Although Capsized is not the first indie to do so, it is rare for being both a 2-D puzzle- and action-platformer.

User Rating: 7 | CAPSIZED PC

Those who have been following the indie scene with a little scepticism would have noticed that the next indie game and the one before it is more than likely to be either a side-scrolling action platformer or a side-scrolling puzzle-solving platformer; it is rare indeed to find indie games that stray from such a simple framework, which unfortunately is one of the very few that are within the reach of most indie developers, which tend to be resource-strapped.

Yet, an indie game that tries to be both is also - amusingly enough in hindsight - a rarity. Capsized is one such game, and it would appear to do both kinds of gameplay rather well.

The premise of Capsized is not new of course – those who follow popular culture would have vibes of Planet of the Apes, though Capsized's premise is far simpler, and bloodier. What appears to be a human exploration ship has passed too close to a planet inhabited by savage creatures with mystical powers and apparently a thirst for the sacrifice of foreign lifeforms. The ship is brought down, but not before some of its crew, including the player character which is apparently an officer, managed to leave the ship via escape shuttles.

This unnamed officer appears to be the only one of his crew who has the wit to arm himself with a weapon, thus making him quite prepared for the very hostile denizens of the jungle-ridden planet. However, of more use to the player is his surprisingly durable and versatile space-suit and its built-in tools.

The planet apparently has low gravity, which allows the player character to jump rather high despite his obviously bulky suit. His reduced apparent weight also allows him to cling onto surfaces, which he can then jump off from. This is one of the most important and entertaining features of the game, but also the most frustrating when it is combined with another important feature of the game.

While his ability to stick onto surfaces allows him to wall-hop up even the sheerest of cliffs very easily, it also makes him stick to surfaces when the player would rather not want him to, especially when the player is trying to slingshot him up a narrow shaft (which is a lot faster than simply wall-jumping and is a mark of advanced play). Due to the limited range of his tractor beam (which will be elaborated on later), the player often has to fire it at angle, meaning that he will be sling-shot at an angle as well and thus would hit a wall.

Of course, this can be dismissed as just part of learning to slingshot a lot more efficiently. What is less forgivable though is the inconsistent application of hitboxes to the boundaries of walls, ceilings, cliffs and other level boundaries. Some cliffs with thick foliage have their hitboxes occurring outside the artwork that represents said cliffs, giving the impression that the player character is floating just above and away from them, while some others have their hitboxes occurring behind and underneath their artwork, causing the player character to visually "sink" into them.

Despite his reduced weight, the officer is still heavy and clumsy compared to the indigenous creatures, which can stand on and move along walls at any angle – even upside down - and generally move faster than the human can; they can also fall down from any height without any damage, whereas the protagonist will still die if he falls down from tremendous heights.

However, the fact that he is still heavier than them is a game physics design that advanced players would pick up on and can then exploit for some cheesy but entertainingly practical tactics. For example, the player may have the officer falling on top of a savage, squashing it outright without having to shoot it.

The player character has a couple of tools that make use of the game's physics designs. The first and simpler of these two is a repulsing device that pushes small objects (and the smaller of enemies) away from the player character. If the device is applied to a large object or the terrain, the player character is pushed away instead. This device would be mainly useful for the clearing of debris.

The other tool, called the "Gravity Hook", is a lot more sophisticated and more fun. At first glance, it may resemble the tractor beam that Half-Life 2 has popularized, but with some differences (other than the obvious fact that the Gravity Hook is in a 2-D side-scrolling game and the Gravity Gun isn't).

Firstly, a tractor beam is fired from the player character; it moves at a fast but not instantaneous speed. This means that it moves along with the player character, thus requiring the player to time the shot of the beam when attempting to attach it to something. This can seem to make the beam a bit unwieldy to use if the player is used to conventions as set by Half-Life 2's gravity gun, but it is not too difficult to learn and appears glitch-free.

Secondly, once the beam has been attached to something, it does not necessarily mean that the object that is attached to the player character would levitate around him like one would expect of an object latched onto by a sci-fi tractor beam. Lighter of objects like crates and human-sized stone blocks would levitate in such a manner without putting a burden on the player character, but anything heavier would not float and weigh down the player character instead. The player character can still drag this heavy object around though, and this will be important for some puzzles.

Thirdly, the Gravity Hook can be used as a tether, or to use a simpler term, a rope. Anything immovable, such as terrain, can be hung from with the hook, or swung from by simply moving the player character left and right.

