High on Life

The story of High on Life has been praised for its humor, creativity, and unique approach to sci-fi. Several critics noted that the game offers a fun and engaging narrative, with a sense of absurdity and irreverence that aligns with the style of Rick and Morty. For instance, Impulsegamer highlighted the game's comedic moments and its resemblance to the show, while Vgames appreciated the surprising plot twists and the humorous, engaging storyline. New Game Network described it as a whimsical and ridiculous narrative filled with absurdist humor and satirical elements, comparing it to a "massive episode of Rick and Morty." GameSpot also praised the game for its well-told story, noting that it kept the reviewer guessing with a comedic narrative featuring rapid-fire monologues and dark humor. The game's storytelling is often seen as entertaining and distinct, with a focus on self-awareness and genre parody. However, many critics found the story to be lacking in originality, depth, and emotional impact. TheGamer described the narrative as generic, with a chosen hero defeating bosses in a repetitive structure, while WellPlayed criticized the story for being insufferably smug and self-conscious, with long stretches of inane dialogue. But Why Tho? and Tech-Gaming both mentioned that the writing was annoying, the dialogue was lengthy and repetitive, and the story lacked closure. TheXboxHub noted that while the story was simple and effective, some characters were underdeveloped, and TheJimquisition pointed out that the game relied on self-referential humor and gaming tropes without offering anything new. Additionally, CGMagazine and Everyeye.it criticized the dark, nihilistic humor and the over-the-top, sometimes cringey jokes that could alienate some players. Overall, the critics seem to be divided between those who enjoy the game's chaotic, humorous, and self-aware storytelling and those who find it shallow, repetitive, and lacking in substance. While many praised the game's unique tone and comedic elements, others criticized its lack of originality and emotional depth. The consensus appears to be that High on Life is a game that leans heavily into its Rick and Morty-inspired humor, which can be entertaining for fans of that style but may not resonate with everyone. Despite the mixed reception, the story is often seen as a key part of the game's identity, with some critics acknowledging its entertainment value even if it doesn't deliver a groundbreaking narrative.

The gameplay of High on Life receives praise for its creative weapon mechanics, Metroidvania-inspired exploration, and engaging progression systems. Critics like TheGamer and SpazioGames highlight the variety of unique weapons, with TheGamer noting "four runs that are unlikely to be used in battle" but also acknowledging the "serviceable" gunplay. GameSpot and Digital Trends commend the game’s Metroidvania elements, vertical movement, and "deep combo potential," while The Loadout compares the arcade-style gunplay to Halo, emphasizing the enjoyment of combo shots and jetpack mechanics. Vandal and Xbox Achievements praise the level design and platforming challenges, and New Game Network appreciates the chaotic, fun combat with maze-like structures and weapon upgrades. These positives suggest the game offers a dynamic and inventive experience for fans of shooter-platformer hybrids. However, the gameplay is frequently criticized for repetition, lack of depth, and underwhelming combat mechanics. Metro GameCentral and The Jimquisition describe the gunplay as "weak and underpowered," with enemies feeling like "bullet sponges" and combat "lackluster." But Why Tho? and Xbox Achievements point to repetitive enemy encounters and "simplistic AI," while Game Informer and PC Gamer note the "limited arsenal" and "lack of weapon and enemy diversity." WellPlayed criticizes the "clunky" controls and "sluggish input," and Destructoid highlights "janky moments" in enemy encounters. Even GamingTrend and COGconnected acknowledge the game’s "lack of depth" and "mixed bag" combat, with some weapons feeling underwhelming despite the variety of abilities. These critiques underscore a core issue with the game’s repetition and mechanical shortcomings. Overall, the critics present a mixed consensus, with High on Life being praised for its creative weapon systems, exploration, and progression but criticized for its repetitive combat and lack of innovation. While SpazioGames and The Loadout appreciate the "simple and straightforward shooting experience" and "arcade-like" fun, Metro GameCentral and PCGamesN find the gameplay "bland" and "unoriginal." The game’s strengths in level design and weapon variety are often offset by its flaws in enemy variety and combat satisfaction. GameSpot and Digital Trends note the "solid 3D shooter experience" with "Metroidvania vibes," but many reviewers, including PC Gamer and WellPlayed, feel it fails to deliver a truly engaging or memorable gameplay loop. The game’s appeal seems to hinge on its unique mechanics and exploration, but its repetitive nature and lack of depth prevent it from standing out as a standout entry in the genre.

