The one-hit death rule is hardly fair when it doesn’t strictly apply to enemies who are protected by force fields, which can only be disabled when you locate and destroy the emitters, usually placed higher and further out of reach. However, Ghostrunner’s difficulty more often than not crosses the line between tough and ridiculous. Of course, hardcore players will tell you to “git gud”, and having persevered through hellishly difficult games like Dark Souls, Sekiro: Shadows Die Twice and Hades, I would be inclined to agree. While the early missions work as tutorials easing you into the mechanics, it’s also not long before the game starts to run ahead of itself, the challenges becoming more demanding as you struggle to keep up. You can even activate a Matrix-style bullet-time dash that lets you strafe-dodge before dashing closer within slicing distance.Įach arena is almost a puzzle as you learn your enemies’ positions, figure out the best route to reach them and then take them down, the last kill slowing down the action as if a sign for you to catch your breath. Instead of running straight into someone’s blaster fire, you can deflect fire back with your katana or approach from another angle such as wall-running (and outrunning) enemy attacks.
Your ninja skills become more meaningful and freeform when engaging with enemies. Unfortunately, the breakneck pace means you’re not often given the chance to savour the grimy industrial cyberpunk visuals that’s accompanied by the pulsing electronica soundtrack from retrowave producer Daniel Deluxe, which wouldn’t feel out of place pounding a dark, sweaty warehouse rave. Missions are structured like multiple arena-sized combat encounters interspersed with parkour platforming, which can be just as thrilling as you wall-run and kick off multiple panels, laser-lasso up to new heights then crouch-slide down a slope at high speed before dropping into the next set piece.
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