Finally, and this is the most fun aspect of the Gravity Hook, the player character will be pulled towards the target, the target will be pulled towards the player character or both will be pulled towards each other after the Gravity Hook has connected both together; the outcome depends on whichever is heavier. The speed at which they meet each other depends on how long the beam was before it connects: if it was long, the force of attraction can be large enough to have them slam into each other at great speeds.

The player character does not appear to be harmed by the impact, but if the target for the Hook was a native or a fragile object, the collision can harm or destroy it outright. This can be sometimes used instead of shooting to defeat certain enemies, such as air-borne savages, which are particularly vulnerable to such tactics.

If the object tethered with the Hook is light enough, the player can choose to launch it using the same button used to launch the Hook. If the object is something hard like a stone block, it can smash into and break most fragile things, as well as injure natives if it hits them. For anything more fragile, it breaks apart upon impact, which is handy if the player wants more ways to clear debris than just shooting them. The player can also fling natives around to injure them (though shooting them may be simpler; a skilled player can attempt to do both, however, to maximize damage output).

Unfortunately, if the player wants to release tethered objects without tossing them around, he/she may run into quite some unnecessary trouble. It would appear that the only way to do so is to bring the object as close to the player character as possible, and then pressing the button for the Hook. If it is close enough, the object is simply dropped; otherwise, it gets launched, which can be an annoyance.

This can be a problem in levels where the player must shift objects away so that they don't block shafts and tunnels. If the immediate area is too small, tossing them could have them bouncing around, possibly plugging tunnels and shafts again.

Speaking of tunnels and shafts, there will be many of such terrain features in many levels, and they will often be blocked by something. Such obstacles can feel contrived after a while; this would not have been the case if they can be easily cleared, but there are levels with the aforementioned problem of tight spaces, and clearing passages in these places can be a pain if the obstruction cannot be simply shot to bits.

Such level designs are unfortunately not more of the exception than the norm. There are more than a few claustrophobic levels that not just severely limit the player character's mobility, but also hem him in with vicious little bugs that leap around, making any weapon other than the Flamethrower quite useless (more on weapons shortly). There are also obstacles in the way, which cannot be removed until the player has gone around to the other side.

The level with the worst designs is perhaps mission 11, which has one path leading towards an objective being a vertical tunnel filled with poison geysers. An experienced player would know that the tunnel is a fast way to the objective and can be navigated with timed wall jumps, but the gaps in between the geysers do not accommodate simple jumps; instead, that segment requires the player to not only time wall jumps (the distance of which the player cannot fully control), but also slide downwards a bit to fit into the gaps.

Consequently, this segment is harder than any fight with any enemy under any situation. Eventually, it is likely that most players would take the alternate (and longer) route to the objective instead, which is a gauntlet of tough enemies that while dangerous, is (ironically) a lot less risky to deal with than the geysers.

That is not to say that all of the levels are either just so-so or not well-designed. Some of them can be fun, mainly because of the mission objectives that the player has to achieve in these levels. These objectives are not refreshingly new, but are interesting enough to be entertaining.

Of these, some of the most entertaining have the officer going after certain objects that happen to have the mystical ability to jam human communications, as well as deflect incoming shots. However, the player would soon realize that they cannot deflect away thrown objects. For the first of such levels, there tend to be stone blocks or rocks conveniently nearby, but the later ones require the player to improvise, either by hauling stones up to these objects so as to throw these at the objectives, or for wilier players, having the officer latching onto the objects from above at the maximum range of the Gravity Hook and stomping down on them.

(The latter method may not be immediately clear to the less observant of players; this convenient alternative would have been clearer to the player if the game had emphasized that the player character is included when it mentions during the first level that all objects can be used as a projectile.)

Another set of levels is worth mentioning in this review not because they are well-designed, but because of the odd experience that the player would have with them. These concern the rescuing of the officer's crewmates, who have been captured and bound by the natives. These crewmates are little more than objects; the officer does not appear to have the initiative to remove their bindings and instead hauls them around like any other object. Of course, this could have been due to technical limitations, but if it is, it is still an awkward experience. On the other hand, they can be used as surprisingly effective projectiles, and they also happen to be indestructible (which adds to the awkwardness of these levels).

