Everyday Shooter

Everyday Shooter is a title I’d heard before, but didn’t know much about: I knew it was abstract, and it had received some attention around the same time as Portal, but that’s about all I could tell you. Somehow I had got the idea that it had a great many levels, each with its own rules. That’s half-right — there are only eight levels, each more elaborate than I had been led to believe. And yes, each level does work a different way. The controls stay consistently Robotron-like, but they vary in enemy mechanics, and in particular in how you create the chain reactions that clear the most enemies and potentially net the most points.

I also wasn’t expecting it to turn out to be a member of that severely underpopulated genre, the Music Shooter. Instead of zaps and explosions, your shots produce notes, or even entire riffs, played on an electric guitar. These sounds become part of the music playing though the level, always an unaccompanied guitar piece, as abstract as the shooter itself. The underlying songs are linked to the levels’ structure, and in a way that suggests that the song, rather than the level, is the dominant element. Each level lasts exactly as long as it takes to play the song, and changes in what’s going on in the game are governed by shifts in the music more than by anything the player can do. The game’s creator even refers to it on his website as an “album”. I’d almost say that it turns shooter mechanics into a kind of dance, but really, that’s something that’s always been inherent in the genre — particularly in scrolling shmups, which share Everyday Shooter‘s unstoppably flowing nature. All too often, however, those games interrupt the flow by stopping the music and the action when the player gets hit. Everyday Shooter understands what it’s doing too well to make that mistake.

It’s definitely what I’d call an art game, which is a little ironic, given its origin. According to the author’s notes, it was created to get away from the mistakes of a previous project that he describes as “a ridiculous concoction of self-indulgent, games-are-art-theory-innovation wankery” by getting back to basics. But of course the basics are art. Like those Grecian urns that Keats liked so much, it’s an art born of human requirements. Theory is all very well, but its importance can be overstated.

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