Limitations, self-imposed or otherwise, are often a flashpoint for creativity. Both Bionic Commando and Metal Gear created genre-defining mechanics from the Nintendo Entertainment System’s technical inhibitions, and Mooil Rig demonstrated how well Sunset Overdrive’s strengths—kinetic movement alongside chaotic combat—operated without literal ground to stand on. It was a neat way to explore how Sunset Overdrive worked without a safety net.
But Mooil Rig wasn’t completely Sunset Overdrive’s style, was it? The subversive criticism of modern game design, conspicuous treatment of the fourth wall, and it’s anytime/anywhere approach to combat were all there, but remained tethered to the unshakable mass of an offshore oil rig. Fallen Machines, on the other hand, returns Sunset Overdrive to traditionally untraditional means of operation. It features The Fizzco Robotics Factory grafted on top of the existing map, meaningful additions to the opposing force of Fizzco Robots, and a couple of new player mechanics along with Sunset Overdrive’s requisite combat turbulence and extensive profanity.
The Fizzco Robotics Factory is hell of a place. Floating platforms, visible external assembly-line giant robot production, fluorescent blue power grids up the wazoo, and the least tacit fake videogame walls imaginable define the home base for Sunset Overdrive’s primary antagonists. Included in Fallen Machines’ two optional missions are some fairly inventive gags on Fizzco’s increasingly misanthropic production tactics and expected Terminator gags, but it all builds to an inventive new place to visit in Sunset City. Compared to the dizzying pastel heights of Downtown or the crusty pragmatism of the Old Factory District, the bright neon daymare of Fizzco Robotics projects an orderly contrast.
Mooil Rig unloaded a bunch of new OD enemies, and Fallen Machines returns the favor with a few new Fizzco robots. Among them are a sniping specialist that hits especially hard, defense-focus robots with a savage red laser area-of-effect attack, and a finally a giant robot enemy tough enough to stand with Sunset Overdrive’s other hulking mini-boss bruisers. I still never really figured out why I always only had a sliver of health left at all times, and Sunset Overdrive’s general reluctance to grant me anymore. These new guys were noticeably harder than the standard Fizzco bots and I died frequently, but that may have been the inevitable fallout of taking four months off of Sunset Overdrive.
What you’re actually doing in Fallen Machines is the matter of greatest concern. One particular mission has Sunset Overdrive’s version of Gears of War’s Hammer of Dawn (read: lasers rain down from the sky and pulverize target), only with the advantage or targeting multiple enemies and an almost instantaneous release. Another has you aiming a gun at existing robots and reprogramming them to fight on your side. Both of these are fairly effective at inducing more chaos into Sunset Overdrive’s already breakneck combat, issuing the Home Improvement protocol of, “if it ain’t broke, fix it some more.”
Unfortunately it failed to overlook a one thing that might actually be broken; Sunset Overdrive’s instance on leading the player to selected area and then challenging them to pixel-hunt an obscure object out of the environment in order to advance the mission. The proper game did this all the time and I have no idea why because it was always a waste of time. I’m not sure what the fix is here, but repeatedly hunting around looking for diary entries is a bore.
Two parts of other missions stand out a bit from more conventional objectives. One involves a melee-only duel between your character and a fragile robot. Contextually this fits right in, but practically it kind of sucks because the game’s melee mechanics are severely underdeveloped (as is the dodge-roll). Sunset Overdrive isn’t Devil May Cry, obviously, so I don’t understand what business it has conducting a frustrating, hit-and-run melee sequence. The other essentially employs a larger and more violent version of Samus’ morph ball and all of the menacing destruction you may expect.
And then there’s Fallen Machines’ ending. The climatic sequence, both the penultimate scenario and the reveal of the final boss fight, might be the best part of Sunset Overdrive, DLC-status notwithstanding. I’m not going to give away any of the context, other than to say that (1) I can’t believe Microsoft allowed Insomniac to take such a massive shot at one of Xbox One’s weak points and (2) that Insomniac was willing to take an even larger shot at one of Sunset Overdrive’s own shortcomings. The sequence is basically perfect, and it turns Fallen Machines from a serviceable piece of content with a few new ideas into an essential cherry-on-top of the entire Sunset Overdrive experience. This thing should now be in the same conversation as Minerva’s Den or Undead Nightmare, albeit for a completely different reason.
This leaves Fallen Machines as a proper sendoff for Sunset Overdrive. It’s more Sunset Overdrive, only slightly different looking and with a couple of new surprises. The game was already so loaded with content I wasn’t exactly eager to see more collectables, even more new weapons, additional challenges, and new gear – but I won’t deny the lure that presents for the game’s fans. And that ending. My god.
