff or the semi-puzzle of detecting an angle(often a single intended one, for the most egregious of the bounties to my delight illuminated by a neon green circle, which presumably also earns the player some extra cash to stand in and take their photo from but Idk) to combine multiple of the intended sub- or objects in one frame, all with, and I'll say it again, A TIMER STARING AND JUDGING YOUR EFFICIENCY, I probably wouldn't have bought it on a whim and engaged in a little more thinking feller behaviour before that. I should just stop going into games completly blind and adjust my expectations with a bit of research beyond looking at some screen shots or looking at a high number next a promising ramping curve on a Backlogged entry, smh.
Thoughtfull level design kind of alleviates some of those complaints a bit. Like when I was inside the Train a bounty asked to photograph twenty sticky notes. I knew the game wouldn't get my lazy ass to actually count all the things on my screen again, but low and behold I eyeballed it and the first snap I took of a wall in the kitchen had generously, exactly that amount of yellow squares rendered on it. Occasionally my illiterate ass got stumped by a single word in the objective (my dumbest moment, which I would like to share for the readers amusement, was seeing the words "two coffees" next to the word "downlight" in which the context of coffee made me unironically, on autopilot and by association deduct, while also not really questioning the lack of a space between the two, that "downlight" had to be an in-universe drink.. you know like bud light.. In retrospection I am fully selfaware that this was hilariously stupid, but Idc to admit this while simultaneously still blaming the game, because this was the first bounty with two entirely different genres of things, there is an overabundance of in-universe food items in this level and the term "ceiling light" exists. Lol. Hell, I should just play games, with the option available, in German. The word used in that version of the game translates literally into ceiling light and not "Einbauleuchte" as google translates my headcanon light beer,(I only looked this up after the fact tho) would have saved ten minutes of my time which I am now more than matching with this self-reporting paragraph about my own idiocy for your entertainment. Edit: I actually managed to find a streamer with an even dumber thought process than mine https://www.twitch.tv/superantonio64/v/861937373?sr=a&t=20s all love tho and the photo is pretty fire)
But man, thank god, most of these problems seem kind of more.. unimportant once world building does it's magic, the story fully lifts the curtains and the worth of the camera in your hand achieves it's, by the game intended, purpose. (I actually won't spoil that much of the story or themes in here)
Those very specific things you need to photograph lead the player to examine the Mise en scene,(unless of course they just unpluck their thinking box and only scan the enviourment for the crucial thing) so while the gameplay could feel like contract worker's fetch quest to me, the lists are admittedly kinda genius in getting the player to focus on each individual polygon, it's meaning and as a result in it's enviourmental story telling and exposition. A part of this trick Umurangi pulls, which shifted my initial annoyance about it into appreciation once I got what it was doing, were the at first glance decivingly simple descriptions which lead me to inspect every render in some of the comfortably small levels to rule each one of them out. When a prompt asks to photograph a specific word for instance, I would in tandem, even if just accidentally, read most of the sentences on a poster, graffity, the small print on a random box, the food item label, or beyond just the headline of a magazine a NPC might hold in their hands.
This got me to properly inspect the green fireflies while searching for a butterfly which lead to some cool isolated close ups of one, or aware if the large amount of cigarettes, knifes and medkits in the UN millitary camp while searching for those objectives(some of the first clues hinting that there is something more sinister going on than the rooftop photo-session like in the intro level before that), or to fully inspect the unravelling apocalypse outside a moving train while joining the flashing of a red light.
How the entire Walled City is looking for solace inside VR gaming headsets, while I was taking shots of a the word "gamers" a bunch of times. Crazy how a prompt like "photograph the word gamers 7 times" can lead to such a hard hitting declaration by the game I myself was currently escaping into. Seeing a fully armed and ready Military OP right next to a twitching dude with a VR headset tucked to his face is pretty jarring imagery. Or how your first sight in that level are a bunch of joyful folks dancing in the streets, I in an instant felt obligated to capture with my shutter, just to turn that camera lense and understand what the name "Walled City" truly encompasses.
Through this design Umurangi Generation engaged me in it's story, themes and humanity with a sharp but subliminal efficiency. All of the games I've played then forgotten in which the gorgous, painstakingly sculpted 3D models, digitally printed graphic designs, each intentfully placed static pixels on my screen transformed into backround noise after the obligatory respect for the effort, all of which are contrastingly focal in this world and even highlighted in their low-poly beauty through the gameplay of toying around with an array of lenses and settings gifted to the player.
A part of me believes that all of these observations I just attributed to the games design would have still taken place without it's reliance on checklists, but the existence of one itself gives context. Who am I taking these for? Who even pays me for it? The ominous implication of getting a fine for photographing the blue shells, which needs a bit of time to fully settle in, comes to mind. That this at first deceptively simple mechanic to get the player to be more careful with the framing and not just mindlessly waste a filmroll has genuine meaning in the story was brilliantly executed.
The music is also more than worth mentioning, but I have to admit I fell like condensing a plethora of tones and soundscapes into a few sentences, not wanting to adding another wall of text, always boils down to using genre descriptive buzzwords. In the context of this review a famous Elliot Erwitt quote on photography is fitting "The whole point of taking a picture is so that you don't have to explain things with words"
Maybe that's why I'd rather listen to, or play music than attempting to find the right ones for something that maybe can't be reduced to them and my RYM is as empty as my ball sack after listening to this OST. Anyways.
Bouncy, atmospheric synth- and drum-sample-heavy EDM, Breakbeat and Hip Hop transcends the atmosphere even further and goes hard from the moment you are greeted by the flapping vapor-waves of the penguin at the starting screen. There might be a few duds here and there, but the sheer volume and consistency in the catalogue for such a short game is impressive on it's own.
(Pretty irrelevant, but why did that MF choose the surename Adolf in his music?? Or did his parents do that to him? I couldn't find it out)
Gonna go even more off the rails here and talk about my love for street photography a bit, although truthfully the game feels more like you are a war correspondent, which I cannot speak on in the slightest and like I explained it even kinda convinced me of its game design philosophy on photography after some time and thoughts, but still.
Street photography in general seems impossible to replicate inside of a Video Game. You try to capture the slipt of a second in time, in an endless stream of movement. No looped animation circle could achieve that. Street photography specificially(hell, realistically war photography even more so, but probably for different more legitimate reasons) even if harmless can be an adrenaline rush. "Everything you've ever wanted is on the other side of fear" You'll need to be friendly, confident, subtle and bold in the same breath and not afraid of some verbal confrontation. It is kinda therapeutic to me and genuinely helps me with my, during covid developed, agrophobia and social anxiety. If they catch me while snapping it I just smile and tell them what I am doing, most of the time they don't even care. I only take pictures in touristy spots and mostly groups of old people and their dogs, but I still sometimes catch myself not wanting to disturb anyone and once I only take one picture in a span of twenty+ minutes that's when I am done for the day. I just do it for myself, to get better at it and photography.
It also lets you view the world through a different lense (bad pun intended). You start noticing and appreciating lines, shapes and people you were previously blind towards and develope an eye for when a real or interesting moment is about to unfold out of the nessecity to capture it. "All the the technique in the world doesn't compensate for the inability to notice"
There is no way a glorified screenshot in a Video Game could ever come close to that specific experience. That game would need to be a money-eating, ambitious risk and for a very niche audience. And probably the only, I hate say this next string of words, open-world-game I would get giddy for. Shit I'll just go outside and do my thing there.
Like I said I don't actually want write about or spoil the story, beyond a few observations up to the halfway point at least. Mostly because it's the one thing best experienced for yourself and someone smarter probably did a better synapsis or analyses about it. That reminds me, now I can finally, fully delve into that new Jacob Geller hood classic, this time without skipping the portion about this game. Also this review is way to long already. Holy.
I might bump the score eventually, because I am aware I sometimes like to judge games for what I wish they could have been, which is silly when a game achieves what it set out to do well enough. Despite having even more nitpicks like the finicky 3D platforming I didn't care for or that I wished the NPCs had at least some kind of reaction to shoving a camera up their faces or words to say about it and the world instead of just changing the poses of the player characters friends. The score will always be capped though, because the implementation of a timer is inexcusable to me. (I've said that like four or five times now lol, but I was just unable to ignore it in my playthrough)
The layers of presentation, the very unique branch of the low-poly (gonna throw reductive buzzwords out again) "neonpunk vapor-wave" aesthetic, the bopping OST and the detailed, environmental world building gives Umurangi Generation the worth to spend your time and money on, but I would recommend leaving the house if you go into this expecting it to scratch more than a very simple and gamefied itch for photography, although it found a way to give purpose to it's use in a slightly different context.
