Inayah – Life After Gods review: Jumping over your limits

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Day after day, it seems like there’s another Metroidvania game out. And with so many around, it’s not hard to see why; the sense of accomplishment from classic exploration and action is undeniable. Inayah – Life After Gods offers its own unique spin on this formula. While I encountered some difficulties during play, the combat system in Inayah manages to intertwine with the rest of the game in a way that feels fresh, distinctive, and tough. It’s not always smooth sailing, but sometimes you can’t have everything sounding rosy.

Don’t like bugs? Bad news

The narrative structure of the game Inayah is somewhat unbalanced, with frequent shifts in tone, dialogues that sound more like casual conversations between friends rather than discussions about life-threatening issues, and a choice system that boils down to either being kind or harsh. However, the concept and visual world are intriguing, and they are beautifully presented through exquisite hand-drawn artwork and animations. Inayah, the main character, inhabits a post-apocalyptic landscape where technology has been reclaimed by nature, with plants overgrowing everywhere, even ancient machinery. The environment is also teeming with various types of bugs, ranging from large ones that resemble animals to humanoid bug species.

As a child, Inayah experienced a family tragedy, but before he left, her father passed down a powerful artifact, one that resembles the abilities found in Metroidvania games’ protagonists. Determined to uncover any surviving members of her own tribe and possibly discover more of these powerful items, she embarks on a journey to confront various creatures and tribes, as well as solve the mysteries hidden within her world.

In this world filled with identical groups of doors and obstacles that seem strangely placed, you’re given a trio of tools to help you move around more freely. Among these tools, Inayah’s set includes keys for breaking down most of the blocking doors and mobility enhancers. However, there’s a twist; you can only start with one tool, and it’s on you to find the other two based on your navigation skills. I chose the fists initially, meaning the flail and sword are yet to be discovered.

Story time

As a gamer, I found myself in a pickle, one that I can’t help but feel was more my doing than the game’s design. The path ahead opened up swiftly, filled with obstacles to navigate. The locations where I could find the two weapons I had left behind were clearly marked on the map, yet for some reason or another, one of them was just out of my grasp. I mentally noted that room as a “return later with more resources” kind of place, only to find myself cornered later when all my quest objectives were barricaded by vines, which the sword couldn’t cut through. I scoured every inch of the map, revisiting rooms methodically, essentially circling the accessible areas repeatedly.

It’s clear now that I should have revisited the weapon room earlier; I can’t explain why I didn’t. However, once I obtained the sword, we were quickly on our way. But before that moment, oh boy, it was a tough stretch for me! This was particularly challenging due to an observation I made as I navigated back through areas more than necessary: Metroidvania map rooms are typically compact, with certain exceptions serving specific purposes. They also have distinct characteristics such as biomes, colors, or whatever the Feng Shui of Dracula happens to be in a given era. These features aid memory and speed. In games like this, there will always be that instance where you’re lacking the crucial piece of land you need, and you find yourself revisiting your path.

Despite all the details, the spaces in this game are extraordinarily vast, and in the initial region, they all share a similar appearance. Although not identical, each scene typically features overgrown technological remains in various arrangements. Due to their immense size and my struggle to distinguish between places and rooms, my beginner’s error proved costly. However, progress improved dramatically once I found out that the “return with more items” container was accessible, although the rooms remained frustratingly large (and this aspect couldn’t be overlooked at this point). The dash move, however, greatly accelerated my advancement.

I acknowledge that the main source of my current predicament lies within myself. However, this situation has given me an enlightening perspective on designing Metroidvania maps. To be frank, I maintain that the rooms are excessively large and the map itself is a concern. For one thing, the basic map consists of large, empty squares showing the number of exits and their general positioning. To gather more precise details about a room, you must open another window, which can be helpful but sometimes misleading. Moreover, it’s necessary to be within the room you want to explore before you can access this information.

In summary, Inayah offers satisfying movement forward, but the experience of getting lost or backtracking is more frustrating than usual due to the map’s peculiar way of delivering information and the large size of the rooms with numerous exits and gimmicks.

The good part. Really good

When the three unique tools unite, the dynamics of the game shift significantly. Scattered throughout are numerous devices and quirks, along with numerous areas high above that seem just out of grasp. Each tool, however, possesses a mobility feature, such as a rearward fireball propelling you forward slightly or an upward slash functioning somewhat like half a double jump. The fist-like weapon also boasts certain environmental interactions, including ledge-grabbing and wall-sliding in specific locations. Many of these quirks are clustered together because the game caters to various starting tools.

As a gamer, once I’ve nabbed all three, it’s pure chaos! The ability to swap instantly opens up a playground where I can dart about with an intentional recklessness that feels like I’m slipping through the cracks. I quickly learn to dominate the skies and discover routes that seem artificially crafted, almost as if they’re designed puzzles hidden within the game space. It’s a mind-blowing mechanic that has become my absolute favorite aspect of this gaming adventure.

In combat, using the weapons feels counterproductive. The encounters are devoid of responsiveness or immediate feedback; it’s like watching two static images exchanging blows until one triggers a death animation. Although there are hit stuns present, the overall impact is still lacking. The readability of defensive maneuvers can be challenging at times due to the intricate and visually appealing drawings and animations, coupled with the lack of feedback. Furthermore, when enemies collide or overlap, it leads to confusion. Additionally, boss fights that don’t seem to have hitstun exacerbate these issues, often leading me to charge in, mash buttons, and absorb damage just to conclude the battle quickly.

As someone who appreciates Metroidvania games, I generally found Inayah – Life After Gods enjoyable. The game offers an imaginative world to delve into, boasting stunning artwork and animation. What stood out for me was the unique feature of weapons serving dual purposes as both weapons and keys to doors, as well as seeming to be fake sequence-breaking gadgets. However, I must admit that the combat left a lot to be desired, and the awkward map design coupled with large rooms often resulted in frustrating backtracking. The pace of the game can feel sluggish at times, even if you don’t encounter any humorous predicaments like I did. It might be advisable to start with the sword as a beginner.

The game “Life After Gods” will be released for PC on March 27, 2025, and console versions are set to follow in the summer of 2025. I’ve received a code from the publisher for this preview.

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2025-03-28 17:28