Vigil: The Longest Night dropped yesterday! (first impressions)

At long last, Vigil: The Longest Night is now available to the public!

I am still very much in the beginning- I have barely been able to surpass the territory covered in the open beta event from earlier this year. During the open beta, I commented on problems with the collision detection and button response time. While there are some imperfections with where on the ladder or ledge will grab, those issues are largely gone with one conspicuous exception. There is a vertical platforming area between Maye village and the entrance to the first dungeon. At the same time, there is a waterfall in the area which needs to be perpetually animated. The button-response and collision detection with the climbable ledges gets worse when the game needs to animate a large volume of smaller animations. Outside of this area, though, I did not struggle with the platforming.

Something I do not remember from the open beta is automatic zooming in and out depending on location. Other side-scrollers that have implemented it, like Salt and Sanctuary, usually streamline the process so as to not draw any attention to it. Which is perfectly understandable if the perspective-shift is just meant to make navigation easier and has no relationship with the overall style of the game. In Vigil, though, situational zooming is used in a way that makes the world feel bigger and makes the different art styles used for different effects feel much more like a unified whole. The situational zooming really pops when trees are rustling or something close to the foreground moves.

The opening cutscene feels somehow more detailed or longer than it was in the beta. Whether it is or not, though, the specific art style of the cutscene (above and below) also helps all of the different stylistic influences feel like a bigger whole. Consequently, Leila’s sword-swings and other quick movements look way more authentic and natural this time than they did in the beta.

The greater visual continuity really, really came together. And it’s beautiful. Perhaps more importantly, though, it gives Vigil more of distinct identity. Which matters a lot since 2D side-scrolling “Soulsborne/Metroidvania” has now caught on as a recognizable sub-genre, adding to the imperative for newer additions to distinguish themselves.

While I’m talking about “Soulsborne/Metroidvania” as a sub-genre, there is also an optional Salt and Sanctuary and Vigil crossover event. I don’t know how to communicate how exciting that is to me. In my opinion, Salt and Sanctuary was not just one of the first “2D Souls” side-scrollers, but it captured something basic about the format itself. If it was not for S&S, we probably would have saw more typical action-RPG mechanics in Hollow Knight and Blasphemous, like exp, leveling, etc. Aside from all that, though, S&S is simply one of my favorite games and I could not be more stoked to see what Vigil + S&S is like.

One thing that has become fairly common to both “Soulsborne” and games that blend the formula with side-scrolling is ambiguity. This is probably because Hidetaka Miyazaki, the main creative force behind Dark Souls and Bloodborne, often uses circumstantial and visual storytelling. Vigil inverts this trope by giving us Leila, a named protagonist, with a family and a hometown (apparently- at least in the very beginning). What’s more is that she is no-nonsense, perceptive and goal-driven. If there is any use of an unreliable narrator at all in this story, it does not look like it would be Leila.

The difficulty was also adjusted since the open beta. The boss of the first dungeon actually required some persistence, experimentation and grinding. Like a lot of “Soulsborne/Metroidvania” games, leveling in Vigil is based on an allocation point system. The threshold for leveling up, in the very beginning, is pretty low, so those first few easily-obtained levels are a satisfying and engaging way of introducing the player to the skill-tree. This is fortunate, since I suspect that throughout the game you will need to be proficient in different combat styles. The accessible introduction to the character-building makes experimentation with different builds more accessible as well.

Vigil: The Longest Night- open beta!

As soon as Salt and Sanctuary came out I was smitten. That game captured the 50% of my brain that Bloodborne did not take over. It’s still my favorite game available for the PS Vita, and to date it looks like no follow up is planned (nor has there been any new updates from Ska Studios, the developers).

Recently though, while I was putzing around on a Salt and Sanctuary Facebook group, someone uploaded pics of a new game currently in development called Vigil: The Longest Night. The art style immediately grabbed me, and I love side-scrolling Soulsborne \ Metroidvania hybrids even if…they kinda stumbled over each other as soon as it became clear that there was a market for them.

Like, by the time Blasphemous came out, I had already been seriously hooked by both Salt and Sanctuary and Hollow Knight. Blasphemous was a perfectly good game with great level design, platforming and combat, but I just couldn’t get into it since I’d been neck deep in similar things recently.

