But Exit the Gungeon still carries on the humor, attention to detail, and general insanity that made ETG one of the best games of the last decade. The semi-random weapon cycling alone will be an inevitable lightning rod of controversy I’d equate it to the weapon degradation of The Legend of Zelda: Breath of the Wild in terms of mixed emotions elicited. The gameplay range is limited, and the design is at best mildly problematic. It’s unlikely that anyone will prefer exiting the Gungeon over entering it. The lack of co-op multiplayer is a glaring omission, however, not just because it was a central feature of ETG, but because it’s a central feature of the entire genre, and there’s nothing here that would make it impractical. To Dodge Roll’s credit, they get some decent mileage out of the focus on ascension, including floors that shoot you if not stepped on long enough, and levels that involve steering rocket-propelled platforms mid-combat. Since most if not all of the items and enemies are imported from ETG, there’s nothing to take advantage of the new perspective, and originality is largely restricted to some inventive boss encounters and level types. The visuals have been noticeably cleaned up compared to the original game, which makes the recycled soundtrack rather disappointing. The list of new or improved features is fairly short outside of that system.
Additionally, allowing for variable jump height – a luxury in most games – merely adds another danger to focus on in a crowded game like this, making it more inconvenient than anything. However, this means shooting and jumping are mutually exclusive, and considering how a jump can prematurely end in a way that a dodge roll won’t, the maneuver is largely unreliable in combat. Treating it as essentially a vertical dodge roll was an inspired idea because hopping around in a panic tends to be the instinctive response to clouds of bullets. While this works fine for the basics, it’s clear that the mechanics were not designed with this angle in mind. Additionally, between this and Shovel Knight: Plague of Shadows, it’s clear that even stellar developers need more practice at it.Įxit the Gungeon’s major departure from its big brother is that, rather than an overhead view, events are seen and controlled from a side-scrolling perspective. It’s something I wouldn’t mind seeing more of, because it eliminates a lot of the overhead from game development, allowing the creators to focus on the things that matter. Spin-offs in gaming usually involve familiar characters in totally different genres, but Exit the Gungeon demonstrates the rare practice of transplanting entire components of the original gameplay into an altered context. But it may be more accurate to call it a remix.
Despite taking place immediately after it, Exit the Gungeon ( XTG) is billed as a spin-off of Enter the Gungeon ( ETG) rather than a sequel, due to its smaller scale.
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