Gaz and I have known each other for decades and have played a lot of puzzlers together over the years, but we both agreed that We Were Here Forever stood out as one of our most enjoyable experiences. The creepy fantasy theme is delivered in a great visual style and hammered home by some phenomenal voice acting, and each cut-scene dragged us deeper into the lore and kept us invested in what we were doing. The puzzles are well designed (for the most part) and require enough thought to be challenging without causing frustration that disconnects you from the game. Yes, some voice chat problems and a couple of broken puzzles did cause annoyance, but that wasn’t enough to turn us off from a fantastic experience – We Were Here Forever is an absolute must for puzzle and escape room fans alike.
Oxenfree II: Lost Signals is a wonderful advertisement for games absolutely competing with movies -and even books- at telling a meaningful and engaging story. With a tremendous voice-cast, a heartfelt script and impactful dialogue options, Oxenfree II puts you firmly in the position of ‘captivated audience member’ and ‘engaged player’ at the same time. Fans of the original game will be treated to equally lovely visuals and atmospheric soundtrack as those boasted by the first Oxenfree, but I did get the feeling that the similarities are perhaps a little too strong, with the unique gameplay elements that made the original so memorable not quite having the same impact the second time around.
Short-lived thought it may be, We Were Here Expeditions: The FriendShip is nothing short of tremendous. The puzzles are tricky enough to pose a challenge, but are cleverly enough designed so that any stress you feel is aimed firmly towards your partner and not the game itself! Boasting the same playful visuals, excellent voice-acting and engaging gameplay as We Were Here Forever, The FriendShip marks a stellar maiden voyage for Total Mayhem Games’ Expeditions series, and will undoubtedly win over a boatload of new fans.
Dredge is masterful in its execution. Black Salt Games takes the most simple gameplay elements and weaves them alongside a sinister storyline, stunning art direction and moving score to create a net that I couldn’t break free from. Like a swimmer carried out to sea by a riptide, I was powerless to resist the game’s pull. I became Captain Ahab; spending hour after hour on the deck of my vessel, hunting the all elusive catch with manic addiction. The story is wonderfully told and brings the human and the eldritch together in magnificent fashion – I urge anyone to give it a try; I guarantee you’ll be hooked.
With the sights set firmly on creating a precision platform experience that offers players a decent challenge without making you want to tear your hair out, Planet Cube: Edge undoubtedly delivers. With a punchy synth soundtrack that wonderfully matches the sharp throwback ‘Gameboy-2000’ aesthetic, it’s anything but square and will have you hooked on bouncing, dashing and blasting your way to the goal right until the very end. Planet Cube: Edge offers a balanced and rewarding experience that will definitely appeal to existing fans of the genre and surely create some new ones to boot. This one is well worth the price of admission and has a tonne of replay value for those really wanting to squeeze every drop of enjoyment out of their games.
Outlanders is a small-scale city-builder that pulls you in with the jolly visuals but really gets its hooks in you with the focussed objectives and micromanagement. Things play out at a pace just north of ‘glacial’ which can be relaxing and/or infuriating, but the chill banjo soundtrack will do its utmost to calm the savage beast of your frustration and keep you chugging along. A fun entry to the genre - I loved the stripped back, low-stakes objectives and the need to keep an eye on the smallest details, but the mechanics don’t leave a lot of room for error which can be a headache when you’re learning the ropes.
Hidden beneath the veneer of some pretty outdated visuals, Lootbox Lyfe+ is a solid little Metroidvania that offers some moments of challenge. Progressing from a stationary orb into a double-jumping, ground pounding, speed dashing platform whizz is good fun, and there’s enough unique areas to give a nice sense of exploration too. The more random elements of the game might leave some scratching their heads, but if you’re willing to put your tongue firmly in cheek and just enjoy the platforming, there’s a few hours of enjoyment to be had here.
Lydia is not so much a game as it is a public service announcement about the risks of alcohol, delivered through the medium of the eShop. The dark subject matter is at times well outlined by some bleak and surreal imagery, but it’s discussed in such a blunt manner that even a powerful ending leaves the story feeling less poignant and more thoroughly miserable. There will be those who can forgive the complete lack of gameplay in the face of raising such an important topic, and while I applaud the intention and understand the gravity of its creation, I find it hard to advocate anyone taking on 45 minutes of pure distilled depression, topped with a smattering of trauma.
The Knight Witch is a blend twin-stick bullet hell shooter and the Metroidvania that succeeds in the face of some technical problems by virtue of its enjoyable story and wonderful universe, expressed in beautifully hand drawn visuals and filled with endearing characters. Whilst not perfect, the gameplay is enjoyable and requires a good amount of skill - there’s just a few elements that just needed a little more polish in order to really make the most impact. It feels to me like the opening entry in a wonderful franchise, where new spells and features could lead to even bigger and better things in the future.
Ship of Fools is a beautifully drawn sea-faring roguelike with a play style that will keep you coming back for more, long after beating the final boss. With a derpy cast of characters, an awesome soundtrack and hectic cannon-fire action, it’s a game that’s tonnes of fun on your own but is even better with a friend. It would have a higher score if it weren’t for some performance issues, but some noticeable slow down on the Switch version and annoying bugginess in the online co-op mode acts like an albatross around the neck, keeping it from sailing into the sunset entirely victorious.