I actually would recommend the latter to eveyone here, in all of the ways you choose to interpretate it. Aight, imma grab my film rolls and head out.
The gameplay loop consists entirely of following a restriction of checklists with the photos you need to take for the game. Add to that, an incentivesed speedrun for a bonus if you complete all of the bounties in the current location below ten minutes, which seems utterly antithetical to the joy of photography.
Is the act of being a gamefied contract worker really the only possibility for these types of games? Does it really also need a ticking timer in the corner to stress me out on top of that?
And I can understand the feel for the existence of the former, but only because we are trained to expect some kind of tangible objective to follow as gamers and game designers. Umurangi Generation to my suprise actually found a way to elevate this game design obligation. (I get into that a bit further down) "If there are no conditions to be met how else could you call it a game, how else would the game know you did the thing!" could be argued. My problem with this notion is that every photography game I have played inevitably turns the inherent creativity of that artform into something different instead of searching for a way to fully embrace it.
For about fifteen minutes of trying to check off the ten-solar-panel-bounty from the list in the second level "Otumoe Tai" I was naively ignorant towards the little, extra symbol next to that objective, because I genuinely didn't even want to consider that the game asks for further, more specific restric.. I mean conditions to take my shots. I legit thought my game was bugged or some shit, but turns out I was truly a bit naive and that Umurangi Generation wants it's players to take most of their pictures with a very particular lense or distance to the sub- and objects for successful progression. In those twenty minutes my efforts at photography became really uninspired and after that realisation the recovery from this seemed pretty usless to me and the game.
The timer, which in my playthrough continued in red numbers upwards to infinity (it should just disappear after you failed or only be unlocked after your first completed run of a level) for no apparent reason other than to tease me with exactly how much time I have been wasting in this game, was not encouraging a different mindset.
There were two levels after which I gave up on trying to loose myself in "making art" and just tried to speedrun the act of pointing at the right thing with the right thing in the right way, but failed each time to get the bonus and dreaded to complete tasks in which I was asked to count a bunch of things again. If I had known this game was more about counting shit, finding specific stuff or the semi-puzzle of detecting an angle(often a single intended one, for the most egregious of the bounties to my delight illuminated by a neon green circle, which presumably also earns the player some extra cash to stand in and take their photo from but Idk) to combine multiple of the intended sub- or objects in one frame, all with, and I'll say it again, A TIMER STARING AND JUDGING YOUR EFFICIENCY, I probably wouldn't have bought it on a whim and engaged in a little more thinking feller behaviour before that. I should just stop going into games completly blind and adjust my expectations with a bit of research beyond looking at some screen shots or looking at a high number next a promising ramping curve on a Backlogged entry, smh.
Thoughtfull level design kind of alleviates some of those complaints a bit. Like when I was inside the Train a bounty asked to photograph twenty sticky notes. I knew the game wouldn't get my lazy ass to actually count all the things on my screen again, but low and behold I eyeballed it and the first snap I took of a wall in the kitchen had generously, exactly that amount of yellow squares rendered on it. Occasionally my illiterate ass got stumped by a single word in the objective (my dumbest moment, which I would like to share for the readers amusement, was seeing the words "two coffees" next to the word "downlight" in which the context of coffee made me unironically, on autopilot and by association deduct, while also not really questioning the lack of a space between the two, that "downlight" had to be an in-universe drink.. you know like bud light.. In retrospection I am fully selfaware that this was hilariously stupid, but Idc to admit this while simultaneously still blaming the game, because this was the first bounty with two entirely different genres of things, there is an overabundance of in-universe food items in this level and the term "ceiling light" exists. Lol. Hell, I should just play games, with the option available, in German. The word used in that version of the game translates literally into ceiling light and not "Einbauleuchte" as google translates my headcanon light beer,(I only looked this up after the fact tho) would have saved ten minutes of my time which I am now more than matching with this self-reporting paragraph about my own idiocy for your entertainment. Edit: I actually managed to find a streamer with an even dumber thought process than mine https://www.twitch.tv/superantonio64/v/861937373?sr=a&t=20s all love tho and the photo is pretty fire)
But man, thank god, most of these problems seem kind of more.. unimportant once world building does it's magic, the story fully lifts the curtains and the worth of the camera in your hand achieves it's, by the game intended, purpose. (I actually won't spoil that much of the story or themes in here)
Those very specific things you need to photograph lead the player to examine the Mise en scene,(unless of course they just unpluck their thinking box and only scan the enviourment for the crucial thing) so while the gameplay could feel like contract worker's fetch quest to me, the lists are admittedly kinda genius in getting the player to focus on each individual polygon, it's meaning and as a result in it's enviourmental story telling and exposition. A part of this trick Umurangi pulls, which shifted my initial annoyance about it into appreciation once I got what it was doing, were the at first glance decivingly simple descriptions which lead me to inspect every render in some of the comfortably small levels to rule each one of them out. When a prompt asks to photograph a specific word for instance, I would in tandem, even if just accidentally, read most of the sentences on a poster, graffity, the small print on a random box, the food item label, or beyond just the headline of a magazine a NPC might hold in their hands.
This got me to properly inspect the green fireflies while searching for a butterfly which lead to some cool isolated close ups of one, or aware if the large amount of cigarettes, knifes and medkits in the UN millitary camp while searching for those objectives(some of the first clues hinting that there is something more sinister going on than the rooftop photo-session like in the intro level before that), or to fully inspect the unravelling apocalypse outside a moving train while joining the flashing of a red light.
How the entire Walled City is looking for solace inside VR gaming headsets, while I was taking shots of a the word "gamers" a bunch of times. Crazy how a prompt like "photograph the word gamers 7 times" can lead to such a hard hitting declaration by the game I myself was currently escaping into. Seeing a fully armed and ready Military OP right next to a twitching dude with a VR headset tucked to his face is pretty jarring imagery. Or how your first sight in that level are a bunch of joyful folks dancing in the streets, I in an instant felt obligated to capture with my shutter, just to turn that camera lense and understand what the name "Walled City" truly encompasses.
Through this design Umurangi Generation engaged me in it's story, themes and humanity with a sharp but subliminal efficiency. All of the games I've played then forgotten in which the gorgous, painstakingly sculpted 3D models, digitally printed graphic designs, each intentfully placed static pixels on my screen transformed into backround noise after the obligatory respect for the effort, all of which are contrastingly focal in this world and even highlighted in their low-poly beauty through the gameplay of toying around with an array of lenses and settings gifted to the player.
A part of me believes that all of these observations I just attributed to the games design would have still taken place without it's reliance on checklists, but the existence of one itself gives context. Who am I taking these for? Who even pays me for it? The ominous implication of getting a fine for photographing the blue shells, which needs a bit of time to fully settle in, comes to mind. That this at first deceptively simple mechanic to get the player to be more careful with the framing and not just mindlessly waste a filmroll has genuine meaning in the story was brilliantly executed.
The music is also more than worth mentioning, but I have to admit I fell like condensing a plethora of tones and soundscapes into a few sentences, not wanting to adding another wall of text, always boils down to using genre descriptive buzzwords. In the context of this review a famous Elliot Erwitt quote on photography is fitting "The whole point of taking a picture is so that you don't have to explain things with words"
Maybe that's why I'd rather listen to, or play music than attempting to find the right ones for something that maybe can't be reduced to them and my RYM is as empty as my ball sack after listening to this OST. Anyways.
Bouncy, atmospheric synth- and drum-sample-heavy EDM, Breakbeat and Hip Hop transcends the atmosphere even further and goes hard from the moment you are greeted by the flapping vapor-waves of the penguin at the starting screen. There might be a few duds here and there, but the sheer volume and consistency in the catalogue for such a short game is impressive on it's own.
(Pretty irrelevant, but why did that MF choose the surename Adolf in his music?? Or did his parents do that to him? I couldn't find it out)
Gonna go even more off the rails here and talk about my love for street photography a bit, although truthfully the game feels more like you are a war correspondent, which I cannot speak on in the slightest and like I explained it even kinda convinced me of its game design philosophy on photography after some time and thoughts, but still.
