SPIRITED AWAY
EASTWARD’s atmosphere outshines its uneven plot
Set in a world where humanity is clinging on in pockets of civilization, Eastward follows the exploits of John—a silent miner who uses a frying pan for both cooking and hitting people—and Sam. They develop a father-daughter-like relationship as they eke out a living in the underground town of Potrock Isle, however they’re soon exiled to the wastelands of the surface world after causing a bit too much trouble. And the world above isn’t what
The game takes a lot of inspiration from retro RPGs and the likes of Earthbound, Zelda, and Studio Ghibli, and features a mix of puzzles and action-based combat across beautifully desolate locations. You’ll explore the world via stops on a strange train track as you uncover the dark secrets plaguing this charming pixelated world. There are parallels to the train found in Spirited Away, but instead of just passing by various fantastical locations you get to stop at each station to explore.
The puzzles themselves are very Zelda- like—put weights on platforms to hold doors open, punt bombs across gaps, split up to clear paths for each character in turn—but strike a good balance between being challenging enough without being too frustrating. However, some sections do start to feel a little repetitive, and one part in particular where you have to solve them at speed to avoid being consumed by a spreading miasma made me have to step away for a second to cool down. It’s not that the puzzles are difficult, but there isn’t enough time to assess and then complete them before dying. The tenseness of the moment felt ruined by repeated attempts to do puzzles quickly enough to survive—but thankfully moments like this are rare.
FUN GUYS
Combat is also a little fiddly. The world is filled with quirky enemies such as waddling mushrooms and bomb-spitting duck plants which can usually be taken down with a few pan strikes, but bosses all have some kind of gimmick to solve first to coax them out of hiding or get them to stand still so you can give them a good pounding. John’s pan has a satisfying thwack, but can be hard to aim, and switching between that and your gun can slow you down. However, swapping between John and Sam to make use of her energy blasts is incredibly quick and helps keep things fresh.
Where Eastward really excels is in its atmosphere. It’s utterly gorgeous, and somehow straddles that line of feeling both retro in its pixelated form, and modern with its detail and lighting. New Dam city is a highlight, with Japanese-style houses and alleyways all crowded together but still overflowing with potted plants and power lines. The music has stuck with me long after I’ve stopped playing, and Pixpil have done a great job with text. Speech bubbles shake with surprise or pip slowly during tense moments. It’s a masterclass on giving characters personality without voice acting.
Eastward is also brimming with unique characters, be they part of the main cast, or just NPCs going about their day. While this approach is commendable, and everyone is written well, it does have its drawbacks. When everyone in the room is weird and kooky, no one really stands out. It feels like being hit with a constant wall of chatter where it’s hard to tell what’s really important, because everything is given equal weight. It’s also hard getting to really know certain characters early on, only for them to never be mentioned again—as the story progresses, it becomes harder to feel attached to anyone.
Each of Eastward’s essential parts—it’s story, characters, action, and world—are well made, and hold up well to scrutiny individually. But it doesn’t quite manage to pull it together naturally. Its central mystery is utterly captivating at times, but struggles to keep up its initial momentum throughout. However, the wider sense of atmosphere that Pixpil has created here is more than enough to keep you traveling and exploring, despite the unevenness of the experience.
The music has stuck with me even after I’ve stopped playing