While I like the low poly X pixel graphics style and think that the pulsing (albeit limited) soundtrack is great, I didn’t fall in love with Lone Ruin. Despite marketing itself on replayability, the main problem is that it didn’t do enough to make me want to keep coming back for more. The rapid-fire spell slinging is pretty good fun and there’s plenty of variety, but the short run length and lack of plotline or overarching upgrade systems makes Lone Ruin feel more like an arcade game than a roguelike. I’ve no doubt that the pick-up-and-play style will appeal to coin-op fans who like short-burn, intensive action, but I think traditional roguelike fans might lose engagement after just a couple of runs with the lack of a long game on offer.
Ultimately, Yomawari: Lost in the Dark shows very little progression from the previous two entries, which is a shame, since the series has tons of potential. While this plot has something of a more meaningful framework and boasts an unexpectedly impressive final chapter, this game continues to be bogged down with the same glacial gameplay and woolly storytelling as Night Alone and Midnight Shadows. Lost in the Dark will be greatly enjoyed by existing fans of the series, as it follows the established formula closely, but those wishing for more than the same pretty hand-drawn graphics and well-rounded sound design will be left disappointed, as there’s been little evolution between entries one, two and three.
She Wants Me Dead is a concentrated precision platform experience that doesn’t take itself too seriously and wins as a result. My dash through the game was a fun-filled and blood-soaked affair, and despite taking me just an hour, chasing perfection will pose a significantly sterner challenge for those crazy enough to give it a try! With some genuinely tricky patches, the makings of a great soundtrack and swathes of collectable options, this is a game that could (and should!) easily be built upon into a much fuller experience.
Save Room cleverly takes one of the oldest games in existence and makes it relevant as a stand-alone idea again, albeit only briefly. While the actual inventory management in a survival horror game is a massive pain in the backside, Save Room capitalises on the satisfaction you feel when you finally squeeze in everything you need and it’s legitimately good fun while it lasts. Fractal Projects nail the theme by adding in some ammo-management and health tricks that we’ve all used over the years, but perhaps missed the opportunity to use scenarios to add some depth (or even plot) to the otherwise simple gameplay.
Dorfromantik is a highly addictive puzzle game that rewards patience and attention to detail whilst also offering a laid-back experience; the challenges are there for the tackling, but only if you want to take them on. Pleasing to the eye and backed by a relaxing soundscape, this is a game you can pour non-stop hours into, or simply pick up and put down at your leisure, making it perfect for the Switch. Yes, the Switch controls are a little clunky, and I’d like some minor accessibility help in the visuals, but none of these are major problems and these improvements would only bolster an already stellar title. I can see Dorfromantik still having an army of fans in 10 years time - perhaps more than it does in its prime – it has an appeal that will prove timeless.
You Suck at Parking is a breakneck romp that manages to balance tricky gameplay with hilarity and good fun, resulting in a wonderful all around experience. It’s bright and vibrant, with an adorable visual style that fits the gameplay style to a tee, and while the limited audio tracks aren’t quite as engaging, that’s probably a nit-pick. With 100 levels ‘out of the box’ and many more to come for those willing to pay for the Season Pass, there’s a tonne of enjoyment to be had - especially with a manic, if a little laggy, multiplayer mode available too. Perfectionists and speedrunners will have a field day, but a word of warning to those players short on patience - this might not be the game for you!
Yomawari: The Long Night Collection is an attractive but ultimately long-winded experience. The hand-drawn backgrounds are beautiful and, alongside the impressive sound effects, manage to build a wonderful level of immersion in the static environments. But with no combat to speak of and very little actual action, you’re forced only to run away from the host of spectres at an achingly slow pace. Stumbling through two disjointed stories is slow going since they hang on just a few scattered, but admittedly fun scares without much other meat on the bone.
Triple Take is a new school precision platformer with an old school vibe; fans of the 8-bit era will feel right at home with the blocky sprites, simple colour schemes and fun (but limited) soundtrack. There’s enough variety in the levels to keep you interested, though it does undermine the premise a little, and the physics aren’t as tight as I would personally ask for, but boy, does it deliver on storytelling. The plot of Triple Take carries so much more water than I expected from a platformer, and the immersive, fourth-wall breaking ride is an absolute treat. Whilst not without its flaws, I encourage platform fans to give Triple Take a go - it’s an experience that you’ll not forget quickly.
Overall, Splatoon 3’s single-player and tabletop modes are refreshing, but the multiplayer modes and equipment play things super safe. There is a bucket load of enjoyable tweaks to the game, and Splatoon 3 is undoubtedly the most accessible and entertaining entry so far, but issues dating back to the original Wii U version (like voice chat and the stability of the online experience) are yet to be addressed, and after 7 years, it’s starting to wear thin. But despite the negatives, Splatoon 3 is a fresh coat of paint on a tried-and-tested formula and a perfect starting point for those looking to squid-jump into the series.
Merging a roguelike and a golf sim should not be nearly as fun as Cursed to Golf undoubtedly is. The retro-inspired visuals and bouncy soundtrack belie a truly stout challenge that takes a lot of practice to overcome. You’ll rue every poor shot choice and curse every mistimed button press, but battling through the trials of Golf Purgatory is an incredible gameplay experience that will have coming back for more time and time again. The only real thing missing is a multiplayer mode, but even without it, Chuhai Labs has undoubtedly hit a hole-in-one.