Street photography in general seems impossible to replicate inside of a Video Game. You try to capture the slipt of a second in time, in an endless stream of movement. No looped animation circle could achieve that. Street photography specificially(hell, realistically war photography even more so, but probably for different more legitimate reasons) even if harmless can be an adrenaline rush. "Everything you've ever wanted is on the other side of fear" You'll need to be friendly, confident, subtle and bold in the same breath and not afraid of some verbal confrontation. It is kinda therapeutic to me and genuinely helps me with my, during covid developed, agrophobia and social anxiety. If they catch me while snapping it I just smile and tell them what I am doing, most of the time they don't even care. I only take pictures in touristy spots and mostly groups of old people and their dogs, but I still sometimes catch myself not wanting to disturb anyone and once I only take one picture in a span of twenty+ minutes that's when I am done for the day. I just do it for myself, to get better at it and photography.
It also lets you view the world through a different lense (bad pun intended). You start noticing and appreciating lines, shapes and people you were previously blind towards and develope an eye for when a real or interesting moment is about to unfold out of the nessecity to capture it. "All the the technique in the world doesn't compensate for the inability to notice"
There is no way a glorified screenshot in a Video Game could ever come close to that specific experience. That game would need to be a money-eating, ambitious risk and for a very niche audience. And probably the only, I hate say this next string of words, open-world-game I would get giddy for. Shit I'll just go outside and do my thing there.
Like I said I don't actually want write about or spoil the story, beyond a few observations up to the halfway point at least. Mostly because it's the one thing best experienced for yourself and someone smarter probably did a better synapsis or analyses about it. That reminds me, now I can finally, fully delve into that new Jacob Geller hood classic, this time without skipping the portion about this game. Also this review is way to long already. Holy.
I might bump the score eventually, because I am aware I sometimes like to judge games for what I wish they could have been, which is silly when a game achieves what it set out to do well enough. Despite having even more nitpicks like the finicky 3D platforming I didn't care for or that I wished the NPCs had at least some kind of reaction to shoving a camera up their faces or words to say about it and the world instead of just changing the poses of the player characters friends. The score will always be capped though, because the implementation of a timer is inexcusable to me. (I've said that like four or five times now lol, but I was just unable to ignore it in my playthrough)
The layers of presentation, the very unique branch of the low-poly (gonna throw reductive buzzwords out again) "neonpunk vapor-wave" aesthetic, the bopping OST and the detailed, environmental world building gives Umurangi Generation the worth to spend your time and money on, but I would recommend leaving the house if you go into this expecting it to scratch more than a very simple and gamefied itch for photography, although it found a way to give purpose to it's use in a slightly different context.
I actually would recommend the latter to eveyone here, in all of the ways you choose to interpretate it. Aight, imma grab my film rolls and head out.
There's a long list of faults I have with Umurangi. The staticness of the levels, a timer that's best left ignored, a generally very poor sense of polish and quality of life features, and an unlock system for parts that i'd say is outright awful.
But everything else, I pretty much adore. A dystopian sci-fi tale told entirely through it's environments, where the gameplay - which consists of simply exploring and taking pictures of objectives, compliments perfectly. It's a really simple conceit for the game and there's really not much depth to anything you need to do - but it gets you looking closely at the environments - and then those environments grab hold of you and don't let go.
The atmosphere here is absolutely nailed. The lo-fi beats and visual style contribute greatly to the story trying to be told here - and the story, which is basically just a slow descent into the truth of the game's world in what is a very blatant allegory for our own - and despite never saying more than a few words, it really does hit hard for me. Fortunately, the game also just works as a really neat sci-fi adventure even taking that into account.
Oh and fuck me does this game know how to do a Wham moment, with great use of music, gameplay and environments to shock the player - but never cheaply. It's honestly reminiscent of the sort of thing Hideo Kojima would do at times, and I mean that in the kindest way possible.
Finally, a word on the DLC - it's good. It's a lot more pointed and less subtle than the base game, and really gives the impression as something made with anger. It might not have worked if it weren't for its last level in particular being unbelievably strong.
The faults I mentioned at the start do frustrate to some extent. But I hope i've captured in the rest of these scatterbrain thoughts that this experience is so special they barely even matter in the grand scheme of things. Highly reccomended.
But everything else, I pretty much adore. A dystopian sci-fi tale told entirely through it's environments, where the gameplay - which consists of simply exploring and taking pictures of objectives, compliments perfectly. It's a really simple conceit for the game and there's really not much depth to anything you need to do - but it gets you looking closely at the environments - and then those environments grab hold of you and don't let go.
The atmosphere here is absolutely nailed. The lo-fi beats and visual style contribute greatly to the story trying to be told here - and the story, which is basically just a slow descent into the truth of the game's world in what is a very blatant allegory for our own - and despite never saying more than a few words, it really does hit hard for me. Fortunately, the game also just works as a really neat sci-fi adventure even taking that into account.
Oh and fuck me does this game know how to do a Wham moment, with great use of music, gameplay and environments to shock the player - but never cheaply. It's honestly reminiscent of the sort of thing Hideo Kojima would do at times, and I mean that in the kindest way possible.
Finally, a word on the DLC - it's good. It's a lot more pointed and less subtle than the base game, and really gives the impression as something made with anger. It might not have worked if it weren't for its last level in particular being unbelievably strong.
The faults I mentioned at the start do frustrate to some extent. But I hope i've captured in the rest of these scatterbrain thoughts that this experience is so special they barely even matter in the grand scheme of things. Highly reccomended.
Evangelion Snap.
it's got plenty of style, but the core loop of hunting for things on a shopping list of photos is pretty monotonous. some things seemed to fail to get checked off the list no matter how i snapped them. the time limit sucks and adds a pressure fatally detrimental to the vibes this game wants to convey. skipping and crackling audio wasn't helping things. i dunno.
El movimiento entendido como toma de posición. La posición como punto de vista, como lugar desde el que presenciar. Y el disparo entendido como la captura de un lugar en un momento específico.
Umurangi Generation propone un juego de fotografía en el apocalipsis para que, una vez el mundo acabe, nos paremos a revisar nuestro recorrido a través de nuestros propios ojos y veamos qué decidimos mirar mientras todo se terminaba.
Uno de esos casos donde uno se pregunta cómo esto no fue inventado antes.
Umurangi Generation propone un juego de fotografía en el apocalipsis para que, una vez el mundo acabe, nos paremos a revisar nuestro recorrido a través de nuestros propios ojos y veamos qué decidimos mirar mientras todo se terminaba.
Uno de esos casos donde uno se pregunta cómo esto no fue inventado antes.
evangelion de zoomer
also: photographers can double jump
also: photographers can double jump
Umurangi Generation is a game that was made for me. I love every single thing about it. It's masterful.
I love the chill and creative aspects of photography games. I love every single piece of music that was put into this game. I love the cyberpunk aesthetics and how the genre presents a shitty future that's a grim result of our actions today.
I love how these kind of indie games play around and test so well, what games as a medium can be. The impact this had on me was a lot bigger than many games that have "real storytelling". It's genius how well it transports you to very limited space one by one and gives you so much detail still. If you ever had a doubt environmental storytelling can hit you as hard as on the nose storytelling, give this a try. Not only how the environments are built and the atmosphere are great, but also how well the photography game aspect of it ties into everything. The tasks you have, the dna of this game, makes you explore every inch of the areas and feeds you with tidbits without making any of it tedious. I could've spent even more time in every area, just out of curiosity what information I might find still.
Photographing urban youth and their reality, their culture and creativity still flourishing in the face of an inevitable end, is eerie and a reminder, that the resistance we all get to see nowadays by youth and even kids, needs the support of every single one of us.
I love the chill and creative aspects of photography games. I love every single piece of music that was put into this game. I love the cyberpunk aesthetics and how the genre presents a shitty future that's a grim result of our actions today.
I love how these kind of indie games play around and test so well, what games as a medium can be. The impact this had on me was a lot bigger than many games that have "real storytelling". It's genius how well it transports you to very limited space one by one and gives you so much detail still. If you ever had a doubt environmental storytelling can hit you as hard as on the nose storytelling, give this a try. Not only how the environments are built and the atmosphere are great, but also how well the photography game aspect of it ties into everything. The tasks you have, the dna of this game, makes you explore every inch of the areas and feeds you with tidbits without making any of it tedious. I could've spent even more time in every area, just out of curiosity what information I might find still.
Photographing urban youth and their reality, their culture and creativity still flourishing in the face of an inevitable end, is eerie and a reminder, that the resistance we all get to see nowadays by youth and even kids, needs the support of every single one of us.
