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Kerbal Space Program photo
Kerbal Space Program

Kerbal Space Program is landing on Wii U


Landing, crashing, burning up in orbit
Aug 27
// Joe Parlock
Kerbal Space Program, a game about planning out a really complex space mission only to make an innocent astronaut drift endlessly in the dark, cold void of space, is coming to the Wii U. The trailer uploaded by Nintendo is a...
Steambirds Alliance photo
Steambirds Alliance

Spry Fox showing off bullet hell MMO at PAX Prime


Steambirds Alliance
Aug 26
// Darren Nakamura
Spry Fox (Triple Town, Alphabear) will be at PAX Prime, and in addition to the undoubtedly cute bear posters it's giving out for free, it will also be showing its newest title, Steambirds Alliance. In a newsletter, Spry Fox d...

Review: Flywrench

Aug 26 // Ben Davis
Flywrench (PC)Developer: MesshofPublisher: MesshofReleased: August 24, 2015MSRP: $9.99 Flywrench is a little difficult to describe without actually seeing it in motion. It's essentially an aerial obstacle course, where the goal is to guide the ship to the end of the level while passing through barriers and avoiding walls. It has the same sense of intense difficulty with rapid respawning as many notably punishing platformers such as Super Meat Boy and VVVVVV, without actually being a platformer per se. The flywrench moves by flapping its wings, and it will plummet to the ground rather quickly if it doesn't keep flapping. If the flap button is held down, the wings will come together to form a vertical line and the ship will change colors from white to red. Another button makes the ship barrel roll out of control and turn green, and also allows it to bounce off of boundary walls. The color of the ship is very important, because it can only pass through barriers if it matches the color. A big part of the gameplay involves quickly switching between forms so that the ship can safely travel through barriers, all while continuously flapping to stay afloat. [embed]307954:60146:0[/embed] The levels start off rather simple, slowly introducing new mechanics in short areas so that the player doesn't get overwhelmed too quickly. Moving from planet to planet, the levels steadily become more difficult. Each planet introduces a new obstacle to overcome, such as rotating barriers, turrets, switches, gravity pools, and more. All of this culminates in the final planet, Mercury, which steeply ramps up the difficulty by throwing every mechanic at the player in a gauntlet of truly challenging stages before the grand finale of the Sun. Like Super Meat Boy, Flywrench is one of those games that requires a lot of patience and determination to master, and you'll be filled with joy and rage simultaneously as you try to overcome the challenges. Once I got to Mercury, I found myself involuntarily clenching up as I tried repeatedly to overcome a tough level, tossing out all kinds of expletives every time I died, before rejoicing and fully relaxing every part of my body once I finally succeeded. And then I continued on to the next level and repeated the process all over again! But it's all worth it for those beautiful moments where I seem to soar quickly and flawlessly through a tough level, pulling off impressive aerial stunts like it was second nature. The Steam release of Flywrench makes a lot of much-needed improvements upon the prototype version. Perhaps most importantly, the physics have been tweaked to make it much easier to maneuver precisely through the air. The ship keeps its momentum going with every movement and flap, and barriers now hold that momentum until the ship has passed through them. It also feels much easier to maneuver left and right while changing colors now. Also, the ship will slightly gravitate towards the exit portals when it's close enough, so even if your aim is a little off, it still might be good enough to get sucked into the exit. All of these changes make the gameplay a bit less frustrating and allows the player to feel more in control. Granted, it is sometimes a little too difficult to break momentum, which led to a huge number of deaths as my flywrench flapped one too many times and was unable to slow down before crashing into a wall. But that's just something to get used to. The graphics and soundtrack were also greatly improved. It now has that signature Messhof art style seen in many of his other games such as Nidhogg, with added effects such as a trail of exhaust leading out of the ship and an explosion upon death. The soundtrack was completely redone with electronic tracks by Daedelus and a host of other artists, and they sound much nicer than the previous scratchy, industrial-sounding music. Overall, the game is simply more pleasant to look at and listen to. A few new modes were added to the Steam version as well, including time trials and a level editor. Each planet has its own time trial which unlocks once you have beaten every level for a given planet, so you can test your skills by beating each stage quickly with as few deaths as possible and try to climb the leaderboards. The level editor is also pretty neat. It allows you to create your own planet and add as many levels to it as you want, which can then be downloaded and enjoyed by other players. It'll be interesting to see what kinds of challenges other people can come up with. Flywrench comes highly recommended from me, especially to those gamers who are always seeking a new challenge. If you enjoyed Super Meat Boy, VVVVVV, and the like, you will certainly enjoy this one as well. It does a really great job of easing new players into the mechanics too, so it's worth trying out even if the difficulty sounds daunting. I can definitely see myself coming back to replay Flywrench many times down the line. The feeling of determination as I try to conquer a punishing game and the satisfaction of finally emerging victorious is like an addiction, and I'm forever thankful that games like Flywrench exist to scratch that itch. [This review is based on a retail build of the game provided by the publisher.]
Flywrench review photo
Flying high
You may have heard of Flywrench before. A freeware prototype version of the game has been floating around since 2007, and many people were introduced to it due to the eponymous flywrench appearing as an unlockable character i...

Volgarr photo
Volgarr

Volgarr the Viking is now coming to Wii U and 3DS


Great game
Aug 26
// Chris Carter
Volgarr the Viking, released in 2013 on the PC and Xbox one, is one of my favorite platformers in years -- and it's set to hit the PS4, Vita, Wii U, and 3DS platforms in the near future. Developer Kris Durrschmidt recently sh...

Review: Runbow

Aug 26 // Chris Carter
Runbow (Wii U)Developer: 13AM GamesPublisher: 13AM GamesRelease Date: August 27, 2015MSRP: $14.99 The concept is so simple, anyone could pick it up. Runbow is predictably all about running. It's not an auto-runner thankfully, as you'll have full control over your character by way of directional movement, jumping, punching, and if you wish, taunting. Since the latter ability isn't needed, it's essentially a two-button game. But there is depth here, as the punch button fractures off into multiple powers, granting players a horizontal dash if done in the air, an upward Street Fighter-esque punch, and a downward butt slam. All of these are functional when it comes to knocking around your foes (more on that later), but they're also great platforming tools as well. The uppercut in particular is excellently designed, and have saved me from pit deaths on more than one occasion. Every character in the game (of which there are a ton) has the exact same moveset, but it works that way -- there are a lot of nuances as it stands, and no one has to learn the ins and outs of different runners. Said nuance is found mostly in the way that platformers themselves are presented, in a number of different color schemes. A "wave" of color will periodically sweep over the screen, eliminating objects with that same hue. So for instance, there might be a combination of red, yellow, and blue blocks, and in three second intervals, said waves will eliminate each color in succession. So it's up to players to not only master the moveset, but pay attention and memorize patterns. [embed]307647:60143:0[/embed] The best part of Runbow is its variety. There's a staggering amount of modes available for players of all skill levels, and a few of the meatier ones are satisfying even if you're going at it solo. One such game type is "Adventure," which tasks you with defeating an evil monochrome boss who feels left out, amidst all the other colorful world inhabitants. You'll progress through over 100 levels to complete the story, taking on a number of different objectives within the campaign itself. The bright, vivid color scheme makes things more interesting, as well as appropriate sound effects, I don't normally talk about game soundtracks as they generally don't stick with me for very long, but Runbow's is one of the best I've heard all year. Just give it a listen. Levels can range from boss fights, to enemy skirmishes, to races, to even hunts. Even with no AI option, I had a great time playing through the story with friends and by myself -- it's never boring, and you have the option to go for the best clear times (which in turn can unlock new characters). It's delightfully old school and frankly, one of the best single player party games I've played in quite a while. Of course the party modes are core to the experience, which includes races, arena battles, and King of the Hill modes. The former is more of a traditional platforming experience, with levels that scroll like in Mario games, and plenty of enemies, pitfalls, and hazards to deal with. It's set at a rapid-fire pace, so if someone dies, they're out for that level, and they don't even have to wait long since most stages take 30-45 seconds to complete. It's fast, it's fun, and optional power-ups make things even more enjoyable if you have an array of skill levels playing. Arena and King of the Hill are more like a Smash Bros. experience, as all combatants will need to kill enemies by way of punching them into oblivion (or make them fall to their doom). This is where the butt stomp and uppercut shine, as you'll have a tool for every occasion in combat. All of the aforementioned modes are playable by up to eight people, with almost any combination of controllers (GamePad, Wii U Pro Controller, Wii Remotes, Wii Classic Controller, and Nunchuk). The "Colour Master" mode allows for a ninth player who uses the GamePad to add in hazards themselves, competing against the other team of runners. It's not as strong as the other modes, but it's a nice distraction. Finally, the Bowhemoth mode is the most challenging game type on offer, and will be an exciting prospect for even the most hardened platforming veterans. My first win took me 33 minutes and 73 deaths to complete, and it's also playable both solo and with friends. You can't save mid-session, so you'll have to make do with one full run with as few deaths as you can spare. Online play couldn't be tested at the time of this writing, but the fact that it's included in an indie game like this is a godsend. For the price, I'd still recommend Runbow for solo players, as long as you really love platforming. Even if you only enjoy the genre just a little though, it's still a fantastic party game. [This review is based on a retail build of the game provided by the publisher.]
Runbow review photo
Run like the colors of the wind
There's been a renewed interest in party games this generation, and I'm loving it. While I'm all for any number of engrossing solo experiences that take a hundred or more hours to complete, on an equal level, I want to chill out and play with friends. Luckily, Runbow is a rare example of a title in the genre that stands on its own, no matter how many people you bring to the party.

