Preview: Trover Saves the Universe – More Squanch Games Madness

Mention the name Justin Roiland and those in the know will probably think of Rick and Morty instantly. Yet Roiland has ventured away from cartoons and into videogame development – more specifically virtual reality (VR) development – having created Accounting for PC VR and Accounting+ for PlayStation VR in collaboration with Crows Crows Crows. His studio, Squanch Games has now unveiled its first in-house title, Trover Saves the Universe which is every bit as zany and comedic as you’d expect.

Trover Saves The Universe - Title

The Accounting videogames tended to be elaborate tech demos that were fairly short, putting players into surreal virtual worlds filled with Roiland’s expletive ridden comedy. Well Trover Saves the Universe is essentially more of the same, with a similar design style just this time everything is expanded upon, with bigger levels, storyline and a dude putting a purple crystal up his butt.

There’s some sort of weird storyline about going after a lunatic who has kidnapped your dogs and wants to destroy the universe – obviously – but you don’t care about that. Trover Saves the Universe is all about exploring the warped minds at Squanch Games, taking titular character Trover – a purple dude who has a sword plus red and blue creatures for eyes – and hacking up the world around him, uncovering tiny green people hidden in the bushes (or encased in shells hidden away).

Essentially a 3rd person adventure, Trover very much knows you’re there and in control, talking back at you, swearing, or occasionally offering useful advice. He’s not the silent type, running him around chopping up the local foliage or taking down enemies that look like mouths with boobs on top will elicit a reaction.

Squanch Games has taken a somewhat different approach when it comes to this style of VR title and camera angles. Most will either feature a fixed camera that changes once a character has moved along – think Moss – or a more roving designed that tries to keep an area in view. In Trover Saves the Universe there are specific locations lit up in blue that Trover can run to, transporting you so you can move through the world. Played using the PlayStation DualShock4 controller, the viewpoint can then be spun round and increased in height to solve puzzles or just get a better look at the world.

Trover Saves the UniverseAs with most of Roiland’s comedic output Trover Saves the Universe on the surface sticks with his butt and fart joke style that some will find either crude or very humorous, with some darker undertones boiling up. While the comedy value will certainly be Trover Saves the Universe’s biggest appeal, it’s the gameplay that needs to be tight. Certainly fun for the 10 minutes VRFocus got to play and see of the title, it’s difficult to tell how repetitious the experience may become (hopefully there are some nice surprises in store).

From this early look at Trover Saves the Universe it seems as though Squanch Games are sticking with what they know. It’s gross, over the top, funny, bizarre and just the right sort of adventure for a more mature VR audience. So long as there’s enough gameplay variety to compliment the comedy then there’s no reason this can’t be a worthy successor to Accounting.

Preview: Déraciné – An Enticing Glimpse at a Magical Experience

Sony Interactive Entertainment (SIE) didn’t have too many surprises in store for PlayStation VR fans when the company held its usual pre-Electronic Entertainment Expo (E3) 2018 press conference this week, having made several announcements in the preceding days. However, there were a couple of juicy unveils to be had, one of which was FromSoftware’s Déraciné.

As a studio well known for its darker style role-playing games (RPG’s) like Dark Souls and Bloodborne, Déraciné looks to be taking a slightly different track, whilst staying within the fantasy genre. There’s a girl, plenty of magic, and of course a protective fairy; which is you.

Déraciné

 

The early gameplay demo for PlayStation VR was set in an old fashioned – possibly Victorian style – classroom, decked out with oak panelled walls and floors, with a young girl sat in the middle at a desk. Movement was by way of point-to-point teleportation, with blue shafts of light indicating where you could move to, an easy choice to make it comfortable for all – VRFocus didn’t have time to check options unfortunately.

Not that there was much to interact with at these various locations around the room, the main points being the girl and another desk in an adjoining room. In the girls hand was a flower which could then be brought back to life by locating another plant then leaching its life force and – here’s where it gets weird – time. Once this was achieved by way of a mystical golden pocket watch, the demo ended just as confusingly as it started.