Killer vibe and a killer soundtrack held back by objectives that can feel tedious. Wish it was less game-y and more hangout-y; I started enjoying it a lot more when I decided to ignore the timer
Fantastic environmental storytelling in low poly, set to constant bangers. hell yeaaaaa
eco-cyber-techno-desilusão-exotista-indígena-punk
Excellent as a photography sim but horrendous as a functional game. The amount of times I clipped through the wall while trying to line up a shot was obscene. The parkour is dysfunctional and the collision is near non-existent. There was never a point where I didn't walk through the fences, stairs are unusable without mashing jump. I didn't even know you could jump until Area 3 because stuff kept flinging me in the air. It sucks because the world looks cool as hell, holds a ton of political allegory and you're given a ton of freedom to capture it in the best light possible. Plus music by ThorHighHeels? I might come back one day for a more scenic, casual exploration, but aspects of the game baffled me.
Umurangi generation is a game that wants you to observe and understand its world, its habitants and their situation using photography to capture it in your own way, but (sadly) failing miserably at it.
First off, what’s the point of making a game about observation and understanding if you add a 10min timer to the main game mode? What am I supposed to see and understand if I’m too busy searching for the stuff I need in order to go on? Oh my god. But that’s just the beginning: it’s also a game about doing what you’re told. Picture this and that, from this distance and with this lens, and we’ll give you 3 dollars for each picture if you’re lucky. Super punk stuff. Since time pretty much stands still, the world feels less like so and what you can capture with your camera is much less interesting. Having every character and object placed specifically for the player to see them and take some pictures like it’s some cyberpunk theme park seems kind of weird. Even the level design has some dubious decisions in form of object placement for the player to reach certain spots necessary to take some obligatory photos. It really makes you feel like an arbitrary being, almost like a god, observing without being seen, living without consequences, existing without feelings.
Now about the game commentary, specifically about the bias against the police forces. Fuck the police, ACAB, etc. (yes, I love politics not only in video games but also in video game reviews, fuck you) but in Umurangi they’re just doing what they’re told. There’s no abuse of power anywhere, no police brutality to be seen. They’re just guarding places, doing routine checks, shooting aliens and dying while the president is having some nice holidays somewhere else. Guess that’s what happens when the world stands still, losing context and perspective and therefore damaging its own ideas.
First off, what’s the point of making a game about observation and understanding if you add a 10min timer to the main game mode? What am I supposed to see and understand if I’m too busy searching for the stuff I need in order to go on? Oh my god. But that’s just the beginning: it’s also a game about doing what you’re told. Picture this and that, from this distance and with this lens, and we’ll give you 3 dollars for each picture if you’re lucky. Super punk stuff. Since time pretty much stands still, the world feels less like so and what you can capture with your camera is much less interesting. Having every character and object placed specifically for the player to see them and take some pictures like it’s some cyberpunk theme park seems kind of weird. Even the level design has some dubious decisions in form of object placement for the player to reach certain spots necessary to take some obligatory photos. It really makes you feel like an arbitrary being, almost like a god, observing without being seen, living without consequences, existing without feelings.
Now about the game commentary, specifically about the bias against the police forces. Fuck the police, ACAB, etc. (yes, I love politics not only in video games but also in video game reviews, fuck you) but in Umurangi they’re just doing what they’re told. There’s no abuse of power anywhere, no police brutality to be seen. They’re just guarding places, doing routine checks, shooting aliens and dying while the president is having some nice holidays somewhere else. Guess that’s what happens when the world stands still, losing context and perspective and therefore damaging its own ideas.
Just... feeling really underwhelmed. Maneuvering yourself via horrible controls through scenarios that fail to feel alive. Any hint of authenticity drops when you're given arbitrary objectives that mean nothing (yet you get money for some reason). Its narrative clashes with its gameplay. The characters the game frames as "your friends" serve no purpose but to pose for your photos. You can bing bing wahoo your way to the UN's military tent and come out unscathed, despite there being a message about the use of oppressive force. The game acknowledges there is no reason to judge you on your pictures, since beauty is in the eye of the beholder. Then why is there money to be gained from them? Why give you these nonsensical objectives? Why gatekeep equipment behind them?
"But it's a photography game!" You might say. But it stopped being that the moment the game placed me in the context of a dying world. It wasn't a game about filling an objective list anymore. When I wanted to understand the world, all I got was surface level commentary that's been part of the aesthetic for years. Despite my investment to see Umurangi Generation rise above the path that it started to tread, it was determined to be the same as it was from the beginning, through and through.
And yet, I find myself with conflicting feelings. Are the same things that I complain about part of the message? The price tag attached to every photo is an indication that capitalism will makes us work our asses off even when the world is about to meet its demise. The system continues to profit of off disaster, even if that disaster will mean death for the world.
Hopelessness is felt all throughout every other civilian you come across, with the end of the world being met with tiresome eyes. What are we even supposed to do...?
This perspective only troubles me. Does Umurangi Generation really hold such a cynical view of our future? What can we do to stray from it, if we even can...? I'm not sure what to make of it.
I cannot read the future, and this game can't either. "The last generation who has to watch the world die". I hope we do not meet the same fate.
"But it's a photography game!" You might say. But it stopped being that the moment the game placed me in the context of a dying world. It wasn't a game about filling an objective list anymore. When I wanted to understand the world, all I got was surface level commentary that's been part of the aesthetic for years. Despite my investment to see Umurangi Generation rise above the path that it started to tread, it was determined to be the same as it was from the beginning, through and through.
And yet, I find myself with conflicting feelings. Are the same things that I complain about part of the message? The price tag attached to every photo is an indication that capitalism will makes us work our asses off even when the world is about to meet its demise. The system continues to profit of off disaster, even if that disaster will mean death for the world.
Hopelessness is felt all throughout every other civilian you come across, with the end of the world being met with tiresome eyes. What are we even supposed to do...?
This perspective only troubles me. Does Umurangi Generation really hold such a cynical view of our future? What can we do to stray from it, if we even can...? I'm not sure what to make of it.
I cannot read the future, and this game can't either. "The last generation who has to watch the world die". I hope we do not meet the same fate.
it's like Sonic Dreams Collection but with systemic silencing of self expression instead of vore
Static places that are already fixed in time and space, is photography worthless there? Well, there comes perspective as a way of reinterpreting those places, emphasizing what the photographer considers most important.
But before the player can put their subjective view there are objectives to complete. While a weird decision, to say the least, I can welcome the developers giving a guiding hand to help lazier people (like me) in appreciating the details of these spaces. But what is it that the developers emphasize with these objectives? I’m sorry but I hope it is understandable that I don’t really have much energy left after making me shoot “a text that reads 'Property of the UN' in a sarcastic tone” or “a picture that contains ‘Gamer’ at least 7 times” (I don’t need to search for neoliberalism when it is all over the place), applying some filters to the photos, doing all of that hopefully in less than 10 minutes and then getting paid some money.
At least after that I can give it a rest and now take on a more free view of the stages. But I’m still unconvinced. The world is ending so I get the carefree youth trying to enjoy what they have left with the 15 years old nihilism written on the walls, I’ll let that slip. The critique of the world capitalizing the worst disaster even when the world is about to end is neat, definitely shows that the game was developed through 2020. The critique to cops and military forces? That’s another story. Countless messages written on walls denouncing how bad cops are and how hollow it ends up being a soldier. But then you turn around and what are these supposedly bad forces doing? Soldiers fighting the aliens with all they have in order to protect humanity? I understand the duality between the youth that has already accepted the end and the forces that refuse to give up, but neither of them are exactly doing anything bad, just dealing with the inevitable as best as they can.
What is left? I’ll go and ignore everything and take a picture of all my friends, nothing can take that away no matter when and where. Everyone on frame... 3, 2, 1…
“3.17$ COLORFUL DETAILED FISH EYE GROUP”
But before the player can put their subjective view there are objectives to complete. While a weird decision, to say the least, I can welcome the developers giving a guiding hand to help lazier people (like me) in appreciating the details of these spaces. But what is it that the developers emphasize with these objectives? I’m sorry but I hope it is understandable that I don’t really have much energy left after making me shoot “a text that reads 'Property of the UN' in a sarcastic tone” or “a picture that contains ‘Gamer’ at least 7 times” (I don’t need to search for neoliberalism when it is all over the place), applying some filters to the photos, doing all of that hopefully in less than 10 minutes and then getting paid some money.
At least after that I can give it a rest and now take on a more free view of the stages. But I’m still unconvinced. The world is ending so I get the carefree youth trying to enjoy what they have left with the 15 years old nihilism written on the walls, I’ll let that slip. The critique of the world capitalizing the worst disaster even when the world is about to end is neat, definitely shows that the game was developed through 2020. The critique to cops and military forces? That’s another story. Countless messages written on walls denouncing how bad cops are and how hollow it ends up being a soldier. But then you turn around and what are these supposedly bad forces doing? Soldiers fighting the aliens with all they have in order to protect humanity? I understand the duality between the youth that has already accepted the end and the forces that refuse to give up, but neither of them are exactly doing anything bad, just dealing with the inevitable as best as they can.