The top five most British games you'll ever lay eyes on

Aug 26 // Joe Parlock
#5: Bloodborne Bloodborne was a sign of great change over at From Software. After its run of massively popular Souls games, it wanted to try something really different. It wanted to move away from the formula that made From the huge success it was, and show the world the average, day-to-day lives of people living in Birmingham. Audiences were cautious of the idea at first: bringing the Midlands to life seemed like an odd choice for a Japanese developer to tackle. Over the course of the development process, we learned just how seriously Miyazaki was taking the project: he’d binge-watched every episode of Crossroads, a task no human being should be able to survive. But it all paid off: when it finally launched, everyone instantly understood how important the game would be. From the Werewolves of Snow Hill Station to the Dog Vicar of the Bullring, Brum really does come to life in videogame form. Treading over the broken cobbles and forcing my way through the rusted gates, it was just like I was there. Some players complained about the difficulty of the game, but frankly if you haven’t been devoured by a giant spider when going to Birmingham’s Selfridges, you’ve not truly experienced the city. #4: Everybody’s Gone to the Rapture Shropshire was an absolutely inspired choice of a location for The Chinese Room’s newest storytelling game Everybody’s Gone to the Rapture. The county is very rarely a setting in games, and it has a rich history thanks to its influence and contribution to the industrial revolution. Shropshire is everything you could think about Britain neatly compressed into a nice, little place full. But that’s not the true reason why it’s such a great setting for Everybody’s Gone to the Rapture. The real reason is it’s the closest thing to a post-apocalypse you’ll find in the Western hemisphere! That’s right, after the AI incursion at Ironbridge in 1886, nobody has lived there! Every single human being you see in Shropshire is just a steam-powered Stepford-esque bio-machinations, who have left the county to go to ruin! Pubs and charity shops have combined into one weird amalgamation that’s not quite as good as either, and you can bet your entire family a new museum is popping up as you read this. Shropshire is an utterly bizarre, yet pretty, place. For the lens to be focused so intently on it in Rapture means we may soon finally find a way to reclaim our land from the androids. #3: Killing Floor Killing Floor might be a slightly controversial inclusion on this list, because it doesn’t paint our glorious isles in quite the best light. However, I think something us Brits have always been good at is introspection. From a National Trust café to a beach in Benidorm, we always act with the utmost class and decorum, but Killing Floor shows a darker side to our nation: British football. Killing Floor is about a world overrun by, and I quote, “bloody Millwall fans”. Set in the streets of London, you must survive against the hordes of football fans being kicked out of the pub. Killing Floor’s recreation of modern day football is so realistic, the attention to detail is simply amazing. I can smell the cheese and onion Walkers crisps and stale beer just thinking about it. In a positive light though, Killing Floor manages to be incredibly inclusive of its image of football fans. The world likes to paint the sport as a load of rowdy old geezers who can’t keep their drinks down in their moth-eaten Aston Villa t-shirts, but it simply isn’t like that in 2015. Men with chainsaws for arms and invisible women have become way more accepted in recent years! Even Spider-hybrids have found their place! Unfortunately, scary fire-shooting people have still been fighting for their place for a while now… but there’s certainly progress. Also, we have a lot of guns. That is some Britain is absolutely known for: how many great big, piss-off guns we all carry around at all times. Sometimes it’s a hassle trying to carry my shopping from Morrison’s with an AK-47 in the way, but that’s Britain for you. Killing Floor’s unblinking view of how many fully-automatic shotguns and flamethrowers even your common Londoner has is something we need to really understand about our culture. Thanks, Tripwire. #2: The Beatles: Rock Band It was twenty years ago today that Sergeant Pepper taught the band to play. They’ve been going in and out of style, but none the less they’ve been marching through the streets of Liverpool, ensuring all of Britain’s children are behaving as they should. If they are not learning the songs of their grandparents, or worshiping the great Lucy in the Sky with their Diamonds, Pepper’s mighty Walrus will take them away to a place nobody knows. This is how it has been for the past fifty years, and it is the way it shall always be. Of course, there have been attempts to destroy the great influence our Lord and Master Ringo Starr has had on us. The Oasis Movement of the '90s was the biggest threat, but problems among management meant it stood no chance against the Lonely Hearts Club Band. And this is why The Beatles: Rock Band is on our list. No one changed the face of Britain as much as Lord Starr did, and the great idea of incorporating the children’s mandatory daily reverence into a video game meant for those wealthy enough to afford the little plastic instruments, life is good. Well not good, but it’s getting better. #1: Sir, You Are Being Hunted You thought Everybody’s Gone to Rapture was our only way of fighting back against the robots? Oh heavens no, we also have Sir, You Are Being Hunted. Not only does Sir helpfully remind the British public to respect the god damn class institution that has been in place for centuries, it also provides handy-dandy training on how to survive should you find yourself in somewhere like Shropshire! Sir is a program to help remind those crawling in the shattered darkness that Britain still exists: with tweed shops, and union jacks plopped onto absolutely every item inconceivable. Digestive biscuits, far too many churches, parish halls, smokestacks, tea, tea, tea. If this doesn’t remind you of home, I don’t know what will. There’s even fox hunting! You remember fox hunting, right? That thing only rich people do because getting away with shooting poor people would be more hassle than it’s worth?  Of course, in this case you’re the fox… but never mind that, developer Big Robot is still working out the kinks. Sir, You Are Being Hunted is more than a game. It’s our message unto the world that no matter what they do to us, we will survive. A nice strawberry trifle here, an 8 out of 10 Cats Does Countdown there, and we will all keep calm and carry on. What is left of us must carry on. Oh god we must.
Blighty photo
God save Ringo and his Robot Army
Britain, Britain, Britain! Over the years we’ve been known for a lot: tea, monocles, the Queen, imperialism, and at one point… video games. We had it all, from the Sinclair ZX Spectrum to Rockstar Games, Britain ...

Hyper Light Drifter photo
Hyper Light Drifter

Hyper Light Drifter now on track for spring 2016


Still looks superb
Aug 25
// Jordan Devore
Heart Machine has settled on a spring 2016 release for its lovely action-RPG Hyper Light Drifter. Windows and Mac versions will come first, then consoles "as quickly as possible." Certification for the latter takes extra time...
Flywrench photo
Flywrench

Test your reflexes with Flywrench on Steam


From Nidhogg developer Messhof
Aug 25
// Jordan Devore
Flywrench is cool but hard to convey. Gifs help. You control a ship by erratically flapping and tumbling through an abstract world. Different maneuvers change your ship to different colors, allowing you to pass through obstac...