To say that FromSoftware are in the middle of creating what could be one of the most elaborate virtual reality (VR) experiences in terms of narrative is probably a bit of an understatement. Déraciné certainly has that depth and emotion Japanese storylines are synonymous for.

Déraciné - ScreenshotComplimenting the story, FromSoftware’s visuals are some of the best VRFocus has seen on PlayStation VR, looking like they’ve been lifted straight out of your favourite manga series or film. There’s a beautiful ethereal look to the experience, almost as if it were a dream being played – who knows it could well have been.

The only real downside at this stage was the amount of interactivity on display. Apart from grabbing a couple of objects most of the demo was story-based, indicating that FromSoftware was leaning away from the more traditional videogame gameplay and more towards an interactive storybook. Items could be placed in a basic inventory, yet for this introduction there wasn’t much use for it.

At this stage Déraciné evokes more questions than answers. While enthralling through its aesthetic design and narrative driven gameplay there’s a question over how linear the entire experience will eventually be and how much control you’ll actually have, as a popular option nowadays is to have a branching narrative. Whatever the case maybe VRFocus has learnt its not going to be short, with the studio confirming there’s going to be a decent number of hours for players to get stuck into. If you love VR titles that are a little bit different, Déraciné is certainly one to watch.

Preview: Catch & Release – A Fisherman’s Delight

Fishing is a popular pastime the world over, sitting by the banks of a river rod in hand as you try to attach bait to the hook before casting off. Proper anglers go out in all weathers, rain or shine, huddled round a warm brew waiting for a nibble. For those that like the leisurely idea of fishing; but none of the waiting round or wrestling a wiggling worm onto their line, then that’s where virtual reality (VR) comes to the rescue, more specifically the upcoming launch of Catch & Release from Metricminds.

Catch and Release Menu

Showcasing the current build of Catch & Release on an Oculus Rift during the Game Developers Conference (GDC) 2018 recently, the videogame is exactly what fishing fans want from this type of experience.

Rather than being shore bound with various fishing points dotted around the outside of a lake you’re in the middle, or rather in a boat with the freedom to go where you dam well please. So not to scare the little fishes away and to add that extra level of interactive immersion you’re in a rowing boat. Which quite frankly is awesome just by itself, just chilling out having a row about the lake is quite serene, with a nice natural movement to the oars and boat.

After finding that perfect spot it was time to get down to the serious business of fishing. The demo didn’t offer much in the way of options, there was a piece of bait to attach to the hook – the developers did say more would be available in the full version – and just one rod. Just like real casting, it takes a few attempts to get the hook a decent distance away from the boat, having to hit the trigger button just at the right point of the swing to launch the line then keeping it held to let the reel unwind.

Catch and Release Camera

Then it’s time to sit back and wait for the fish to come. Catch & Release is a seated experience so having a reasonably comfy chair is always good, and it’s not long before the fish come biting. Once on the hook it’s time for the fun to begin, with your spare hand ready to wind in the line. While very much an arcade style of play, there’s no quickly snatching the fish out of the water or the line will break. The fish needs to be worn down, swimming from left to right the technique is all about keeping that line fairly taught. While there’s no resistance with the Oculus Touch controllers the battle still feels very much genuine, with a beaming sense of satisfaction after reeling that first fish in.

Different fish will net various amounts of cash to spend on more equipment in the store which just so happens to be a handy book left in the boat. The vessel also features a radio if some tunes are needed and there’s some virtual sandwiches if your digital self gets hungry.

With so many high action shooters and adventure titles for VR it can be nice to slow things down a peg or two, and Catch & Release does exactly that. There’s some beautiful looking scenery to enjoy whilst bobbing up and down in the water, prepping the next hook. So long as there’s a decent amount of content and gameplay varying options; fish to catch, hooks, bait, locations, then catch & Release could well shape up to be one of the best VR fishing videogames.

