11/05/2023 - Laika: Aged Through Blood
I would like to preface by saying this is my first time writing a review for anything, really. I do not consider my opinion the pinnacle of truth, nor do I claim it will remain firm and unchanging. That said, I figure this blog should be about what's on my mind, and what's currently on my mind is Laika: Aged Through Blood
Laika is a western motorvania taking place within a post-apocalyptic wasteland. The titular Laika, the story's protagonist, lives in a small settlement named "Where We Live," and acts as her settlement's main guardian and errand runner. The post-apocalypse is not a quiet one, however, as militaristic forces known as "The Birds" (who are indeed, all birds) are encroaching on the wasteland, wiping out all unlucky enough to be caught in their path. Now, you may have been caught by something I mentioned early on. This game is a motorvania, that being a metroidvania in which your character rides a motorcycle. This will become very important in the gameplay section.
In this review I will cover three main points: Music, Story, and Gameplay. "Music and Art" refers not only to the quality of the soundtrack and art direction, but how it's utilized within the game. "Story" encompasses both overall story, as well as worldbuilding and writing. "Gameplay" refers to interactive elements, from combat to getting around.
Music and Art
I will not mince words, the music in this game is great. Uncharacteristically chill compared to the rest of the game, the score is more akin to a proper album than a game soundtrack. The majority of tracks feature lyrics sung by the artist, Beicoli, with a few being quite catchy and emotional, particularly in moments where the game fits the music. I am of the firm belief that more games should feature songs with vocals created specifically for said game, and
Laika does not disappoint in that regard.
Much like
Katana Zero, the emotional music contrasted by extreme violence in the trailer is what immediately sold me on this game, really showing that our protagonist may be committing horrible acts, but she takes no joy in them. But I'm getting ahead of myself...
I feel, however, that the implementation of the music leaves something to be desired. Each song is a collectible you gather by shooting boomboxes around the map, or by purchasing them from gas stations. While playing, you cycle through each song like a playlist, and can switch between which tape you want to hear in the menu. While an interesting idea, I find it a bit lackluster, as no song is area-specific. In other metroidvanias each area has its own infinitely-looping track, which I actually find less irritating, as it gives time for your ears to grow used to the music. But as stated before,
Laika is like listening to a playlist constantly on repeat, and it grows grating over time for songs to constantly switch.
Unfortunately for
Laika, the soundtrack lacks diversity in energy. Boss themes are my favorite part of a game's soundtrack, and I found the low, threatening boss themes to not quite be enough. They sound
tense but not like you're truly in any danger. Likewise I could have done with some more energetic songs like
The Whisper for standard gameplay. Something more fitting for when you've got to shoot a lot of birds.
When It comes to the art I can be much more brief: it's incredible. I can absolutely see inspiration from Supergiant's more recent games such as
Pyre and
Hades, particularly in the promotional art and world design. The characters are adorable, except for the few designed not to be, and all of them have a distict personality you can catch just from a glance. I. Have. No. Idea. just
how much effort it must have been to create the map. Unlike
Blasphemous or
Hollow Knight, the game world is not built from small rooms placed upon a square grid, which allows the developers to construct the world from pre-drawn tiles and setpieces (at least I assume that's how they do it). No, the
entireity of the map looks to be hand-drawn, with each individual area being its own separate, but singular, illustration. I'm not going to pretend I actually know how this may have been done, but if each area truly is an entire illustration, the time and planning required to do such a thing is truly impressive.
Story
As you may have guessed from the title, this game is, in a way, a coming-of-age story. The ideas of succession and growing older are quite prevalent in Laika's relationship to her mother and daughter, and even to her relationship with the village as a whole. It's no secret that Laika can't die. Not permanently, at least. Her family line bears a curse of resurrection, passed on from one generation to the next when the daughter "bleeds" for the first time. Laika is the current bearer of immortality, caught between her mother who has long given it up, and her daughter who has yet to take it.
Laika does a good job of telling about its world, but never too much. You learn what you need to learn and the rest is left up to mystery or interpretation. While this approach can feel low-effort at times,
Laika certainly succeeds, with each tidbit of information, from details of the world to details of Laika's curse, being both interesting and not quite enough. I think it's always important to leave some questions unanswered, as that is how just about any great piece of lingers in someone's mind for long after they've played/seen/heard/watched/read it... At least it is for me.
Laika will leave you wondering and hungering for more, which is, admittedly, a double-edged sword.
