When I first started High On Life, I knew what I was getting myself into. I’m familiar with the work of not only Justin Roiland (Rick and Morty, Solar Opposites) but also his game studio Squanch Games (Trover Saves The Universe, Accounting+), so I had an idea of what kind of comedy would be coming my way . What I didn’t expect though was a 3D shooter with Metroidvania vibes that echoes some of the best games of my youth and more importantly does them justice.
High On Life tells the story of an unnamed protagonist – who everyone calls the Bounty Hunter, even their own sister – who fights an alien drug cartel that has invaded Earth. The cartel wants to collect every human on the planet and sell them as the drug, which other aliens can consume via elaborate machines. Our bounty hunter hero is armed with Gatlians, a race of talking weapons, each Gatlian possessing their own attacks and abilities. Admittedly, the concept is very strange, but it’s a well-told story that kept me guessing until the very end.
At this point, it’s worth acknowledging that this is 100% a Justin Roiland project, complete with all the hallmarks of his comedic philosophy. Fast-paced monologues, fart jokes, breaking the fourth wall, ad-libs, dark comedy – it all ties together in the game’s narrative and presentation. If things like Rick and Morty, Trover Saves The Universe or Solar Opposites aren’t your cup of tea, this won’t be either. That said, I have a very high tolerance for this kind of nonsense, and I found myself laughing my way through the 10-hour adventure.
I got a kick out of the fact that Squanch Games licensed four full-length schlocky B-movies for players to “enjoy” simply because they could. Every time a voice actor in clear ad-lib mode laughs in the middle of a diatribe, I laugh too. That referential humor always got a reaction from me – especially mentions of other video games, like the full-throated endorsement of indie darling Donut County by gun Kenny.
There is a real charm to it all. Sure, some of the jokes don’t land, and the rattle of the gun in my hand can sometimes go on too long, but it’s clear in every attempt that the development team had fun do High On Life. I never knew what was going to happen as the scenes progressed, and that lack of predictability enhances the experience. Honestly, this unruly approach is the only way certain jokes work — which includes, for example, an entire scene set in “Space Applebee’s,” complete with waiter interruptions while you order food.
However, Squanch Games also knows that this type of humor isn’t for everyone, and provides the ability to tone down the banter so that those turned off by constant chatter can still enjoy the game. I left my settings to “Frequent” banter and didn’t think it was too much – by comparison, I didn’t think it was as harsh as what got Horizon: Forbidden West criticism earlier this year. This could be because the characters weren’t talking out loud about the riddles in front of me, which made the dialogue feel more natural to the setting.
Once you get past the silliness and focus on the game itself, High On Life delivers a solid 3D shooting experience that emulates the exploits of Samus Aran. Each of the different biomes I explored was full of secrets, from living chests filled with gold to random NPCs offering a quick zinger or short side quest. As the game progresses, vertical movement is introduced thanks to finding a jetpack, and it opens up even more exploration.
These worlds are also large, which the game tries to counter with a waypoint system that lets me see in which direction my target is and how far away it is. Sometimes this system gets its wires crossed and reaching one waypoint somehow results in me going back to the waypoint I just came from, but more often than not a simple press of the D-Pad points me in the right direction. The waypoints also became something of a crutch in the later parts of the game, as not using them would sometimes lead to me traveling to the wrong part of the map and getting lost. It’s not a perfect system, but the waypoints are useful more often than not.
The Gatliers stand out from each other, both in their pranks and how they are used in battle. Kenny is the local gun, Gus is a shotgun, Knifey is… uh, the knife, and Sweezy acts like Needler from Halo. The most interesting of the weapons is the Creature, which acts as a kind of Pikmin unit, sending small creatures at enemies for damage over time. All four are strong in combat, as they have advantages over certain enemies and make it important to switch between weapons during a fight.
Each gun has a different power that helps with travel and environmental tasks, slowly opening up more of the world to me as I progress. Kenny fires blasts of thick slime that will hit designated obstacles and allow you to pass. Sweezy can fire a shot that slows time in the area around where it lands, making her the perfect choice to get past fast-spinning fans that would otherwise cause damage. These special shots can also in a match – Kenny’s slime shot, for example, will shoot opponents in the air for extra hits – giving me even more options.
Using Gatlians in combat is a lot of fun, and the enemies I encounter fit right in with the weird and silly aesthetic of the rest of the game. Each of the bad guys is covered in some kind of yellow grime – the origin of which I won’t spoil – and as you deal damage, the bad guys wear out, revealing their gray bodies underneath. While it’s weird, it serves as a simple visual aid for how much damage you’ve done to a particular enemy, and it also allows you to create your own weak points. If an enemy is hiding behind cover but there is a patch of gray skin on their arm, target that spot and the enemy will fall quickly. It’s a brilliant idea to show battle damage on enemies without giving them health bars or anything like that.
That said, most of the enemies I encountered are dumb as rocks. I could run up to any of the normal grunts and either shoot or melee them to death without taking much damage. There were times I got overwhelmed and had to retry a match, but those were more due to me being overzealous rather than enemies outwitting me.
Sure, some of the jokes don’t land, and the rattle of the gun in my hand can sometimes go on too long, but it’s clear in every attempt that the development team had fun do High On Life
Boss fights aren’t much better, as most of them boil down to just shooting and dodging. Some of them shake things up a bit, whether they implement the special shot of the Gatlian you’re about to rescue–Krubis shoots large plates that you can reflect back at him, which turns out to be the power of the shotgun Gus– or giving you multiple bosses to fight at once. At its core though, it’s more of the same combat you get from grunts, just with bigger baddies.
While battles are generally fun, the length of some skirmishes is where it gets boring. Each encounter tends to play out in waves, with two or three sets of enemies coming out before the battle is over. Some of them extend far beyond that, to the point where Gun Kenny says, “Oh my god, MORE?!” and I feel exactly the same. These matches will be a test of patience as much as a test of skill. Boss fights mostly don’t have this problem, but some of them fall into their own problems – one fight in particular still makes me angry just thinking about how difficult it got in the final stages.
Ultimately, High On Life is, in its own strange way, a variation on what a modern Metroid Prime game could be, through the lens of Justin Roiland’s comedy tricks. There’s a similar sense of exploration mixed with fast-paced combat moments, but here it’s also rife with tongue-in-cheek jokes and sometimes incoherent ramblings. The story, offbeat as it may be, is incredibly well told, with characters and moments I’ll refer to in a moment. Even if you’re not a fan of the kind of humor High On Life presents, game it is here that is worth the trip.