What caught my attention about Vigil: The Longest Night though was the enthusiasm it seemed to garner among my fellow S&S fans. My appetite was also freshly whetted by a recent Symphony Of The Night play through so I couldn’t have been more stoked when I got wind of a recent open beta event. Best believe I snatched that shit up ^^

This being a demo of the beta version, I wasn’t surprised to run into a few hiccups, some of which may very well have been the fault of my machine. There was some truly aggravating collision detection with climbable/grabable surfaces. The second biggest annoyance was the lagging, which would get worse whenever I loaded a file immediately after a death and the game would get stuck whenever I got killed by the first boss.

Speaking of, the lagging made that fight unplayable for awhile. Luckily, this demo is generous with exp, enabling you to either brute force it or experiment with unlockable combat upgrades. Which isn’t such a different beginning- it reminded me of the Festering Banquet and the Sodden Knight from Salt and Sanctuary, really.

Personally, my breakthrough with boss one came when I lost patience, tried playing it like Bloodborne and got totally confrontational. As in, keep rolling past them and spam from behind. Which makes me wonder if, when Vigil is finally released, it will be the kind of game that rewards aggressiveness the way Bloodborne did, where attempting to play it safe is the quickest way to die.

After that fight, we get our first taste of familiar Meteoidvania level design. We find a locked door that separates two halves of an area we see separately at first. It was also around this point that I found that the lagging almost completely disappeared when I turned off every graphical bell and whistle in the ‘video’ menu. Which was fortunate for my nerves since that’s when the platforming ramps up…and I don’t think my sanity could survive platforming at that pace.

The art style clearly excels at creating an understated sense of relative depth across different textures and layers of the background and foreground. Up to and including facial features and skin.

As the old woman with the lantern shows us, this game also succeeds at fanciful yet uncanny fluctuations of proportion. One minute I’m reminded of The Nightmare Before Christmas, the next I’m thinking that Leila, as she descends a ladder with a full moon behind her, looks like she leapt out of something like Batman: The Animated Series or a Genndy Tartakovsky creation like Samurai Jack.

Yes I have a flaming magic pike shoved in the back of my neck, what of it?

Not that it doesn’t have its weaknesses here and there. Leila’s face and her faster leg and arm movements and sword-swings often look like PSP graphics. It just messes with my sense of immersion, is all. A single, cohesive art style would be for the best. Imagery with a frank resemblance to CGI should be kept to an absolute minimum except when something is supposed to starkly contrast with everything else.

After turning off all of the graphical options like dynamic trees and saturation and whatnot, the occasional use of CGI-looking imagery meshed a little better but was far from seamless. Leila’s facial profile and cloak still looked a little bit like they came from a PSP, but the tentative steps into 3D made the second boss fight both eerie and gorgeous. The shrieking monstrosity’s girth and arms seem like they’re about to pop through the screen occasionally.

In fact, with all of the graphical enhancements turned off in the pause menu, Vigil: The Longest Night has a very memorable beauty. Faces often have an offbeat look reminiscent of fairly tales. The 2.5D graphics shine the best, though, inside of houses and caverns.

In fact, everything really starts to go uphill very fast near the end of the demo. When you make contact with Maye Village you find that, unlike many other Soulsborne protagonists, Leila is actually well-known in her town and seems to have specific relationships that we get to modestly explore in dialogue. We encounter stories about a young couple and their recent elopement. A suspicious and pedantic professor keeps mentioning the relevance of mythology and then we pass through a small clique of eerie and serious looking women, raving about a “DEITY”. Shortly after that, we’re in an underground cave with this shit going on:

The music that was available on the demo also stood out well. In the menu screen and the opening level area I particularly liked the use of music boxes and oboes. The cemetery music was another highlight. Nice change of pace with the strumming guitar and the keyboard. Both the music and the sound design partake in the general upward swing near the demo’s end.

Other than some glitches that I’m sure will be patched well before the game officially launches, my only real complaint are some awkward English translations that make some of the dialogue in the town of Maye feel a little wooden. And that’s probably gonna see some attention before launch as well. I like how Leila is not a player-insert like protagonists of Dark Souls, S&S and Bloodborne (even the Knight in Hollow Knight is something of a silent enigma that the player can project themselves onto…in spite of having very character-specific lore that stops them from being an “everybug”).

I mean I do appreciate ambiguity in story-telling, especially if it allows other strengths of the given medium to shine through. But we’re all very familiar with Hidetaka Miyazaki’s brand of uncertainty and Leila is just a breath of fresh air. Really, I can’t freaking wait for this game to actually be playable in its entirety.