(For example, when a powerful foe asked me to give him my katana to cut some cocaine during a party scene, I didn’t think anything of it – until he kept it, and I was forced into a difficult combat encounter without my key weapon). Unlike many action games, “Katana” gives you an unusual degree of freedom in how you want to conduct yourself throughout its many story scenes, and your decisions carry forth consequences, even for things that seem petty or irrelevant. who’s paying me for all this? What’s in that syringe that they insist on injecting me with? Who am I, anyway? But while the answers to these queries correspond to the typical array of video game plot devices, the sheer intensity of its voyeurism elevates it above many of its competitors. As you proceed from facility to facility, massacring every guard in your wake, the usual questions begin to mount. These era-appropriate touches aren’t just empty nostalgia or window dressing. When you finally deliver the precise set of commands you need, a deflection here, a smoke-grenade there, you can rewind the tape at will, the pure retro bliss of the white B-to-E navigation bar guiding your way. As you fall again and again – to errant bullets, mistimed sword-swings, the slash of an unseen foe – shafts of artifacts disrupt the image as time winds backward, giving you another chance to record the perfect run. The sound and image of the wanton killing sprees that make up the majority of the game are depicted as entirely diegetic, seemingly removed from the fiction of a video game – your assassin cues up the pounding backing track on his Walkman, and your final path of destruction is shown as a security tape for your paymasters to scrutinize and review. Instead, it leans as hard as it can into the time-manipulation aspect. The game’s affinity for the fictional past conjured by a symphony of similar works isn’t limited to its lo-fi pixel-art aesthetic graffitied by the constant splatter of blood, or its four-on-the-floor synthwave soundtrack.
That’s when I started really working on it.”
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But I discovered around the release of Terry Cavanagh’s ‘VVVVVV’ that games that you have to pay for get a lot more coverage than free ones, for whatever reason. “I didn’t even really want to make a longer game, I personally prefer making shorter, free games. “There’s just something about the neon, the ‘Blade Runner’ thing, the ‘Drive’ thing, that really speaks to people,” he says.
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