SIGNALIS

Light and shadow. Hope and despair. Despite being at times almost impenetrably dark, Signalis is ultimately a tale of contrasts. It's simultaneously one of the most impressive and most disappointing indie games I’ve ever played. Impressive, because the story, setting, and visual design are absolutely top notch; disappointing, because I can’t help but wonder how much better it would be (and to be clear, it’s already excellent) if it wasn’t held back by the constraints of independent game development.

The DNA of the original PlayStation runs thick through Signalis’ veins. The most obvious influence is Silent Hill, lending generous portions of metaphysical horror and gameplay conventions like limited inventory space. Dig a bit deeper, though, and you’ll spot traces of Metal Gear Solid, as evidenced by style of the first-person 3D sections, as well as the presence of a radio with tunable frequencies. Psycho Mantis [サイコ・マンティス] would feel right at home here.

Signalis spent eight years in development and it shows. The backstory, woven of interplanetary empires and oppressive societies, resonates fully with the graphics and gameplay, from the design of the metallic coffin you pilot through space to the emotionless violence of the Replikas you encounter. It’s a game that asks deep questions but never forces answers. You can ponder over the true meaning of your journey or you can run from room to room and blast Replikas. Regardless of how you choose to play, you’ll be rewarded.

Why, then, did I also feel disappointment? It mostly comes down to limitations. While the game looks great as is, the overhead camera perspective always keeps the player at arm’s length from the horror. Although pre-rendered backgrounds like those in the original Resident Evil [バイオハザード] games were probably out of the question given the game’s indie scope, a dynamic camera system like the one in Dino Crisis [ディノクライシス] and Resident Evil: Code Veronica [バイオハザード コード：ベロニカ] could’ve made for a nice middle ground. As it stands, running through the game’s rectangular spaces feels more Zelda than horror. Of course, classic survival horror locales like the Spencer Mansion are also largely grid-based, but clever camera work made those grids come alive. The world of Signalis feels static in comparison.

Combat mechanics are also not a strong point. Shooting is functional but not particularly fun, and usually I found myself running around enemies unless I absolutely had no choice but to clear a path. Perhaps this was the developers’ intent, but given the wide variety of weapons they provide it’s a shame that firing them isn’t more engaging.

Don’t let these minor gripes keep you away from Signalis, though. This is a horror gem that’s absolutely worth playing, thanks to authentic PS1 vibes and a uniquely oppressive atmosphere. Could a larger budget and a few gameplay tweaks have elevated it from very good to all-time classic? Perhaps developer rose-engine’s next game will provide us with an answer. I’ll certainly be looking forward to it.