Oskar Stålberg has made a charming and compelling toy for imaginative play. Anyone willing to project themselves into its worlds and tell stories to themselves as they build will have a great time (although young kids might need assistance with the controls). Raw Fury claim to care about “experiences and emotions” not “genres or mechanics”. If that’s where your priorities lie, too, then give Townscaper a shot.
The concept of Super Animal Royale is very now – it draws on all the familiarities of modern mainstream gaming. In a way, then, you could say it's cutting-edge. In another way, though, it's all just very familiar, to the point that it's strangely unremarkable. No individual aspect of it stands out, but it does form an endearing whole. It feels cool to play (when there's no grievous lag), the map is compelling and the battle royale formula is as much of a buzz as ever. The monetisation model is not in-your-face and the player base is certainly there. It's free, it's under a gigabyte, it's fast, and it's a good laugh. Why not download it?
The customer is always right, so the saying goes, and as customers of this game, players can have some legitimate complaints about the service. The platforming is not fun: sadistic design choices are realised with lacklustre materials. But BloodRayne doesn't care. The combat, when you're allowed to play it, is unique and raucous and deliciously convoluted, with a skill ceiling as high as a gothic cathedral. BloodRayne isn't here to take your order; it's here to suck your blood.
First Cases is a significant change of direction from The ABC Murders, Poirot's last outing also published by Microids. Stepping comfortably into visual novel territory and casting aside the puzzling that would hold back narrative flow, your fantasy is one not of being Hercule Poirot but rather of enjoying a Poirot novel. The Switch let's you indulge in that as you would a great book, whether in the wingback of your stately home's library or, indeed, on the toilet of your bedsit. For storytelling, the game format is ideal – even ingenious. The trademark Christie web of connections between events, evidence and the psychology of the characters is planned out in front of your eyes – either to pore over on a diagram or to stroll through in the neatly presented settings. The game's main limitations are the inanimate world and workaday writing that fail to lend the sparkle of life to a well-machined story. Nonetheless, while puzzle-loving gamers shouldn't pick this one up, visual novel fans and Hercule-heads won't be able to put it down.
The Good Life knows where its strengths lie. Its functional open-world model and mostly-dated gameplay systems sit quietly in the background and allow its quirky charm to take the spotlight. That charm is piled on thick, with absurd characters (and absurd accents), a plot that digresses so wildly it seems unable to remember where it started and, lest we forget, the whole dog/cat transmogrification thing. The charm and atmosphere have to be seriously compelling if they are to excuse the well-worn mechanics, repetitive tasks and frequent slowdown and pop-in. If Japanese old-school gaming whimsy × twee Englishness isn't for you, then neither is The Good Life. But if you're a SWERY fan and that sounds like your cup of tea, get dunking.
Tunche looks and sounds good, plays neatly and consistently and is fun for couch co-op. However, it takes its punchy ideas and sneaks off into a dark, dirty alley where people just won’t want to go and find it. It is fun if you’re willing to get in there and get stuck in, but you’ll need to step over the broken glass of tiny screen text, try not to touch the wet-stained walls of repetitive, roguelite early encounters, and apologetically deny having any spare change to the drugged up yuppie of verbose exposition. In conclusion, if you are looking for a fight, mate, let us point you in the direction of Tunche.
Nonetheless, Beyond a Steel Sky magically brings its 1994 ancestor back to life. The style, the humour, the chirpy dystopia are all revived. However, a lot has happened since that first golden age of adventures, and if you want a creative addition to the indie-fuelled inventiveness of the modern genre then you should look elsewhere. This is a game that remembers exactly how great things were in 1994, but isn’t much interested in how great they were last week.
Solo developer Jonas Manke has aimed for the comfort of an easy-in-every-way game and hit the mark. The play feel of the later game and gorgeous environments are what lift it above a paint-by-numbers explore-em-up. It will test neither your skill nor your patience, with solid execution that respects the player’s time. While there’s little to blow you away, there’s lots to impress, delivered confidently and without asking much in return.
In its mission to make you listen to its music, A Musical Story practically hands you a blindfold. The story asks you to relax into its acid-trip jam-session cool, but somewhat harshes the mellow with its insistence on repeating long phrases until they’re perfect. However, it looks and sounds fabulous, and will reward perseverance and repeated plays.
Behind the Frame’s mobile roots show, and the Switch’s touchscreen comes into its own. The story didn’t exactly keep us guessing, but went to an interesting place. The graphical art and music are the stars, and the sub-2-hour playtime means they stay fresh to the last. Putting the length and price on one side so you can factor them in for yourself, we really rate the experience here as a piece of art worth getting into.
