Additionally, the campaign is all the game has for you.
#The gunk all scannable items manual#
Despite receiving warnings about not turning things off when a symbol appears and seeing that symbol pop up whenever you go back and forth between beacons, there's no indication that saves have been created, so it's best to create manual saves just in case. It doesn't creep back in when unattended, and the fact that you'll spend most of your cleanup time with enemies that are bothersome but not overwhelming makes for a strangely Zen experience.Īside from the minor gameplay issues, it doesn't seem like autosaving is a thing. The game avoids making the task tedious by not hiding the gunk in hard-to-reach places, and vacuuming it doesn't leave behind tiny bits that prevent the natural elements from coming in. Materials are plentiful enough that it's possible to get all of your arm powers.Įven with all those things going against it, you continue to play due to the mechanic of eradicating the gunk. The bestiary is tiny, and it takes a ton of hits before you die, while fighting is uncommon. Most of the puzzles have solutions that aren't out of reach, and combat is fine. The levels are expansive but linear enough that it's almost impossible to get lost. There are a few areas where you need to mind your jumps, but infinite lives and feasible gaps make them easy to conquer. That might not seem like there's much for the player to do, and that's partially right. When not in combat, you'll use the arm to scan points of interest for more information and gather materials for arm power-ups, including an energy ball that opens switches or stuns enemies or increasing your vacuum distance. The same goes for any plant balls that are used to solve puzzles. The arm is also useful for pulling in smaller enemies, so you can launch them when you wish.
#The gunk all scannable items full#
Its main purpose is a vacuum for the gunk, and with the world full of the stuff, you'll be pulling the right trigger a lot during the campaign. Rani's lone highlight comes from her mechanical arm, which acts as a multipurpose tool despite only having a few functions. In the few instances when she has to fight, she can aim, but don't expect to lock on to enemies or strafe around them. She can't roll, so don't expect to tumble through the world. She can automatically lower her stance to go through low passageways, but you can't manually crawl or duck. She can climb up ledges but only ones that are specifically painted to stand out from the environment.
Rani can climb up vines and run and jump, but she can't sprint or double-jump. The Gunk is all about exploration with a character that doesn't have a large move set as one may expect from a modern adventure game. The dialogue feels normal, and the acting goes a long way toward making the duo likeable, even after they stop seeing eye to eye.
Rani's adventurous attitude contrasts greatly with Becks' more practical focus, but you easily get the sense that they play off each other well instead of disliking one another's company. While that becomes more of an impetus later on, the first half is driven by the characters. The beauty that erupts from cleaned-out areas and several story beats in the back half further cement this notion.
Upon immediately landing on the planet, you can tell that the story is aiming for an environmental slant.
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