The reviews for High on Life’s graphics and visual design highlight a strong emphasis on its artistic creativity and vibrant aesthetic. Many critics praise the game’s unique, cartoonish style, noting its alignment with the surreal and eccentric tone of Rick and Morty. TheXboxHub and COGconnected describe the visuals as "stunning" and "visually impressive," emphasizing lush, colorful environments and a cohesive art direction that reflects the studio’s imaginative flair. TheGamer and Twinfinite commend the "wacky" and "absurd" character designs, while BaziCenter and SpazioGames highlight the distinct alien worlds, detailed weapon models, and varied biomes that evoke the show’s chaotic energy. The game’s environments, such as the "impossible architecture" of alien cities (GameGrin) and the "dystopian alien universe" (PlayStation Universe), are often celebrated for their originality and ability to immerse players in a whimsical, otherworldly setting. These positives suggest that the game’s visual identity is a standout feature, even if its technical execution has its limitations. However, several critics point to significant shortcomings in the technical quality and design cohesion. WellPlayed and Multiplayer.it criticize the "lack of art direction" and "low-quality environments," with the latter noting "cartoony models" and "poorly done" animations. EGM and Games.cz describe the graphics as "outdated" or "secondhand," citing reused Unreal Engine assets and a "crude humor" contrast that feels jarring. Screen Rant and Game Informer mention empty hub areas and confusing navigation due to the absence of a map or compass, while IGN Italia points to disorienting lighting and unimpressive level design. Shacknews and GameGrin note that the visuals "fall flat" compared to the game’s other elements, and ZTGD highlights technical issues like stuttering that detract from the experience. These critiques suggest that while the game’s style is inventive, its execution often feels underdeveloped or inconsistent, particularly in terms of environmental depth and technical polish. Overall, the consensus among critics is mixed, with the game’s visual style being a polarizing factor. While many laud its creativity, colorfulness, and alignment with Rick and Morty’s tone—such as the "weird and silly aesthetic" (GameSpot) and "surreal and colorful alien worlds" (Checkpoint Gaming)—others argue that it fails to meet technical expectations or lacks the polish to fully realize its potential. The positive reception of its art direction and unique environments contrasts with recurring complaints about repetitive enemy designs, empty spaces, and subpar character models. Critics like TheSixthAxis and BaziCenter emphasize the game’s originality, while WellPlayed and EGM stress its shortcomings. This duality suggests that High on Life succeeds as a stylistic and narrative-driven experience but struggles to balance its ambitious visuals with the technical and design depth required to sustain engagement, leaving its graphics and visual design as both a strength and a point of contention.

The sound design and music of High on Life received praise for its unique voice acting and creative approach to audio elements, particularly the talking guns. Critics like TheXboxHub highlighted the "stirring lo-fi score" and "good sound design," while IGN noted the "solid writing" and "well-done voice acting," especially for the animate weapons. TheSixthAxis praised the "different voice and personality" of the talking alien guns, emphasizing their role in satirizing video game tropes and breaking the fourth wall. GameGrin and GameWatcher appreciated the distinct personalities of the weapons, with GameGrin calling the voice acting "enjoyable" and GameWatcher noting that the guns’ "flavor of personality" made them memorable. Additionally, Digital Trends and COGconnected commended the soundtrack by TOBACCO, describing it as "chill" and "ambient electronic lo-fi noise" that complemented the game’s surreal tone. The voice work, particularly Justin Roiland’s performance as the gun "Kenny," was frequently highlighted as a standout feature, with BaziCenter and MMORPG.com noting its comedic impact despite some lines falling flat. However, several critics criticized the repetitive and overwhelming nature of the game’s audio elements. TheGamer and But Why Tho? found the "incessant" chatter from the guns and "Roiland’s constant chattering" annoying, with Games.cz and WellPlayed describing the humor as "B-tier," "mediocre," and "low-quality." WellPlayed specifically called the combat music "grating," while Screen Rant and CGMagazine noted the soundtrack’s repetitiveness, with Screen Rant comparing it to "queasy alien shopping mall muzak." Pure Xbox and Gfinity criticized the profanity-laden dialogue and "dry, unsustainable" humor, while NME and GamingTrend found the jokes "irritating" and "unsuitable for public play." BaziCenter acknowledged the limited music tracks, which "became monotonous," and XboxEra noted that while the voice cast was "impressive," the humor leaned too heavily on Justin Roiland’s signature style, risking fatigue. The constant dialogue and sound effects were also seen as detracting from the game’s depth, with TheJimquisition calling them a "shallow" distraction. Overall, the critical reception of High on Life’s sound design and music was mixed, with praise for its creative voice acting and unique audio direction offset by complaints about repetition and over-the-top humor. While TheSixthAxis and GameWatcher celebrated the guns’ personalities and the game’s satirical edge, many critics, including WellPlayed and Screen Rant, felt the audio elements undermined the experience. The soundtrack and voice acting were frequently lauded for their quality and fit with the game’s tone, but the relentless chatter and humor often overshadowed these strengths. Despite the polarizing reception, there was consensus that the game’s audio design reflected its irreverent, chaotic spirit, with IGN and PC Invasion acknowledging its "solid" and "well-done" aspects. Ultimately, High on Life’s sound design and music were seen as a double-edged sword—innovative and entertaining for some, but grating and excessive for others.

