Reviews
[Review] Survival-Action Shooter ‘Remnant: From the Ashes’ Doesn’t Live Up To Its Initial Promise
Remnant; From The Ashes is billed as a soulslike third-person survival-action shooter, with a focus on co-operative gameplay and replayability. Which of these things is it? Well, unfortunately, none of them. What it does seem to be however is akin to a cash-grab that’s fine to while away a few hours in. A game that isn’t terrible, but certainly doesn’t live up to the developers own hype, which is a shame considering the same studio brought us Darksiders 3.
Remnant takes place in a not too distant future, where Earth has been invaded by an evil force known as The Root. Instantly this conjures up fantastic images of varied, perhaps disgusting, or otherwise unconceived monsters. Let’s go and kick some otherworldly butt.
In the interest of fairness, I’ll start off with what I enjoyed about the game. The introductory cutscene did a good job in setting the scene, creating mystery and intrigue as to the problems and origin of this world. The sounds of the Root monsters, hidden and shrieking at you from around corners certainly adds tension. Hearing a pained, gnarled inhuman scream and wondering what grotesque creature you’re about to face definitely excites me in the right places.

Unfortunately, that is where most of the positives ended. Starting off, the graphics aren’t great. The in-world textures are mediocre at best, a throwback in the graphics departments to yesteryear. If Half-Life 2 had these graphics in 2004, I might have been a bit more impressed. The cutscene dialogue animations are mostly awful, not only out of sync, but we learned a long time ago that humans do not simply move their mouth up and down to speak. It seemed a bit, well, Terence and Philip, albeit in a nicer wrapper.
It did have a promising start, after the tutorial I was looking forward to seeing how the gameplay unfurled and how the intriguing story relating to the invading Root developed. However, it doesn’t take long to work out that the content of this game simply isn’t there. ‘Lore’ hidden throughout the world appears in the form of documents; reading through 10 pages a time seems a really bad way to add extra depth to a story, almost as if it was an afterthought.
One of the first things you learn in Remnant is that you have to smash crates to obtain ‘scrap’, a material used to upgrade your weapons and armor, which by the games own admission you need a lot of. I’m not against grinding for gear, especially if the grind is enjoyable, what I am against is despite advertising this mechanic that it feels incomplete; there’s only one type of object that is smashable. After ramming my melee weapons into pretty much everything for an hour in the faint hope of discovering secrets (or being able to write a comprehensive review) I felt I had wasted my time a little. I really don’t feel it’s a big ask to skin a different breakable object and place it in the world.

The worlds themselves are very linear, and not overly impressive. Sewer levels? It’s nigh impossible to get lost, even without using the minimap for direction there isn’t a lot of room for maneuver. As of yet, I have found no off-map secrets which would have made for a more fun exploring experience, something the game encourages you to do. I feel this would have added an extra level of intrigue and stopped the world feeling so flat and empty.
Combat wise, the shooting is fine. It works well, it feels good. Whilst not the main focus of the game, the melee combat I found to be poorly-optimized and clunky, certainly annoying for the few times you run out of bullets early on. The timing between the mouse click and the reactive swing of the Scrappers two-handed ax seemed mostly spot-on, however, the supposedly lighter and faster hatchet of the support role still seemed far too slow. In Remnant, there are 3 classes each with their own melee weapons and firearms. Oh, but you can buy the firearms from the different classes incredibly early on. And there are only about 10 weapons overall. Admittedly, much past the first hour into the game, I didn’t really see the point of having different classes, the main differences seeming based on physical appearance only.
There are also ‘ultimate’ skills, in the form of weapon mods, which become charged through engaging in successful combat. These weapon mods vary from extra damage on enemies to creating a healing pool. Nothing original, but again appear to be present in all classes. The skill trees, or traits as they are known, don’t seem particularly varied either, although you do unlock a few more as the game progresses. The choice of traits doesn’t particularly matter either, there are the general health boosts, but nothing that makes a huge difference towards building your character or adapting playstyles. An experience boost trait, once unlocked, was all I piled my points into for obvious reasons. Out of nowhere, I was leveling up very quickly, which I feel spoils the sense of victory and progression that a title billed as a soulslike should absolutely have.
The biggest thorn in my side in Remnant was that the sprint action is a toggle, whilst push to sprint is my preferred playstyle and may not be annoying to everyone it just compounded my frustration with the game. Controller support is present, should you wish to use it, and I found no huge difference or disadvantage from using either input mode.
As part of the games intended difficulty, resting at checkpoints to refill health and save progress also resets all the monster mobs in the world, in an effort to enhance levels of replayability. Certain story arcs can only be unlocked through a particular class. Unfortunately, this got dull quickly and seemed a very obviously cheap way of trying to squeeze out some more hours from the base content.
According to the developers, your choices matter. I was most excited for this aspect, I love dynamic worlds, if this concept can be integrated correctly it adds to an incredibly vivid and varied gameplay experience, with positive replayability the developers have touted. Unfortunately, it takes a bit more thought than adding a choice of two dialogue options. Remnant is not a visual novel, no, but it would have been nice for even a third, or the feeling that this hadn’t been shoe-horned in afterward in an already created linear story, almost as some attempt to justify the price-tag. The character development, player progression, storyline, and rewards just don’t feel sweet or varied enough, which is hugely disappointing. In a gaming world currently geared towards grinding, this feels almost like a very basic and mostly impossible mistake to make.
Despite the game taking place in a twisted alternate world, I didn’t feel the mobs embodied this setting, with there being little to no sense in monster creation. Sometimes, ‘just because’ is absolutely fine, but I really feel a little more care and attention to detail would have improved my enjoyment of this game. None of the mobs particularly grossed me out or got the jump on me, considering the huge scope that the setting of a dystopian world provides it’s a really big shame, and again, could have provided an extra element of excitement to Remnant.

