MadameBerry’s 3AM is a game about and within the pockets of restlessness that creep up on us during ungodly hours of the night.
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Here’s a proposal: the satisfaction of Titan Souls is not in your success, but in proving that you are capable of it.
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As hard as it might try, there is no mistaking Oceanhorn as anything but a knock-off, and not a good one at that.
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Uncanny Valley scratches at the surface of some of the most internalized and adaptable fears of modern society, but doesn't go deep enough to leave me more than mildly perturbed by its gloomy theatrics.
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Dyscourse, a tale of island survival and the folly of static choice.
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Though it would seem self-evident from its nostalgia based advertisement, proclamations of historical knowledge, and general retro theming, I remain unclear as to what Life of Pixel actually wanted to be.
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9 Clues 2: The Ward is Artifex Mundi jumping the proverbial shark.
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Ink’s concept really is dead simple in principle, but there is something wonderfully delightful about a game that is entirely about making as big of a mess of a given level as you can by means of so many gooey psychedelic colors.
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Cubetractor is like a game of tug of war where the opposing team is throwing rocks at you. Except the rocks are lasers and nobody actually remembered to bring a rope.
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Aaru’s Awakening feels like the regrettable result of a game attempting to ape its peers in the absence of its own identity.
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The Darkness II is emblematic of so many of the worst narrative and design concepts of gaming as a medium.
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Oases feels like flying in a dream.
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Life is cruel and unfair, but damn if it doesn’t look beautiful as it’s burning down around you.
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Deadpool is as passionate as the comic fans who never expected this to actually happen, as unpredictable and delightful as the character which spawned it, and as sure to horrify ignorant parents as you could possibly hope for.
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The Next Penelope could have so easily been great simply iterating on its most rudimentary levels rather than trying to reinvent itself with each stage.
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Read Only Memories is adorable and cheesy and holds itself together with an acute awareness of tone and by subverting a genre it clearly loves to death. It might be fluffy and lack a satisfying payoff, but Read Only Memories tries so hard and has such an enormous amount of heart that I’d sooner embrace it than write it off for such comparatively meaningless qualms.
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These games are weird, and awkward, sometimes completely beyond categorization, and represent some of the coolest games I had the chance to play this year.
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I have been in love with Cut the Rope since I got my first touch device so many years ago. It was the first game I played on a smartphone and the one that forever sold me on the merits of touch based game design, but where that game represented the peak of a then emerging platform, Magic is little more than another entry in a series I haven’t heard discussed in a very long time.
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I might feel worse about the depths of Imagine Me’s failure if it didn’t seem so apathetic toward aspiring to even moderate quality (or functionality). Everything feels empty and tedious, leading you in circles until either the game breaks or you stop playing. Imagine Me is sloppy and dysfunctional, but I couldn’t say it seems to actually care.
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Lifeline is such a great template that I almost feel compelled to recommend it solely to show off the genius of its interface and delivery system.
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