Rooftop Cop

I have a soft spot for the kind of game that started as an MFA thesis and never tried to hide it. Rooftop Cop came out of the NYU Game Center and landed at the IGF's Nuovo Award nominations in 2015, which tells you immediately that you are not dealing with a game that wants to entertain you in any conventional sense. Lawra Suits Clark built something closer to a sculptural installation than a product, and somehow it wound up on Steam for a few dollars, sitting quietly while nobody covers it. The structure is five separate, endless vignette games, each one a different stage in a loose metaphysical deterioration. In "A Proud History" you balance collecting citations against some abstract deficit, prowling for tiny crimes in an uncomfortable arcade loop. "Capture the Flag, for One" drops you into an environment that feels actively hostile to your presence. "The Datamines" tasks you with hoarding evidence from apartments until the weight of it crushes you, which is about as on-the-nose as allegory gets, in the best way. "God Bles Everyone" (the typo is intentional, probably) has you amassing junk to expand a raft through a flooded city. The fifth part, "Palace of the Organizer", is the quietest: you rearrange sticks, check a fax machine, sit on a dystopian beach. Each chapter has a completely different control scheme, and a meaningful portion of the experience is simply working out what you are supposed to do at all, which is either thrilling or infuriating depending on your appetite for that kind of opacity. The companion album, titled "Doesn't Speak, Doesn't Listen", is a full seven-track record that Clark describes as more of a companion piece than a straight soundtrack. Some tracks appear in the games, others were made for a physical sculpture installation version of the work, and others simply grew alongside the project. Tracks like "Police Cave and Memorial Estuary" (over seven minutes) and "God Bles Everyone" (over eight) give the music room to breathe in a way the vignettes themselves don't always allow. Players who have responded most warmly to this release tend to cite the audio as the anchor. One community comment described the visual style as "glitch-grime", which is probably the most accurate three words anyone has put to it. The honest caveats: Steam reviews sit at a mixed rating with a thin sample, and the negative voices tend to use words like "pretentious" or "not a game". Those critiques are not entirely without basis. There is no onboarding, no hand-holding, no legible win state in most chapters. The Mac build has known compatibility problems tied to older GameMaker versions. Windows players should have a smoother time. This is not a game about systems mastery or replayability in any traditional sense. It is a short, strange artefact from a specific artistic moment, and it knows exactly what it is. For players who follow artists like Keita Takahashi, who appreciate games built around atmosphere and poetic mechanic rather than progression loops, Rooftop Cop is worth the modest asking price for the album alone. The games are the context. The music is the argument. Kai, Scout Team

Be the first to comment on Rooftop Cop.