You can’t talk about The Witness without talking about John Blow, and you can’t talk about Killer 7 without talking about Suda 51. Well-known today as that quirky Japanese auteur developer, Killer 7 was the breakout game that established his unique style. His games commonly emphasize the visual spectacle of violence, otherworldly aesthetics, and incomprehensible plots about assassins. Describing the gameplay of Killer 7 will convey even more weirdness: it’s a nonlinear first person rail-shooter with seven playable characters. While the environments look like they would fit in a standard first person shooter, your character only moves forward and backward along a track, shooting enemies that get in your way as you find the collectibles needed for progression. It’s an odd system, but one that streamlines an experience that’s more about narrative atmosphere than gameplay. In fact, it’s streamlined to a fault. Your map shows every relevant location, where all the collectibles are located, and which character is needed in each location to surpass obstacles. The only real agency you have is in the shooting, which is kept fairly basic. The other giant caveat that I’ve alluded to is that the game is about the focus on narrative atmosphere rather than a coherent plot. This is a game for people who appreciate stories where you can form your own opinion or create your own closure, interpreting the emotions of scenes rather than a strict telling of events. I’m finding it hard to describe the appeal here, which is the best summary of why people should give it a try. It’s not so solidly designed that I would say I generally recommend it, and I think even the people who would be interested might bounce off of it, but it’s just so intriguing that you should try it anyway. You never know when you’ll win the niche-appeal lottery and find your new favorite thing.