The Last Salvage Squad

I jumped into The Last Salvage Squad expecting a cute little shooter and left grinning with a pocketful of memorable moments. Sunfish Kumano delivers a compact arcade FPS where you actually are the 12-meter-tall salvage unit — not a pilot, but the robot itself — and that novelty carries the whole experience. The game blends boomer-shooter movement and crunchy audio with a Virtual Boy inspired palette and low-poly charm reminiscent of EDF and old-school Doom arena fights. It’s not a sprawling epic, but its personality and tight gunplay more than make up for the short runtime.

Salvaging Chaos: Close Quarters and Big Weapons

The Last Salvage Squad puts you in the chassis of a 12-meter humanoid unit and asks you to do one thing well: survive while taking massive alien machines down. Missions are short and punchy — you pick your loadout, drop in, and either leverage cover and terrain to whittle down multi‑legged behemoths or rush in and melee them to pieces. A neat twist: you don’t always start with every gun. Equipment is limited and often has to be recovered from fallen comrades or scavenged off the battlefield, which turns every death into a tense scramble rather than a simple restart. Movement has that old‑school arena shooter feel — strafing, momentum and even some bunnyhop‑adjacent tricks make it rewarding to master positioning, especially when crowds of towering enemies fill the screen.

When Robots Swap Guns and Talk to Dogs

What makes the game stick in my head is the personality woven between the combat loops. Intermission scenes are light and goofy — your fellow units banter, and yes, there’s a shiba inu cameo that somehow steals every scene it’s in. Gameplay‑wise the augmentation system and weapon variety are where freedom shows: you can craft wildly different builds, from katana‑centric slice‑and‑dice runs (guilty pleasure) to long‑range sniper play or shotgun‑ramming chaos. The limitation of carrying few weapons makes decisions meaningful, though some players wish for the ability to switch more freely before missions. Post‑game modes add randomized enemies and modifiers that extend replay value; I found myself chasing small upgrades just to push a run further.

Virtual‑Boy Glow and Sound That Hits Hard

Visually the game is a distinctive blend of low‑poly geometry and saturated palettes that tip their hat to Virtual Boy aesthetics — it’s bold and occasionally harsh on the eyes, but that’s also part of the identity. Enemy designs call back to War of the Worlds and Evangelion vibes, and the low‑res sprites mixed with crunchy gun audio create a tactile feedback loop: every hit feels like it landed. Performance on Windows (my test platform) was solid; frame‑rate stayed steady and input felt tight. Accessibility options exist in basic form (color options are available on the title screen), but a few more display toggles or bigger UI elements would help during hectic fights. All told, the presentation is clever — memorable art direction, an energetic soundtrack, and sound design that makes blasting huge robots immensely satisfying.

The Last Salvage Squad is a short, affectionate love letter to arcade shooters: it nails movement, sound and personality while asking you to forgive a lean campaign. It’s ideal for players who want bite‑sized, replayable runs with a lot of charm and some build‑crafting depth. Buy it if you crave crunchy robot‑girl combat and don’t expect a 20‑hour epic; skip or wait if you need long campaigns or heavy customization from day one.