What is left? I’ll go and ignore everything and take a picture of all my friends, nothing can take that away no matter when and where. Everyone on frame... 3, 2, 1…
“3.17$ COLORFUL DETAILED FISH EYE GROUP”
Umurangi é sobre ser o último a ver o mundo morrer, apagar as luzes antes de sair. O verbo é ver, literalmente, pois o que podemos fazer é apenas presenciar e registrar, em filmes que ninguém verá. O plano de fundo toma inspiração muito clara e direta do Terceiro Impacto de Evangelion, com um vetor anti-colonialista havaiano dando uma direção política interessante ao fim do mundo que retratamos - os heróis e os vilões não são óbvios, e o fim sempre é uma bagunça. Diante da impotência, apenas nos resta viver: dançar, pintar, encontrar na comunidade uma euforia que acompanha e precede um luto contínuo - alguns já se foram, e o seu futuro não existe mais.
Ainda que não seja do tipo de vaguear por mundos digitais, me senti um pouco comprimido pelos objetivos rígidos de cada fase: tire X foto com Y lente. Sinto que foram colocados para guiar o seu olho por pontos de interesse, porém achei que, ligados a um timer e a alguns bugs no reconhecimento das fotos, distraem o jogador de absorver totalmente o ambiente e tirar as fotos que realmente quer tirar. Como tiramos essas fotos por dinheiro que não temos como gastar em funcionalidades de gameplay, há quiçá um certo comentário sobre como até no fim do mundo: a última geração ainda precisa de freela pra viver.
Quando se trata de fotografia, sou uma batata. Não entendo de composição, edição, lentes e boas práticas. Ainda assim, gosto de tirar fotos, especialmente quando consigo através delas capturar uma sensação, ou uma narrativa - ainda que através de um olho destreinado, com resultados porcos que muitas vezes só fazem sentido para mim. Umurangi Generation me deu um cenário cativante para fazer isso, e até me ensinou um pouquinho sobre como tirar fotos de um jeito em que ainda seja meu. O mundo deles pode ter morrido, mas fica nas minhas memórias e na galeria, desconfortavelmente enfiada no fundo de users\[username]\AppData\LocalLow\ORIGAME DIGITAL\Umurangi Generation. Imagina como foi achar isso no Steam Deck.
Ainda que não seja do tipo de vaguear por mundos digitais, me senti um pouco comprimido pelos objetivos rígidos de cada fase: tire X foto com Y lente. Sinto que foram colocados para guiar o seu olho por pontos de interesse, porém achei que, ligados a um timer e a alguns bugs no reconhecimento das fotos, distraem o jogador de absorver totalmente o ambiente e tirar as fotos que realmente quer tirar. Como tiramos essas fotos por dinheiro que não temos como gastar em funcionalidades de gameplay, há quiçá um certo comentário sobre como até no fim do mundo: a última geração ainda precisa de freela pra viver.
Quando se trata de fotografia, sou uma batata. Não entendo de composição, edição, lentes e boas práticas. Ainda assim, gosto de tirar fotos, especialmente quando consigo através delas capturar uma sensação, ou uma narrativa - ainda que através de um olho destreinado, com resultados porcos que muitas vezes só fazem sentido para mim. Umurangi Generation me deu um cenário cativante para fazer isso, e até me ensinou um pouquinho sobre como tirar fotos de um jeito em que ainda seja meu. O mundo deles pode ter morrido, mas fica nas minhas memórias e na galeria, desconfortavelmente enfiada no fundo de users\[username]\AppData\LocalLow\ORIGAME DIGITAL\Umurangi Generation. Imagina como foi achar isso no Steam Deck.
despite being about photography, this is one of the angriest games i've ever played and it fucks ridiculously hard because of that
Unsubtle and unabashed, this game goes for the jugular at every opportunity. If someone asks me fifteen years from now "what was living in 2020 like?" this will be my answer.
When the world is ending and all you have is a camera, how do you make your way across all the visual stimulus, all the cluttered cities, all the people, all the things lying on the floor? How do you capture a youth that just wants to be, how do you capture the things that matter?
Then, you open your gallery folder, scroll through the several photos and think to yourself: "What was I thinking when I took this?"
Then, you open your gallery folder, scroll through the several photos and think to yourself: "What was I thinking when I took this?"
Umurangi Generation is the shitty future we occupy, the compromises and pain and small moments of joy all combusting at once. There are no good choices left, they’ve all been stolen from us. What do you do when the world’s on fire but you’re hungry and the landlord’s demanding rent? At what point does the dark comedy of capitalism finally break? Umurangi knows we’ve passed the point of no return but have to keep living like we still have time. It acknowledges our anger but refuses to give up on the people left behind.
I fucking hate the United Nations
I climbed atop a city flooded by concrete and ran out of film under a red sky. Wow.
I became interested in this game after Jan Ochoa on GiantBomb had been hyping it up a loooong time ago but didn't buy it because I was preoccupied with work and longer JRPG's at the time. Now that it's out on game pass I finally got a chance to check it out. Umurangi Generation is a short camera-based experience in which you snatch photos around a dystopian landscape crafted in an awesome artstyle. The commentary about society and politics in the environment is probably explained elsewhere very well, but I found it to add to the intrigue of the game to a positive degree.
The best part about Umurangi though without a shadow of a doubt is the ThorHighHeels soundtrack, the world needs more ThorHighHeels. Definitely check this out if you have Game Pass.
The best part about Umurangi though without a shadow of a doubt is the ThorHighHeels soundtrack, the world needs more ThorHighHeels. Definitely check this out if you have Game Pass.
Very viby
Something I wanted to love a lot more than I did.
First the positives: ThorHighHeels/Adolf Nomura created a fantastic, irreverent soundtrack for this thing that surprised me constantly. The Jet Set Radio influences are apparent and that's certainly not a bad thing, funky beats abound. The soundtrack can also be surprisingly funny at points, oftentimes when a new track started I would pause for a moment just to listen to its weird off kilter groove or the often hilarious text to speech stuff.
The visual aesthetic is also great. I was one of those people who not so long ago thought "who would ever make retro games with a PS1/N64 aesthetic as we do with NES/SNES games, the early 3D era has aged so poorly graphically" and I have to say I was an absolute fool. The more recent crop of early 3D inspired indie games have tons of charm and especially in its later levels this game does some incredible things with its aesthetic.
The story here is a mixed bag for me. I think the critiques on display here of neoliberalism and concerns over climate change are pointed for sure, but pretty surface level too. On a personal level the game really never made me feel much of anything except for in the final level. I do appreciate the insights into New Zealand history that this game provides and felt those elements were some of the most personally interesting (I already know the world is fucked, give me an actual take on it). But this brings me to my biggest problem...
The gameplay and the context. The game's tutorial emphasizes that art is subjective and then the actual game design is so railroaded. For each level the game gives you a list of things you must take photos of, often with a specific type of lens. This is so infuriatingly arbitrary and not interesting, especially in the later levels. I think the intent for some of those later levels was for it to be a "puzzle" of sorts to figure out what sort of insane angle you'll need to line up 3 lanterns with a telephoto lens, but this runs totally counter to all the game's punk sensibilities! It's not enjoyable or engaging and most of the bounties aren't even getting you to think of your surroundings in a different way or getting you to engage with the story. They feel so forced.
This is why I think the context is also a problem. Who am I in this world and why am I doing any of this? If I had the freedom to express myself through photographing this place I certainly wouldn't be choosing to take a picture of 3 lanterns. You have a 10 minute time limit to get a bonus on each level, which also runs counter to the game's design (how am I supposed to explore and soak in all the details of this world if I'm constantly under time pressure) but even worse, it's not justified? Once you've taken all the photos you have to "deliver the parcel" to complete the level. Who am I delivering these photos to? Are they the ones paying me? Why do they want these arbitrary pictures and why do they want them in 10 minutes? The actual gameplay of this game feels so far removed from the world the game takes place in.
So this ended up being a bit of a long one. It was a game I really vibed with but had so many frustrating choices that it ended up disappointing me a bit. The biggest indictment I think is that the game felt shockingly limp emotionally despite it's charged messages. I am still glad I played it though and plan to play the Macro DLC in the near future, which people seem to have very polarizing opinions about. Hope I enjoy that more!!
