In truth, much of No Gravity’s appeal lies in the almost hypnotic combination of its visuals and audio. Where others see space as an infinite, empty blackness, Realtech VR sees a blank-canvas onto which they can project a dazzling light show. Lasers fizz, explosions are followed by luminescent corona and meteors disintegrate into a spectacular display of both technical prowess and visual splendour. If Stanley Kubrick had ever made a handheld 3D space-shooter, it would probably have looked something like this. These visuals alone would prove to be attention grabbing, but combined with a throbbing, trance soundtrack, it’s easy to find yourself being enveloped by the experience. Much like SEGA’s cult classic, REZ, merely seeing what different variations of explosions will look like on the PSP’s screen can be reason enough to keep playing.

It is a shame then, that this digital firework display is marred by some frustrating design decisions. Most noticeable is how vague the game’s structure can be, with repeated and seemingly unavoidable deaths caused simply by not knowing exactly what you’re supposed to be doing. Identifying the correct approach to each level more often than not seems to be matter of trial and error rather than methodical planning and skill as a pilot. Adding to the frustration, an evasion manoeuvre feels underpowered, insufficiently compensating for the sluggishness of your craft. The upshot is that you often feel more like a sitting duck than an ace starfighter pilot.

Another (literal) grey area comes in the form of visits to the surfaces of various planets and meteors. Though admittedly breaking up the experience, these sections lack the wow-factor of space, with bland muddy textures filling the screen. The change of setting is welcome but it’s a shame that Realtech VR didn’t further develop this aspect by lavishing a bit more detail on the planets design and using it as an opportunity to expand No Gravity’s repertoire.

No Gravity: The Plague Of Mind is yet another PSN oddity, joining the ranks of Everyday Shooter, Flower, Noby Noby Boy, Flow etc. Like them, it’s a title that thrives on its idiosyncrasies, succeeding in ways that you probably weren’t expecting. Flawed in many respects, mesmerizing in others, it is a budget release that offers a refreshingly old-school deep-space oasis, and the temptation to spend some time floating in space admiring its light-show can be strong indeed.

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