On the positive side, playing with friends is fun. There aren’t many games that aren’t fun with friends, this is certainly no exception. Despite there being no overwhelmingly huge difference in the classes, facing bosses together was fun. The game seems mostly optimized and geared towards co-op, with progress promised to be shared between your single-player campaign and any co-op games you play. This mostly works, there is a slight irk with the host not saving progress and you all instantly falling back to the main menu and losing everything you’d done together.
So why did I describe this as a cash grab? Despite making huge promises, Remnant falls flat, with certain elements described as being included at an absolute base level that just isn’t appropriate for a game or studio of this size. Lots of the complaints or niggles I have pointed out could have been easily rectified with just that little bit more thought into the production, and it would have made for a different experience and I would have happily given the game a higher rating. The developers have rightly tried to push the co-operative elements of the game; friends banter can mask a lacking experience for only so long though. The solo aspect of the game isn’t as much punishing as it is overly repetitive and dull. No, nobody expects an exact clone of Dark Souls, but the difficulty doesn’t scale quite as much as the developers would like you to believe.
Overall, Remnant isn’t a bad game. It’s just an unoriginal one that doesn’t feel particularly well polished or well thought out. If you and your friends are looking for the next co-op adventure, I could recommend it from that avenue; although given the total playtimes of those that have completed it I would wait for it to come down in price.

Remnant From the Ashes review code for PC provided by the publisher.
Remnant From the Ashes is out now on PS4, Xbox One, and PC.
Books
‘Dead But Dreaming of Electric Sheep’ Book Review: Paul Tremblay’s Primal Scream Against the AI Push
Read enough Paul Tremblay novels and one word comes to dominate your thinking around his fiction: “Daring.”
Whether he’s playing with traditional novelistic forms, holding conversations with characters across time, or pushing his stories to their bleakest and strangest possible conclusions (if they have concrete conclusions at all, Tremblay is a daring novelist, never playing it safe for his audience or himself. The author of A Head Full of Ghosts, Horror Movie, and more is always pushing for something in his fiction, digging into the core of an issue until he finds its bloody, beating heart.
Dead But Dreaming of Electric Sheep, Tremblay’s latest novel, is no different. From the title alone you might surmise certain things about the narrative, from its Philip K. Dick influence to its sci-fi-horror premise, and you’d be right. But Tremblay always pushes beyond those initial assumptions, and here we get not just a gripping sci-fi-horror showcase, but something much stranger and more profound: An exploration of what it means to be human, fragile bodies and all, in the age of AI.
Julia, Tremblay’s protagonist, is in a strange place when the novel begins. A former gaming streamer who’s retreated from her digital spotlight, she’s in search of a new direction in life, and she finds one in the last place she might expect. Julia’s mother, who runs a California tech behemoth, has a job offer for her daughter, an unprecedented one. It seems that the company has introduced proprietary new technology into the body of a brain-dead man, and now they need to see what this tech can do. Julia’s job? Using her gaming skills to take this human vegetable (Julia calls him “Bernie” because of Weekend at Bernie’s) from one side of the country to another, using a stealthy controller purpose-built for the experience.
This is a wonderfully ghoulish premise on which to build a novel, and Tremblay makes full use of its nightmare fuel. As Julia comes to grips with the implications of what she’s about to do, and what she might discover while doing it, the author punctuates her journey with trips into the mad mindscape of Bernie himself, a dark reflection of our own world populated with half-remembered moments and images and hallucinations. As simple exercises in writing craft, they recall Philip K. Dick at his best, building the same sense of overwhelm and wonder so present in his work, but Tremblay’s after something else as well, and it’s purpose-built for this moment.
The novel builds deliberate juxtapositions with Bernie’s half-remembered life and Julia’s ongoing one, sending them barreling at each other from opposite ends of consciousness. Julia’s brain functions as only her brain can, a mass of pop culture references and dreams and memories she both cherishes and would rather forget. Bernie’s world is one of shadows, but also one of constantly shifting perspective, as the tech in his head remakes him. He’s not just a passenger in his own body, but an unwilling participant in a Frankenstein-ing of human and machine. It’s not the first time an author has attempted such a thing, but through Tremblay’s evocative, visceral prose, it’s one of the most effective, and it hits on something vital that Tremblay says in a way that only he can.
Dead But Dreaming of Electric Sheep is a thumping sci-fi yarn, a journey into new frontiers through untested technology with vast implications for the future of the world, and if Tremblay had only explored that genre, he’d have done well. When the horror elements creep in, though, Tremblay’s work raises endless questions over what exactly we are sacrificing when we let machines get so close not just to our flesh, but to our consciousness, even when, medically speaking, that consciousness is gone.
Tremblay breaks this sacrifice down in terrifying detail, sometimes quite literally breaking down the basic flow of prose in Bernie’s head until he’s been hijacked by words and phrases and shapes that he doesn’t understand. Along the way, Tremblay gets almost metafictional with his probing of this hybrid consciousness, asking us to question not just where the story will go, but who gets to be in control when the narrative becomes a runaway train.
All of this makes Dead But Dreaming of Electric Sheep the most ambitious book of Paul Tremblay’s career, which is really saying something. His daring, his boldness, and his ability to mine the unspeakable are on full display, and they work together to deliver one of the year’s most unnerving genre books.
Tremblay’s at the peak of his powers with this one.
Dead But Dreaming of Electric Sheep hits shelves on June 30.


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