At one point, as the synthwave soundtrack ramped up, the staccato clack-clack-clack of my machine gun played in time with the percussion. All the while, I swapped between an energy-based hand cannon and a fire-based machine gun - robots and humans fell to their respective weaknesses. I took cover to blind-fire at human snipers, before dodging the melee attacks of flanking robots. During one particular late-game mission, a variety of enemies swarmed me. Image: Neon Giant/Curve Digital via Polygon The Ascent is, to put it lightly, all over the map. It boasts dialogue options and level-gated enemies. It’s part twin-stick shooter, part role-playing game, and part vanilla lootfest. Which is all to say, The Ascent doesn’t stick to one genre.
One dog story the ascent upgrade#
Between missions, you return to various hub worlds to upgrade your gear and accept new side quests.
You gather new armor, weapons, and cybernetic combat abilities, which you then deploy in frenetic, top-down fights. As the title implies, these quests bring you higher in the tiered city of Veles as you take on more important gigs. It’s a collision of genres that, even at its best, can’t decide what it wants to be.ĭeveloper Neon Giant’s twin-stick shooter puts players in the shoes of an indentured servant seeking freedom through a litany of jobs from slumlords, hackers, and corporate suits. To quote William Gibson, “When you want to know how things really work, study them when they’re coming apart.” The Ascent frequently comes apart. What’s not coated in chrome is swallowed by rust, and though it draws on the usual cyberpunk influences - Neo-Tokyo, Midgar, dystopian Los Angeles, to name a few - I can’t help getting lost in its singular energy. It’s drenched in neon and thrumming with decay. There’s no denying it: The Ascent has style.
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