Building on the desolate Earth setting from the developers previous titles, The Cub not only takes you on a twisted apocalyptic safari hunt but prompts reflection on potential scenarios for the world’s end.
Those familiar with Demagog Studios previous titles Golf Club Nostalgia (previously known as Golfclub wasteland) and Highwater will instantly recognise the games backdrop: a desolate and overgrown planet Earth.
Golf Club: Nostalgia sees the ultrarich who escaped to Mars return to a ruined Earth to play some golf and Highwater is about a group of friends trying to sneak onto a rocket to flee from the flooded planet. Whilst I’d recommend both these games, you don’t necessarily need any prior knowledge to enjoy The Cub on its own as it is a completely new story, centring around a young boy who was left behind to perish on Earth (although if you’ve played Golf Club Wasteland, you may recognise him).
Patrolling Martians from Mars spot the child, without a hazmat suit, suggesting some sort of immunity as everyone else needs this to survive and so the game of chase begins as they try to capture him to find out why. He actually reminded me of Abe from Abe’s Oddessy with his burping, scratching his bump and childlike mannerisms.
The game is said to have taken inspiration from classic 90s platformers and you can certainly see elements of this from the platforming mechanics like swinging on vines and riding on mine carts included.
In terms of difficulty, there’s a good balance, offering a challenging experience without becoming overly frustrating. Throughout my gameplay, I encountered numerous instances where the challenges posed a genuine test of skill. Whether it was navigating intricate platforming sections, solving puzzles, or facing formidable foes, the level of difficulty kept me engaged.
Despite the many many deaths, each setback felt like a learning opportunity rather than a source of irritation. This balance is crucial in keeping the gameplay experience rewarding and encouraging players to persevere through the challenges without feeling discouraged.
The art style is striking and successfully brings to life and captures the essence of the diverse environments. The neon-lit signs, with their flickering lights and vibrant hues, serve as a contrast to the grim surroundings but also tell a story of the world’s past, offering subtle hints about the corporate greed and societal decay that perhaps led to the current desolation. The attention to detail in the ruined cities, with crumbling buildings and remnants of a once thriving civilisation and overgrown jungles reclaiming their territory paints a poignant picture of the world’s decline.
There are various collectables throughout from books, usbs and knick-knacks which again contribute to the games narrative.
Returning also from previous games, is Radio Nostalgia from Mars, a captivating radio show that serves as the game’s soundtrack. Broadcasting snippets from former residents on Earth, new world announcements and an eclectic mix of musical styles that cleverly complement the unfolding journey. The music helps to build the tension particularly in the chase sections of the game whilst also adding to the story. For example, there’s an announcement making mention of the boy that’s been spotted, saying it’s all rumour, it’s not true.
It’s a short experience and while the content is satisfying, a longer gameplay experience could have allowed for a more in-depth exploration of the narrative and character development. It treads familiar ground without introducing any particularly novel concepts or mechanics that set it apart.
That said, the game’s positive aspects contribute to a satisfying and thoughtful gaming experience and I look forward to seeing what the developer does next.
-Jessica
