Down We Go!

Down We Go! is a dungeon-crawling first-person shooter that follows Digger Dave, hailed as the greatest archaeologist ever, on his perilous quest to confront a mysterious evil entity lurking in the depths. Blending fantasy and science fiction elements in a whimsical, tongue-in-cheek style, the game features action-packed shooting mechanics with RPG influences in a direct-control interface.

Down We Go!: Review

Introduction

In the shadowy underbelly of indie gaming, where one-person armies craft pocket universes from sheer audacity, Down We Go! emerges as a quirky gem from 2014—a roguelike first-person shooter that blends dungeon delving with archeological bravado. Imagine Indiana Jones reimagined as a pixelated gunslinger, plummeting into eldritch depths armed with a shovel and sarcasm. Released as a freeware title on itch.io, this solo endeavor by David Szymanski (under his Jefequeso moniker) captures the spirit of early 2010s indie experimentation, fusing fantasy tropes with sci-fi absurdity in a tongue-in-cheek package. At its core, Down We Go! is a testament to minimalist mastery, proving that even in an era dominated by sprawling blockbusters, a single developer’s vision can unearth something profoundly entertaining. My thesis: While its brevity and rough edges prevent it from achieving timeless status, Down We Go! stands as a pivotal early work in Szymanski’s oeuvre, influencing the boomer shooter renaissance and reminding us that humor is the sharpest weapon in any dungeon.

Development History & Context

Down We Go! was born from the fertile chaos of the early 2010s indie scene, a time when tools like GameMaker Studio democratized game development, allowing solo creators to bypass the gatekeepers of traditional publishing. David Szymanski, a burgeoning talent in the indie horror and action space, wore every hat for this project: coding, design, music, visuals, and story. Operating under the pseudonym Jefequeso, Szymanski coded the game entirely in GameMaker Standard Edition—a lightweight engine favored by hobbyists and indies for its drag-and-drop accessibility and rapid prototyping capabilities. Released on May 19, 2014, for Windows, the game arrived amid a gaming landscape shifting toward digital distribution platforms like Steam and itch.io, where free or pay-what-you-want models thrived.

Szymanski’s vision was rooted in a playful rebellion against the seriousness of dungeon crawlers. At the time, the genre was experiencing a revival with titles like The Binding of Isaac (2011) emphasizing roguelike procedural generation and permadeath, while first-person shooters grappled with post-Call of Duty fatigue. Technological constraints played a starring role: GameMaker’s 2D roots meant Down We Go! leaned into pseudo-3D visuals and simple polygons, avoiding the resource-heavy demands of full 3D engines like Unity or Unreal. This era’s indie ethos—think Cave Story (2004) or Braid (2008)—prioritized personal expression over polish, and Szymanski embodied that by crafting a game that mocked its own archetypal protagonist, Digger Dave. The broader context included the rise of retro-inspired FPS games, but Down We Go! predated the 2010s boom of titles like Dusk (Szymanski’s own 2018 masterpiece), positioning it as an unpolished precursor. Financially unburdened as a free release, it reflected the post-2008 recession’s DIY spirit, where creators like Szymanski experimented without corporate oversight, fostering the humor-infused indies that would define the decade.

Narrative & Thematic Deep Dive

The narrative of Down We Go! is a lean, sardonic yarn that punches above its weight through sheer wit, unfolding as a first-person descent into madness that satirizes adventure archetypes. Our hero, Digger Dave—”the greatest archeologist that has ever lived”—embarks on a quest to unearth and confront a mysterious evil entity lurking in subterranean depths. What begins as a straightforward excavation tale quickly devolves into a meta-commentary on heroism, hubris, and the absurdity of quests. Dave’s internal monologue, delivered via snappy, fourth-wall-breaking dialogue, frames him as a pompous everyman: boastful about his exploits (“I’ve dug up more treasures than you’ve had hot dinners!”) yet comically unprepared for the horrors below. The plot progresses through procedurally generated dungeon levels, each delving deeper into a labyrinthine underworld where ancient ruins blend with futuristic anomalies—think crumbling fantasy crypts riddled with malfunctioning laser traps and biomechanical abominations.