Review: Party Hard

Aug 25 // Stephen Turner
Party Hard (PC [Reviewed], iOS) Developer: Pinokl Games Publisher: tinyBuild Games Released: August 25, 2015MSRP: $12.99  Party Hard tells the tongue-in-cheek story of the Party Hard Killer, a man who just wanted to get some sleep at 3AM and eventually went on a murder spree around the US in the early '00s. It’s all played for macabre laughs, though there are flashes of genuine subversion throughout. In the narration, one random victim's identity turns out to be a slap to the face when you're in mid-chuckle, but other twists and turns rarely pay off. Though, in its favour, Party Hard is completely self-aware of its own weaknesses. It’s not trying to be the next Hotline Miami in that regard. Despite the pulsing and rather solid electro soundtrack, Party Hard is actually a slow and methodical game. As the Party Hard Killer (and other unlockable characters), the main aim is to divide and conquer a crowd of people by any means necessary. Of course, stabbing someone in plain sight means someone’s going to call the cops, so it's up to you to manipulate and set off environmental accidents. Dotted around the map are things you can use to flatten, poison, or blow up unsuspecting victims in order to achieve your goal. It's a sandbox game to a point, with a bit of improvisation thrown in for good measure, and watching several timed accidents go off at once is a dark joy to behold. But once all the environmental tricks run out, the game suddenly turns into a fiendish stalk-and-slash. Hiding bodies and killing in secrecy become a must, since the police are relentless in their pursuit of you. You can bump off the cops, but that means the next witness will bring in the more efficient Feds, and the escape routes are eventually boarded up. Finishing off the last 10-15 victims does become a drag, especially after the initial outburst of comical violence. Party Hard lacks the kind of distractions needed to splinter off the remaining survivors, so the last half of every level degrades into a waiting game. Along with the knife, you can bust-a-move that will either get people to dance in place, spurn them away, or give you a good kicking. It’s a little random and mostly useless, considering how everyone wanders around when left to their own devices. To speed things along, there are randomised power-ups to collect; smoke/stun grenades, bottles of poison, and new disguises. Bombs can cause a massive amount of damage, but on the negative side, a fascist SWAT team show up and start attacking everyone, including you. In one particular level, calling in a fumigation crew ends with them gassing out a good third of the party. Party Hard is a genuinely humorous game, crammed as it is with an assortment of “Where’s Wally [Waldo]?” pop culture references. A lot of it is anachronistic for the period, along with the excellent soundtrack, as it self consciously distances itself from the current '80s/'90s aesthetic trend, but it’s still amusing to watch the party unfold, as potential victims get drunk, pass out, or dance with bears that wear gold chains and shades. What Party Hard lacks in complexity, it makes up for with personality. And while it does run out of steam about two thirds of the way in, Party Hard doesn’t outstay its welcome. At only 12 levels long - one being a bonus round and another being a remix - it can be finished in a single evening. Despite owing a lot to Hotline Miami in terms of sight and sound, Party Hard is almost the antithesis of its most obvious influence. On a personal note, it's actually more reminiscent of How to be a Complete Bastard, a similar (and ancient) game involving house parties and a destructive protagonist. It’s not quite a lost weekend, and it’s barely an all-nighter, but Party Hard manages to do its thing before the parents get home. [This review is based on a retail build of the game provided by the publisher.]
Review photo
Scene is dead, but I'm still restless...
“I get wet when I know that you're dying,” sang Andrew W.K. on his debut album closer, I Get Wet. It’s actually a fine anthem for the terrible things you get away with in Party Hard, far more than the p...

Review: Capsule Force

Aug 25 // Jed Whitaker
Capsule Force (Linux, Mac, PC [reviewed], PS4)Developer: KlobitPublisher: Iron Galaxy StudiosRelease Date: August 25, 2015MSRP: $14.99 Two-on-two multiplayer matches make up the meat of Capsule Force across eight stages that each have an unlockable alternate variation. The matches consist of pink and blue teams working against each other to ride a tram to the other team's galaxy, which is trapped inside a -- you guessed it -- capsule. The first team to touch the other team's capsule wins. Capsule Force is easy to pick up and play. Grasping the controls fully takes maybe a match or two at most; you've got double jumps, an air dodge, normal shots, charged laser shots, a shield, and what I'd call blast jumping. Blast jumping can be performed by shooting the ground and then instantly jumping in the opposite direction for a faster and higher jump, which is vital for perfecting the game's single-player missions. Using the shield requires precise timing, but puts a bubble around your character preventing them from being harmed. Eventually you'll find out that air dodging allows you to double jump right away again, essentially allowing entire battles to take place mid-air. When attempting to kill other players, you've got two choices: normal shots or charging your shot to shoot a laser all the way across the screen, killing anyone it its path if they don't put up their shield. When using the laser, your character freezes in the air, allowing you to focus on aiming your shot. It is really satisfying to get a perfectly aimed mid-air laser shot killing both of your opponents and taking over the tram they were just riding.  [embed]306824:60087:0[/embed] Matches in Capsule Force are intense and hectic the whole time. Even if teams are pretty evenly matched, eventually the tram speed increases a great deal, allowing a quick turnaround for one side or the other. There were times when myself or my friends got a bit lost as to where we were on the screen due to this hectic nature, but it is all part of the fun. I will note, however, that some stages are similarly colored to the characters which can make it easier to get confused in than others. When not laughing your ass off in multiplayer, you'll tackle over thirty single-player missions. These consist of either rushing through stages as quickly as possible, or rushing through stages as quickly as possible while shooting targets. The target-shooting missions are reminiscent of the "Break the Targets" mode from the Super Smash Bros. series, and are just as fun. While it is a multiplayer-focused game, the single-player missions do add a nice distraction and practice, and those who complete them all will unlock stage variations, alternate costumes, and concept art. Giving single-player a purpose other than practice was a good choice, but locking multiplayer content behind it wasn't considering the limited amount of stages to begin with. The eight variations you unlock are essentially all new stages that just use the same backgrounds as the starter arenas, so they are certainly worth unlocking. Unlocking all the multiplayer content won't take more than an hour maximum for most players, so it isn't such a drawback.  If you're the kind of person who has friends over for couch competitive games, Capsule Force is easily recommendable as the multiplayer is a colorful, frantic, hell of a good time, but if you're a loner, give this one a pass. The limited single-player content won't hold your attention for long. I know I'll be playing Capsule Force at many of my shindigs in the future. [This review is based on a retail build of the game provided by the publisher.]
Review: Capsule Force photo
Blasting off again!
It is the far future, the year is 1999, and everything looks like a 1980s space anime; no, you're not tripping on mushrooms and having a flashback to your childhood, you're playing Capsule Force.   Capsule Force&nbs...

The Binding of Isaac photo
More structure, risk/reward
The Binding of Isaac is one of the kings of procedural generation, but Greed Mode in the upcoming DLC Afterbirth is set to give it a little more structure. Instead of a random layout, each floor has the same plan, with a stor...