Some other missions have the player locating human-made devices and returning them to a collection point. These are similar to the rescue missions, except that the devices can be conveniently tracked down using a tiny scanner on one corner of the screen. Some other retrieval levels simply need the player character to come into contact with them and they will be automatically added to the tally.

In other words, theses mission objectives won't be much of a surprise to any veteran of action platformers. Nevertheless, they provide adequate variety to the experience. They are also generally user-friendly, having enough visual indicators on-screen to tell the player which direction that he/she generally needs to head to.

Levels are often large, with the latter ones being exceptionally huge. In these, wall-jumping and swinging around with the Gravity Hook would not be enough. Therefore, the game has another method of movement to offer to the player, though the player character is not given this by default. Instead, the player has to locate fuel for said movement device, the jetpack, before the officer can use it.

This also means that usage of the jetpack is limited, thus requiring the player to balance the use of the convenient jetpack against the more strenuous methods of movement.

However, the game designers appear to have forgotten about this emphasis after a few levels. The introduction of the rechargeable jetpack, which will appear in each of the later levels either as a power-up sitting in plain sight or as reward for locating a secret (more on secrets later), removes the need to manage fuel. Although the rechargeable jetpack has limited capacity, the player can perch on ledges, or more commonly, use the Gravity Hook to hang from a wall while waiting for the jetpack to recharge, which isn't long.

The weapon designs may surprise veterans of action platformers, though perhaps not those that have experience in the shooter genre. The officer starts with a semi-auto gun with unlimited ammo, which would not be a surprise to veterans of shooters.

What would definitely be a surprise though is its alternate fire. By holding down the alt-fire button, it can be charged up to deliver a more powerful shot with area-effect damage. This would probably endear itself to players who have fond memories of Mega-Man.

However, it has to be mentioned here that although the game does inform the player that every weapon has an alternate fire mode, it does not tell him/her how it works and how it should be used. For example, the player is not told that to use the Blast-Carbine's alternate fire, he/she has to hold down the alt-fire button. Moreover, there does not appear to be any visual change for the first second of holding down the alt-fire button; there is only a clear particle effect after that.

Through collecting what appears to be salvage and supplies from the crashed ship, the player will soon obtain the Pulsar, which may be familiar to fans of the Aliens films; it even has almost the same sound and particle effects as those of the films' (and games') Pulse Rifles, and it is even introduced together with a creature that moves on all fours and can leap.

On the other hand, another surprise for these players would come in the form of this weapon's secondary fire, which resembles a blast from a shotgun. Merging a shotgun and an assault rifle into the same gun is nothing new in video games, but it is very rare within the shooter genre, and even more so in indie action-platformers.

However, the Pulsar won't be enough to deal with the tougher natives. The player will come across the Plas-Mortar, which is practically of the rocket launcher archetype and apparently is best used on slow (or huge) but tough targets. The player can also use it like its name suggests, i.e. as a mortar, to attack enemies that are behind cover. This will be quite useful, because as bloodthirsty as the natives are, they won't aggressively pursue the player character if there are obstacles in the way.

The Immolator is probably the next weapon that the player would find. As its name would suggest, it is a short-ranged weapon that spews fire, making it very handy for the smaller of the natives, which tend to be bug-like creatures that scuttle – or fly – around in swarms. Its alternate fire would be a pleasant surprise to those who consider the flame-throwing quite run-of-the-mill: it generates a repulsion field that deflects most incoming projectiles (though this would seem a bit familiar to veterans of Team Fortress 2). This will be especially helpful when moving through tunnels that are riddled with arrow traps which never run out of ammunition.

The Particle Rifle would appear to be the stereotypical laser cannon, firing an instantaneous beam that can hit a target as soon as the trigger is pressed. Again, the alt-fire of this weapon would be a surprise; it functions like a shotgun with a very wide arc of fire, but with limited range compared to the beam.

The Nano-Caster can be considered to be under the homing-weapon archetype. It fires wispy projectiles that go after the nearest enemy. Its alt-fire launches an even bigger projectile, which splits into a bunch of smaller ones that can persist for a bit longer than the ones created using primary fire. However, it consumes more ammunition as a result. (Alternate fire modes consume more ammunition, generally.)

The Ion Repeater fires comparatively slow but hard-hitting explosive projectiles, thus filling in for the autocannon or semi-auto high-caliber gun archetype. Its fire modes are rather bland though: primary-fire fires a steady stream of shots, whereas alt-fire fires a quick burst of three.