Thematically, the game weaves a tapestry of exploration’s folly and the blurred line between fantasy and sci-fi. At its heart lies a critique of colonialist adventuring narratives: Dave’s “archeological” pursuits echo real-world tomb-raiding controversies, reimagined with humorous exaggeration as he quips about “civilizing” eldritch foes with bullets. The mysterious evil entity serves as a nebulous antagonist, symbolizing the unknown perils of unchecked curiosity—perhaps a Lovecraftian elder god fused with a rogue AI, its vague presence allowing players to project their fears. Dialogue is sparse but razor-sharp, often interrupting action with Dave’s asides (“This trap? Amateur hour compared to my last dig in Egypt… or was that a dream?”). Subtle RPG elements tie into character progression, where loot and upgrades reveal backstory fragments, hinting at Dave’s tragic past—a fallen legend haunted by lost expeditions.

Underlying themes explore identity and descent, both literal (plunging into dungeons) and metaphorical (Dave’s ego crumbling under pressure). The tongue-in-cheek humor undercuts tension, preventing the story from becoming overwrought; it’s a narrative that invites laughter at its own expense, much like The Hitchhiker’s Guide to the Galaxy in game form. In extreme detail, consider the mid-game twist (avoiding spoilers): a revelation about the entity’s origins flips the power dynamic, forcing Dave—and the player—to question whether they’re the hero or the villain. This culminates in a finale that blends pathos with punchlines, leaving players with a lingering sense of ironic triumph. Overall, the story’s strength lies in its economy: every line and encounter advances themes of hubris and discovery, making Down We Go! a narrative Trojan horse for deeper philosophical digs.

Gameplay Mechanics & Systems

Down We Go! distills the dungeon crawler FPS formula into a tight, addictive loop, blending shooting, exploration, and light RPG progression in a first-person perspective that feels both retro and fresh. Core gameplay revolves around direct control navigation: players wield a arsenal of improvised weapons—from shovels for melee digs to pistols and energy rifles—while delving through procedurally generated levels teeming with enemies like skeletal minions, alien parasites, and mechanical guardians. The loop is elegantly simple: enter a floor, clear rooms of foes, collect artifacts for upgrades, and descend via elevators or collapsed shafts, all while managing permadeath risk in roguelike fashion.

Combat is the beating heart, emphasizing fast-paced shooting with RPG elements layered atop. Enemies exhibit varied behaviors—some charge in fantasy hordes, others beam sci-fi projectiles—forcing adaptive tactics. Health and ammo scarcity encourages strategic resource management; a clever digging mechanic lets players excavate walls for hidden paths or ambushes, adding verticality to the 2D-plane combat. Character progression shines through loot drops: artifacts grant passive buffs (e.g., increased fire rate or temporary shields), fostering build variety without overwhelming complexity. UI is minimalist to a fault— a heads-up display shows health, ammo, and a depth counter—but this enhances immersion, though it occasionally frustrates with unclear inventory toggles.

Innovative systems include the “Descent Momentum,” where deeper levels ramp up enemy density and environmental hazards, creating escalating tension. Flaws emerge in balance: early runs can feel punishingly random due to procedural generation, and the lack of checkpoints amplifies frustration for newcomers. Yet, these rough edges contribute to replayability; multiple endings based on artifact choices encourage experimentation. Compared to contemporaries like Ziggurat (2014), Down We Go! innovates by integrating humor into mechanics—defeating bosses triggers Dave’s quips, rewarding skillful play with narrative flair. Overall, the systems cohere into a satisfying pump of action and progression, though its brevity (2-4 hour runs) leaves players craving more depth.

