HIGH A non-violent, thought-provoking title is always welcome.
LOW The puzzles feel noticeably disconnected from the world.
WTF is up with all of these frigging red and blue lights?
It's hard to dislike The Swapper.
It's from a small developer, it has a unique visual style that feels alien and unsettling, it's got an interesting sci-fi premise that asks questions about existence, and bravely, it features no combat at all. Frankly, it seems tailor-made for someone like me, but the truth of it is that there's a deep disconnect in this title that I just couldn't get past.
The game begins in a lonely space station where some sort of disaster or terrible event has happened. Soon after, the player's stranded astronaut gains the ability to create clones of him or herself, and then can transfer their consciousness between the clones.
This ‘swapping' is the game's only real mechanic, and it's used constantly. As such, it's fortunate that it's easy to understand and works well. Point a cursor in a certain direction, press a shoulder button, and the outline of a clone appears. Let go of the button, and the clone appears. Press the other shoulder button, and the player's consciousness will transfer from one body to the next, and it's this ‘active' body that must be used to collect items or grip movable objects.
The Swapper's introductory sections are great and things start off smoothly, but the game soon introduces complications—primarily red and blue lights. A clone body can be sent through a red light, but the consciousness can't travel through it. Blue lights are the opposite; they block bodies from being created, but the consciousness can pass. It's not long before nearly every puzzle includes these lights (and overlapping lights create purple, which is a total barrier) so not only does the player need to figure out how to manipulate the clones, but also how to get around the areas where the lights are shining.
Despite how much I wanted to like The Swapper, its idiosyncratic puzzles soon grew too obtuse and fidgety for my liking. Sometimes the player must put a body in exactly the right place in order for a solution to work, and other times things get meta about how to game the system. I got through a fair chunk of its challenges on my own, but I started hitting my head against a wall when they got more complicated about halfway through, and the game promptly went from being eerie and intriguing to annoying and frustrating.
Despite my inability to quickly grok the later puzzles, I might have kept going if they didn't feel so completely disconnected from the story. At no point does the ship ever feel like a real ship—each room is a self-contained puzzle, and they rarely resemble any sort of logical area. Worse, the object of doing them is to gather golden balls which act as keys for doors. Apart from some text logs and brief interactions with alien rocks, the player spends the entire playtime collecting ball after ball in room after room because… that's the only thing the developer could figure to do with the swapping mechanic?
I respect what Facepalm was going for with regard to the story and I badly wanted to immerse myself in its existential tale of body-switching, but the gameplay and the world are two separate things that don't sensibly mesh. If the puzzles had been better integrated into the environment, or if the environment asked the player to use swapping for more than these unconvincing puzzles, the experience as a whole would be much stronger. I support sci-fi that does more than ask people to shoot aliens with futuristic guns, but there's just not enough coherence in The Swapper to put up with the split between the intriguing premise and the contrivances that surround it.
Disclosures: This game was obtained via publisher and reviewed on the PS4. Approximately 3 hours of play were devoted to the single-player mode, and the game was not completed. There are no multiplayer modes.
Parents: This game was not rated by the ESRB at the time of review. In my opinion, I'd rate it a T due to the mature writing and somber tone. There were no instances of questionable language or sexual content. The only violence is when clones fall to their death with a crunching sound.
Deaf & Hard of Hearing: All dialogue is subtitled, and no audio cues are necessary for successful play.
Currently, he's got about 42 minutes a night to play because adulting is a timesuck, but despite that, he's a happily married guy with two kids who both have better K/D ratios than he does.
Brad still loves Transformers, he's on Marvel Puzzle Quest when nobody at the office is looking, and his favorite game of all time is the first Mass Effect -- and he thought the trilogy's ending was Just Fine, Thanks.
Follow Brad on Twitter at @BradGallaway
Latest posts by Brad Gallaway (see all)
- This Is Not A Review: Mordheim City Of The Damned - October 19, 2016
- Darkest Dungeon Review - October 17, 2016
- Kingdom Come: Deliverance – Any Farmer Can Kill You - October 14, 2016