Cloud Gardens is a gentle-looking, gentle-sounding toy in the “chill” genre. It has a pretty good game hung on top, participation in which is largely optional. Noio’s stated aim “to fill you with satisfaction without the frustration” is a motto that’s been observed. Your mileage will vary based on what you find satisfying and what you find frustrating, but the gameplay, the themes, the music, the sound, and the graphics are all of a piece, admirably on-message, and contribute to a unique, bittersweet atmosphere.
One challenge for the graphic adventure has always been how to meld puzzles, which are essentially abstract snippets of logic, with telling a story, which essentially needs to flow, without stopping to do sudokus 'round every corner. Growbot makes its most common puzzle part of the world, with its flower-based music mechanic, and the art makes everything look like there’s a story behind it. Unfortunately, that appearance of story is only skin-deep, and the puzzles hang oddly on the bare frame of a plot. Outside the musical sequencing, there are some infuriating blockers – especially when doing contrived things with contrived items for contrived reasons. That Goldilocks sweet spot of difficulty that makes the player feel in control proves too elusive, but there's melodious, mechanical enjoyment to be had here if you're not fussed about story.
Every single thing about I Was a Teenage Exocolonist is nice, from its appearance to its sounds to its writing – nice, even, to a fault. As a plot device, it makes sense that the utopian vision of the Exocolonists is all very lovely, with its impeccable inclusivity and anti-capitalist teachings, but at some point, if things are going to go life-or-death pear-shaped, the niceness really ought to give. Overall, the game lacks bite, but with so much love and niceness oozing from every facet of it, it is, by the same token, impossible to dislike.
Voodoo Detective is an attractive, old-school point-and-click adventure with a lighthearted, dime-store pulp story and a decent handful of laughs. Its vividly descriptive art style and writing are accessible and low-stress, if short on intrigue and surprise. Meanwhile, the music is fun and the voices are memorable. Although the puzzles can be ropey, the story moves along steadily enough, and at five hours or so, it doesn't ask too much. This is a steady debut from Short Sleeve Studio and, while it's not turning every head at the party, it's a good laugh if you try to get to know it.
Papetura is a million miles away from being a blockbuster movie, yet it shares the same sense of intense energy and craft, which it distils into each second of its game time. Every crease and scrunch of its scenery and characters is shining with Ostafin’s passion. Its rudimentary and vague story, very brief running time, and control niggles do hold it back slightly, but nothing can completely overshadow its captivating presentation.
The Pathless does one thing extremely well, which is to create a sense of racing – almost dancing – through its huge open world. The player's journey is mainly one of getting to know that sensation and learning to harness it to traverse epic environments. However, the protagonist's journey has little to do with that feeling, which is perhaps why the story doesn't land. The game sounds exceptional and looks great in this impressive port. However, the puzzles rarely stimulate the imagination and are fussy to play, while boss encounters are overlong and repetitive. Although it has its significant successes, The Pathless unfortunately doesn't manage to become more than the sum of its parts.
Brok the Investigator is a true original. It's a hodge-podge of point-and-click, side-scrolling beat-'em-up, visual novel, and find-the-object. Most of the time, these disparate ideas sit slightly awkwardly alongside one another, but despite a slow start we did eventually feel a little spark and the whole thing became more than the sum of its parts. It's all the more impressive given that it's just the second game from a one-person studio. Graphic adventure fans should absolutely consider thoughtfully pointing and clicking it onto their wishlist – or just drop-kicking the heck out of the buy button.
The Last Worker is an ambitious project and it sticks the landing when it comes to graphics, performance, and voice acting. However, its central box-shipping game is fiddly and the game's pacing doesn't let you get into the flow. Tricky sections requiring repeated checkpoint loads break the immersion and clash with the long, dawdling sections of exploring the Jüngle facility. It's likeable and well-packaged with plenty of character, but it doesn't always deliver.
With charm and polish and great respect for the player's time and ability, Desta: The Memories Between manages to land a clever and touching concept. The story and voice acting keep the levels ticking by and elevate what could have been a very rote affair. The dodgeball gameplay does let the story do the heavy lifting after about halfway, becoming rather repetitive, but it also provides a realistic touch of conflict and aggression whenever the dialogue leans into super-niceness, and the roguelike strategy plays smoothly enough to be a pleasant delivery mechanism for the tale of Desta unpacking and coming to terms with their emotional conflicts.
On its trip down the river, some of Dordogne's design ideas feel stodgy, performance is sometimes flaky, and it leans into its clunkiest gameplay elements as it nears the end. But to get hung up on these points is to miss a truly touching story bringing a beautiful world to life in sound and images. There's a lot to reward you here if you can navigate the obstacles and just go with the flow.