Ape Out Gameplay - 7 Minutes Of Mayhem & Destruction. Top New Game Releases On Switch, PS4, Xbox One, And PC This Week. Aug 22, 2019  Ape Out is a wildly intense and colorfully stylized smash ‘em up about primal escape, rhythmic violence, and frenetic jazz. Build up nearly unstoppable momentum and use your captors as both weapons and shields to crush everyone on your procedurally generated path to freedom. Included with Xbox Game Pass for PC (Beta).

When Gabe Cuzzillo first started work on the game that would become Ape Out, he had a specific vision of what the game would be. But that vision was not one of a hulking gorilla escaping its well-armed captors with a gameplay-driven jazz percussion soundtrack.Instead, he tells GamesIndustry.biz the idea was to make a stealth game about time travel with a featured mechanic like that of Super Time Force, where players replay levels again and again, each time playing through alongside recordings of all their previous runs. However, there were some problems realizing that vision from the outset. Cuzzillo describes himself as 'extremely new to game development' in late 2013, when he began work on the project. He had just released his first game, Foiled, a fighting game he'd created in six months in Game Maker despite having never coded before. For his second game, he decided to learn Unity.'

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I couldn't get a lot done at first, so the first couple months were extremely, extremely slow,' Cuzzillo says.' The goal of the experiment was to try and create a top-down game that had a sense of physicality to it'By the time he had a character up and running around on the screen, the time travel conceit had fallen away.' The goal of the experiment was to try and create a top-down game that had a sense of physicality to it,' Cuzzillo says, 'and the original version of that was a stealth game where you were going to be on walls all the time, so you'd press yourself up against walls, slink along walls, push off walls, grab walls, peek around corners.' Cuzzillo started building around 'pushing' and 'grabbing' as the key gameplay concepts.

So naturally, if the game included guards, players should be able to push and grab them as well.' Then it was weird if you were running around grabbing guards and throwing them into walls disabling or killing them when you were just a normal bald man, so I thought it might be a good fit for a gorilla escaping captivity,' Cuzzillo says.Along the way, he was also developing the game's visual style.'

It was something I iterated on for a long time,' Cuzzillo says. 'After 6-8 months of playing around in Unity and developing the idea and mechanics, I was just trying to find a style I felt like I could accomplish as a non-artist. I was looking at a lot of Olly Moss posters at the time and Saul Bass posters of course, and just trying to get that sense of materiality and physicality into the game's art. It was something that felt doable and I also hadn't really seen done that way before. It just took a lot of time and a lot of iterations to get it there.' He also knew early on that he would want to limit the player's sight somehow. But unlike the finished game - which gives the player a simultaneous line-of-sight view from 360 degrees around the character - the original idea was to limit the player's view to a cone of about 120 degrees in the direction the character was facing, which Cuzzillo approvingly says 'had this paranoid feeling to it.'

Around the same time he had the revelation of swapping his normal bald man out for a gorilla, Cuzzillo says he become 'super obsessed' with the Pharaoh Sanders song listening to it on a loop while working on the game.The song 'You've Got to Have Freedom' helped shape Ape Out during development'That started to permeate the feeling of the game and the aesthetic I was shooting for,' he says. 'Eventually I decided I was going to try to communicate that feeling with this game, and that clarified the design of the game for me. The identity of the game and everything else just kind of spun out from those original creative decisions and just trying to capture the vibe of the song.' (Anyone who finishes Ape Out can decide for themselves how well the game captured that vibe, as 'You've Got to Have Freedom' plays over the end credits.)While Sanders is a jazz saxophonist, Cuzzillo was drawn to drums as a focal point of the game's audio. He also wanted the audio to be reactive to the gameplay, citing Everyday Shooter as a major inspiration.Cuzzillo says the cymbal crash that happens when the player kills an enemy in Ape Out was one of the first sound effects in the game, but credits collaborator and former Harmonix project director Matt Boch with expertly executing on the idea.' Matt then did an incredible, insane version of that reactive cymbal clash idea where there's a simulated drummer pulling from thousands of drum patterns and thousands of samples of real drums being played and reacting in a way I didn't really think was possible and don't think has been done before,' Cuzzillo says.

'That's all Matt. That's all his work.' Cuzzillo is no less appreciative of his other major collaborator on Ape Out, Bennett Foddy (QWOP, Getting Over It with Bennett Foddy). He's currently working with both of them on a variety of prototypes to find the next big project.' Probably we're going to keep making games together, at least for now,' Cuzzillo says.

'I'm in a really great spot where Ape Out made me enough money where I can be fine for a couple years, and Bennett and Matt are great people to be collaborating with. There's nobody who I respect or like working with more than them. I'm basically where I want to be right now.'

Ape Out review. Developer: Gabe Cuzzillo, Bennett Foddy and Matt Boch. Publisher: Devolver. Platform: Reviewed on Switch.

