Neon Giant is evidently in thrall to Ridley Scott's seminal sci-fi, from the flying cars that dart across the airspace above, to a skyscraper that eagle-eyed fans might notice on a lift ride up to a place called The Node – a dead ringer for the LAPD building where Gaff and Deckard land their flying spinner vehicle in the film.
The design clearly owes a debt to the artwork of Syd Mead, which came to define the distinctive look of 1982's Blade Runner, and, by extension, the whole concept of cyberpunk as we now know it. It all works remarkably well, and in its opening hours there's a lot to like about The Ascent. As such, it plays like a twin-stick shooter, movement controlled by the left stick as you aim using a crimson laser sight with the right. The game is at heart a dungeon-crawler, of sorts, albeit one with an arsenal of guns rather than swords, shields, spears, and the like. Like Diablo and its ilk, developer Neon Giant's cyberpunk game is viewed from an isometric angle, the camera far enough away from the action to evade the stench of the filth and decay below, but not so far that you can't see the skittering cockroaches, unctuous sludge, and hordes of criminals who'd happily shoot you dead as soon as look at you. The depths of the deepStink are where you start out in The Ascent, taking whatever jobs come your way before embarking upon an ARPG odyssey, gun-in-hand, looking to make some 'uCreds' to lift yourself out of the dirt.
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