EDIT: I did not :/ review for Macro can be found here (a lot shorter) https://www.backloggd.com/u/Hylianhero777/review/156218/
First the positives: ThorHighHeels/Adolf Nomura created a fantastic, irreverent soundtrack for this thing that surprised me constantly. The Jet Set Radio influences are apparent and that's certainly not a bad thing, funky beats abound. The soundtrack can also be surprisingly funny at points, oftentimes when a new track started I would pause for a moment just to listen to its weird off kilter groove or the often hilarious text to speech stuff.
The visual aesthetic is also great. I was one of those people who not so long ago thought "who would ever make retro games with a PS1/N64 aesthetic as we do with NES/SNES games, the early 3D era has aged so poorly graphically" and I have to say I was an absolute fool. The more recent crop of early 3D inspired indie games have tons of charm and especially in its later levels this game does some incredible things with its aesthetic.
The story here is a mixed bag for me. I think the critiques on display here of neoliberalism and concerns over climate change are pointed for sure, but pretty surface level too. On a personal level the game really never made me feel much of anything except for in the final level. I do appreciate the insights into New Zealand history that this game provides and felt those elements were some of the most personally interesting (I already know the world is fucked, give me an actual take on it). But this brings me to my biggest problem...
The gameplay and the context. The game's tutorial emphasizes that art is subjective and then the actual game design is so railroaded. For each level the game gives you a list of things you must take photos of, often with a specific type of lens. This is so infuriatingly arbitrary and not interesting, especially in the later levels. I think the intent for some of those later levels was for it to be a "puzzle" of sorts to figure out what sort of insane angle you'll need to line up 3 lanterns with a telephoto lens, but this runs totally counter to all the game's punk sensibilities! It's not enjoyable or engaging and most of the bounties aren't even getting you to think of your surroundings in a different way or getting you to engage with the story. They feel so forced.
This is why I think the context is also a problem. Who am I in this world and why am I doing any of this? If I had the freedom to express myself through photographing this place I certainly wouldn't be choosing to take a picture of 3 lanterns. You have a 10 minute time limit to get a bonus on each level, which also runs counter to the game's design (how am I supposed to explore and soak in all the details of this world if I'm constantly under time pressure) but even worse, it's not justified? Once you've taken all the photos you have to "deliver the parcel" to complete the level. Who am I delivering these photos to? Are they the ones paying me? Why do they want these arbitrary pictures and why do they want them in 10 minutes? The actual gameplay of this game feels so far removed from the world the game takes place in.
So this ended up being a bit of a long one. It was a game I really vibed with but had so many frustrating choices that it ended up disappointing me a bit. The biggest indictment I think is that the game felt shockingly limp emotionally despite it's charged messages. I am still glad I played it though and plan to play the Macro DLC in the near future, which people seem to have very polarizing opinions about. Hope I enjoy that more!!
EDIT: I did not :/ review for Macro can be found here (a lot shorter) https://www.backloggd.com/u/Hylianhero777/review/156218/
"Dedicated to the Umurangi Generation. The last generation that has to watch the world die."
There are some artistic expressions - whether it be anything from paintings to media - that are easy to talk about, but difficult to give a singular rating. Some are admirable in their messiness, their amateur qualities, and their strange design decisions. Some of these pieces of art... are just bad and good at the same time.
Umurangi Generation is NOT 'good' in many mainstream senses. It has solid ideas mechanically, but hides them behind unnecessary objectives. Its story is intriguing and emotionally driven, but this is often overshadowed by the asinine time limit forced upon you. Its level design varies wildly from fantastic to mediocre.
So why, then, do I have a difficult time rating the game as I have? Why do I still want to call the game 'good' despite the numerous flaws which turned me off while playing?
The only answer I can come up with is its pure earnestness. Umurangi Generation is a chaotic experience, with so many ups and downs, and a few parts that are just unpleasant. But it wears its narrative on its sleeve. It makes obvious the creator's passion for photography, and allows non-photographers to see the world through their eyes - everything is a piece of art waiting to be realized. It boldly goes to places that many games like it would not risk going to. And those are the reasons that I find myself forgiving it a bit for its flaws.
SHORT REVIEW
Visuals: 4/5
Audio: 4/5
Story: 4/5
Gameplay: 1.5/5
Worldbuilding: 4/5
Overall game score: 3.5/5
IN-DEPTH REVIEW
Visuals:
UG's graphics revel in simplicity, harkening back to PS1-era games. Faces are flat with cartoonish expressions pasted onto them. Distant buildings are nothing more than a cube with a roof attached. There are no textures, and next-to-no small visual details. It's an obvious first stab at a full-fledged game by a new dev - but, in this case, it actually works well.
See, instead of shooting for realism, UG shifts its focus to composition, color, and interesting set pieces. These are things that matter in real photography, after all. No space is wasted; every inch of every area has something to capture with your camera. The red water, the bright graffiti, the funny signs, and everything in-between make for good backgrounds (or even subjects.)
I won't lie and say that an Umurangi Generation with better graphics isn't an appealing thought. The idea of a photography game with that level of detail - provided by a bigger team and a more advanced engine - would be so fun to explore. Unfortunately, I doubt any big devs out there would spend so much time on this genre, so I doubt we'll ever see it. And, in that case, I'm happy with UG; I admire the impressive qualities it DOES have.
It particularly excels in visual worldbuilding. For example, take its neon graffiti and dystopic movie posters. They both provide a provocative peek into the society of UG, while directly opposing each other idealogically; the graffiti reflects how the youth feel about current events - often hopeless, lost, and angry - while the posters reflect what the government shoves down their throats - "The military are saints! Worship them as heroes!"
The background characters reinforce those opposing viewpoints even more. People you align yourself with are punk head to toe, with mohawks, colored hair, and leather jackets. Meanwhile, uniformed soldiers patrol the streets, holding guns and wearing helmets. This is a world totally distraught - and you're living it.
Overall, 4/5.
Audio:
I adore 'eccentric' music. My favorite songs are often those that use random soundbytes, unique beats, strange lyrics, and unsettling vibes. So, if you've heard any of UG's soundtrack, it would be easy to assume that I'd love it just the same. After all, it's all of the things I just listed - and so much more!
Well, the bad thing about this kind of genre is that it's not always going to 'click'. I guess most anything has a crowd that dislike it, don't get it, and find it objectively poor quality. While I wouldn't go so far as to say any of that about the UG soundtrack, I did find it to be a bit of a nuisance while playing.
On the one hand, I love the fun, groovy, and surreal layers the tunes add to the atmosphere. But on the other, they tend to be loud, annoying, and intrusive; instead of blending in with the background, they bombastically demand your attention, distracting from the world and gameplay.
But I will say this. As I relistened to the tracks while writing this review, I found a new appreciation for them. The electronic beats and funny voiceovers fit the game's vibe so well, encapsulating its unique, youthful, and rebellious spirit. The oft-chaotic energy they bring make the slow gameplay feel more lively. They're all short, too, keeping you on your toes as they bounce from one crazy idea to the next. You never know what you're going to get - a wailing siren overlayed with a man's voice, or a catchy, relaxed beat mixed with beautiful flute playing.
While I do still find a few of the songs to be too in-your-face (I really, really don't need to hear a shrill dog bark for two minutes), the overall quality is way too good for me to downplay. Each track is something different and totally special. That, mixed with the occasional click of your camera, makes for a lovely experience.
Overall, 4/5.
Story:
[Spoilers for this whole section.]
Umurangi Generation puts you in the shoes of a punk street photographer. You hang out with your friends, travel to all sorts of places, and observe the world around you. While doing so, you have one main task: simply snap photos of objects and landscapes for an unknown buyer.
It's a straightforward concept. There's really no reason to build a strong narrative in UG; after all, gamifying a specific hobby/job (photography, cooking, fashion designing, etc.) often means neglecting the story to focus on mechanics.
But Umurangi Generation refuses this very notion. It does not treat its plot elements as secondary. Instead, it creates an experience that draws you in with the gameplay, then sinks its teeth into you with the story.
As you move from level to level, capturing little moments in time, a tragic story begins to unfold around you; the world is - quite literally - coming to an end. There are newborn, blob-like aliens strewn everywhere. The cities are dystopic, controlled by militia in a vain attempt to protect citizens from the looming threat. The punk youth rebel with graffiti and gatherings.
But during all of this, you continue to carry your camera. You photograph both the soldiers and the rebels. You navigate each strange place to capture the strangely beautiful things that still surround you, even during the apocalypse. A mother and her child, a gathering of friends, a piece of art, a memorial. Down to its final moments, humanity refuses to give up.