Availability: Out now on PC and SwitchApe Out has a very simple conceit and is very easy to pick up. You, that is to say a honking great gorilla, want to escape. Lots of armed guards stand in your way, so it's probably best to brutally murder them on your way out the door. You have only two buttons to contend with - one to grab and one to smash. Hurling your enemies into the nearest wall or grabbing them for use as a meat shield makes you feel tremendously powerful, and the weird shuffling movements of the gorilla have been so well realised that movement is a delight - as long as you're playing with a controller, that is. Playing Ape Out with a keyboard and mouse is perfectly doable, it just lacks the same flow afforded by twin analogue sticks.Really though, as captivating as its murderous gorilla is, the true star of Ape Out is the music.

Each level pulses or ticks or rattles or quakes along with its jazz soundtrack - the music ebbing and flowing depending on how well your rampage is going - and each enemy kill is punctuated by a noise, whether that be a cymbal hit or the shriek of a trumpet. At first, these noises feel like a punchline - a bit of slapstick to round off the vibrant, bloody visuals.

The more you play, however, the more you open yourself up to the music and realise just how integral that soundtrack is. Suddenly those cymbal crashes and bits of brass don't seem like throwaway jokes any more - killing enemies almost feels like improvising. I really didn't expect a game about an ape dashing people's skulls against the wall to turn out to be a meditation on jazz as a medium yet here we are, and the effect is quite brilliant. Bulletproof doors can be extremely handyThe music does more than punctuate your actions as you gambol your way through each level, mind you - while the soundtrack provides a tremendous sense of momentum, it also gives you an idea of what's to be expected from each level. The first few tracks clatter wantonly as you get to grips with being 150 kilograms of murderous ape, but I had a tremendous moment in one of the later levels when the music kicked in and thought 'ok, I need to be careful here' because that's the mood I was getting from the soundtrack. It had a slower tempo with more minimalist, brooding instrumentation and, true enough, that level was hard.

The concept of 'having music wot goes well with the level' is by no means new to games, of course, but there's something about the interactive layer here that makes it feel special, somehow.Of course it's very tempting to compare Ape Out to Hotline Miami but, for all their shared DNA, the two are about as similar as a man wielding a baseball bat is to a gorilla - both are capable of tremendous violence, but there are several key differences to be observed. Most significantly, Ape Out has a very different cadence to its synthwave-driven cousin. Speed is less of a constant here, allowing for some tremendous quiet moments in which you really feel like an animal stalking its prey. Sometimes the music dies down enough that, on grabbing an enemy, you can hear the gorilla breathing softly down the poor victim's neck, which is so brilliant as to be genuinely unsettling. This is a game that wants you to go on the rampage, but it also invites you to take your time and pick your moment carefully.

Part of that cadence, of course, is down to the fact each level is procedurally generated, meaning you can't memorise an optimal route as you can in Hotline Miami. Much like jazz itself, it's not something you learn by rote - it's something you feel your way through.The levels also have a tremendous amount of variety that really impacts on your approach - the tight corridors of the opening levels' science facility couldn't be more different to the open, heavily exposed office building of later sections.

Navigating these spaces demands a drastically different playstyle, giving Ape Out a range in tempo that's truly refreshing. The only downside to these procedurally generated levels is that it takes a few seconds to restart, which can be a mild irritant when you're desperate to get back in there for just one more go. Making tea, anybody want one?The differing environments add a tremendous sense of atmosphere to Ape Out because for all the raw power at your disposal, it's underpinned by a tremendous sense of vulnerability throughout. Because your enemies have guns and you, being a gorilla, do not, timing is everything if you want to make it out alive. Making a big play at the wrong time can easily get you shot to bits so while Ape Out is about momentum, it's also about this weird, ragged kind of precision, much like jazz itself.In short, Ape Out is tremendous fun, but it wouldn't be anywhere near as enjoyable if it weren't for the soundtrack.

Cast Donnie Wahlberg Eric Matthews Tobin Bell John/Jigsaw Shawnee Smith Amanda Franky G. Xavier Glenn Plummer Jonas Dina Meyer Kerry Emmanuelle Vaugier Addison Beverley Mitchell Laura Erik Knudsen Daniel Matthews Tim Burd Obi Lyriq Bent Rigg Naomi Jenkins Michael Tony Nappo Gus Kelly Jones Swat Member Pete Vincent Rother Swat Member Joe Linette. The motion picture is well directed by Darren Lynn Bousman. It's followed by Saw III by same director and with Dina Meyer, Shawnee Smith and Costas Mandylor; Saw IV again with Donnie Wahlberg, Dina Meyer and in pre-production, Saw V directed by David Hacklin with Costas Mandylor. Saw 2 cast. Saw II (2005) cast and crew credits, including actors, actresses, directors, writers and more. Showtimes & Tickets Showtimes & Tickets Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office In Theaters Coming Soon Coming Soon DVD & Blu-ray Releases Release Calendar Movie News India Movie Spotlight.

Thankfully the music is one of a number of smart decisions made in designing this game, making it a treat well worth recommending.