The Quasar Array creates a blackhole that sucks in anything (including weapons-fire from the natives) except the player character, inflicting damage on enemies and objects as they swirl about the black hole. Primary fire creates one a short distance away from the player character, whereas alt-fire creates one just in front of the player character, suggesting that it is meant for defensive purposes (though any enemies that survive the sucking and swirling will be released too close to the player character for comfort).

Many of these weapons appear to have other nuances, which would not be immediately apparent to a player until he/she stumbles upon them while they are in use. For example, a certain weapon's alt-fire can be used to saturate an area with deadly energy simply by mashing away at the alt-fire button, or it can be charged for a more powerful shot by holding down the alt-fire button. Unfortunately, as mentioned earlier, the game does not inform the player of this in any way, and its documentation does not include such information either.

In addition to weapons, there are also other supplies to be scrounged from levels. These may be in plain sight, stashed away in containers of both human and native construction, dropped from slain enemies (these will disappear after a while), or found in secret areas.

There are health-replenishing power-ups, of which the player would likely keep an eye out for because there are plenty of things and occurrences that can hurt the player character.

Next, there are rarer power-ups with more special (if not excitingly new) benefits. One of these is the anti-gravity power-up, which is practically temporary flight. Another is a shield, which is essentially temporary invulnerability. Both last for a surprisingly long time, possibly allowing the player to breeze through certain exploration or combat sequences, respectively. The third power-up grants the player character a swarm of nanobots that would automatically attack the nearest enemy on-screen, even through solid terrain.

Perhaps the most valuable power-ups are extra lives. Combat in Capsized is not an easy affair, as will be apparent when the enemies are described later, and carelessness can very easily lead to death. Still, death would not lead to a game-over, as the player can expend an extra life to respawn somewhere close by (every level has some spawn points, the locations of which are not immediately clear to the player). The player character does not appear to lose any weapons that have been obtained, so resuming where the player left off is as simple as getting back to where he died. The player can only have up to five extra lives, however.

Goodies found in secret areas of the level are usually highly desirable for the completion of the current level, so it is in the player's interest to locate them wherever they can. The paths to these secret areas are obscured by the artwork for the levels, such that the player won't know that they are there until he/she stumbles into them or has learned of them from game guides (which are rare, considering the game's very low profile). Such designs for secret paths would not have been a problem if not for the fact that some paths are whorls and sharp curves, which are difficult to navigate if they are visually obscured.

(A wily player would resort to the cheesy solution of shooting the Blast-Carbine when in these places, if only to see the ricocheting shots.)

It has to be mentioned here that the player character does not retain any gear collected in the previous level when entering a new one. This can be a bummer, but it does prevent meticulous players from simply breezing through the game with hoarded supplies.

All items in the game appear to be represented with icons, which provides for more than enough visual contrast to spot them. However, they do seem out of place with the rest of the game's visuals, which are lavishly done artwork. This can detract from the immersion, reminding the player that he/she is ultimately playing a video game.

As mentioned earlier, the natives of the planet that the protagonist's ship crashed onto are the enemies in Capsized. Most of them are vicious wildlife, which are either flight-capable or can run across steep surfaces without much of a problem. It won't take long for the player to learn that staying away is the best tactic when dealing with these creatures, though not too far, because these creatures happen to yield health items when slain. Other wildlife includes skittering and leaping bugs that can be difficult to deal with without the Immolator, as well as the eggs that spawn them.

The other enemies are the savage sentient denizens of the planet. They appear to be always wearing masks, which do not even come off upon death. Initially, the player faces tribals who are armed with crossbows, which can launch bolts quite a long distance away. Later, there are sentinel-like bruisers who are heavily armored and often sit still where they spawn, firing their multiple-shot crossbows, which can be a handful to deal with.

There are also flight-capable natives, with the more common ones being armed with very painful spear guns. The rarer ones include shaman-like individuals, which can fire mystical bolts and can create black holes to capture the player character's munitions and fire them back, the first time of which would be a nasty experience for the unsuspecting player.

As the levels in the campaign goes by, enemies become more numerous and diverse, thus increasing the challenge of combat. To describe the ones that are not already mentioned here would be to include more spoilers than is necessary to describe the enemies in this game, which can be quite satisfying to fight and defeat.

