For someone who does not like roguelike, I definitely played a lot. That may be because the constant battle against the brutal and ruthless mechanisms means losing less like a personal failure as a deliberate part of the experience. Maybe it’s because finally beat a boss I try to exceed two hours gives me a massive flood of chemicals to the brain. That may be because independent roguelike are perfect to master this peaceful atmosphere but vaguely disturbing through the retro pixel art, charming music and surprisingly dark tales. Anyway, I can firmly say that Evita is a solid shooter / platform roguelike / twin-stick, which is great if you like it. If you are a beginner in one of these genres, however, you certainly should not start here. In fact, I would venture to say that you should not play it unless a specific mixture of perfectionist and masochism. This game will crush you and make you question your self-esteem, so make sure you are ready for it.
The version of early access Evita expects you to be ready and willing to play through the same collection of procedurally generated levels for more than two hours if necessary before you can beat the first boss and unlock basic set of functions, such as improving equipment. This game is not interested in pulling his punches or your convenience. You volute be thrown directly in the background, you have to constantly dodge volute shots while shooting at moving targets, and if you do not seem fun, you should probably play something else. If this seems like fun, congratulations, this is the game for you. Otherwise, you should probably get something else because Evita clearly has a very specific target audience in mind, and it is unlikely that it reduces the difficulty. I can not even blame the developer for this when Ben star expected experience is such a surreal rush and riddled with nails.
In Evita, you are a child who can not stay dead. Every time you fall, you wake up in a scary subway train and poorly lighted. The subway takes you to two places: Memorial of the station and the clock tower. The Memorial station, with its cathedral arched windows and large architectural decomposition, is something of a shrine. But you do not look a sanctuary. You want it to end. For this you need to defy the deadly turn. Fortunately, you have a gun and unlimited ammo. Unfortunately, it’s the same for everything else. There are countless invading monsters story tower generated procedurally, and to achieve your goal, you have no choice but to kill them all. It’s a compelling premise presented in a beautiful retro packaging. Needless to say, I really enjoyed the story.
This game has relatively little dialogue, but the silent protagonist still manages to be quite expressive and endearing in the cutscenes. There are also very few NPC; the main ones are the guardian of the Memorial station and sinister shadowy figure known as the prisoner’s name. The concierge is both a reassuring presence and a disturbing presence. He claims to have high hopes for you, like no other. What does that mean? Who knows. Meanwhile, the trapped chained and bound in a hole in the walls of the station, and you will sell items in exchange for the money gained from killing monsters. Give the keys to unlock his chains for new items in the shop, but could be a bad idea in the long run. After all, the prison is not really nice, and the guard seems to be afraid.
The music is great and Evita is the fun and energetic to the dark and gloomy. Great graphics in pixels create the illusion of a surreal grandeur. The designs enemies are mostly cute with a scary side. The boss fights can become quite abstract, but has jailed one of the scariest game designs. Each section of the clock tower has a specific aesthetic, forest invaded the strange plant filled mushrooms. Overall, Evita has a thick atmosphere and wonderful, just as charming as terrifying. However, the controls take some getting used to, especially if you’re not familiar with the shooters.
Evita recommends using a game joystick, but you can handle it very well with a mouse and a keyboard. The opening level consists of a quick tutorial on the basic commands of the game: Movement, wall jumping, clothes, shot. It has virtually no cinematic or dialogue, but remains remarkably effective. Pull with the mouse, jump and pull with the space bar and the left Shift key. Be comfortable with these particular buttons, you will use them a lot. Interact with doors, NPCs and cats using the E button. You have four cores used to absorb the damage. When you miss it, you die. Fortunately, you can restore hearts by absorbing souls from vanquished enemies. When the blue gauge is full, press q to restore half a heart at a time. It sounds simple, but in practice, the fight tends to become chaotic very quickly.
The main objective of the game, mechanically speaking, is the risky exchange of health against power. You can offer hearts to statues, tour dealers and chests in exchange for bonuses. The effects are going to tell you what to expect from chests, to put on orbit slowly and inflict damage to surrounding enemies to improve or reducing your bullets. It is smooth and very fun, but the balance is designed to leave you perpetually on the lookout, waiting for the blow that passes in front of your guard and ruins your whole day.
Levels tend to be small enough, but the unpredictable layout and random selection of enemies make it a very tense experience. Each type of enemy has its own movement schemes and its own special way of harming you. Some of them will get you on, in the manner of hell. Others will remain on the lookout and will move when you approach too much. The bosses have their own schemas and weaknesses, but if you are mistaken once, you will find yourself with a half-heart. If you like rogue likes and two-sticks shooters, see Evita. Otherwise, maybe play something that will not make you feel your teeth.