Review: Nova-111

Aug 25 // Darren Nakamura
Nova-111 (Mac, PC [reviewed], PlayStation 3PlayStation 4, PlayStation Vita, Xbox One)Developer: Funktronic LabsPublisher: Funktronic LabsReleased: August 25, 2015 (Mac, PC, PS4)MSRP: $14.99Rig: AMD Phenom II X2 555 @ 3.2 GHz, with 4GB of RAM, ATI Radeon HD 5700, Windows 7 64-bit Conceptually, it's a little hard to wrap one's head around at first. Thankfully, Nova-111 eases players into the ideas a little at a time, introducing new mechanics throughout the six-hour campaign. Some science experiment has gone wrong and messed up time. Now it's all wonky (that's the technical term). Set on a square grid, each player movement counts as a single turn. For every turn taken, any enemies also get a turn. So far, it sounds pretty standard, but here's the wrinkle: some objects act in real time rather than being set to a schedule of turns. The first example are the stalactites. If the player bumps one from the side or travels underneath it, then it will begin to fall at a steady rate, whether the player (and enemies) are moving or not. It sets up a particularly satisfying scenario: get chased by an enemy, run under a stalactite, then stop dead and just watch as it crushes the pursuer. [embed]307759:60125:0[/embed] As it progresses, Nova-111 adds more and more combinations of real-time and turn-based gameplay. Some enemies' movement is turn-based, but when attacked set off a countdown timer before exploding. Some will grab the player and must be defeated quickly. Eventually, some enemies move in real time, independent of turns taken. It's a real brain bender at times. Just when I thought I had a good handle on the situation, taking things slowly and flawlessly taking out the dangerous aliens, I'd get thrown into a situation where I needed to react quickly and I'd fall apart. The combination of real-time and turn-based gameplay forces me to think differently than I ever have before. It takes two ideas I've known for years and turns them into something that feels totally new. Nova-111 doesn't stop with that basic idea. Through the course of the game's three main areas, new enemies, terrain, and mechanics are presented. There are doors, switches, sliding blocks, oil, teleporters, fire, stealthy bits, and more, each interacting with the weird time scheme in its own way. While tactical combat and puzzles are the main points, exploration also plays a role. The overarching goal is to collect the 111 scientists scattered across the game, most of whom are in fairly well-hidden locations. At first most of the secret areas are accessed by passing behind false walls, but the best are in plain sight but require solving a more taxing puzzle. The art design supports the exploration aspect well. At the beginning of a level, most of it is covered in a sort of fog of war. Any square in line of sight and within a certain range is uncovered, and the uncovering effect (and environments in general) look fantastic. I spent a lot of time in the early levels moving very slowly, just taking in the artwork as more of the world was revealed. The exploration aspect isn't all rosy. Individual levels are broken up into several smaller areas, but each area cannot be played independently. It isn't obvious which area a missing scientist may be in, so going back through old levels for 100% means replaying a lot unnecessarily and wasting a lot of time bumping into walls. The levels take between 20 and 30 minutes apiece, which is just too long for me to want to replay. I would have preferred if each bite-sized area were shown on the level select screen, with its completion statistics displayed. Those who aren't daunted by having to replay entire levels will enjoy the New Game+, which is essentially the same experience but with several cheats available to be toggled on or off. Where previously some care needed to be taken to conserve abilities, New Game+ allows players to go wild with them. Even though I don't see myself replaying Nova-111 for full completion any time soon, I liked what was here. It has a sharp look, some chuckle-silently-in-my-head comedy, and gameplay unlike anything else I have experienced. It forced me to think in a totally new way, which is increasingly uncommon with most established genres. [This review is based on a retail build of the game provided by the publisher.]
Nova-111 review photo
Champagne supernova
Genres and mechanics have names for a reason. When something comes up often enough, it's worth developing a shorthand and grouping things together that feel alike. In the past few years, mashing up genres has become the new i...

Trine 3 photo
Trine 3

Frozenbyte defends Trine 3's length, but Trine 4 might not happen now


Mismanaged budgets could spell the end
Aug 25
// Joe Parlock
Trine 3 was a massive departure for Frozenbyte’s puzzle-platformer series. Not only was it the first game in the series to go through early access, it also made the dangerous jump from 2D to 3D. Unfortunately, these cha...
Starbound photo
Starbound

The Pleased Giraffe update brings colonisation to Starbound


Discooooos innnn Spaaaaacccceeee
Aug 25
// Joe Parlock
Chucklefish’s Starbound has received its latest stable release, adorably titled Pleased Giraffe. The big, major addition in this update is the ability to colonise your worlds. The idea is simple, set up a house on a pl...
Barkley 2 photo
Barkley 2

Barkley 2 brilliantly spoofs FFVII remake teaser


That basketball logo! Haha!
Aug 24
// Jordan Devore
At first, I thought this trailer for Barkley 2 was just Tale of Game's Studios cooking up something weird. It is real weird. But it's also an incredible spoof of the Final Fantasy VII remake trailer. The Kickstarted project i...

Review: The Consuming Shadow

Aug 24 // Stephen Turner
The Consuming Shadow (PC) Developer: Ben "Yahtzee" Croshaw Publisher: Ben "Yahtzee" Croshaw Released: July 30, 2015MSRP: $9.99 As a lone investigator, you must travel across the UK in a hatchback full of infinite fuel, searching for clues about an invading Elder God and the ritual that will banish them from our world. Starting from the edge of Scotland, you move from town to town (some deadly, some friendly) before arriving in Stonehenge to finish the job. You only have 60 hours before the world ends, so do make those miles count. The Consuming Shadow can best be described as part dungeon crawler, part roguelike travelogue; FTL by way of Call of Cthulhu. It’s a lazy comparison to make, but one quite deserving of a game so transparently stitched together. If you’re expecting anything more than a reskin and a compartmentalization of cannibalized ideas, then The Consuming Shadow will disappoint. To quote Croshaw in the press release: “The graphics aren't the game's strong point: my goal with the game was to create a kind of horror game more akin to literature.” It’s an honest, if somewhat cowardly cop, considering the lack of sympathy that butters his bread. Graphically, it’s supposed to evoke the Commodore and DOS titles of yore, only it looks like Newgrounds Flash game from 2009. [embed]307557:60109:0[/embed] And with that in mind, The Consuming Shadow has to live and die by its own prose. It actually does an excellent job of selling the severity and doubt of each encounter, but it’s also undermined by a lack of procedurally-generated content. The line-by-line variations of the same paragraph quickly turn stale, despite being a solid read. But then, on the flip-side to that, The Consuming Shadow is a purposefully short game. It starts out with a first-person view of your car, which is suitably atmospheric; nothing but motorway signs and a passenger seat full of hastily gathered items. Using a GPS, you have to choose a nearby destination, always being wary of time and distance. Random encounters on the road are a case of risk and reward, but if you don’t have the right equipment, they usually end up being detrimental to your cause. Compared to other roguelikes that offer a fair gamble without the specialist items, The Consuming Shadow’s encounters are almost always stacked against you. Every destination is either a safe haven or a dungeon crawl. The former provides supplies and medical treatment and the latter forms the main crux of the game. Dungeon crawls are where you’ll find clues about each possible invading God and the runic chants needed to banish them; which would be an easy task if not for the scuttling creatures and end-level objectives in your way. Oh, and the fact this where most of The Consuming Shadow’s problems lie. From a third-person landscape perspective, you move through a maze of rooms – be it a house, hospital, warehouse, derelict estate, or park – collecting notes and battling silhouetted enemies. The exploration of an urban environment is a fine horror staple, and it’s a wonderful change from the current crop of first-person jump fests, but all the goodwill is undone by the almost unavoidable attacks and cumbersome controls on a keyboard/mouse setup. Combat is appalling. No witty metaphor or breathless soliloquy, here. It’s appalling. A handgun is always by your side, with three types of limited ammunition, and randomized spells. But between the flaky auto-aim, the minimal field of view and the enemies’ erratic speeds and ranged attacks, combat is a draining experience. Pistol whipping and an exploitation of blind spots turn out to be the key to success, as spells rarely help the cause. While the monsters are varied and left to the imagination, the tactics against them aren’t. I’m pretty sure you're not meant to stand side-by-side with a writhing mass, following it around like a conjoined twin, before pimp-slapping it to death. Since this is a love letter to H.P. Lovecraft, there’s a sanity meter involved. Running away from a problem or encountering a bad decision drains your sanity points, which results in some unnerving hallucinations on the motorway and in the urban mazes. Unfortunately, low sanity also induces an awful QTE event within the decision making. One mistimed click and you’ll blow your head off in a silhouetted suicide. It’s a novelty at first, then a time waster. Every session of The Consuming Shadow is clearly designed for repetition and tailored towards streaming (Croshaw is banking on it for exposure’s sake). Failure is never the end – every game over awards EXP for stat boosts and there are unlockable characters, too – though by the time the needed advantages arrive, it’s far too late in terms of interest. The major problem with The Consuming Shadow is that it’s a bubble-gum experience, especially compared to its peers. When it works, it’s only because of a new discovery. There’s something genuinely thrilling about finding a connection and jotting it down in your table of suspects, before setting off to the next hotspot. But when you enter another procedurally-generated dungeon, it’s a wearisome slog again. The Consuming Shadow is more Frankenstein’s Monster than Eldritch Abomination, shambling along as it does with once fresh parts, dug up from here and there. I can only hope Yahtzee sees the irony the next time he attacks a new game for being old hat or a cut-and-paste job. [This review is based on a retail build of the game provided by the publisher.]
Review photo
Had more fun in an 8-hour traffic jam
I wasn’t going to mention Ben “Yahtzee” Croshaw, not initially. But between the infamous handle splashed across the title screen and his pre-emptive comments against certain criticisms in the accompanying pr...