World-Building, Art & Sound

The world of Down We Go! is a masterful illusion of depth crafted from limited means, transforming GameMaker’s constraints into a cohesive, atmospheric descent. Set in a hybrid fantasy/sci-fi underworld, the environments evoke ancient tombs corrupted by otherworldly tech: dimly lit corridors of moss-covered stone give way to neon-veined caverns and rusted machinery, creating a sense of forbidden history unearthed. Procedural generation ensures variety—levels might feature flooded ruins with echoing drips or labyrinths of glowing crystals—but recurring motifs like ominous runes and biomechanical flora build a unified lore of a fallen civilization clashing with invasive futurism. Atmosphere is palpable: tight corridors induce claustrophobia, while rare open chambers offer breathing room, punctuated by the thrill of discovery.

Art direction leans into low-poly, pseudo-3D aesthetics, reminiscent of early PS1-era FPS but infused with indie charm. Visuals are blocky yet evocative—Dave’s model is a comically exaggerated adventurer with a comically oversized hat, enemies stylized as grotesque caricatures (e.g., a goblin fused with a drone). Color palettes shift from earthy browns in upper levels to sickly greens and purples below, mirroring thematic descent into madness. This unpolished style enhances the tongue-in-cheek vibe, making the world feel like a hand-scribbled adventure map come alive.

Sound design, also Szymanski’s domain, amplifies immersion with chiptune-infused tracks that blend orchestral fantasy swells with electronic glitches—think Doom metal meets 8-bit whimsy. Combat pulses with punchy sound effects: shovel digs crunch satisfyingly, gunshots echo with retro reverb, and enemy deaths elicit cartoonish squelches. Ambient audio layers tension—distant rumbles signal boss approaches, while Dave’s voice lines provide levity, voiced with dry wit. These elements synergize to elevate the experience: visuals and sound create a palpable sense of peril laced with humor, turning a simple dungeon into a character unto itself, where every creak and flicker contributes to the thrill of the unknown.

Reception & Legacy

Upon its 2014 launch, Down We Go! flew under the radar, a free itch.io release in an era before viral indie success stories like Undertale (2015) normalized solo dev acclaim. Critical reception was nonexistent in mainstream outlets—MobyGames lists no scores or reviews, reflecting its obscurity—but niche communities on forums like TIGSource praised its humor and tight gameplay, with players appreciating the free access as a low-stakes entry point. Commercially, it cost nothing, amassing modest downloads and fostering word-of-mouth among GameMaker enthusiasts. Over time, its reputation has evolved into cult status, bolstered by Szymanski’s rising profile; retrospectives on sites like itch.io highlight it as an early experiment in boomer shooter DNA, prefiguring his hits like Dusk (2018) and Ultrakill (2020).

The game’s influence is subtle yet significant: it pioneered the humorous, archeology-themed FPS twist, echoing in titles like We Need to Go Deeper (2017), a submarine crawler with similar descent mechanics. Szymanski’s solo-polymath approach inspired a wave of one-dev wonders, contributing to the indie FPS revival—think Ion Fury (2019)—where retro visuals meet modern roguelikes. In the broader industry, it underscores freeware’s role in talent scouting; without Down We Go!, Szymanski’s later New Blood Interactive collaborations might not have materialized. Today, it’s remembered as a hidden artifact, its legacy cemented by preservation efforts like MobyGames’ 2024 entry, ensuring this tongue-in-cheek dig endures.

Conclusion

Down We Go! is a delightful anomaly—a solo-crafted dungeon plunge that marries action, humor, and thematic bite into a compact adventure. From its humble GameMaker origins to its influential undercurrents in indie FPS design, Szymanski’s creation captures the joy of unpretentious exploration. While sparse narrative details and mechanical roughness hold it back from masterpiece territory, its free-spirited charm and prescient style earn it a secure niche. In video game history, it occupies the role of unsung pioneer: a shovel-wielding spark that ignited bigger fires. Verdict: Essential for indie historians and boomer shooter fans—dig it up on itch.io and descend with a grin. 8/10.