As a fighting game fan, I’ve grown to enjoy the process. Spending extended amounts of time in training mode learning the timing of memorized button presses in the hopes that, when it really counts, that practice will pay off. This might be why I found Forestrike, a 2D martial arts inspired roguelite that lets you plan out your approach to solving a gauntlet of combat encounters before executing upon them for real, so uniquely appealing. It successfully evokes the feeling of classic kung fu fight choreography by mixing straight up hand-to-hand combat with clever moments of using the environment to your advantage, or turning an enemy’s own weapon against them, or causing friendly fire simply with an effortless step to the side, all on a 2D plane with minimalist spite art. The precision and memorization needed to accomplish these impressive looking feats can be brutal, especially considering how easy it is for one mistake to cascade into many more, eventually cratering a run, but this clever concept still manages to pack a heck of a punch.
Forestrike puts you in control of Yu, a young martial artist who is part of the Order of the Foresight, a faction dutifully devoted to serving their Emperor, and one that becomes dedicated to the mission of saving said emperor from the manipulation of a being known as The Admiral. There’s a surprising amount of dialogue in Forestrike as we learn more about The Order and the various masters that guide Yu along his journey in between each run. In that way, it’s a lot like the intermissions between runs of Hades, but instead of always looking forward to the new things characters had to say, I generally found myself eager to get on with it so I could get back to fighting. A complete lack of voice acting certainly contributed to this, but the writing and characters themselves also just weren’t strong enough to keep my interest for very long.
Once you’re in an actual run, Forestrike flexes its muscles. It’s structured like a gauntlet of combat encounters against increasingly difficult foes, but before the actual fighting starts you’re able use your foresight technique to essentially do a practice run. That lets you find the right combination of attacks, dodges, and techniques to defeat all of the enemies in the most efficient way possible. Defensive resources like blocks and dodges are extremely limited, and it’s rare that you’ll go into an encounter with more than one of either. At first it felt rather frustrating as I just continuously found myself being forced to burn my dodge or block against the first tough enemy, which meant I wouldn’t be able to avoid the attacks of the last one. Eventually, though, a visual language started to develop as I learned how enemies would react to my actions and how I could use those predictable tendencies to my advantage.
If one enemy was charging me from the right, I could use my dodge resource to move an enemy on my left to the other side, putting him right in the way of that attack. If I was up against an enemy with spikes on the front of their body, I could look for a type of puppet enemy that drops its head when killed, which could then be picked up and thrown to kill the spiked foe from a distance. Figuring out this visual language organically was super satisfying, and I felt like I was getting further and further in my runs not because my character was becoming more powerful, but because I was simply getting better, which is always a great feeling in a roguelite.
What really makes the gameplay sing are the different martial masters that you take along with you in each run, which dictate what techniques you’re able to use. There’s Talgun, who is the master of the Leaf style, which focuses primarily on redirecting enemy attacks so that your foes take each other out; Nodai of the Cold Eye style, which focuses primarily on blocking, restoring health, and brute force; and my favorite, Monkey, who utilizes a wild fighting style that relies on surprising foes with dropkicks, bananas, and resting on the floor so that enemy attacks go right over and slam into the foe behind you.
Each style requires a completely different approach to solving the puzzles of combat, and I loved jumping between them and seeing the many different techniques that unlock the further you get in a run. Each time you beat the boss of one of the four regions, you unlock more techniques that get added to the pool of randomly selected rewards, which essentially acts as the permanent progression that helps give you the extra edge you’ll need to conquer each of the four regions of the campaign.
The one big issue with this formula is that the amount of precision required in some of the later stages can get pretty out of control, especially considering how quickly things can go off the rails with just one error. I’ve had multiple combat encounters where all of my practice runs went flawlessly, but on the actual attempt I was just a hair off on the timing of a single strike, which would essentially cause my whole plan to break down and force me to improvise the rest of the way, which usually leads to either death or near death. That’s just part of the design, but it doesn’t stop it from being extremely frustrating to lose an otherwise great run to what ultimately amounts to being off by just milliseconds one time.
The sprite based art style is intentionally minimalist – much like Skeleton Crew Studio’s previous game, Olija – and for the most part is very charming. The sprites themselves are surprisingly expressive despite their lack of detail, the 2D art is fantastic, and the actual combat animations are great – but for whatever reason the same attention was not given to the walk and run animations, which are some of the most awkward I’ve seen in 2D pixel art. It’s not a huge deal since Yu only really walks and runs in between runs at the monastery, but it’s still a very strange quirk in a game that otherwise looks great.
