It's the combination of systems, presentation and plot that makes Superhot something special.MIND CONTROL DELETE is █ first person shooter where time m░ves only w▒en you move. As a set of FPS systems Superhot is smart, stylish and unique-but also a bit shallow. For me, the joy was in experiencing each scenario for the first time, for perfecting my choreographed dance of violence. They're entertaining enough, but I don't feel the need to spend much time mastering them. Once done, you gain access to a selection of mutator challenge modes. It's a short campaign, taking me two-to-three hours to complete. There's no individual moment as inventive as the best parts of the recent Pony Island, but the overall experience feels more consistent. I'll not say any more about the plot, save that it's an eerie meta-adventure that offers a compelling break of pace from the action. You play a bundle of levels, then drop back into the chat client to talk about your experience-bashing randomly on the keyboard to move the text forward.
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The interface ties into the story, which begins when a friend sends you a crack for superhot.exe. It's filled with easter eggs, from ASCII art to weird, simple minigames. Out of the action, the game's menus are equally stylish-mimicking a retro, command line interface UI.
It's stark and minimalist in presentation, giving you only the basic of information. They shatter when killed, as if made out of glass. Into that, enemies are featureless humanoid shapes. Superhot's arenas are surreally styled out of concrete-everything, including chairs, cars and subway trains, painted in a single, uniform colour. Enemies aren't required to do anything but be a threat, which is more a matter of positioning.Įnemies are featureless humanoid shapes. From a real-time perspective, each sequence lasts only a few seconds. The AI seems incredibly basic-enemies mostly run and shoot-but it doesn't really matter. Even a messy plan can come together if their bullets don't come near you. If there's a complaint to be made, it's that the outcome is heavily affected by chance-specifically, by the aim of the enemies. With all these systems working together, Superhot is part puzzle box, part improvisational choreography. The act of grabbing requires a specific amount of movement, and moves the action forward by the amount of time it takes. At the same time, picking up a weapon is a risk. It's less powerful but, in Superhot, any weapon is still a major advantage. A discarded handgun will fly further than a discarded shotgun, making it easier to catch the former. My favourite weapon is the katana, which lets you slash bullets from out of the air. Most scenarios are memorable, and effortlessly cool in their setup and delivery.Īs you grow more familiar with the weapons, additional techniques emerge. Each is its own elevator pitch-a standalone vignette taking place at that moment in an action film when the shit hits the fan. Or rather, not levels-that implies something larger. The elevator sequence is Superhot at its most compact, most distilled, but it's a microcosm of any of the game's 30-or-so levels. The elevator's doors have opened, and more men are waiting outside. I back up and grab a gun from the floor, turn towards the final man and fire. A few more punches and two guys are down for good. I punch and move, then-ignoring the gun-turn and punch the second guy, and the third. I punch the guy to my left as I move towards him, dodging a bullet.
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