Completing a level in the campaign mode has the game assessing the player's performance, which depends on factors such as time taken to complete the level, secrets found, lives spent and the difficulty setting. The assessment is presented as a number of stars, with 10 being the maximum that is given for any level that was played very efficiently. It is worth noting here that the number of kills that the player has made does not appear to be a contributing factor, which means that players who want to perform speed-runs by minimizing combat would be put at ease here.

For the Steam version of the game, there are achievements to be had from getting as many stars as possible, though unfortunately these appear to be the only functional achievements at this time of writing. The rest appear to be broken.

Speaking of difficulty settings, these are what an experienced video game consumer would expect: modifications to the damage output and durability statistics of the player character and enemies, which typically have inversely proportional relationships as the difficulty setting changes. More observant players would find that enemies can be defeated by exploiting holes in their A.I., however.

Each mission in the campaign is preceded by some comic panels that present the premise of the level and developments in the story. There is next to no text or voice-overs to be had in these scenes, but what is shown should be enough to inform the player of what is going on.

Most of the content and entertainment to be had from Capsized is in its Campaign mode, which does not say well for the other modes. The other modes have very sound concepts, but less than satisfactory implementation that would give the impression of lost potential.

These modes are lumped under the "Arcade" category, further giving an impression that the game designers have included them as an afterthought. There are also only three maps for each game mode, each one appearing to be named after one of the maps in the campaign mode and having the same themes.

The first of these is a deathmatch-like mode that has the player character fighting other humans with the same capabilities – at least nominally. This mode can only be played with bots, which are not stupid but are incapable of finesse and advanced tactics. That they would go around collecting weapons but often failing to use their alternative fire options when it is expedient to do so would be enough to convince any player that the bots do not provide an adequate challenge.

Another mode has the player character running around to collect oxygen tanks before he runs out of air and die. There are no enemies in this mode: only tanks floating around, waiting to be picked up after the player has tracked them down using an on-screen scanner. This mode would have been just as fun as an experienced game consumer would expect of a time trial mode, if not for lazy game designs that tie the remaining time to the player character's health.

Before elaborating this, it has to be mentioned here that as the player character takes damage, the screen will start to show glass-like cracks and a red tint, in addition to the bars in the player character's health meter becoming fewer. In the campaign mode, this can already be quite the visual annoyance.

In the time trial game mode, the game resorts to reducing the player character's health as remaining time diminishes so that he dies when the clock runs down to nil. The reducing health means that the player will be subjected to the aforementioned visual changes in the screen, which certainly becomes a source of frustration as the player tries to retrieve an oxygen tank with a screen obscured by crack-lines and red tint.

There is an option to remove the convenience of having the Gravity Hook, but considering the visual problems mentioned above, it is not likely that the player would disable this.

Next, there is Survival, which throws the player into a level with respawning enemies, but with respawning items and unlimited lives too. The player's objective is to have the player character stay alive as long as possible while killing as many enemies as he/she can, racking up scores all the while. The score resets when the player character dies, but the game will keep track of the highest score achieved thus far. After death, the player character is simply respawned somewhere far away from where he died, but loses all weapons that have been colleted. This mode is all about the combat, which can seem shallow, but then the combat in this game is very entertaining on its own already anyway.

If there is a significant complaint about this mode, it is that it won't take long for unscrupulous players to notice that there are chokepoints in the maps of this mode that can be exploited to kill enemies as they come through, thus giving said players a cheesy solution to stretching out the score.

Of all the miscellaneous game modes, Armless is perhaps the best conceived, though not without some flaws. In this game mode, the player is not given any weapon at all and is expected to defeat enemies using only the Gravity Hook and the repulsing device mentioned earlier. The player will learn that simply chucking things at enemies is not enough; the object to be flung must have covered a certain distance and gained enough velocity for its impact to inflict any damage. It can be difficult, but the player would eventually learn the finer points of the game's physics.

For the more impatient, the game designers have included an object in the game that is especially handy if the player is trying to kill things with physics. This object appears to be part of the ship that crashed, and reacts to being thrown by the Gravity Hook with a flash of energy that makes it dangerous to anything that it hits at any range and speed. It may seem too convenient to have around though, as it renders any other thrown object obsolete.

The most significant complaint about Armless is that the objectives in this mode appear to be mainly search-and-destroy; the player is expected to kill lots of natives with the game's physics. It would have been more interesting if there had been other objectives that make use of the game's physics in a non-violent manner, e.g. some puzzles to solve.

