With a team comprising former Metal Gear Solid developers, it's perhaps no surprise that République is a stealth game. In fact, it's evident right from the outset that Metal Gear Solid was an influence on proceedings, although the narrative and characters of République stand alone, unique within the often homogeneous backdrop of modern action games. Featuring clever metafictional elements, République incorporates you into its world. The protagonist may be Hope, but you don't play as her; you merely guide her throughout the labyrinth of Metamorphosis – a totalitarian big brother state ever under the watchful eye of the powers that be. In this case, that power is yourself, as you hack into the city's systems, take over its surveillance equipment, and help the protagonist find her way to freedom.
Originally released in episodic format, the game perfectly illustrates the benefits of such an approach by consistently introducing new and improved elements onto its spine with each passing episode. While essentially remaining the same at its core, gameplay mechanics are mixed up and played around with at regular intervals which keep things continuously fresh through the game's five episodes. Indeed, even minor introductions – such as new kinds of guards – makes a flexible approach an ongoing requirement. Small changes here and there keep things consistently fresh, and the balance is excellent, requiring quick tact and adjustments from any established gameplay paradigm that you may habitually slip into. Even within the confines of its exposition, République maintains an original and consistently altering environment while preserving the stealth core that developer Camouflaj seems to have mastered.
That's not to say that the game is perfect, though. Similar to the original Metal Gear Solid, some doors are locked until you upgrade Hope's software enough to unlock higher level doors. As such, there's plenty of backtracking to be done in République once said doors become accessible, which artificially extends its playtime. Also, since the entirety of the game is seen through the surveillance cameras riddled throughout Metamorphosis, you only ever see proceedings from a fixed angle. It makes sense given the game's narrative, but its limitations rear their ugly head just as they have in many games in the past – frustrating camera switches being a particular nuisance. Couple this with some rather annoying, and seemingly unnecessary, loading delays as one camera switches to the other and it exacerbates the issue ever further.
As you direct Hope through the environment, your perspective through the surveillance camera will automatically switch to whichever one the game thinks is best for that moment – often picking the wrong one. It never ceases to frustrate when you're directing Hope to sneak up to pickpocket a guard from behind, when the camera suddenly switches, leaving you in limbo as you try and find where on the screen Hope has disappeared to. It doesn't help that what once directed Hope to the left suddenly moves her to the right once the camera perspective changes. What ought to be a wonderfully smooth moment of gratification instead turns into an embarrassment as you swerve all over the place like an indecisive child who can't pick which parent deserves its attentions. It's a real shame that this issue crops up in a game based entirely on stealth and economy of movement where every second counts, and every move matters.
That said, its problems never ruin the overall experience, and serve only to frustrate sporadically – and often hilariously. Thankfully République's gameplay, setting, and narrative are strong enough to offset its issues. Story is a particular focus of the game, and yet it's possible to play through it by missing much of its narrative core. Outside of the opening and ending sequences to each episode, the chief form of storytelling is through audio logs that Hope picks up. These can, of course, be ignored or skipped through, and there's still plenty of enjoyment to be had from the game's exacting and patient gameplay scenarios. But to ignore these optional yet narratively essential elements would be to deny yourself the wonderful fiction of this dystopian world. David Hayter's gravelly dialogue in the role of deceased revolutionary Zager is a particular highlight, so audio logs are always interesting – even if the content in them is not always essential.
By taking control of Metamorphosis' surveillance system and actively directing Hope through the environment, you become an integral part of the game. You're not just playing it: you're a part of what's happening. This gives the game a particular meta aspect which further emphasizes the big brother state that Hope's trapped in. You want to break her out, and the sense of a much larger narrative beyond the one that you're a part of is always present. As such, the confines of the game's limitation on perspective perhaps makes sense – there's far more happening outside of the camera's limited view.
This is a game which raises important questions about control, power, surveillance, and censorship, and this is all tied up nicely within the game's narrative and gameplay mechanics. In a world where news outlets fervently explicate such important questions, République is more than just relevant – it's a necessary exploration of some of the most important issues and debates in contemporary society.