Review: Snakebird

Aug 24 // Ben Davis
Snakebird (PC)Developer: Noumenon GamesPublisher: Noumenon GamesReleased: May 4, 2015MSRP: $6.99 At first glance, Snakebird isn't all that intimidating. It's made to look cute and appealing, with bright colors, simple cartoon graphics, and adorable bird/snake hybrid characters which easily bring to mind more casual games like Angry Birds. But be warned: this is far from a casual experience. On one hand, the cute art style helps by drawing people in and keeping them calm and relaxed while they fail again and again at the puzzles, impaling their adorable snakebirds on spikes and throwing them off of cliffs. But I do worry that the simple graphics might turn some players off to the game too soon. It's definitely not the type of game that it appears to be, but I kind of like that it subverts expectations like that. [embed]307530:60107:0[/embed] The goal of every level is simple: eat all the fruit and get each snakebird into the portal. No snakebird can be left behind, so if one makes it into the portal but the other one can't reach, you might have to start over from the beginning (or at least backtrack a few moves). Eating a piece of fruit increases the snakebird's size by one segment, usually making it easier to navigate certain puzzles. But be careful! Just because a piece of fruit can be reached doesn't mean the puzzle has been solved yet. Most puzzles involve finding the correct path to the fruit, which is not always the most direct path. In fact, the most direct path more often than not will lead to a snakebird getting stuck or dying, but keep in mind that you can easily backtrack in case mistakes are made. If a snakebird dies, the game immediately resets to the last move before death, and you can keep backtracking from there if need be. Once all fruit has been eaten, the portal will open, creating an exit from the level. One of the largest sources of difficulty comes from simply figuring out the physics and abilities of the snakebirds. While there is a tutorial level, it really only covers basic movement and how to open the portal. Everything else is up to the player to figure out, and it's not always obvious. Here are a few mild hints for new players who find themselves getting stuck really early on (possibly even on the second or third levels). Normal physics don't really apply to snakebirds. They always hold their current shape while falling. They can sit on top of floating fruit without eating it. They can push other snakebirds and certain obstacles (or multiple things at once), sometimes even in ways that might not make a whole lot of sense when you think about it. Snakebirds that are pushed will always maintain their current shape. Also, it's usually a good idea to try and figure out what position they will need to end up in to reach the portal, in order to plan out your moves accordingly. Eventually, through trial and error, you'll develop skills and moves that you wouldn't have even dreamed of at the beginning of the game, and you'll start flying through the puzzles, only to get stuck again a little while later on a puzzle which requires a new skill to be discovered. This might leave some players overly frustrated, but options for each level are not endless, so players are bound to figure out a solution as long as they keep trying new things. Snakebird does a good job of keeping things interesting by introducing new mechanics every so often, including the addition of multiple snakebirds in a single level, spikes, movable platforms, and teleportation portals. Each themed area introduces something new, and then there are the special star levels which will test your abilities to the fullest. There are a total of 53 levels, and the difficulty of each level will probably vary from player to player. The map is also non-linear, so beating one level might open up several more to choose from. It took me about 13 hours to beat every level, although I had a particularly tough time figuring out a few of them (a couple that come to mind include level 20 and level 44, both of which took me WAY too long to figure out). Usually, I would have to sit and stare at a difficult level for a while, or even stop playing entirely and just take some time to ponder the level and all of the possibilities, and then come back later with fresh ideas. But the feeling of finally completing a seemingly impossible puzzle after so much failure is just so wonderfully satisfying! Personally, I think Snakebird could have benefited from a few extra features. Including statistics such as the amount of time it took to finish a level or the number of moves used would have added a bit to the replayability. As it is now, once a puzzle is solved, there's really no incentive to go back and try it again. Leaderboards would also be a welcome addition, since I'm sure many players out there figured out way more efficient methods of solving certain puzzles than I did. Snakebird is not for everyone. But for those puzzle-lovers out there seeking the ultimate challenge, definitely give Snakebird a shot. You might be surprised by how often this game will leave you stumped, but that just makes the feeling of overcoming challenges so much sweeter! [This review is based on a retail build of the game purchased by the reviewer.]
Snakebird review photo
Delightfully challenging
Well-designed, challenging puzzle games can be hard to come by these days, but they are out there. Games like Antichamber, English Country Tune, and Splice are a few Steam titles that come to mind for providing particularly h...

Dino Run photo
Dino Run

Dino Run devs create their own crowdfunding system


To fix the ills of Kickstarter culture
Aug 23
// Jonathan Holmes
Dino Run 2 had a well-run Kickstarter. The campaign was as updated multiple times a week, and the game looked fully featured and fun. As a result, it gained a lot of support from a very passionate fan base. Still, the g...
VVVVVV photo
VVVVVV

One of 2010's best games is finally coming to PSN


VVVVVV jumps to PS4, Vita this Tuesday
Aug 23
// Kyle MacGregor
Terry Cavanagh's VVVVVV is coming to PlayStation 4 and PlayStation Vita this Tuesday. The indie platformer was one of my favorite games of 2010, largely thanks to brilliant level design that makes the most of simplistic mecha...
Sup Holmes photo
Sup Holmes

Sup Holmes rides the pram with Kat and Eric from Klobit


Sup Holmes every Sunday at 4pm EST!
Aug 23
// Jonathan Holmes
[Sup Holmes is a weekly talk show for people that make great videogames. It airs live every Sunday at 4pm EST on YouTube, and can be found in Podcast form on Libsyn and iTunes.] [Update: Shows over, guys!...
RCR: Underground photo
RCR: Underground

River City Ransom: Underground comes to Steam Greenlight with new trailers


More delicious Disasterpeace music!
Aug 23
// Jed Whitaker
It has been nearly two years since River City Ransom: Underground was funded on Kickstarter, and the game has just recently went up for voting on Steam Greenlight with the above new trailer in tow. While you're giv...

