Stella Glow - Thoughts

From the word "go", Stella Glow shoots itself in the foot. For a handheld game, its offers a tantalizing package: a fun bundle of anime characters, an item crafting system, battlefields that make good use of height, some downtime relationship management, and hours of cutscenes to sit back and watch... er, read. But for every cool feature hides an ugly flaw, some so terrible that it makes it impossible to recommend Stella Glow to those that would admire it most. Which is a shame, because it can be an enjoyable experience when all the pieces finally come together...

... but to get to that point, you have to suffer through eight hours of the worst the game has to offer.

Stella Glow's introduction is interminably long. For the first five combats you'll be relegated to 1-2 characters, with only the main character capable of using special abilities. This keeps battles woefully basic, imitating oldschool RPGs where most encounters are optimally solved via attack spam. Except instead of battles lasting under a minute, Stella Glow's scuffles are painstakingly lengthy, filled with a lot of movement animations, buff/debuff notifications, and languid battlefield effects. By the second fight you'll be wondering when the game picks up; by the fifth you'll be dreading that it won't.

Finally assembling the core cast in Chapter 1 doesn't alleviate matters either, as they're too frequently separated from one another and lack diversity. While it helps having more characters on the battlefield to control, it will take some time for each character to learn an ability other than "big attack"—and since you'll be facing the same enemies for the entire game (there's a total of like, 20 monsters), battles won't feel more interesting as much as they'll just feel longer. Stella Glow touts itself as a strategy RPG, but there's very little "strategy" involved in its first quarter: simply whack enemies from the side and heal if low on health. Combat isn't just simple—it's rudimentary and lacking.

By the time you reach Amatsu (the game's Japanese-style "fire" city) your feelings on Stella Glow will likely settle. Most of the mechanics and systems finally plateau here: you'll get accustomed to the free time system, understand how to craft and use orbs, know what "tuning" entails, have a good grasp on the story, and know how to handle combat by this point. Each party member will have 1-2 abilities to alternate between during battles and you'll finally be given the chance to switch out party members for one another, curating a team you prefer. However, none of these ever coalesce to form a satisfying hook; Stella Glow will waffle for too long between mediocre and decent, rarely breaking out of those bounds in either direction. Ultimately I'd describe it as an "okay" game—and sometimes, "okay" can be worse than both good or bad.

Yet one categorically bad thing about Stella Glow—which will irritate you like a toothpick caught in your throat—is that the game is slow as molasses. I mentioned before that the animations were languid, but another baffling issue is how enemies will loiter in the turn order queue. Every creature on the map gets a place in the queue, and those that do less actions on their turn will have their next turn pop up quicker. But Stella Glow's enemies are the patient sort, calmly waiting until your characters approaches their doorstep to act... which constantly places them ahead of your active characters in the queue. Over and over again the camera will pan over to these slackers and wait a beat, obsessively reminding you how much of the battle still remains.

This may start off as a minor annoyance but it becomes downright vexing later, with entire turn order rows clogged with inactive enemies (seriously, try Sakuya's 2nd tuning mission and tell me with a straight face that it doesn't intentionally seek to waste your time). It never lets up either, with even the endgame missions featuring legions of enemies that will lazily sit on their hands and watch the fight unfold. This grievance alone is so exhausting that it dooms Stella Glow to the "do not play" dustbin, which is a shame because the solution is so simple (warp them in later or just skip their turns!) The only saving grace is that while you're in Amatsu, you at least get to while your time away with its awesome battle theme, the best theme in the game (outside of the final boss).

The conducting ability is perhaps the most novel concept Stella Glow brings to the table, but it's equal parts inventive and bewildering. As a battle unfolds, a five-tiered status bar at the top of the screen will slowly accumulate levels, which can be spent on powerful AoE abilities. The lower tiers can dish out devastating attacks or multi-target buffs, while the higher tiers are legitimately game-changing, granting a full-party HP/MP restore or disabling every enemy on the map for four turns straight. The problem with this is that the non-witch party members (those that can't be conducted) lose a lot of their value as the game goes on, and even then witches like Sakuya and Mordimort have flat-out worse songs than Lisette and Popo (the full-team-heal, full-enemy-shutdown duo respectively). I appreciate the options that conducting adds to a strategy-light game like this, but it only serves to remind me that more could and should have been done to broaden the playing field.

Although I've spent an ample amount of time bemoaning Stella Glow's failures as a SRPG, I should note that the game is actually half RPG, half visual novel—that is, expect to read it just as much as you play it. In the story-department Stella Glow fares much better (the protagonist in particular is thankfully level-headed and proactive), but I still wouldn't describe it as captivating, well-written, or deep. Expect some decent characters (Klaus, Rusty, and Hilda), some stupid characters (Keith, Marie, Nonoka), and some that fall in-between that you can't help but love how annoying they are (Popo, Archibald). It's moe-heavy, rebel-against-god fluff at the end of the day, even if the story does throw out some cool ideas here and there. For instance, the most ambitious portion of the story upheaves the happy-go-lucky status quo, dangling some serious stakes in front of the player. Sadly you'll likely see it coming a stage or two beforehand, and its melodramatic after-effects can linger for a little too long.