You spend your last day on a rooftop hangout with friends. Even as the sky burns red and the world crumbles around you, they are relaxed. You snap photos of them as they model for you; you hang out with them like it's any other day. Is it that refusal to give in, even in the face of the inevitable, which keeps a smile on their faces? Or is it a grudging acceptance that has become engrained in our generation - the cynical outlook that no matter how hard we fight, some things will happen no matter what, so why bother?
War, global warming, industrialization. Any one of these things could cause the extinction of our species, yet they continue to happen decade after decade. Are we to rage what could be a futile battle against those with more power than us, or do we accept what's happening while taking solace in the little things that we do still have?
I don't think Umurangi Generation has the answer. I don't, either. But it's a poignant view of where a society past saving has ended up. All you CAN do now is find solace in the people you love and the hobbies you enjoy.
The game is a little too on-the-nose sometimes, a little too punchy with its takes and humor. It could have been a lot more expansive and interesting, too. But at its heart, UG shares a message for the last generation - the generation that has to watch the world die.
You aren't alone. Love while you can. Live until your very last breath.
Overall, 4/5.
Gameplay:
I really wish I could say that UG's gameplay equaled the story and presentation in quality. It shouldn't be difficult for it to do so - all I expect is to be able to take pretty pictures. Unfortunately, UG managed to make nearly every one of its mechanics frustrating and counter-intuitive.
For starters, the unnecessary 10 minute time limit completely ruins the pacing. Instead of having freedom to explore the beautiful and interesting levels, you feel rushed to get through them as quickly as possible. It also limits how long you have to think up cool photo ideas, line up shots, or find new angles. And while you can't get a 'game over', you DO lose out on special gear if you pass 10 minutes, so the game definitely incentivizes this hurrying.
Then there are the annoyingly specific objectives. You lack freedom in this way, too - instead of flexing your creativity, you're stuck photographing exactly what UG demands. It will sometimes even direct you on which lens to use, or what distance to shoot from.
I'd go so far as to say that the particularity of some objectives feels more like a puzzle game than photography. I even had to use a guide a few times. It's just not very fun to find the one spot in a level where I can cram five American flags into one close-up. It ruins the immersion, and makes me enjoy the game a lot less.
You are given ten minutes for each area. You are told what to take photos of. You earn money that counts toward absolutely nothing. For a game that puts so much emphasis on rebellion and counterculture, you are strangely confined to play in a particular way - with pointless currency thrown in, just to top it all off.
Then, there's the disappointing level design. It starts off strong; everything is fun, colorful, and intriguing, with lots of nooks and crannies to inspect. But as times goes on, the areas become more cramped and cluttered. Combine this with the game's forced objectives, and it makes for a very unfun time.
That's not to say that every level had to be huge, sprawling, and open, of course. But I really don't appreciate being confined to a tiny train - ESPECIALLY when I also have a list of required objectives. There's even less player choice in how to fulfill these by this point; there's pretty much only one specific way to get each photo, with no physical room to choose an angle or viewpoint.
And, finally, I must address the controls. Now, the idea of a parkour-style photography game is really enticing, and UG DOES have the building blocks for one. There are many beams, stairs, and platforms to climb; not only does this provide more exploration opportunities, but it creates many new photo angles as well. Fluid controls and a more streamlined focus would make these elements even better - while also making the simple act of getting around fun, too!
Unfortunately, none of the movement in UG actually feels good. Maneuvering the world is a pain in the ass, to put it lightly. The protagonist is slow and stiff, and many jumps are just out of reach. I wish I could say that it's at least serviceable, but unfortunately, it isn't.
The ONE redeeming quality of UG's gameplay is the photography itself. There are so many gorgeous visuals to capture, and lots of cool lenses and mods to make them even more special. I had so much fun just losing myself in each level (once I stopped worrying about the time limit, that is), finding interesting things to snap, and executing ideas I'd come up with on my own. Choosing the saturation, the color balance, the focus. It's such a great core concept. It sucks that everything around it drags it down.
Overall, 1.5/5.
---
Worldbuilding:
UG's story simply wouldn't be as good as it is without some truly great worldbuilding to carry it. After all, what emotional impact would the climax and ending have if there wasn't a captivating planet to get attached to in the first place?
The punk kids who throw parties in the street. The civilian-turned-soldiers who just want to fight to save their home. The outcast, tightknit community who fiercely honor those lost. And - most importantly - the friends who stay by your side no matter where you go.
Every single one of these people desperately wants to keep their world alive. Every new level you visit makes it painfully clear what will be lost; they hammer home the mass helplessness that is felt. If nothing else, they themselves are worth protecting, no?
Maybe there's not a lot of history on what this dystopian Earth was like before it all went to shit, but the depth given to its current events more than make up for it. The world is so perfectly special, almost surreal in the way it approaches the themes it speaks on. The sky slowly reddens as the end draws near, a constant reminder of the environmental changes happening around you. The graffiti glows an unnatural neon hue, lending to the punkish, rebellious nature of the game. Citizens in the city lose themselves in VR, collapsed in alleyways as they desperately attempt to escape reality.
All the while, the apocalypse is slowly seeping its way into the world. It's always there, creeping up on you, but you probably won't notice until it's too late. You were too distracted to read the warning signs. Then, it fully unleashes itself with a bang. And that, in a way, perfectly encapsulates Umurangi Generation. These changes are happening all around us, but we are indifferent to them.
Overall, 4/5.
Overal game score: 3.5/5. Umurangi Generation is a stylish, eccentric experience that is, unfortunately, let down by its gameplay. It's so different from anything else I've reviewed, with a wholly unique presentation and story. It's a real bummer that the time limits and forced objectives take away from it so much. But, while I must warn against the terrible mechanics, the game is still worth a look if you have the time to spare. There's a lot of love and passion put into it.
There are some artistic expressions - whether it be anything from paintings to media - that are easy to talk about, but difficult to give a singular rating. Some are admirable in their messiness, their amateur qualities, and their strange design decisions. Some of these pieces of art... are just bad and good at the same time.
Umurangi Generation is NOT 'good' in many mainstream senses. It has solid ideas mechanically, but hides them behind unnecessary objectives. Its story is intriguing and emotionally driven, but this is often overshadowed by the asinine time limit forced upon you. Its level design varies wildly from fantastic to mediocre.
So why, then, do I have a difficult time rating the game as I have? Why do I still want to call the game 'good' despite the numerous flaws which turned me off while playing?
The only answer I can come up with is its pure earnestness. Umurangi Generation is a chaotic experience, with so many ups and downs, and a few parts that are just unpleasant. But it wears its narrative on its sleeve. It makes obvious the creator's passion for photography, and allows non-photographers to see the world through their eyes - everything is a piece of art waiting to be realized. It boldly goes to places that many games like it would not risk going to. And those are the reasons that I find myself forgiving it a bit for its flaws.
SHORT REVIEW
Visuals: 4/5
Audio: 4/5
Story: 4/5
Gameplay: 1.5/5
Worldbuilding: 4/5
Overall game score: 3.5/5
IN-DEPTH REVIEW
Visuals:
UG's graphics revel in simplicity, harkening back to PS1-era games. Faces are flat with cartoonish expressions pasted onto them. Distant buildings are nothing more than a cube with a roof attached. There are no textures, and next-to-no small visual details. It's an obvious first stab at a full-fledged game by a new dev - but, in this case, it actually works well.
See, instead of shooting for realism, UG shifts its focus to composition, color, and interesting set pieces. These are things that matter in real photography, after all. No space is wasted; every inch of every area has something to capture with your camera. The red water, the bright graffiti, the funny signs, and everything in-between make for good backgrounds (or even subjects.)
I won't lie and say that an Umurangi Generation with better graphics isn't an appealing thought. The idea of a photography game with that level of detail - provided by a bigger team and a more advanced engine - would be so fun to explore. Unfortunately, I doubt any big devs out there would spend so much time on this genre, so I doubt we'll ever see it. And, in that case, I'm happy with UG; I admire the impressive qualities it DOES have.
It particularly excels in visual worldbuilding. For example, take its neon graffiti and dystopic movie posters. They both provide a provocative peek into the society of UG, while directly opposing each other idealogically; the graffiti reflects how the youth feel about current events - often hopeless, lost, and angry - while the posters reflect what the government shoves down their throats - "The military are saints! Worship them as heroes!"
The background characters reinforce those opposing viewpoints even more. People you align yourself with are punk head to toe, with mohawks, colored hair, and leather jackets. Meanwhile, uniformed soldiers patrol the streets, holding guns and wearing helmets. This is a world totally distraught - and you're living it.