République is a smart, engrossing, and often frustrating game, but one which really captures the imagination once its hooks take hold. You really have to work for what you get, though, and even the bulk of the narrative is formed through optional side collections. A couple of gameplay hiccups and a slightly drooping fourth episode aside, this is a strong stealth game which requires a slow, steady, and methodical approach. Big Brother may be watching, but he's never interfered in proceedings quite like this.
Sounds like my kind of game. To hear the voice of David Hayter again (even if not as Snake) will be something to look forward to. Definitely going to give this one a try!
I played it on my phone and, while i think it is a more "coherent" experience on mobile, the overall game should an interesting and enticing piece of software on other platforms nontheless.
The review is spot on on everything, but i was alittle surprised by the score.
I don't give much weight to the "bottom" numbers, and 7 is by no means a bad score, but it sounded like a 7.9.
I say this just out of curiosity.
@Bliquid I was torn between giving it a 7 or an 8, honestly. We decided to go with a 7 because of its gameplay mishaps which, while minor in the grand scheme of things, are a frustrating element that shows up throughout the entire game. Also, the fourth episode does drop in quality a bit by removing some of the pivotal mechanics which were introduced and improved throughout the previous three episodes. Thankfully, it picks up again in the fifth part. It's a strong game, but it has its issues and, like you said, 7 is by no means a bad score on Push Square. If you have a quick look at our scoring policy, I think the description of a 7 pretty much sums up this game. Hope that helps to clear it up a bit
The fixed camera thing puts me off completely, I'll only ever bother when this is free, it's quite likely to end up on plus.
"I'll only ever bother when this is free, it's quite likely to end up on plus"
Surprised Sammy didn't talk address how common this kind of thinking has become in the Plus article. Or maybe it was mentioned and I was just zoning out.
Great review thanks! I'm 50/50 bout picking this up, how does it play @Jake3103? Is it point and click style where you tell the character where you want them to move to, etc?
@morrisseymuse So you control Hope as you would any other fixed-angle third-person game with the left analog stick. Except, the camera angle isn't fixed in the traditional sense since you can tilt the surveillance camera that you witness all the events through with the right analog stick. Each room usually has multiple surveillance cameras which offer different angles by which to view the events. If you want to switch to another camera, then, you can press R1 – the game will pause, and you can switch to another camera that's within view. While the game is paused, you can also tilt the camera to the correct angle, resume play and then move Hope as usual again using the left stick. It's a pretty cool system which incorporates the player – who is also a viewer – into the game. What becomes frustrating, though, is how the camera will automatically switch to another which the game assumes is better suited (when, in fact, it's not), nullifying all the setting up you just did. If you like slow, methodical, stealth based games, you are probably going to really like this game. There are some really interesting scenarios, and when you figure out how to effectively get through a room without being seen it can be really fulfilling. It has some frustrating moments, but they don't ruin the experience. It's a solid stealth game.
@Bad-MuthaAdebisi Yeah, I can see why it would put you off. It's not really fixed-angle in the most traditional sense, though, because you can move the tilt the camera that you are viewing the action through with the right analog stick. True, it still leaves you in a position where you can't see the whole picture, and it does cause some issues in the game, but it does also work to incorporate the player into the game, too. You become an active participant in the game, and not just a "player", as it were.
@Jake3103 : in a sense, the sometimes bad positioning of the cameras could even add to the experience, if you think that you are indeed using the cameras as an infiltrate to see inside the compound and Hope whereabouts. It may be seen as an added sense of realism. If you filter the occasional frustrating points of view through this logic, it makes Republìque even more clever.
And you may also see rainbows and unicorns, ofc.
@Bad-MuthaAdebisi I know your comment was years ago, but right now it's a couple bucks on Steam, so... Could go for it there if you have a half-decent PC. - It has been removed from the PlayStation Store in like 2018 and physically it costs more. Too much for what it is and its age, even.
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