Although I’ve played video games for decades, I’ve rarely been as down on the hobby as I have in recent years. Critically acclaimed titles such as Metaphor: ReFantazio require more time than my lifestyle permits. Many small indie games I appreciate like Dungeons of Hinterberg come and go without sufficient recognition. Conversely, big budget releases often stick to safe formulas, leading to underwhelming gameplay.
But over the past month, Indiana Jones and the Great Circle and Citizen Sleeper 2: Starward Vector have rekindled my optimism. Despite differences in budget, genre, and creative intent, both games are exceptionally well crafted narrative experiences.
At first glance, Indiana Jones follows a familiar AAA adventure template: high quality motion capture, lush soundtracks, expansive locations, and detailed production design that suggests Machine Games spent extensive time and budget on their game. I anticipated gameplay similar to The Last of Us (linear stealth action) or Machine Games’ own Wolfenstein reboot (guns blazing shooter).
But after a few hours of playtime, it’s apparent how Indiana Jones employs a novel approach to its mechanics and story pacing. There’s far less combat than I originally expected, almost all of which leans on avoidance and stealth based melee attacks (Indy can only take a few hits before going down.) Gunplay is usually a choice of last resort. Most gameplay takes place on large maps that allow for open ended exploration, supplemented by a variety of puzzle and platforming challenges. Unlike many adventure games that save their high quality video cutscenes for level transitions, Indiana Jones integrates them more democratically, including a refreshing amount of cutscenes for side missions.
By combining exploration heavy gameplay with impeccable cinematic lighting and camera work, alongside voice actor Troy Baker’s seamless mimicry of a young Harrison Ford, Indiana Jones is the best movie adaptation I’ve ever played. The game captures the distinct tone of Indy with bumbling physical humor, a Speilbergian sense of awe and discovery, and vividly memorable side characters.
Light years apart from Indy’s adventure, Sleeper 2 operates on an entirely different scale. From AAA behemoth to micro budget indie, WWII action adventure to cerebral sci-fi, cinematic cutscenes to text paired with static artwork. But like with Indiana Jones, Sleeper 2 transcends its genre limitations through minimalism and transparency. Its game mechanics are straightforward, driven by onscreen dice rolls. A clean UI provides only essential mechanics, with most screen real estate usually given over to narrative text and 3D ship renderings, doubling as an in game map. While there are RPG elements like energy and upgradable attributes, the character progression trees remain sparse and easily digestible.
The streamlined approach spotlights the writing, artwork, and music, all of which are exceptionally refined. Gareth Damian Martin’s story centers on heartfelt, frontier journeymen as they navigate capitalism and unknown identities. Much like a compelling novel, I got excited reaching a milestone and a new revelation. Guillaume Singelin’s gorgeous character art and Amos Roddy’s dark, moody electronica set an icy tone. The net effect makes Sleeper 2 feel more like a well organized tabletop RPG than conventional video game. Martin’s writing serves as the dungeon master walking through the story and leaning on players’ imagination to flesh out the larger world.
The greatest complement I can give to Indiana Jones and Sleeper 2 is how I shifted my play sessions to never run more than an hour or two. Given the narrative depth and compelling, original gameplay, I wanted each experience to feel fresh with ample time to reflect. Both games remind me how I fell in love with gaming years ago through their fresh mechanics, bold storytelling, and high craftsmanship. At a time where it’s easy to be pessimistic on larger industry trends, it’s heartening to find two experiences that remind me how gaming is an art form worth treasuring.