Review: Alphabear

Aug 22 // Darren Nakamura
Alphabear (Android [reviewed], iPad, iPhone)Developer: Spry Fox, LLCPublisher: Spry Fox, LLCReleased: July 8, 2015MSRP: Free (with microtransactions) The core mechanic in Alphabear is easy to pick up, but it bears an elegance upon close inspection. Letter tiles are placed on a variable-sized grid, and players are tasked with forming words with those letters. Using a letter clears it from the board, replaces it with a bear, and reveals new letters in any adjacent spaces. Bears can grow in size as long they have a full rectangle of cleared tiles to fill. Each tile has a countdown on it, decrementing by one for each turn taken. If any countdown reaches zero, that letter turns to stone, removing it from the pool of usable letters and taking up valuable real estate where bears could live. The end goal is to score the most points, which come from two main sources: words formed during a game and bear size at the end. Each letter's value decreases with its counter, so word values are calculated from both length and how close each individual letter is to expiring. For bear size, the aim is to create the biggest bear possible; one full-board bear is worth more than two half-board bears. [embed]307196:60082:0[/embed] All of these mechanics come together to make a game that isn't just about showing off vocabulary and anagram skills. For one, there is focus and direction. Tiles with low counters are shown in increasingly alarming colors, where those one turn away from fossilization pulsate with a deep red but those with four or more are a placid green. Instead of dumping upward of two dozen letters on the player and saying, "make some words," it makes using certain tiles more urgent, bringing them to the forefront. Maybe I could make a ten-letter word with these tiles over here, but I really need to use this J that's about to expire. It also causes the player to think ahead: not only does one want to use all of the tiles showing a one this turn, but he should also make sure he can deal with the tiles showing a two for next turn. Another important result of the base mechanics is the idea of spatial importance. The tiles all have a location, and clearing a tile in a certain area might be more beneficial than doing so in another. Some spaces are marked with a star or a skull, signifying the letter set to appear there will either have an unusually high countdown or an especially low countdown. Setting off a skull when there are several twos left in play is a bad move. The mechanics make the center of the board more important too, because a stone in the way there will prevent having a screen-filling bear at the end, but a stone along the edge or in a corner will only decrease its size by a small amount. The boards aren't all the same; the layout of a particular board affects how players will attack it. The last bit of significance that emerges from Alphabear's mechanics is a strong risk/reward scenario. Forming long words is worth more points right away, but it opens up more tiles at once. It brings more opportunities for even larger words but also more opportunities to miss using a tile in time. Play it safe, unlocking only a few new tiles per turn and banking on a large bear at the end, or go big on word scores at the risk of losing out on bears? There isn't a definite answer. In a word, Alphabear brings strategy to a genre that has severely lacked in it in the past. Considering the countdowns, board layout, and the available letters brings much more nuanced decision-making than the typical directive of "make the biggest word you can think of." Sometimes it's better to make a weaker word in the moment in order to pull ahead in the end. Every single turn presents this mental exercise. Outside of the main meat of the gameplay, there is also an almost Pokémon-esque collection mechanic. Completing a level above a par score nets the player a bear; completing it above a gold score gives a chance for a powerful rare bear. Each of these bears has its own costume and consistent with Spry Fox's modus operandi, they are all adorable. Look at Milky Bear (below)! It's a bear dressed up as a carton of milk. So cute. Each bear has its own powers to bring to the levels. Some only affect score, some have a noticeable impact on gameplay. By collecting the same bear multiple times, it levels up, increasing its multiplier. This makes high scores for future runs of the same board easier to attain. Not only does Alphabear inject strategy into a word puzzle, it also uses these light role-playing game elements to keep me playing. A particular level might be too hard now, but I can come back to it later with some beefed up bears and try it again. At the end of a level, the newly hatched bear will form a series of phrases using the words played during the game. You might have seen these on social media already. It's a silly little touch, but it adds another bit of meta to the experience. Not only do people go for high scores, they also go for words that would make for funny sentences to share with friends. The one big sticking point for many is Alphabear's free-to-play scheme. It uses an energy mechanic (honey), allowing for only a couple of games before honey is depleted. It builds up over time or can be accumulated by watching ads. Personally, I loved the gameplay so much I paid the five bucks for unlimited honey and haven't regretted it. Even then, the bears each have cooldown periods and the other currency (used to wake up sleeping bears and to play special levels) suffers from diminishing returns over the course of a day, so players who buy unlimited honey may still feel stifled. Spry Fox wants players to come back day after day; I'm fine with that, but I know there are many out there who aren't. Indeed, I'm still playing Alphabear on a nearly daily basis. I couldn't say how many hours I've put into it already (I'd estimate maybe 20?), but I'm not even halfway through all of the chapters. The injection of strategic concerns to a word puzzle is such great design. I would like that enough on its own, but the collection aspects, cute bears, and social media meta elevate it further. [This review is based on a free game with microtransactions purchased by the reviewer.]
Alphabear review photo
Word
If you had told me three months ago there was still untapped potential in the genre of using letter tiles to form words, I probably wouldn't have believed you. If you would have told me a word puzzle game would end up being o...

Review: Everybody's Gone to the Rapture

Aug 22 // Steven Hansen
Everybody's Gone to Rapture (PS4)Developer: The Chinese RoomPublisher: Sony Computer EntertainmentReleased: August 11, 2015MSRP: $19.99 That technical snafu highlights Raptures biggest problem: it is slow and empty. It is too big. I've lived in San Francisco all my life. It isn't small town England, but I've literally walked it from end to end; it's not huge. And still there are blocks, stores, buildings, entire neighborhoods that I have hardly any connection to, that walking through wouldn't evoke any intimate feeling. The exploratory nature of Gone Home, confined to a single family house and connected with tactile engagement, develops its personal story through telling detail. Rapture, on the other hand, is scaled towards a mysterious apocalypse that has seemingly wiped out all things, including this entire village. It is world-concerning. The "pattern," the frightened townspeople fed lies about "influenza," the bloodied tissues strewn about, the quarantine. And it is stuffed with characters, but you only hear them in snippets, like a radio play, after stumbling on orbs of light (and awkwardly tilting the PS4 controller) or abandoned radios. I, apparently, struggle telling a dozen English voices apart and remembering their names, devoid of context or faces. After triggering enough events to start figuring out who's who, I did appreciate the quality character performances. I clung to these characters' story, too, because it was obvious the mystery of the apocalypse was being withheld. The interpersonal drama of village living, of life lost in war, of forbidden relationships, of difficulties in small, religious community. [embed]305705:60101:0[/embed] But why the long walking between points of interest? Rapture is beautiful, no doubt, but that fidelity and scale means that differing local pubs carry the same hand-written signage and no one seems to have personal affects in their vehicles. The beautiful village is unremarkable to the outsider, and the flitting luminescence of peoples' lives hardly feels grounded in the environment that was meant to have connected them. Snooping through the detritus of peoples' homes should say more. There is a difference between the thematic, profound emptiness of the absence of others and the dull emptiness of a beautiful world that doesn't feel lived-in, though aesthetically consistent. Then we are back to the issues of scale, as the story, which guides you through the waning lives of several characters, loops back to its key ones and back to the science-fiction mystery we've given up on for hours in favor of English infidelity. It almost feels garish to go back to, admitting that the in media res character sketches, the handful of dialogue lines about and around interpersonal drama, are not, in fact, enough. Or at least not obvious enough. The end is the theme extrapolated, turned up. Rapture deals with mature, human subject matter -- failing relationships, aging, death -- with notable verisimilitude before acquiescing to its lurid, fantastical bent. The latter feels disconnected from the initially analog apocalypse and your thoughts on Dear Esther will likely echo off this ornate end. What Rapture does well feels slight. Interwoven character sketches stretched out like clippings of a short story dropped every mile. [This review is based on a retail build of the game provided by the publisher.]
Rapture review photo
A moment frozen in time
Everybody's Gone to the Rapture wouldn't end. I was lost in the middle of the 1984 English countryside having made my circuit trudging through several connected areas, yet suddenly I was back somewhere in the middle. Without ...

Review: Fingered

Aug 21 // Nic Rowen
Fingered (PC)Developer: Edmund McMillen and James IdPublisher: Edmund McMillen and James IdRelease Date: August 18, 2015MSRP: $1.87 Fingered, is a deduction game made by Edmund McMillen (Super Meat Boy, The Binding of Isaac) and his frequent collaborator James Id. Which means its a messed up deduction game. Fingered casts you as a detective/executioner determined to clean up this city by taking the shaky, confused, half-contradictory descriptions of criminals from a bunch of weirdo busybodies and fingering somebody with them (in the accusatory sense of the word). Find the person who fits the description best, put them in the chair, and throw the switch on them yourself. Give due process the finger. You start with a line-up of scumbags and shady characters. They all look guilty of something. Look at them, shuffling nervously under a flickering light, holding tiny number cards in front of them like flimsy shields. Who could it be? You can practically smell the flop sweat, the fear.   You go over the witness's clues again confirming the most important facts, what they know they know. The suspect is definitely a heavyset man, so you can let the skinny-boys go. He was probably wearing something hippy-ish (what counts as a hippy these days? Does the witness mean “hipster?”) He's maaaybe kind of a jock? (a fat hippy jock? The hell does that look like?) You do your best to ignore the “um's” and “er's” of indecision, the inherent haziness of memory. It's only a man's life on the line. NBD, right? Try to knock this out before lunch, it's nachos and wings in the cafeteria today -- finger food. One by one you winnow it down, until there’s just two suspects left. They both fit the profile, they're both so similar. But there is at least one big difference between them, one is going to go home while the other will never breath free air again. Which one is up to you. Pick one. Damn one. FINGER one. Whoops, wrong guy.   You get one freebie in Fingered. Sending a single innocent man to the chair will be swept under the rug, but fry up a second one and it's time to turn over your badge and finger gun. This is the likely outcome for most games of Fingered, there are 21 randomized cases to close (the suspects and clues are different each time out) and its so easy to finger the wrong guy. Especially since each witness throws their own curve ball into the mix. Negative Nancy describes everything in loopy double-negatives to trip you up. Bigot Barney has some obvious prejudices you should probably factor in before taking his testimony at face value. And forget about the non-human witnesses, those guys just don't get it at all. After about the tenth criminal, your job gets significantly harder. The witnesses clues get more confusing while external pressures like time-limits and vision obscuring accidents hinder your investigative efforts. The line-up of bizarre, procedurally generated suspects grows longer and stranger. It will take a sharp, quick eye to spot out the telltale details to make your case. It wouldn't be a game by Edmund McMillen if he didn't slide in a few cheeky references to some of his other games. Eagle eyed detectives will spot the occasional guest star or celebrity cameo in the line-up ranging from Meat Boy himself, to other more vilified characters like Charles Manson and Phil Fish. Always a pleasure to finger a familiar face. It would be easy to write Fingered off as weird for the sake of weird. It has a bizarre premise and is presented with the kind of perpetually adolescent gross-out art style of a lot of McMillen's games. It's scored with positively hypnotic jazz and narrated by a guy who sounds like the protagonist of Dragnet strung out on painkillers. It IS weird. But, it's also darkly subversive. A gallows humor take on a kind of justice that really did imprison and execute a lot of innocent people based on dubious descriptions and contrived conjecture. It's not belabored, but there is a bit of a message behind the poop jokes and easy double entendres. It's smarter than you might think at first glance. The randomized criminals and clues combined with the idiosyncrasies of the various witnesses can result in some tricky logic puzzles, line-ups that will leave you stumped. But it never seems unfair. Despite the randomized nature of the game, the perp always seems obvious in retrospect and it never feels like the game is cheating (except possibly the last witness, but it's a joke I won't spoil). Fingered is a pinky-sized bit of fun. It's not hard to get everything you need from the game in a single night of sleuthing, but at the bargain price of $1.87, it feels worth it. A wonderfully weird, smart little game for less than the price of a cup of coffee: you could call it steal or five-fingered discount if that kind of wordplay tickled you. Really though, in all sincerity, I think you should get Fingered.  [This review is based on a retail build of the game purchased by the reviewer.] 
Fingered review photo
Up to my knuckles in justice
Up until very recently, eyewitness testimony was the single most persuasive form of testimony a jury could hear. If someone could stand up in court, jab their accusing little finger at a suspect and say they definitely (well,...