I had basically no experience with developer Imageepoch before playing Stella Glow, and now learning that this was their last title released, I'm not sure what to think after hitting the credits on their portable swan song. In a way, it leaves me kind of curious: this was their culmination after 10 years of video game development? Did they peak early with Luminous Arc? Do they even have any die-hard fans? In any case, none of this changes the fact that Stella Glow lacks the luster to be called a hidden gem. I think the best thing you can say about it is that it at least tries to be its own "thing", even if that thing is a housed inside a box of trite anime nonsense mixed with some of the slowest, dullest SRPG combat I've ever experienced. Oh well.

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Images obtained from: imdb.com, outcyders.net, gematsu.com, myshopville.com

Superliminal - Thoughts

Among gaming's innumerable copycats, the Portal-likes are arguably the most creative. That's due in large part to the imitators' aversion to copying the central portal mechanic; rather, what they fancy is Portal's sardonic writing, compartmentalized structure, and science-first focus. This tends to make it obvious when you're playing a puzzler that comes from the school of Portal—but thankfully it's a good school, encouraging its students to break Newtonian Physics in creative new ways.

Superliminal is a recent graduate from this school, one that earned high marks with a relatively obscure focus: perception.

Of course, video games are no stranger to visual trickery. Almost every genre utilizes silent warps and illusory walls (horror games are smitten with mind games), but there aren't too many crunchy puzzlers built around this idea. Major titles like The Witness and Antichamber feature a decent chunk of perspective puzzles to grapple with, but those are merely fractions of a larger, more surreal whole. Superliminal on the other hand simple is humble and down to earth, placing the player in an empty workshop where everything functions as you think it should. Well, except for the fact that you have the uncanny ability to expand and shrink objects just by touching them. But it's not your fingers that are doing the manipulating, oddly enough—rather, it's how your see objects in relation to their surroundings that changes their physicality.

The easiest way to explain Superliminal's mechanics is to harken back to being a bored kid. There isn't a child alive that could resist bringing their index finger and thumb close to their eye and squishing members of their family, all while making a loud, wet "pblsbh!" noise. Depth is ignored in this silly action, rendering the squisher's fingers as large as their eyes see them and their unwitting victim as small as they are distant. And this is exactly how Superliminal works: bring a chess piece close to your vision and it will balloon in size when you drop it. Likewise, you can glance down at an apple between your feet and instantly pick it up, reducing it to no bigger than a grape. It's a phenomenally cool system that takes a bit of work to get used to, especially once you start trying to make stairs by cloning a single object.

Thankfully, Superliminal teaches you the ropes via a series of Portal-esque quarantine puzzles. You'll learn and re-learn the ins and outs of this strange new perspective mechanic, discovering how to fit large objects into tiny crevices and expanding morsels of food into indestructible loading ramps. Afterwards, the puzzles get a lot more obscure and intermittent, eschewing with the room-by-room challenges for more varied and unorthodox sandboxes. Yet the game never morphs into anything too complex or oversaturated; like Portal, the developer's goal is to stimulate, not stymie you. Superliminal is carefully curated so that you'll reach the credits in under three hours—provided you don't mind getting lost now and then.

Unlike Portal however, Superliminal rarely activates the lightbulb in your mind. The game is at its strongest when it introduces new mechanics for you to play around with (Induction, Clone, Dollhouse), but that's only a third of the game's material—if not less. The majority of Superliminal's challenge comes from navigational struggles, like finding a hidden object or escaping from an infinitely looping hallway. The final leg in particular leans heavily into optical illusions and obfuscated pathways, feeling less inspiring and more... disappointingly monotonous. Maybe I just wanted more cuboid puzzle rooms, unprepared for the game to pivot from Portal to The Beginner's Guide. In any case, I was pleased with Superliminal by the end, though not as ecstatic as I was when I first started it.

A minor thing that hammered this point home was the game's challenge mode. Similar to Portal (speaking of monotonous, how many times have I said that by now?), Superliminal tasks the player with using the fewest moves possible to reach a puzzle's solution. Every jump and interaction will be marked down once you begin a puzzle, with some of the restrictions initially feeling ludicrous, if not downright impossible (even the first puzzle is no joke!) But like the main game, the challenges shift from finding creative solutions to standing in precise spots to execute obvious but increasingly annoying maneuvers; it's less about thinking outside the box and more about finding the exact right-sized box to stand atop of. Towards the end, a lot of the challenge solutions become identical to those you discover during first playthrough, just with a minor tweak (if any) added. It's nothing that ruins the game, but merely reinforces the fact that the game was strictly designed with your initial playthrough in mind.

Superliminal is an excellent experience that's only so-so as a puzzler. During your first playthrough you'll run into some brilliant, mind-bending situations!... which will sadly lose their luster on replay. Like the perspective mechanic itself, the longer you toy with Superliminal's illusions, the less magical and more mechanical the game itself will become. The challenge mode in particular feels like a strange afterthought, more concerned with quizzing you on where and how you place its objects down, rather than on what you're doing or why. But if you avoid over-analyzing and instead sit back and relax, Superliminal takes you on a wild wide full of surprises, proving at the end of the day that it learned the right lessons in Portal school. What's big can be small, what's thin can be large, and maybe the exit you're looking for isn't going to be the one you're walking through.