Ape Out

[DiaboliK.]

An ape who wants to escape only has a few options, one of which is shoving her human captors into walls so hard that all the blood flies out of their bodies. That's the plan for Ape Out's ape, and it's pretty much the whole plan. After the first human goes splat, the percussive jazz kicks in, and the dizzying improv violence session is on—just keep running and always be splatting. While Ape Out starts to drag after the first couple acts, it's hard to put down anyway, because it looks, sounds and feels so consistently cool.

As the ape, you charge across procedurally-generated mazes from a top-down view, shoving, grabbing, and tossing the human-shaped enemies in your way. It's like a twin-stick shooter, where one analog stick controls movement and the other rotation, but your guns are your biceps. I preferred the mouse and keyboard controls, where WASD moves and the mouse controls the direction I'm facing, the same way I played Hotline Miami.

Left click shoves enemies with brutal force. Into a wall and they'll splat, and into another enemy of the same size or smaller they'll both splat. With a right click, you can instead grab and hold onto any enemy. Shortly after, they'll fire their weapon away from you, so you can use them to shoot their friends before left clicking to chuck them into walls or each other. 

It's a bit funny to go from shoving people into pillars like a high school bully (who's a gorilla) to deliberate, tactical use of a human shield, and that tension between recklessness and planning runs throughout Ape Out. At times it helps vary the pace, but it also relates to Ape Out's biggest flaws.

Ape Out is so thunderously stylish and thematically strong that I like it even though it loses its thrust so quickly. It evokes anxiety and fear with brutal efficiency, so if you've ever wanted to feel like a cornered animal—or me whenever someone asks me a direct personal question—here's your chance. Those uncomfortable feelings just aren't balanced with quite enough triumph.

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Article created by Tyler Wilde for „pcgamer”.