Preview: Pixel Ripped 1989 – A Game within a Game within a VR Game

Long time readers of VRFocus will be very familiar with the Pixel Ripped saga; a virtual reality (VR) exclusive videogame that started life as a student project for Brazilian Ana Ribeiro, then studying at the National Film and Television School (NFTS) in the UK, Pixel Ripped has evolved countless times over the years. Now, in the final few weeks prior to the launch of the first chapter, Pixel Ripped 1989 is looking set to deliver a hugely compelling 2D videogame in a 3D VR world.

Pixel Ripped 1989 new screenshot17The plot of Pixel Ripped 1989 is a little confusing at first. Playing as Dot, the hero of the fictional Pixel Ripped videogame series within the world of Pixel Ripped 1989, you are tasked with preventing the Cyblin Lord from destroying both the videogame world and the real world as he attempts to merge the two. In order to do so, you enlist the help of Nicola, a young girl currently living her normal life at school. In actuality, the player embodies the character of Nicola playing fictional videogames within the VR world.

The videogame Nicola plays in Pixel Ripped 1989 is a 2D platform title inspired by Game Boy titles of the era, including the visual limitations of the device. In the first level of Pixel Ripped 1989, the player engages in some basic (albeit rather challenging) platform action on their handheld Game Kid console while in a VR classroom environment. The teacher of this class is, unsurprisingly, not best pleased by Nicola’s attempts to play videogames during lessons, and so the player must distract her by interacting with objects in the environment in order to provide the opportunity to look down at the console and continue playing. It’s a genuinely enthralling mix of VR and 2D gameplay unlike anything else the medium has yet offered.

Pixel Ripped 1989 new screenshot8As the player continues through Pixel Ripped on the Game Kid they will encounter all manner of fourth wall-breaking interactions, culminating in a boss fight that refuses to remain in the tiny 8-bit device. Pixel Ripped 1989 isn’t afraid to use its premise to allow for some grand set-pieces that change the established formula of the videogame in a heartbeat, and with that players will undoubtedly want to push on just to see what ludicrous gameplay mechanics will be thrown at them next.

Along the way Pixel Ripped 1989 pushes all manner of homage to past videogames at the players, from infamous lines to familiar settings and much more besides. At times it’s almost as if characters have been incorporated for the sole purpose of delivering punch lines or a specific reference just to make the player smile, and that is certainly no bad thing. Pixel Ripped 1989 knows its core audience is the mature gamer, and plays exactly to that at all times.

Over the years Pixel Ripped has changed form many times: where once the player could engage in mini-games within the VR world, now the core gameplay is the 2D action while the VR activities surround that familiar experience. Pixel Ripped 1989 is both unique and challenging, and is looking set to offer the satisfying look at past videogames within the most modern of mediums that it initially set out to.

Preview: Apex Construct – An Epic Sci-fi Adventure Awaits

With a team that’s had its hand in developing videogames like Battlefield and Mirror’s Edge Fast Travel Games’ first foray into virtual reality (VR) was never going to be small and experimental. A surprise unveiling during a Sony Interactive Entertainment (SIE) press conference set the scene for Apex Construct, showcasing an adventure filled with big events and a bold storyline. Supporting all the major headsets, the studio gave VRFocus an early look at what’s to come with a HTC Vive compatible demo that didn’t fail to impress.

ApexConstruct_Screen_04

This is a videogame of both action and fantasy storyline, set in a future where mankind is no more. Having carried out too many reckless experiments the world is now a twisted and warped shadow of its former self – akin to a Tim Burton movie – where the buildings and land are almost one and the same, jutting structures that defy physics and practicality. The inhabitants of this world are merciless robots, prowling the walkways and caverns for anything alive that doesn’t belong.