Overall, 4/5.
Audio:
I adore 'eccentric' music. My favorite songs are often those that use random soundbytes, unique beats, strange lyrics, and unsettling vibes. So, if you've heard any of UG's soundtrack, it would be easy to assume that I'd love it just the same. After all, it's all of the things I just listed - and so much more!
Well, the bad thing about this kind of genre is that it's not always going to 'click'. I guess most anything has a crowd that dislike it, don't get it, and find it objectively poor quality. While I wouldn't go so far as to say any of that about the UG soundtrack, I did find it to be a bit of a nuisance while playing.
On the one hand, I love the fun, groovy, and surreal layers the tunes add to the atmosphere. But on the other, they tend to be loud, annoying, and intrusive; instead of blending in with the background, they bombastically demand your attention, distracting from the world and gameplay.
But I will say this. As I relistened to the tracks while writing this review, I found a new appreciation for them. The electronic beats and funny voiceovers fit the game's vibe so well, encapsulating its unique, youthful, and rebellious spirit. The oft-chaotic energy they bring make the slow gameplay feel more lively. They're all short, too, keeping you on your toes as they bounce from one crazy idea to the next. You never know what you're going to get - a wailing siren overlayed with a man's voice, or a catchy, relaxed beat mixed with beautiful flute playing.
While I do still find a few of the songs to be too in-your-face (I really, really don't need to hear a shrill dog bark for two minutes), the overall quality is way too good for me to downplay. Each track is something different and totally special. That, mixed with the occasional click of your camera, makes for a lovely experience.
Overall, 4/5.
Story:
[Spoilers for this whole section.]
Umurangi Generation puts you in the shoes of a punk street photographer. You hang out with your friends, travel to all sorts of places, and observe the world around you. While doing so, you have one main task: simply snap photos of objects and landscapes for an unknown buyer.
It's a straightforward concept. There's really no reason to build a strong narrative in UG; after all, gamifying a specific hobby/job (photography, cooking, fashion designing, etc.) often means neglecting the story to focus on mechanics.
But Umurangi Generation refuses this very notion. It does not treat its plot elements as secondary. Instead, it creates an experience that draws you in with the gameplay, then sinks its teeth into you with the story.
As you move from level to level, capturing little moments in time, a tragic story begins to unfold around you; the world is - quite literally - coming to an end. There are newborn, blob-like aliens strewn everywhere. The cities are dystopic, controlled by militia in a vain attempt to protect citizens from the looming threat. The punk youth rebel with graffiti and gatherings.
But during all of this, you continue to carry your camera. You photograph both the soldiers and the rebels. You navigate each strange place to capture the strangely beautiful things that still surround you, even during the apocalypse. A mother and her child, a gathering of friends, a piece of art, a memorial. Down to its final moments, humanity refuses to give up.
You spend your last day on a rooftop hangout with friends. Even as the sky burns red and the world crumbles around you, they are relaxed. You snap photos of them as they model for you; you hang out with them like it's any other day. Is it that refusal to give in, even in the face of the inevitable, which keeps a smile on their faces? Or is it a grudging acceptance that has become engrained in our generation - the cynical outlook that no matter how hard we fight, some things will happen no matter what, so why bother?
War, global warming, industrialization. Any one of these things could cause the extinction of our species, yet they continue to happen decade after decade. Are we to rage what could be a futile battle against those with more power than us, or do we accept what's happening while taking solace in the little things that we do still have?
I don't think Umurangi Generation has the answer. I don't, either. But it's a poignant view of where a society past saving has ended up. All you CAN do now is find solace in the people you love and the hobbies you enjoy.
The game is a little too on-the-nose sometimes, a little too punchy with its takes and humor. It could have been a lot more expansive and interesting, too. But at its heart, UG shares a message for the last generation - the generation that has to watch the world die.
You aren't alone. Love while you can. Live until your very last breath.
Overall, 4/5.
Gameplay:
I really wish I could say that UG's gameplay equaled the story and presentation in quality. It shouldn't be difficult for it to do so - all I expect is to be able to take pretty pictures. Unfortunately, UG managed to make nearly every one of its mechanics frustrating and counter-intuitive.
For starters, the unnecessary 10 minute time limit completely ruins the pacing. Instead of having freedom to explore the beautiful and interesting levels, you feel rushed to get through them as quickly as possible. It also limits how long you have to think up cool photo ideas, line up shots, or find new angles. And while you can't get a 'game over', you DO lose out on special gear if you pass 10 minutes, so the game definitely incentivizes this hurrying.
Then there are the annoyingly specific objectives. You lack freedom in this way, too - instead of flexing your creativity, you're stuck photographing exactly what UG demands. It will sometimes even direct you on which lens to use, or what distance to shoot from.
I'd go so far as to say that the particularity of some objectives feels more like a puzzle game than photography. I even had to use a guide a few times. It's just not very fun to find the one spot in a level where I can cram five American flags into one close-up. It ruins the immersion, and makes me enjoy the game a lot less.
You are given ten minutes for each area. You are told what to take photos of. You earn money that counts toward absolutely nothing. For a game that puts so much emphasis on rebellion and counterculture, you are strangely confined to play in a particular way - with pointless currency thrown in, just to top it all off.
Then, there's the disappointing level design. It starts off strong; everything is fun, colorful, and intriguing, with lots of nooks and crannies to inspect. But as times goes on, the areas become more cramped and cluttered. Combine this with the game's forced objectives, and it makes for a very unfun time.
That's not to say that every level had to be huge, sprawling, and open, of course. But I really don't appreciate being confined to a tiny train - ESPECIALLY when I also have a list of required objectives. There's even less player choice in how to fulfill these by this point; there's pretty much only one specific way to get each photo, with no physical room to choose an angle or viewpoint.
And, finally, I must address the controls. Now, the idea of a parkour-style photography game is really enticing, and UG DOES have the building blocks for one. There are many beams, stairs, and platforms to climb; not only does this provide more exploration opportunities, but it creates many new photo angles as well. Fluid controls and a more streamlined focus would make these elements even better - while also making the simple act of getting around fun, too!
Unfortunately, none of the movement in UG actually feels good. Maneuvering the world is a pain in the ass, to put it lightly. The protagonist is slow and stiff, and many jumps are just out of reach. I wish I could say that it's at least serviceable, but unfortunately, it isn't.
The ONE redeeming quality of UG's gameplay is the photography itself. There are so many gorgeous visuals to capture, and lots of cool lenses and mods to make them even more special. I had so much fun just losing myself in each level (once I stopped worrying about the time limit, that is), finding interesting things to snap, and executing ideas I'd come up with on my own. Choosing the saturation, the color balance, the focus. It's such a great core concept. It sucks that everything around it drags it down.
Overall, 1.5/5.
---
Worldbuilding:
UG's story simply wouldn't be as good as it is without some truly great worldbuilding to carry it. After all, what emotional impact would the climax and ending have if there wasn't a captivating planet to get attached to in the first place?
The punk kids who throw parties in the street. The civilian-turned-soldiers who just want to fight to save their home. The outcast, tightknit community who fiercely honor those lost. And - most importantly - the friends who stay by your side no matter where you go.
Every single one of these people desperately wants to keep their world alive. Every new level you visit makes it painfully clear what will be lost; they hammer home the mass helplessness that is felt. If nothing else, they themselves are worth protecting, no?
Maybe there's not a lot of history on what this dystopian Earth was like before it all went to shit, but the depth given to its current events more than make up for it. The world is so perfectly special, almost surreal in the way it approaches the themes it speaks on. The sky slowly reddens as the end draws near, a constant reminder of the environmental changes happening around you. The graffiti glows an unnatural neon hue, lending to the punkish, rebellious nature of the game. Citizens in the city lose themselves in VR, collapsed in alleyways as they desperately attempt to escape reality.
All the while, the apocalypse is slowly seeping its way into the world. It's always there, creeping up on you, but you probably won't notice until it's too late. You were too distracted to read the warning signs. Then, it fully unleashes itself with a bang. And that, in a way, perfectly encapsulates Umurangi Generation. These changes are happening all around us, but we are indifferent to them.
Overall, 4/5.
Overal game score: 3.5/5. Umurangi Generation is a stylish, eccentric experience that is, unfortunately, let down by its gameplay. It's so different from anything else I've reviewed, with a wholly unique presentation and story. It's a real bummer that the time limits and forced objectives take away from it so much. But, while I must warn against the terrible mechanics, the game is still worth a look if you have the time to spare. There's a lot of love and passion put into it.