The voice acting in High on Life receives significant praise for its energetic delivery and distinct character personalities, particularly from its star-studded cast. Critics like TheXboxHub highlight the "superb timing from a multitalented cast," emphasizing that the guns' frequent dialogue is a standout feature. CGMagazine and GameSpace commend the "star-studded voice cast" and "actors clearly enjoying their roles," noting that each character has a unique voice and that the comedic timing is "spot-on." Atomix specifically praises Justin Roiland's performance as the protagonist, calling it a "great performance" and noting that the rest of the cast "does an excellent job." IGN France and IGN Italia also appreciate the fully voiced characters and weapons, with the latter highlighting the protagonist's alien gun as a narrator that "adds commentary and completes the player's chosen dialogue lines." These reviews underscore the effort and talent invested in bringing the game's eccentric world to life, with many pointing to the humor and personality as a key strength. However, several critics find the voice acting overwhelming or poorly executed. But Why Tho? and Game Informer both describe it as "annoying" and "grating," with PC Gamer criticizing it as "excessive and obnoxious" for lacking jokes or depth. TheGamer and TheSixthAxis note that the constant chatter and "incessant babbling" can feel tedious, with the latter comparing the gun's voice to Rick and Morty's Morty and calling it "lacking originality." WellPlayed and GameMAG point to underutilized characters and "stumbling over lines," while Metro GameCentral and TierraGamer criticize the "relentless swearing" and "constant profanity" as tiresome. PCGamesN and Digital Trends also mention that while some actors deliver "good gags," others fall flat, with the humor occasionally feeling "one-note" or "hit-and-miss." These critiques suggest that the voice acting, while ambitious, risks alienating players with its relentless pace and repetitive style. The overall consensus among critics is mixed, reflecting a divide between appreciation for the cast's talent and frustration with the execution. While many praise the voice acting as "excellent" (PlaySense, GameSpace, Xbox Achievements) and highlight the humor's potential (IGN France, XboxEra), others argue that the constant dialogue and reliance on Rick and Morty-esque absurdity become grating over time (But Why Tho?, Game Informer, PC Gamer). The game's reliance on Justin Roiland and other comedians, while a draw for fans of his style, also sparks criticism for being derivative or overdone (TheSixthAxis, TheGamer). Despite these contradictions, the voice acting remains a defining element of the game, with some calling it a "standout feature" (Atomix) and others a "trap" (WellPlayed). The polarizing reception suggests that while the performances are technically strong, the design choices around their frequency and tone may not appeal to all players.

