There are games and then there’s Satisfactory. A factory simulator that reimagines engineering as a game of exploration, Satisfactory draws equal influence from Settlers of Catan and Homo faber. With a wonky sense of humour and the tendrils of a well-designed experience, Satisfactory is a simulator wrapped in a game wrapped in a feeling akin to a surging electrical current. Why should you spend time playing it? Because you will return for more. So, come along and touch this wire. Why is Satisfactory not just satisfying, but electrifying?
In Satisfactory, players must build a base on an alien planet for their nameless employer, the company FICSIT Inc. It’s an experience of construction, automation and exploration as you’re tasked with turning the environment into an industrial hub of belts and bots. From collecting leaves to launching rockets, your job stays the same: construct new ways to move more materials more quickly. The game gets more complicated but so do you. New challenges and milestones approach with the escalating scope of what’s at hand.
What makes ‘Satisfactory’ shine is its unique fusion of creativity, strategy and multiplayer gameplay. It’s a sandbox where you determine how to design your base and your factory, be it an expansive sprawling complex or an intricate logistics network. Optimisation of a massive collection of pipes, belts, switches and gearboxes is a social affair when playing with friends, as getting others to copy your designs leads to cooperation and providing others with what they need. It’s also collaborative as far as the winning is concerned: a solitary victory, a glorious alone-against-the-world feat, will never be as rewarding as it will be when a handful of friends join in the game.
The game’s charging your hopes with its checklist of projects. You start with a hodgepodge of machines in a primordial forest, and you can end up with techno-cities spanning the game map and pulsing and expanding to consume the whole world. Every little step toward industrialisation – from oil refineries to nuclear power – sends you into new, uncharted spaces of play that you know you’ll barely understand but that you’re crazy to try out anyway.
Satisfactory isn’t just about building. These components are also puzzles that the game presents, each factory segment or logistic puzzle a coiled affront, packed with tiny challenges. Optimising production, or tightening up your production chain to perfectly timed intervals, keeps the game electrifyingly, addictively exciting. Every small, incremental victory feels like a major achievement.
Outside the confines of your factory lies an alien world to map. You don’t need to worry about dragging your resources to their destination anymore; you can simply walk there with a jetpack and gas mask. Exploration is another big part of Satisfactory, and it’s a breath of fresh air amid all the factory mayhem. A jerky sprint through a dangerous jungle might be a less stressful way to put food on your dining-room table, or maybe you want to try your luck at demolishing a mountain.
But the planet doesn’t just swarm with stuff – stuff that you can scoop up and use towards building him a house and lightbulb as soon as you get home. It swarms with creatures. Some reward your approach with a curious walk over, others with a charged attack. While combat is secondary to the gameplay, these interactions make it uncertain, rich and exciting. Avoiding fire-spitting plants. Ridin’ lizard doggoes. These moments of danger and delight and camaraderie infuse the game with a sense of being in a living world.
While ‘Satisfactory’ feels like a funnel for enjoyment and cooperation, it does have some rough edges: its ambition sometimes strains its technical capacity, contributing to occasional performance bottlenecks that can dampen the kinetic energy of play. Still, these are occasional enough occurrences to be outweighed by the game’s virtues. Overall, it’s an experience that is as satisfying as it is challenging.
‘Satisfactory’ is about the charge – the force behind players’ agency manifesting in the construction of their industrial empires. It’s a metaphor for the imaginative and cognitive charge that has to go into solving the problem the game presents, of optimising the production lines, and exploring the game world. This charge fuelled both the machines of the game and the avidity of the player. ‘Satisfactory’, which hurtles along breaking every conventional rule of adventure gaming to deliver a world where creativity, planning and co‑operation meet, is proof of what video games can be once we ask not just that we play, but that we think, plan and create.
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