A minor complaint about Armless that is worth mentioning here is that the game designers had used a certain sprite frame for the player character, the one that appears when he is carrying a heavy weapon such as the Particle Rifle and Ion Repeater. The caveat here is that the sprite for the weapon is simply removed, giving the player character an awkward pose.

The game only has local multiplayer support, and this can only be enabled by inserting Xbox 360 controllers into ports on the computer; this appears to be the result of a port from the Xbox LIVE version of the game, which can be very disappointing to those who had been hoping for more fine-tuning for the PC version than just accommodation for the keyboard and mouse for just the main player.

Only two modes support local multiplayer too, which is Campaign and Duel (under the Arcade category). The other player controls another player character with a slightly different sprite.

As to be expected of a 2-D side-scrolling action/puzzle-platformer, the game's graphics are mainly provided by animated sprites representing on-screen characters and movable objects, with static artwork providing the backdrops and foreground. To a player that is very experienced with such indie games, he/she would realize that the character sprites are composed of individual sprites, each animated separately to give a semblance of motion to be expected of a creature with a cohesive body. Yet, to realize this, very close examination would be needed, as the individual sprites have been drawn and connected to each other such that this is not immediately clear.

(It may be easier to realize this when the character dies, upon which his/her/its sprite "explodes" into its constituent parts, albeit variants of these that are quite gory to behold.)

The characters themselves appear to have benefited from a rather articulate artist. As far as indie games has come, the sprites in Capsized are far more intricate than the usual simply coloured and shaded shapes used for sprites in lesser indie games. The most impressive ones are those of the sentient natives, some of whom can be rather impressive, especially a couple of them at the end of the Campaign mode.

The backdrops are perhaps some of the most lavish looking that could ever be seen in indie games; if another indie game is to be used as a comparison, Aquaria is perhaps the closest in lavishness. Most of the backdrops in Capsized are of a jungle theme though, and if not this, ruins of past civilizations dominate, so the player should not expect to do much sightseeing.

Particle effects are a major component of the graphics. This would be apparent right from the start: luminescent insects with very subtle lighting rise from the artwork for the jungle soil, barely perceptible and even less so once munitions, both human-made and native, start flying around.

Every weapon appears to have its own particle effects, though all of them appear to either look like bolts of light or appear bright and gaseous. In contrast, the weapons that the natives use often appear to be dripping venom or are otherwise suppurating green fluids. These visuals help the player spot incoming fire, as the sprites for their shots can be a bit difficult to differentiate from the environment, especially if there are things like reeds and twigs (unless, of course, the player is watching out for flying sharpened sticks).

There are also particle effects for other things, like the green fire of the natives' torches and the blue flashes from the still-functioning parts of the downed human ship. Other minor but noteworthy graphical touches include sprites for wood splinters and clouds of dust kicked up when things collide with the ground.

The music appears to dominate most of the sound designs of the game. Most of the tracks elicit a sense of wonderment, which is appropriate for the theme of a human exploring another planet filled with things that he hasn't seen before. However, some tracks are also rather forlorn, which is not as appropriate. Otherwise, the tracks are quite pleasant to listen to. It is also worth noting here that for a game with quite a lot of combat, there is not much in the way of tracks that would sound exciting.

Like the particle effects, most of the sound effects in the game are provided by weapons-fire, namely the player character's human ones, which are a lot noisier than just about anything else in the game. Fortunately, the natives' weapons also have their own distinctive sound designs, thus making it easy to pick them out among the noise from the player character's guns.

There are other sound effects, intended to enhance the ambience of the game. The most notable of these are the animal noises in the background, like chirping and hooting, which are very much what one would expect from a game that is mainly set on a planet awash with jungles. There are also sound effects to accompany minor occurrences, like rocks falling down on grass and the tapping of the player character's boots as he walks across stone.

There is some voice-acting in this game, though they are minimalistic. There are no voiced-over lines. The only sounds that the player character would utter are grunts, groans and yelps as he jumps over obstacles or get injured (as well as the terrified scream that he utters when he is slain). The savage natives also have voice-overs, but in a guttural and unrecognizable alien language that is more intended to inform the player that they are in the vicinity and have been made aware of the player character's presence.

In conclusion, Capsized won't have much of anything that can be considered convincingly new. However, it does make a very good attempt at combining action- and puzzle-platformer gameplay together, and includes very satisfactory combat into the mix.