And that’s where you come in, brought into the world to hopefully restore order, equipped with a trusty bow, a robot hand, and no idea about what the hell is going on.

For this early preview VRFocus was introduced to the start of Apex Construct, giving an overview of the story and the basic gameplay mechanics. First off, movement. As both VRFocus and VR players in general expect from big open world VR adventures nowadays locomotion options are important. So there’s the ever faithful teleportation which nips you about the world with ease. There’s also fluid locomotion – switchable in the menu – which at the moment is very basic in functionality. With it on the top of the touchpad activates teleportation, while the rest of the pad makes you walk in the direction being looked at. It’s fairly slow moving currently and as such not uncomfortable. However, as you can see from the screenshots the levels are an undulating labyrinth, so it needs to be used in conjunction with teleport to progress.

As advertised from the first announcement, Apex Construct is a bow and arrow focused title. First impressions are that Fast Travel Games has spent considerable time getting this right, feeling fluid and accurate. Some VR experiences that use a bow (or feature one) can seem cumbersome and slow, that’s certainly not the case here. The main arrows are infinite, while secondary arrows with special abilities have a limited supply but do recharge over time. Important to note is the haptic rumble from the controller as the bow is drawn, giving that sense of tension really does make a difference when gauging the power being put into a shot.

The one drawback with the bow and movement system available is the lack of dodge capabilities when dealing with incoming projectiles – apart from physically ducking. Thankfully, the studio has considered this installing the bow with a shield that can be activated using the trigger, so long as no arrow is being drawn. It’s a cracking little system so that single enemies pose no real danger.

And let’s just talk about the look of it all. Apex Construct is very pretty, almost going so far to say it’s one of the best looking VR videogames VRFocus has come across. The first time the landscape opens up and a wide panoramic view presents itself, it’s hard not to just have a good gander at the bizarre, colourful scene laid out in front. Up close, there’s plenty of detail and decent textures. The robots can only be examined once killed – otherwise they tend to run around shooting – looking even meaner and robust when eye to eye.

There’s a reason Apex Construct made it into VRFocus Best HTC Vive Games Coming in 2018 and this work in progress has shown that its inclusion is deserved. It’s a sci-fi world that certainly looks well worth exploring, so long as there is enough of it with ample gameplay time. This is one VR experience VRFocus is certainly looking forward to.

Hands-on with PlayStation VR’s Blood & Truth

Those who doubted Sony Interactive Entertainment’s (SIE’s) investment in the PlayStation VR and haven’t bought one due to lack of content must have been presently surprised at the large amount of virtual reality (VR) videogames recently announced, such as Megalith, Bow to Blood, and Apex Construct to name a few.

Blood & Truth screenshotIf fans of the PlayStation VR tried PlayStation VR Worlds when it came out and enjoyed ‘London Heist‘ they will likely be presently surprised with the PlayStation VR exclusive videogame Blood & Truth, currently expected to launch in 2018. VRFocus tried the videogame at Develop:VR where there were two different types of demos available. A more in-depth preview that took our journalist Kevin Joyce around 10 minutes can be found here. The video preview below is based on the shorter five minute demo that focused primarily on a casino shoot out and chase/interrogation scene.

Blood & Truth puts players into the shoes of elite special forces soldier Ryan Marks as he desperately tries to save his family from a gangster overlord in modern day London. Taking full advantage of the PlayStation move controllers, users click on the move button to jump from one marker to another. Adopting the node mechanic for movement that was used in Oculus’s Rift Arktika.1, it allows players to choose from pre-designated points. This enables players to simultaneously shoot and move in a space at the same time. Though during the chase sequence in the hotel corridors this is not enabled, it helps when you can shoot fire extinguishers and everything slows down, allowing you to take a shot at enemies as they appear. When Nina from VRFocus tried the demo, she did not feel any simulation sickness at all when using the node mechanic or the chase scene where this was disabled.