Octodad photo
Octodad

Octodad: Dadliest Catch is mangling hands on the Xbox One next week


Who's that man with the hard, hard beak?
Aug 21
// Joe Parlock
I dislocated a finger playing Octodad. It popped straight out while I was trying to tentacle my way around an aquarium.  Allow my plight to be a warning to all of the new players who will be able to potentially cause ph...

Review: Gryphon Knight Epic

Aug 20 // Jed Whitaker
Gryphon Knight Epic (Linux, Mac, PC [reviewed])Developer: Cyber Rhino Studios Publisher: Cyber Rhino Studios Released: August 20, 2015MSRP: $12.99  A diverse group of warriors set out on a journey to kill a great dragon, and upon doing so find a stash of treasure; Gryphon Knight Epic's intro is seemingly ripped straight out of J.R.R. Tolkien's writing. The same goes for Tree Stache, a mustached tree character met later in the game. The warriors all find weapons and take them with glee, while the gryphon knight himself, Sir Oliver, takes a shiny amulet. Turns out the weapons are cursed, causing all the characters to let their bad sides take control of them and, wouldn't ya know, the only thing that can cure them is the amulet. Sir Oliver is told this information in pretty plain English by his bad side that presents itself as a shadowy physical incarnation of him, but he doesn't seem to grasp it right away. I think Oliver not grasping what was just told to him was supposed to be funny, but it just wasn't, much like all of the writing in Gryphon Knight Epic. You could guess the story, as it has been told a thousand times: Knight frees all his friends, then faces the ultimate evil. The ending is especially cringeworthy. It abruptly sets up a sequel that surely no one will be clamoring for. On the surface level, Gryphon Knight Epic looks like it could be something new for the genre, but the only things it does original are terrible. If you've played more than one side-scrolling shooter, you've probably realized that most of them have one tiny hitbox where the player can take damage and they are otherwise invulnerable. This is not so in this case. If any part of Sir Oliver touches a projectile or enemy, including the feathers on top of his armor, he takes damage. This wouldn't be such a problem if he weren't such a large sprite to begin with.  [embed]307100:60084:0[/embed] Stages can be played in any order and at any of the three difficulty levels, which should be labeled: way too easy, way too hard, and why would I even bother? As a self-proclaimed seasoned veteran of bullet hell shooters, I found myself having to resort to easy mode. The difficulty mostly comes the aforementioned hitbox size, and the fact that bosses are brutally difficult and even a challenge at times on the easiest difficulty. Most games have boss fights with a pretty recognizable pattern that gives the player a visual cue of an impending attack with time to react. That isn't the case here. One particular boss, a giant frog, will quickly snatch Sir Oliver out of the air and chew him up, taking a large portion of his health with little to no time to try to avoid being attacked.  Upon running out of lives -- a concept that should have died with arcades -- you'll be forced back to the level selection map and will have to either play the whole level over again or half of it depending on how far you made it. While it is nice to have checkpoints in most games, this is the only side-scrolling shooter I can think of with them, as most games just let you continue at the exact screen you're at, costing you power-ups or score. Because of these checkpoints, you'll have the displeasure of repeating the same parts of level multiple times, and who doesn't like repeating entire sections of levels multiple times? Oh, that's right, everyone.  Sir Oliver can be made to look left or right with the press of a button, which is useful as enemies can come from both directions, but the way it is implemented mostly kills the usefulness. Say you're heading to the right and then enemies start to approach from your rear. Pressing the button to turn around to attack those enemies gives them time to approach and causes Sir Oliver to start moving towards them at the same time, thus allowing them to be right on top of him before he can even attack. Often times when battling enemies from both sides and maneuvering around the screen, I found myself unintentionally going the wrong direction, which isn't something you ever want a player to experience. Being able to turn back and go the way you just came from would be useful if the game weren't an overall linear affair. I believe there was only one level that required a bit of backtracking to unlock one of the hidden runes found in each level that grant abilities, better states, and some lore. The runes aren't really worth the time it takes to find them as the benefits are minor and the lore isn't all that interesting.  Each time a boss is defeated, you'll gain another magical weapon that uses a bit of an automatically refilling magic bar. These weapons can be used alongside Sir Oliver's trusty crossbow -- which is automatically spammed by holding the designated button -- and are vital to defeating larger enemies and bosses. They deal a considerable amount of damage after being upgraded. Upgrades can be purchased between levels from the gold earned by killing enemies, opening chests, and freeing prisoners in levels.  After playing for around five and a half hours, I found myself unable to afford most of the upgrades, even though I'd completed all of the levels because every time you die, you lose ten percent of your overall gold. Each time Sir Oliver gets hit by an enemy, his squires -- miniature helpers purchased from the store -- lose some of their power as well, making them mostly useless unless you somehow manage to never get attacked. Really, the punishments for getting attacked or dying in Gryphon Knight are far too extreme to allow the game to be enjoyable.  Gryphon Knight Epic isn't a great looking or sounding game. It mostly feels like something you would expect to see in the early days of the original PlayStation; the sprites are all right, the backgrounds are bland and repetitive, and the music is forgettable. At one point, I found myself laughing out loud when I noticed a stage set in the snowy mountains with vikings had elephants and rhinos in the background. From then on I started to realize that each level had an enemy or two that just kind of didn't feel like it fit there: a green blob that looked like a Metroid and a tentacled brain monster come to mind. It felt almost like the devs had created these sprites prior to coming up with the game and just decided to put them to use because they had them laying around.  With hitbox resizing, the ability to move in one direction while shooting in another, and some difficulty adjustments, Gryphon Knight Epic could be an okay game. As it stands, it's a messy medieval hodgepodge that you'd be better off avoiding at all costs. Save yourself some money by instead buying some feathers and a fake beak and putting them on your dog. [This review is based on a retail build of the game provided by the publisher.]
Review: Gryphon Knight photo
Part bird, part lion, part shit
I've played side-scrolling shooters starring space ships, fairies, gothic lolitas, but never had I played one starring a knight atop a gryphon. "How original," I thought, with fantasies of knightly glory on my mind. "Surely this theme won't be squandered on a poorly-designed game." Boy, was I wrong.

