John Carpenter's Toxic Commando is a solid and fun cooperative shooter that takes the classic Left 4 Dead formula and applies some important changes, from the open-world maps (it's a shame they all look so similar) to the use of vehicles, from special powers to a customizable arsenal. The starting loadout is quite extensive, especially considering its low price, and the Swarm Engine delivers truly crowded and spectacular gameplay, creating a chaos that's a joy to play with friends.
This is one of the elements that least convinced us, but not the only one. During the adventure, Mio often finds herself in moments that feature trial-and-error mechanics in which she must be careful not to get caught by certain enemies that cannot be defeated. Escaping through the corridors of the houses we pass, studying the patrols of the enemies, moving around in search of hiding places is decidedly frustrating. Especially because – for artistic reasons – the houses are built like labyrinths of corridors full of dead ends and rooms with no exits. While this idea is evocative in exploration, when it comes to chases it simply doesn't work, because it feels like there's only one correct sequence of turns despite dozens of incorrect attempts. The technical component also gave us some headaches: while the visual impact of the environments is excellent – although the same certainly can't be said for the models – on the standard PlayStation 5 the game suffers from slowdowns and unjustifiable and very annoying stuttering. We have no trouble believing that these issues will be resolved in future patches, but it's worth pointing them out.
In this sense, Capcom has found the perfect balance on which to build a spin-off that, this time around, has satisfied us even more than the last title in the same series that inspired it.
Moving on to the audio, we must acknowledge the great effort made in creating a largely original commentary, thanks to the arrival of Wade Barrett and Booker T, plus the abundant dialogue that enriches the various modes and is performed by the superstars we see on screen. And the soundtrack? Once again, it's a mix of signature tunes and theme songs that will please everyone.
The predictability of the script is more than offset by the fairytale tone, suspended between post-apocalyptic science fiction and a coming-of-age story, in which the hand-drawn design marries a precise structure based on alternating solids and voids. Try to notice it as you play: listen to Takeshi Furukawa's music, observe the environment, notice the nuances of the colors. Everything oscillates between a sense of fullness and emptiness, light and shadow, cold and heat. Perfectly opposed poles, which mark not only the progression of an increasingly challenging gameplay, but also the consolidation of Lana and Mui's self-awareness. Protecting others and discovering oneself is beautiful, and necessary: but it comes at a cost. And the aesthetic here reminds us of this at every turn.
Even aesthetically, we're looking at a game with modest ambitions, but that doesn't mean it sacrifices respectable technical execution. Styx's polygonal model is detailed and well-animated, and even the actor who lends his voice, in English, is absolutely on point. The supporting characters, as well as the antagonist, are a different story, much more sketchy and backward in every way. As for the environments, despite some asset recycling, the game holds up quite well, offering several evocative and captivating views.
Also returning to the soundtrack are the legendary Anamanaguchi, the chiptune-rock band that composed the soundtrack for the first Scott Pilgrim video game in 2010. They've done a great job once again, with excellent songs that perfectly blend rock with 8-bit sound effects.