The technical performance of High on Life received mixed but generally improving feedback across platforms. On the Xbox Series X/S, several critics praised its stability and frame rates, with MondoXbox and NME highlighting smooth 60fps performance and a "rock solid" framerate, while TheXboxHub noted that a day-one patch eliminated major bugs, leading to a "great" performance. SpazioGames confirmed the Xbox Series S runs without graphical issues or glitches, and XboxEra observed solid performance on Xbox with minor frame drops in open-world areas. For PC, Worth Playing and Twinfinite commended consistent 60fps and minimal stutter, while Areajugones and SECTOR.sk acknowledged that initial technical hiccups were resolved through updates. TierraGamer praised its optimization for Xbox Game Pass, and GamingTrend noted decent performance on the Steam Deck, despite limitations like lack of cloud saves. Overall, the game’s technical foundation showed promise, particularly on newer hardware. However, technical shortcomings were more pronounced on Xbox Series X/S, with GameMAG citing frame rate problems, softlocks, and crashes during extended play, while Game Informer and Guardian criticized hitchiness, frozen enemies, audio cuts, and inconsistent gun-feel. Pure Xbox and SomosXbox reported mission reloads and occasional crashes, and New Game Network highlighted performance issues on older Xbox One hardware, including loading times and audio overlay problems. On PC, PCGamesN and GameGrin noted persistent crashes, soft locks, and bugs like enemies getting stuck in walls, while Everyeye.it pointed to the absence of DLSS/FSR support, which could challenge older systems. PlaySense and Noisy Pixel mentioned minor glitches, and MMORPG.com described a "stuck in an unusual spot" issue. While patches mitigated some problems, technical instability remained a recurring concern, particularly on consoles. The overall consensus among critics suggests that High on Life faced notable technical challenges at launch but showed improvement through updates. On Xbox Series X/S, the day-one patch addressed many issues, though BaziCenter and Destructoid noted lingering bugs and "jank," while XboxAddict and The Games Machine acknowledged stable performance after fixes. For PC, while Worth Playing and Twinfinite praised smoothness, others like PCGamesN and GameGrin highlighted persistent crashes and optimization gaps. PlayStation Universe mentioned rare PS5 issues, indicating cross-platform technical variability. Despite these flaws, many reviewers, including IGN and The Loadout, acknowledged that the game’s core mechanics and design overshadowed its technical imperfections. The developers’ commitment to patches and the game’s engaging gameplay created a balanced narrative, where technical performance was a work in progress but not a dealbreaker for most.

The reviews of High on Life highlight several positive aspects of its replay value, particularly its emphasis on exploration and collectibles. Generación Xbox notes that the game’s 12-hour duration can be extended through 100% completion, with open levels and hidden content offering incentives for thorough play. Vgames and MondoXbox praise the game’s optional dialogue, secret areas, and over 200 collectibles, which cater to completionists and fans of hidden lore. IGN and ZTGD also point to revisiting planets with new upgrades as a draw, while TheXboxHub and Shacknews acknowledge the balance between action, exploration, and narrative that keeps players engaged. Additionally, the metroidvania-like mechanics and multiple approaches to combat (as noted by IGN Italia) suggest flexibility for those seeking varied experiences, and the inclusion of B-movies by MondoXbox adds unique content for niche audiences. These elements collectively create a foundation for replayability, especially for players who enjoy uncovering secrets and experimenting with upgrades. However, many critics express concerns about the game’s repetitive gameplay and lack of depth, which could deter multiple playthroughs. But Why Tho? criticizes the absence of incentives for using movement abilities or alternative weapon mechanics, while Game Informer and IGN France highlight uninteresting humor and a lack of variety in combat, which may wear thin over time. TheGamer and SECTOR.sk argue that the game’s simplicity and unchanging structure leave little reason to replay, and Press Start Australia and SomosXbox mention rushed later stages and confusing subtitles that diminish engagement. Vandal and GamingTrend also note that the incentives for revisiting areas—such as chests and collectibles—are unexciting, and GameSpace points out that the game’s large locations are underdeveloped. These critiques suggest that while the game offers some exploration, its core mechanics and narrative fail to sustain long-term interest for many players. Overall, the consensus on High on Life’s replay value is mixed, with some critics finding enough content to justify multiple playthroughs and others dismissing it as insufficient. While reviews like Generación Xbox and MondoXbox emphasize collectibles, hidden secrets, and optional narratives as strong draws, others such as But Why Tho? and TheGamer argue that the game’s simplicity and repetitive elements lack the depth needed for lasting appeal. The availability on Xbox Game Pass, noted by TierraGamer and TheXboxHub, may mitigate some of these concerns by reducing the barrier to entry, but it doesn’t address the fundamental issues with gameplay variety and humor. Ultimately, the game’s replayability seems to hinge on individual preferences: completionists and exploration enthusiasts might find value in its secrets and upgrades, while others may view it as a short, formulaic experience with limited reasons to return once the main story is done.