Talk about oddball (and pain-free) coincidences. I was doing a bit of rearranging of the game library and a my copy of de Blob for the Nintendo Wii fell on my head thanks to me moving one too many games at once. No, I wasn’t injured at all, thanks. However, I did think out loud something along the lines of “Now, this was a really fun game!” and maybe an hour after talking to myself, I get an email from one of THQ/Nordic’s psychic PR team that there’s an HD version of the game with a few enhancements headed to PS4. As the kids say “Who’da thunk it?” or something like that. Hey, I’m out of touch with the modern slang these days, so just keep quiet in the back there (hey, I heard you smirking!) and read the rest of this review.
Anyway, the game is a pretty cool 3D plarformer/puzzle/action game set in Chroma City, sapped of every color but a few shades of grey (less than 50, though) by the evil INKT Corporation. As de Blob, you’re part of a small resistance out to return things to glorious brilliance by laying paint on almost anything and everything you can. It’s a mash-up influences from Jet Set Radio and a few mascot platformers that works well despite some tricky jumping and camera issues. It’s also packing a pretty infectious dynamic score that cues you in to how well or poorly you’re doing, something more games could use (well, in my opinion, at least).
For the record, I was so tempted to write this review in 6-point type just to vent a little at Kemco and World Wide Software for this port of their otherwise decent mobile game, Symphony of Eternity. But I kind of like having regular readers so that plan died a merciful death and you get something a lot more readable. Anyway, the game, taken on its merits is a fine and dandy revisit to the nostalgic days of 8-bit console RPGs and there’s a decent amount of content for that low price point of $7.99 (yes, it’s worth a buy).
The big caveat is the playing the game on either the standard 3DS or worse, a 2DS will subject your eyeballs to some pretty darn tiny visuals on the main screen and a tinier map on the second screen. Worse, the game uses a few different camera positions and only one allows you to see what you’ve paid for with a full screen. Amusingly enough, that viewpoint is a standard overworld view… but you actually only use that map for getting from one point to another as the game has no overworld combat. Every fight takes place in dungeons of assorted size where that larger screen would have been very welcome, thank you much.
Short yet very replayble and guaranteed to make you think a bit about life on a few levels, George Batchelor’s brilliant Far From Noise is a compact indie game well worth a buy. If you love your games way on the weird side, this meaningful meditation will capture your attention and keep you on the edge of your seat. Given that in the game you’re trapped in a car perched precariously on the edge of a cliff and have nothing to do but wait as a bit of nature pops in for a visit, it’s one of those experiences where revealing too much spoils the fun.
Let’s just say this visually simple and mostly text-driven affair makes for a great bedtime tale where you encounter a talking deer that more or less helps you see things from a few perspectives. A bit of philosophy, some star gazing, a few guests and even the weather are your main companions as your character addresses his or her fears during a long night where it seems anything can happen. While seemingly simplistic, the visual style hides some nice effects and excellent use of controller vibration and the PS4’s color bar (which emulates the game’s day to night to day cycle as time passes).
“Wait. Accolade is still around?” That’s the first thing that popped into my head as I fired up Bubsy: The Woolies Strike Back on my PS4. About ten minutes in, the second thing I thought was that Accolade was not only alive and well, they’d somehow created some sort of time vortex where mid-level mascot character Bubsy came back to the gaming scene with newly polished visuals but the same old gameplay that’s guaranteed to frustrate some players while entertaining a handful of others.
In other words, veteran speedrunners or kids who like a challenge will very likely love this latest “2.5D” entry in the series. However, those who expect something along the lines of the superbly sublime retro-ness of Sonic Mania or Wonder Boy: The Dragon’s Trap may find this a tough ball of yarn to swallow. While it’s got its share of issues, it’s not a terrible game by any means. just one that needs some fixing up. Yep. it’s another one of those gems where patience is key, practice helps out a great deal, and it’s probably another case where a post-release patch or two will help things out greatly.
When Slayaway Camp popped up on PC last year, it caught a lot of people by surprise (just like any decent masked serial killer would, mind you). The winning combination of intentionally blocky visuals, Sokaban-style sliding puzzles and optional (but necessary) comic use of gore made the game as fun to play as it was to show off to skeptical friends who initially didn’t see the appeal in such a simple looking game as a horror experience. Well, guess what? It’s baaaaaack and ready for its console close-up, (stab, stab, stab).
Even if you hate horror-themed games, Slayaway Camp: Butcher’s Cut has a sneaky (but not subtle) way of luring you in because those sliding puzzles are really tempting to tackle and you’re hooked in (ouch!) before you know it. Don’t like violence against blocky, block-headed camp counselors and other serial victims? There’s a slider to turn off the pixel “gore” on the options screen. R to PG in a flash? Yep. Hell, there are sliders on that option screen for all sorts of oddball stuff, some of which you’ll see right away while others are intentionally vague. This is a game that aims to please and hits that eye with an arrow every single time (ow!).
