Nevertheless, atmosphere is probably the thing Cloudpunk does best, because it’s about as close as you get to piloting a spinner in Blade Runner. The voxel art helps all the characters and locales pop with its chunky charm, though the mix of voxel sizes you start noticing close up does detract a bit from the aesthetics.
And it does feel pretty incredible to putter around the city in your floating HOVA, weaving between traffic and spires to locate the nestled neighborhoods where your deliveries take place. I have no doubt you found this game the same way I did, led here by the incredible screenshots and promises of a rain-slicked dystopia of misty towers. She’ll also find some cracks in the foundations of Nivalis that could reveal much about the origins and nature of the grim place she now calls home. Rania will meet a bewildering number of the city’s inhabitants and face some tough choices in how she approaches them and her job. But in a city built on secrets, forgotten technology, and crushed dreams, even a single night can be a life-changing experience. It’s her first night working for Cloudpunk, a courier service that requires her to personally ferry packages across the massive metropolis. Rania is a newcomer to the towering city of Nivalis, a nigh-infinite sprawl of super-skyscrapers, suspended walkways, and searing neon. And what gameplay there is could almost carry the experience in lieu of the story, except for how sparse and lacking that side is as well.
I’m sure that’s what Cloudpunk is aiming for, but between the writing and the voice acting, it absolutely does not hit the mark. If you’re relying on the story to carry players through your title, that story needs to be one of the most compelling and well-written tales in gaming, and everything that supports the story has to be on point. I love narrative-driven games, but they might be one of the hardest kinds of games to get right.
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