The player-controlled mechanics in RGJG are stripped way back to only two buttons. I’m keen to see what new tricks are presented in the final section when the game is released, because that sense of fresh novelty is what drove me through the painful, messy action. I was relieved upon entering the second world to see entirely different levels thanks to additional environmental mechanics. The instant respawn sends you flying back into certain death in a heartbeat, which is almost as quickly as you died in the first place. The gameplay of RGJG consists predominantly of dodging spikes, sawblades and turret fire, navigating claustrophobic hallways and dying many times. The story is very much a side dish at this dinner table, yet the player knows to feel unwelcome the second they’re in. The thrum of bass and electronic/ hip-hop blended music is unsettling. The warped space setting feels anaemic, despite its bright and colourful textures. RunGunJumpGun, which I’ll refer to as RGJG from hereon, takes the crowded clusterfuck platforming of Cloudberry Kingdom, throws in the uncooperative jumping mechanics of Flappy Bird, and drizzles with the oppressive sadness dressing of Super Meat Boy to present a charming asshole of a game.
RunGunJumpGun is a stripped-down take on the punishing performer genre that sees its release on 31st August, and I’ve had the chance to play through roughly the first half of the game this week. The 2D platforming genre has always brimmed with games that require pixel perfect jumps and unwavering, split-second judgement to survive increasingly ridiculous obstacle courses.
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