Blood & Truth asks players to pick locks, plant bombs, break into enemy hideouts and interrogate Marks’ victims, where you have the option to be nice or become more aggressive. Nina talks more about the Blood and Truth in the video preview below, where she discusses the various types of gameplay you can adopt, what it was like playing the five minute demo and what to expect when playing Blood and Truth.

For further updates on Blood & Truth, keep reading VRFocus.

Preview: Blood & Truth – The London Heist is out for Revenge

The two The London Heist virtual reality (VR) experiences showcased by Sony Interactive Entertainment (SIE) prior to the release of the PlayStation VR hinted at bigger things to come. Eventually offered as part of London Studios’ PlayStation VR Worlds launch package, it seemed almost as though the immersive world established so early on wasn’t given a true opportunity to shine. Little did we know however, that this was far from the case, as London Studio continued to work on a fully fleshed-out London gangster VR experience, Blood & Truth.

Blood & Truth screenshotRevealed as part of SIE’s Paris Games Week press conference, Blood & Truth has quickly become one of the most highly anticipated PlayStation VR titles amongst the core audience. It’s a first-person shooter (FPS) that aims to immerse the player within a story of crime and violence, taking on the role of a Special Forces veteran, Ryan Marks, with a score to settle against the perpetrators of organised crime.

Blood & Truth is a depiction of a gritty east-end underworld, but is somewhat cartoonised by ill-advised radio chatter. Marks will communicate with as-yet unseen characters automatically as the player progresses, offering a bigger picture to the story unfolding as well as hinting as to what the next objective might be. Sadly, Marks’ quips frequently fall flat and the world of chaos you are cast into begins to feel far less intimidating. This isn’t a case of James Bond’ing the situation with confidence and charisma as much as a Jonathon Ross impression of a smarmy university student.

Unsubtle character development aside, the forced conversation does help in the delivery of objectives without relying to heavily on on-screen prompts. The linear path the player treads is decorated with points of interaction and the videogame does well to establish a reason for each action through plot and direction. You’re climbing the ladder and crawling through that air duct for infiltration; you’re monitoring the video cameras to find your mark unguarded; you’re blowing up a casino floor because it’s owned by the bad guys; you’re killing hundreds of armed enemies because they are the bad guys.

Blood & Truth screenshotAll of this is conducted with a very simple control system on two PlayStation Move motion-controllers. The player will see highlighted circles upon the floor (including an arrow to determine the direction they will be facing upon arrival) and can move between them using the large Move button on either controller; despite the system sounding similar to the Oculus Rift exclusive ARKTIKA.1, there is no fade between movement with the player forcibly walked between locations. Once locked into a position the player can strafe along a cover surface should one be available by using a face button (located left or right of the central Move button in relation to the strafing direction) or interact with objects using the motion detection of the controllers.

While the nature of the movement system and the linear level design may make Blood & Truth sound fairly pedestrian, the preview build available to VRFocus was heavy on action. After the stealth-advised introduction every scene was heavy on numbers of armed enemies and the player is encouraged to regular move and strafe in order to take advantage of cover, especially when you remain able to look and shoot independently while moving.

Coming to the end of the preview build VRFocus was offered the first taste of dialogue options set to feature in Blood & Truth. While much deeper examination is required to determine what effect (if any) different decisions will have on the gameplay later in the videogame, given the choice between aggression or compassion was interesting; especially when it’s altogether possible to ignore this completely and go straight for the kill. It would be strange to provide such a series of decisions for the player without having a recompense later, but London Studios are still keeping that information under wraps.

Blood & Truth screenshotAt present Blood & Truth is something of a mixed bag. It’s great to see The London Heist given an opportunity to return players to the gritty world it created and offer that same level of immersion in a fantastic looking depiction of London once again, however it’s difficult to escape the feeling that the need to target mass market audiences has resulted in a protagonist more Broadchurch than The Krays. The locomotion system will undoubtedly deter the core audience but is perfectly welcoming to newcomers, and by the time Blood & Truth launches next year there is a great expectation that PlayStation VR will have more of the latter than the former.

