Games

Citizen Sleeper 2: Starward Vector – Sci-Fi Adventure with Tabletop Flair

BBG News

In the sequel to my beloved game Citizen Sleeper, titled Citizen Sleeper 2: Starward Vector, I find myself once more immersed in the same captivating universe where swathes of icy space are interspersed with vibrant pockets of life, nestled within stations and outposts. However, unlike its predecessor which focused on a single setting and required me to consistently administer Stabiliser medication, this new installment keeps things dynamic. The narrative unfolds as I navigate through various systems, always one step ahead of my pursuer. It’s up to me to maintain the chill, ensuring that my trail remains elusive.

Once more, we’re set to operate a Sleeper: a humanoid form enclosed in rubbery skin, buzzing with an embedded consciousness. These beings share similarities with the Working Joes from Alien: Isolation (excluding their terrifying white eyes), and their original purpose was somewhat alike. They weren’t designed to scare young engineers with hissing sounds in the dark corridors but rather to perform dangerous tasks, such as hull repair or even preparing Baked Alaska in zero gravity. The idea was that people could transfer their minds into these distant bodies, and any job-related mishaps would be inconsequential. This setup was indeed an insurance company’s dream, as well as the ambition of developer Gareth Damian Martin, whose obsession with digital interfaces – those delicate bridges connecting man and machine – has culminated.

In Martin’s first game, titled “In Other Waters“, players assume the role of an artificial intelligence guiding a stranded xenobiologist in an alien ocean. The game bears resemblance to Kazutoshi Iida’s creation “Aquanaut’s Holiday“, but it carves its unique path. While Iida offered a deep-blue void with creatures emerging in real time, Martin opted for abstraction – using contour lines against a teal backdrop and filling gauges with lemon-yellow data bars. This abstract approach was powerful, compelling players to fill in the gaps with their own imaginations and fears. It also delved into the boundaries of gaming, dissecting user interfaces and exploring the area where we as players are expected to contribute. The less it provided, the more it demanded from the player. The tagline for Iida’s game was “A world beyond your imagination.” Martin’s game required such a world.

Starward Vector preserves its established style yet offers a richer experience. The stations are depicted in three dimensions, subtly animated by minor movements. Ships dock at empty bays, lights flash, and rings of dust sparkle against the dark – as if space were a slowly rotating record. Guillaume Singelin’s character art is livelier than most ports, and despite Martin’s swift narrative pace, I found myself frequently pausing to appreciate the intricate curves of faces and complex shapes. As before, there are echoes of Death Stranding in some designs: multi-purpose backpacks, miniature mechanical arms, and form-fitting tracksuit bottoms with knee reinforcements. The stylish populace could easily blend into the dismal streets of Night City from Cyberpunk 2077, without drawing attention.

As a devoted enthusiast, I find a strong resonance with this game, as it echoes my yearning for democracy in its approach. To be honest, the health crisis of its protagonist, V, was hardly a concern beyond the occasional interruptions by Keanu Reeves, portraying Johnny Silverhand – a former rockstar and spectral presence within V’s mind, forever restless with the concept of being an idea. Just like the primary storyline occasionally stumbled, other tales bubbled up around it.

It’s remarkably similar in Starward Vector, as Martin skillfully weaves together a myriad of plots. Even though Laine, the ominous pursuer, possesses a Johnny-esque ability to serenade our Sleeper from light years away, the central conflict pales in comparison to the surrounding events. The heart of Starward Vector, however, lies not in the main struggle but rather in the liberty to gather a crew and undertake assignments.

In this game, just like other actions, you kickstart your day by throwing five dice. These dice are used for various activities such as work, gambling, exploration, etc., and a higher roll increases your chances of success. If you roll five ones, your day might not go so well. This is a role-playing game (RPG) that draws heavily from tabletop gaming. You have a character profile that evolves as you progress, offering benefits like the ability to re-roll your chances once a day. When on assignment, you work with colleagues who also have their own dice, stress levels, and backstories. Within a specific timeframe, you complete each job, then make a swift exit, earning a substantial amount of credits upon your return. These tasks often involve retrieving data orbs from abandoned ships or tracing the electronic trails of distant signals.

This story has a melancholic, introspective vibe if you’re into thoughtful and solitary science fiction. However, if you prefer romance or more explicit scenes, this might not be your cup of tea. Instead, expect a calm, contemplative narrative that handles harsh realities much like dealing with household waste: a careful examination, a proper disposal, and a quiet sense of accomplishment.

On the positive side, Martin’s writing remains engaging, not only for the intriguing structure of its premise but also for the sophistication of its language. Metaphors such as “Your fingers flap like caught birds” linger in your mind, adding personal touches that subtly disrupt the larger narrative flow.

Translating the first game’s premise into a new setting was undoubtedly challenging, but Martin manages to make it feel personal and cohesive, like a spinning mobile. This isn’t a solitary game; all these interconnected stories share a common orbit, resulting in a shared experience that leaves you feeling involved, much like Martin’s previous work.

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2025-02-04 14:42

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