Přihlásit seSlayers X: Terminal Aftermath – Vengeance Of The Slayer Review
So Bad It’s Good?
HIGH The soundtrack is genuinely excellent.
LOW Poorly designed levels.
WTF Commiting to the bit makes it a difficult game to review!
One of the strongest (and most surprising) games I’ve reviewed for GameCritics has been Hypnospace Outlaw, which was set in a parody version of 1999’s early internet. It resonated with me in a big way due to its setting, but the developers were also commenting on the toxicity of contemporary social media — which, if anything, has gotten worse since its release. When I saw there was a recent spinoff, I had to see what they’d do with it next.
Slayers X: Terminal Aftermath: Vengance of the Slayer is a ’90s style first-person shooter developed by Tendershoot and published by No More Robots.
In Slayers X, Zane, the incredibly obnoxious 15-year-old troll from Hypnospace Outlaw, is now a grown man in his mid-thirties. He’s decided to continue working on a half-done videogame he stopped making in his teen years, and “Slayers X” is that game. This game-within-a-game stars Zane, who is part of a superhero group called the Slayers. His fictional persona is seeking revenge for the murder of his mentor and mother by a rival group headed by Zane’s stepfather.
This story hints at what one might expect from the mind of an obnoxious teenager, and in this respect, Slayer X commits to the bit. This thin plot is just a setup for a power fantasy that invokes Doom and Duke Nukem. The story is ridiculous and replete with awful one-liners where Zane mocks enemies by saying things like “I slept with your mom!” Complete with poor CG between levels, the overall quality of the experience is surely a series of deliberate choices by the developers to remain consistent with the premise.
Additionally, gameplay has a familiar smoothness and speed typical of shooters from that era, complete with exaggerated head bob. The shooting is exactly what one would expect, offering simple shooting in levels filled with enemies. The guns feel common, though the Glass Blaster shotgun packs a punch and is the exception, due to its ability to use broken windows as ammo refills.
However, Slayers X is also seemingly filtered through the prism of someone lacking in the talent department when it comes to game design. The areas lack flow — I often found myself lost among many seemingly pointless areas and diversions lacking tangible rewards for exploration, aside from some predictably poor and immature visual gags. This resulted in a stop-start feeling not helped by the prevalence of monster closets and waves of spawning enemies.
Speaking of enemies, they lack interesting designs and are repeated ad nauseam. When the difficulty needs to ramp up in the final levels, the classic design mistake is made — the enemy count skyrockets and stronger enemies become too plentiful.
To make matters worse, ammo was inconsistently and haphazardly placed. I sometimes found myself with an overabundance, but at other times — especially when it was needed the most — it was hard to come across.
Again, while this was not a pleasant experience per se, I want to reiterate the admiration I had for the developers’ commitment to their concept. It is through this authenticity that Slayer X shines — it’s not really a ‘bad’ FPS, but instead a character piece reflecting the mind of a juvenile edgelord and his views of the world. This meta-concept is where Slayer X finds its humor, in exposing his illusions of grandeur and not in Zane’s terrible zingers.
While the concept behind Slayers X might spark debate, there’s no argument around the soundtrack, where the parody band “Seepage” returns from Hypnospace Outlaws. Clearly inspired by late ’90s bands like Linkin Park, tastes may vary here (and I’m exposing my own nostalgia) but I genuinely found the songs not just pitch-perfect throwbacks, but enjoyable in their own right.
Considering its premise, it would be betraying the concept to make a ‘good’ game. It’s certainly interesting, but does that lead to an enjoyable experience? Well, it’s worth playing for those who enjoyed Hypnospace Outlaw and are interested in another snapshot from that period, and it’s brief enough so that it doesn’t outstay its welcome. However, people who aren’t Hypnospace fans or those who aren’t interested in the meta-concept would probably do well to look elsewhere if they’re craving a standard FPS fix.
Rating: 6 out of 10
Disclosures: This game is developed by Tendershoot and published by No More Robots. It is currently available on XBO, XBX/S, PS4/5, Switch and PC. This copy of the game was obtained via publisher and reviewed on the Switch. Approximately 3.5 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes.
Parents: According to the ESRB, this game is rated M and contains Intense Violence, Blood and Gore, Sexual Themes, Drug Reference, and Language. Whilst the graphics are deliberately primitive, the game is very violent with exploding limbs and lots of blood, although the prevalence of blood depends on whether the violence level is set to normal or extreme in the settings. There are references to suicide, drugs and crude humour such as sexual innuendo, for example, the player character saying he has slept with someone’s mom.
Colorblind Modes: There are no colorblind modes available.
Deaf & Hard of Hearing Gamers: This game offers subtitles. The subtitles cannot be altered and/or resized. I found it to be quite playable without sound, however there were a couple of issues. Subtitles did not appear when Zach made comments about why doors were inaccessible (there are color coded locks.) A bigger issue is the lack of visual cues when enemies approach from the back and the sides, and I did not see visual cues detailing where damage was coming from. As a result it is not fully accessible.
Remappable Controls: Yes, this game offers fully remappable controls.