There’s still a long way to go until we get to see more of what Blood & Truth can offer, and whether the gameplay loop presented here can be equally as entertaining when stretched out over several hours opposed to a simple 10 minutes demonstration. Of course, VRFocus will keep you updated with all the latest details on Blood & Truth along the way.

Preview: The Invisible Hours – A VR Murder Mystery

Tequila Works is a studio that shot to fame with the hugely successful Deadlight back in 2012. The output from small studio has since been relatively slow, but with three new titles this year – The Sexy Brutale, Rime and the virtual reality (VR) exclusive The Invisible Hours – Tequila Works looks set to cash-in on the kudos earned from such a well received debut.

The Invisible Hours screen1‘Cash-in’ is a term that may be taken with negative connotations, but in the case of Tequila Works its born of a deserved worth. Both The Sexy Brutale and Rime received high praise upon release thanks to their innovation within existing genre formulae, and The Invisible Hours is taking this a step even further. Billed as ‘immersive theatre’, The Invisible Hours is essentially a murder mystery wherein the player must determine the culprit.

In the first chapter available for VRFocus’s hands-on preview, the player is introduced to the key characters and given some background story before the murder scene is discovered and the suspects invited into the story. It’s advisable to play through at least this much of the chapter before experimenting with the varied time manipulation mechanics at your disposal.

The player has the ability to speed-up time, slowdown or pause. This allows a scene being revisited to be skipped to a point in which the player believes they may have previously missed a clue. At any point during the action the player can exit to the ‘theatre’ and choose to replay a previous scene. This will become a crucial element of your investigation as you analyse characters and their relationships to each other, their reactions and their potential motives.

The Invisible Hours - ScreenShot_02The player can teleport anywhere around a scene (with controls similar to Robo Recall) and inspect various items; some which may be relevant to the case, others which are simply red herrings. The player is also able to follow specific characters as they go about their business, potentially uncovering some secrets that they wish to remain hidden from other visitors to the mansion in which the action takes place.

This initial taste of The Invisible Hours is an intriguing presentation for what lies ahead. As with Tequila Works’ other videogame titles, The Invisible Hours is an inventive take not just on a genre, but for the VR medium; there simply is nothing else like it available for Oculus Rift, HTC Vive or PlayStation VR. VRFocus can’t wait to see whether The Invisible Hours can sustain a full experience in the final release as promised by this inventive opening.

Preview: They Came from Space – And Now They Want Your Twitch Channel

Cloudgine’s cloud-based physics technology was the big surprise announcement going into this year’s Gamescom. Built from the ashes of Realtime Worlds – a studio which saw great success with the original Crackdown and sadly far less with APB – Cloudgine’s reveal showcased an impressive real-time physics solution that takes the processing demand away from the local system and instead performs the calculations on a host server. Unlike most middleware developers however, Cloudgine are putting their money where their collective mouth is and building their own videogame to showcase this.

They Came From Space screenshotThey Came from Space is a multiplayer-only title in which up to 10 players are split into two teams to wreak havoc upon the Earth. You see, a distant alien corporation apparently bought the harvesting rights and are now coming to claim the energy that Earth contains, however a rival company believes that they two have said rights, and are prepared to go to war over the potential capital gain. Potential political statements aside, what this essentially means is that the two teams are busting buildings and gunning down each other’s armies with reckless abandon.

In the strictly hands-off demonstration that VRFocus witnessed at Gamescom 2017, Cologne, two virtual reality (VR) players using the Oculus Rift with Oculus Touch took control of the alien champions. These champions were able to bash their way through buildings to gather energy, which then added to a stockpile for launching attacks on the enemy champion. A huge lazerbeam could be fired to cripple the enemy’s shield, thus making them vulnerable to attacks from the other players on a team who took control of small flying drones via a traditional PC setup.