Cute-'em-up photo
Cute-'em-up

Shutshimi is a cute-'em-up about a muscular fish


Rapid rounds
Aug 20
// Jordan Devore
Strong-armed fish crack me up, so I had to give this game a look. It's a cute-'em-up in which levels last around 10 seconds or so, "then the player has ten seconds to pick a power-up from the shop for the next round." Except ...
Nova-111 photo
Nova-111

What does time even mean anyway in Nova-111?


Find out for yourself very soon
Aug 20
// Brett Makedonski
Funktronic Labs' Nova-111 was the highlight of my BitSummit in 2014. It blends turn-based movement with real-time elements to make an action puzzler of sorts. All of this is to rescue 111 scientists. Just trust us -- it...

Review: RymdResa

Aug 20 // Conrad Zimmerman
RymdResa (Mac, PC [reviewed])Developer: MorgondagPublisher: MorgondagRelease Date: August 20, 2015MSRP: $11.99 RymdResa tells a story of humanity seeking new life for itself in the cosmos, told in three parts. As the game begins, Earth has been destroyed by an asteroid and the player is an explorer roaming a seemingly limitless, procedurally generated universe in search of a planet to colonize and ensure mankind's survival. Successive chapters have the player collecting resources and undertaking a larger journey to a separate universe, each expanding the gameplay with different mechanics and challenges. Early on, the game is about survival and that survival feels very much at risk. This is when RymdResa is at its most entertaining. Launched into space with the only most basic of ships, the player must conserve and protect their resources while traveling to nine sectors or they will die, lost and forgotten. Resources, in this case, means fuel, which doesn't deplete over time of its own accord, only used when the ship's thrusters are employed. Other things you encounter in space do affect your resource count, however. Collisions, mines and attacks from passing ships to can cause a considerable loss, and that's likely to happen quite a bit due to some design aspects working together to make it very difficult to understand how fast your ship is moving and predict collisions. The empty space environment provides little visual context to give that information to the player and a narrow, never changing view distance from the ship makes it such that when objects appear on the screen, they are as likely to fly right into you before a reaction is even possible as creep into the frame. [embed]307050:60067:0[/embed] Frustrating as this is (and it truly is), it also does reinforce the fragility of the player's situation and forces them to take it slow, further dragging out the empty gaps and feeding into the game's overlying thematic tone of helpless melancholy. RymdResa is not subtle about what the game wants the player to feel. Cutscene narration preceding chapters and diary pods produced within them ooze nostalgic regret and longing, delivered by a distant, electronically distorted voice that sounds more like a morose robot than a human. This first chapter in which the player is at their weakest captures that spirit most effectively, but it fades with time and progress. Even the most disastrous attempt to complete a voyage is rewarded in some ways. Players earn skill points with experience levels that can improve the efficiency of resource collection, provide the ability to interact with more environmental objects and help ships to perform better, and these levels carry over across all missions once earned. Spacepoints are constantly being added and subtracted, acting as a form of currency that can be spent to launch voyages with the game's seven other ships, and items to outfit those ships are carried in a general inventory accessible at all times. With these systems, by the time the player makes it through the first chapter and on to the second, they're probably pretty far along in their experience development (which caps out at 40 levels). And, suddenly, the stakes are pretty much gone. A seemingly constant accumulation of items to customize ships begins to provide all manner of attribute bonuses (introducing a whole different problem of inventory maintenance within a system desperate for sorting tools and a constant need to sell off useless junk to make room), so that while you're never invincible, it sure can feel that way. It soon becomes the default to quit a voyage out of a sense of not having anything to do rather than because of a failure to accomplish something. Chapters after the first have objectives which can be approached in a non-linear fashion and incremental progress an ultimately unsuccessful mission accomplishes is retained, removing all sense of urgency. What happens in them isn't all that interesting either, as the player collects "materials" (like resources, but green and serving no function outside of the second chapter's main objective) and faces down inscrutable guardians in a series of two-choice dialogue events where it's rarely clear that there is a right or wrong answer, but you're punished for choosing the wrong one anyway. Vast as the explorable region of the game is, which uses a grid-based system of sectors to indicate player location (the number of which may well be limitless and impossible to chart due to procedural generation), there isn't much one can reliably do within all of that space. In some ways, exploration off the beaten path is thoroughly discouraged despite the many opportunities presented. Teleporters dotted seemingly at random will send you off to a far flung sector, but what's to do once you're there? Drift back through possibly many hundreds of sectors, the vast majority of which will have nothing in them or wander off in some other random direction and hope maybe you come across anything of interest that way. I never have, and it's clear that there's more to this game that I have not experienced. A collection of "Research Notes" is referenced with a menu and there's a whole mechanic designed around using them to craft... something. I've never found one and wouldn't know where to start looking for them. Some people are going to dig into this game, absorb its extremely passive gameplay and have a curiosity which leads them to discover these things that I have not. I'm sure of that. If ambiguity and self-directed discovery are aspects of games you appreciate when they exist, and can handle one where you'll spend most of your time not doing anything, you're the audience RymdResa is looking for. [This review is based on a retail build of the game provided by the publisher.]
RymdResa Review photo
The big empty
"Space is big. Really big. You just won't believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it's a long way down the road to the chemist, but that's just peanuts to space." - The Hitchhiker's Guide ...

Secret Ponchos: Most Wanted is an improvement on the original release

Aug 20 // Chris Carter
The long road to Most Wanted started a few months after the original hit the PS4, notably by way of the PS+ program. Mapara and his team started working on a complete overhaul in the game, and development culminated when he took his preview build to EVO this year. "They don't hold their punches, in a good way," Mapara said. He noted how most of the attendees aren't interesting in visuals or artistic elements, but how the game plays, if your hitboxes are correct, and other technical aspects. "We always intended on having our game be catered to hardcore players, so this kind of feedback was perfect," he said. The entire experience is re-balanced around 3v3 fights to have a perfect mix of chaos and skill -- "4v4 was a little too hectic," stated Mapara. Improving Secret Ponchos is a two-layer strategy -- support features, and content. In terms of the former, Mapara mused on how they quickly shifted their philosophy after launch, saying, "We learned so much about the game at launch. This is new territory for an indie team, making a heavily online game. So we tried to base our system off of bigger games like TF2, and we learned that the model doesn't really work for us. For instance Call of Duty has millions of players at all times. We need to make our game work even if there's only 100 people playing." As a result, they've made matchmaking easier, merging lobbies together while allowing a rookie and ranked option. In terms of content, there will be 10 characters, five of which who weren't present in the PS4's launch, and four new maps. One of the new additions is "Gunman," who is described as the "[Street Fighter's Dan] of the game. He's a dumb cop who was kicked out of his town, and still thinks he's the law. After going hands-on with him it's clear that he's a support version of the Killer character, complete with a six-shooter, and the ability to mark enemies with a defense-lowering target. The Mad Trapper is another cool newcomer, who is literally all about traps and a massive amount of range. He's incredibly technical, as he has a low health pool, and can manually hide traps, luring players into all sorts of situations. Although she has been playable before I also had the chance to check out the reworked Wolf, who is one of my favorite arena shooter characters in recent memory. She's all about crits and precision, which grant her extra damage for subsequent shots, and shots right after she dodge-rolls. She also runs faster with her knife out, and can pounce on enemies, slashing them on the ground. Also included in the game is Gordo, a minigun toting maniac, and an unnamed character who wields two tomahawks. I was actually influenced to level them all up individual as well, as there's a new progression system in Most Wanted that ties into Steam achievements, and rewards players with in-game cash and content. Other additions include a tutorial, a more improved rookie matchmaking queue, AI bots, and a new mode called "Protect the Posse Leader" (think Gears of Wars' VIP). Secret Ponchos: Most Wanted will arrive on September 29 on Steam for $14.99. Much like what happened to Rovio with Awesomenauts' shift over to Steam, PS4 updates hinge on the success of the PC version. It's great to see a developer continue to support a game months down the line, and Mapara and his team seem to be incredibly invested in it.
Secret Ponchos preview photo
Coming to Steam on September 29
Back in December, I reviewed Secret Ponchos. It was a pretty interesting online arena shooter, and I saw a ton of potential in it that hadn't yet been tapped, mostly due to a lack of content. When Switchblade Monkeys' Yo...


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