The Gunk

My first hour with The Gunk was spent hoovering black slime off rocks and watching the ground burst back into color, and honestly that alone kept me engaged longer than I expected. Protagonist Rani arrives on an uncharted planet with her partner Becks looking for resources to settle their debts. She has a mechanical power glove she calls Pumpkin, and sucking up the parasitic gunk coating the world is both the central mechanic and the most satisfying thing the game does. That moment-to-moment loop, clearing a node of corruption and watching dormant flora spring back to life, taps into the same brain circuit as PowerWash Simulator, except wrapped inside a sci-fi narrative with actual characters. The basics are third-person platforming and light environmental puzzles: carry seeds to plots to grow vines you can climb, fire a plasma pulse at switches from a distance, lob explosives at stubborn gunk clusters that your vacuum cannot reach. Combat exists but is minimal; the few gunk-spawned creatures you fight are never threatening enough to create real tension, and the upgrade system, while present, is so toothless that skipping most of it makes virtually no difference. Critics and players consistently flag this as the game's core weakness, and it is hard to argue otherwise. The puzzles do not evolve after the first hour, and the combat asks nothing of you mechanically. What holds it together is atmosphere and the Rani-Becks dynamic. Their radio back-and-forth carries the story in lieu of traditional cutscenes, and it works. The voice performances are strong, the ecological themes about exploitation versus stewardship feel earned rather than preachy, and the alien biomes, canyons, jungles, subterranean caves, look genuinely lovely when scrubbed clean. There is a scanner for documenting flora and fauna in a logbook, though completionists should note that the game has no map and tracking down missing scan subjects or upgrade materials involves frustrating backtracking through linear zones. Runtime lands around four to five hours for a clean playthrough. That brevity is both its best defence and its biggest limitation. Short enough that the repetition never fully sours things, but also short enough that anyone craving mechanical depth will hit the credits feeling like the game only ever got started. Image and Form's first 3D title, made during the studio's merger into Thunderful Development, is best understood as a focused, low-pressure single-player adventure rather than a fully realized action game. If you want a palate cleanser between harder releases, something you can finish in a couple of evenings with a good story and a tactile central gimmick, The Gunk delivers that without much fuss. If you need combat weight, puzzle complexity, or a progression system with teeth, look elsewhere. Alex, Scout Team