They Came from Space will feature a number of different champion attacks that can cause great damage to the enemy, but Cloudgine are still tweaking these; playtesting for a fine balance of risk/reward. One other aspect of the studio’s work that has clearly benefited from much playtesting is the player manipulated camera system, designed specifically for Twitch broadcasting.

They Came From Space screenshotLast week VRFocus ran an exclusive video provided by Cloudgine on this camera system, however for those who weren’t convinced by the studio’s own messaging here it is laid out bare: this is a feature that should be included in all multiplayer VR videogames. The options shown to VRFocus were that of having direct control of a camera visible in-game and giving it various commands, such as follow or remain in place, or even giving control to a spectator so they may move the camera as they wish. This, coupled with pretty amusing lip-syncing with the champion aliens, screams loudly of the potential for VR broadcasting on services such as YouTube and Twitch.

In addition to the Oculus Rift edition showcased to VRFocus – in a live broadcast from Edinburgh to Cologne via Twitch – They Came from Space will also be compatible with HTC Vive and, potentially, PlayStation VR down the line. VRFocus is very keen to see more of They Came from Space, Cloudgine’s camera system and the physics, and will certainly keep you updated with all the latest details.

Preview: Light Tracer – Pointing the Way to Success for Oasis Games

Chinese publisher Oasis Games has an ever growing line-up of virtual reality (VR) content – mainly for PlayStation VR – having released Ace Banana, Weeping Doll, Dying: Reborn, Pixel Gear and Mixip. These haven’t necessarily all been well received, getting mixed feedback from consumers and media alike. Soon the publisher will be releasing its next experience, a puzzle-platformer called Light Tracer which is shaping up to be an inventive little project.

Debuting Light Tracer for the first time at Gamescom 2017 this month, the videogame is a quirky take on guiding a character through a hostile virtual world that isn’t so much expansive as it is lofty. Demoed on the PlayStation VR – which sees a release in September with a HTC Vive version coming later – using PlayStation Move, the right controller takes care of most of the character actions while the left controller alters your viewpoint on the world.

As the name kind of implies, the right controller fires a beam of light that the character then follows, guiding her around obstacles, jumping gaps and collecting coins. You don’t mark out a path which is then kept to, instead you tell her when to run or stop by pulling the trigger. Get this wrong and she falls of the edge and its back to the start point – or checkpoint if far enough.

The actual mechanics work really well, giving you plenty to concentrate on between guiding the light beam – as you can move it quite far ahead – the girl, and keeping the best viewpoint to keep an eye on everything. As mentioned the left controller moves the entire level about. Yes it’s a VR videogame so you can move in and lean about to get a good look, as the title is all about ascending through the world this still needs to be adjusted – spun around, brought higher or lower – as needed.

The demo featured the first area, giving a brief run through of controls and some basic puzzles. These involved not only guiding the character around obstacles but also directly interacting with them. So this would involve grabbing moveable platforms or picking up an item to place on a switch. Pretty simple stuff, then again it’s only the first level. Light Tracer might be one of those titles that’s great for speedrunners, using one hand to guide while the other continually moves the environment.

It’s not all sweetness and light though. Light Tracer does have enemies to deal with. Oasis Games has stated the girl – she’s actually a princess trying to save her people – will be armed with a sword in the latter stages, for the first level on the other hand it’s all about avoidance, even when it comes to the boss. Here it’s a case of activating environmental barriers to deflect incoming projectiles back at the beast.

From this first glance Light Tracer looks promising. Rather than going for full scale immersive environments Oasis Games as gone for a tabletop style design, one that’s worked very well for titles such as Augmented Empire, Siegecraft: Commander or Pinball FX2 VR. The gameplay mechanics offer enough possibilities for level variation and challenge that Light Tracer could be worth a purchase.