I may not be the most observant, but I found the world to be rather sparse when it came to NPC interactions. Plenty can be found in "Where We Live," but throughout the world there are essentially none until later in the game, when most sidequests are completed. I feel it would have made the world feel a little more real if these characters appeared earlier, and possibly more appearing throughout various stages of the game. I would have also liked just a bit more non-sidequest dialogue with the characters in the villiage, anything from random thoughts to telling a bit about themselves. Being someone who likes to go through every character's entire dialogue tree as soon as I see them, I found the dialogue running dry quite quickly, with some characters offering only a couple more lines later on. Some more flashbacks and a bit more buildup to the ending would have been ideal as well. The final boss' dialogue is a bit lackluster as well.
Apart from being rushed, I am mostly fine with the ending. I feel the cutscene was a bit brief through and a post-credits scene was in order, though I can't share why without spoiling.
A final note I'd like to mention is that I am in love with the naming conventions for the areas of the map. Rather than the village having a proper name, it is simply called "Where We Live." Likewise, other places are named along the lines of "Where Our Bikes Growl," "Where Doom Fell," and "Where Our Ancestors Rest." Tells you about the Laika's relationship to a place before you even arrive there.
Gameplay
Needless to say, the gameplay of Laika is incredibly innovative, at least when it comes to the metroidvania genre. Movement is entirely motorcycle based, meaning you hold W to accelerate, S to brake, A and D to tilt/flip, and hit SPACE to change direction. Traversal of the world means ramping from one ledge to another, or throttling along distant straights, or spiraling through loops. I find getting from point A to point B far less tedious than in traditional metroidvanias, and actually in some instances it can be quite satisfying. Platforming is a non-issue here, as most of the challenge comes from the birds.
The birds in question never move, and they die in one shot. However, you die in one shot too. A game without a healthbar, I feel like it's as much about the perfect run from A to B as it is about the actual missions you're sent on. A points system would have been quite at home in
Laika, encouraging you to take greater risks while navigating the world. As it stands though it's up to you to find motivation to not die. At the start of the game you face only birds with pistols, but as time goes on more difficult variations begin appearing. Once again straying from traditional metroidvanias, the same bird types are spread across the entire map rather than being relegated to specific areas. It's the combinations which make them dangerous.
One thing I find irritating in games is when they don't build upon their own mechanics.
Narita Boy is a perfect example, featuring mechanics specific only to certain areas or even to certain fights, which are then thrown away immediately after. A good game has a sense of progression, showing you something new and incorportating it into the game from then on out. Laika, unfortunately, does not give much attention to the three abilities you unlock: a jump, a dash, and a hook. Without spoiling too much, the dash essentially makes the jump obsolete, and the hook is neither a movement ability nor an attack, having no use outside of specific, rare instances. I was disappointed by this, as it leaves me feeling like there isn't a true sense of progression similar to what you find in
Blasphemous, where the map seems to suddenly "open up" with each new ability you get. There are new weapons to unlock, but not a huge incentive to use them except for the shotgun. However, I find the machine gun a good backup for the rare instances the pistol is not enough.
There is also a cooking mechanic which seems quite useful, giving you various buffs which last a generous amount of time. However, you can finish the game without ever opening the cooking menu.
Last bit I want to touch upon for gameplay is the bosses. Like their music, I wasn't too impressed with the bossfights themselves. Most of them feel like a scripted sequence of events to survive, rather than an actual proper fight. To some extent this is understandable. Since you die in one hit and have limited movement, you can't have a boss that's
too unpredictable. But something about the bosses just made them feel too easy. It's more satisfying to me to beat Crisanta's third stage with only a sliver of health left than it is to make it through one of
Laika's fights with no damage. One was a hard won fight, the other was beaten the only way possible. But I also have to ask if there was even a better way to go about it?
Laika's mechanics pose unique problems for a developer to solve when creating a boss, and I can't think of any better ways to go about it.
In Conclusion
Laika: Aged Through Blood is an innovative game which I believe suffers from its position as much as it benefits. A lot of heart and soul was put into this game and it absolutely shows, but it also faces unique issues which cannot be found in other metroidvanias. It is a
motorvania after all.
I've written more criticism than compliments for this game but make no mistake, it's good! I would suggest picking it up on sale, but they have a demo, so play it! If the demo seems your thing then pick it up full price, you won't regret it. I know I don't!
X
Music and Art: 8/10
Incredible art, music is great but needs variety.
Story: 7/10
Good characters, good world, could use more dialogue and better pacing.
Gameplay: 6/10
Innovative and fun, but lacks depth and bossfights were not terribly engaging.
Overall: 7.0/10