Yep, this one’s a must-buy alright. I was actually a bit under the weather a few days back when code for this arrived and amusingly enough, a few hours spent dying and retrying in all three games in this set made me feel a whole lot better. That’s good old old school gaming for you, kids. Anyway, here’s the deal: three classic adventure games for a mere eight bucks is a no-brainer, especially if those three games happen to be Shadowgate, The Uninvited, and Deja Vu. Do yourselves a big, fat favor and stay away from walkthroughs, though. Trust me on this one – your brain probably needs the workout.
While fundamentally the same in terms of interface and straightforward pixel art visuals, each game has its certain charms and difficulty that make them quite enjoyable and yes, frustrating if you’re not into trial and error or frequent game saving. Shadowgate has elements of fantasy role-playing, The Uninvited is a straight-up horror/haunted house game, and Deja Vu is a thriller/crime drama. If you’re going in cold or haven’t played these since the Macintosh or NES days, expect your poor main character to die at the drop of a hat. A lot. Your characters in all three games are cursed with the weakest skulls, brittlest bones and other ailments that make them all too easy to fall victim to any hazard these games toss their way. Believe it or else, this is a good thing.
Taking the wheel from original developer Oovee Game Studios, the talented team at Saber Interactive has brought an expanded and even better SPINTIRES experience to consoles and PC with an excellent, highly challenging, and quite rewarding driving game that’s going to baffle some gamers while it pleases a certain bunch of folks who love to play in the mud.
Interestingly enough, Spintires:MudRunner (or MudRunner: A Spintires Game) also works supremely well as a hybrid driving/puzzle game where the environment is your worst and sole enemy as you attempt to simply drive from Point A to Point B or just try to enjoy exploring the massive, gorgeously detailed maps. This isn’t a game about speed at all, folks. It’s more about control and the ensuing chaos when that control is lost.
MudRunner adds a new (shorter) tutorial, a new sandbox map, a Challenge mode and ups the truck count from 6 to 19. While it has a “casual” mode, this clearly isn’t a game for those who want to hop in and get blazing down a dirt road taking corners with powerslides. Here, you’ll rarely get above 20mph, the paved roads aren’t the widest you’ll drive on, and that mud? It’s practically got a life of its own thanks to an amazing physics engine that’s been tweaked even more from the PC original.
While you’re waiting for this game’s Halloween release date to roll around, why not spend a little time treating yourself to a few tricks here: http://www.8bitaa.com/ where you’ll find a few fun mini-games that unlock demo versions of all three games in this upcoming set of classic adventure games. Hey, you know you want to and yep, it’ll keep you indoors and out of trouble. Your neighbors do NOT need their house TP’d again, so put that ladder back, pal.
Ah, Gust… I love you most of the time, but your quirky way of making games can get to be trying. While I missed the first Nights of Azure (I finally got my paws on a copy that’s in transit), Nights of Azure 2: Bride of the New Moon comes off as an intriguing standalone sequel that’s got some fine points but is quite flawed when it comes to gameplay elements.
It’s certainly got plenty of fan service if you like your cast of all-female characters doing their Action/RPG thing wearing revealing outfits of questionable levels of protection against injury. However, main character Aluche comes off as a mostly clueless to attraction cypher with a curvy figure (like almost every other character in the game). But between the strict timed gameplay that limits the action, somewhat pedestrian plot and AI that could be better, this one’s hard to love although it has its moments.
Sneaking onto PC last month and out now on PS4, ECHO is one of the smartest games I’ve played this year. Developer Ultra Ultra has created an intentionally initially slow-burning hard sci-fi game that relies heavily on its innovative gameplay that’s bound to keep you on your toes. It’s also got spectacular visuals, brilliant sound design and a pair of excellent voice actors (Rose Leslie and Nick Boulton) bringing their characters to life in what’s basically one character talking to an AI interface as she tries to survive a gilded palace filled with replicas of herself trying to kill her. While it’s got its share of (primarily technical) flaws, it’s a worthy experience that shouldn’t be missed if you like your games to shake you up a bit early and often.
After a century in space asleep, a woman named En is awakened by her computer, London and informed that their ship has reached its destination. The pair has traveled all the way to a strange planet because En wants to bring back to life a friend whose remains are inside a cube-shaped device she wears on her back. The opening is a deliberately paced buildup as En lands on the planet and makes her way into The Palace, an endless ornately designed structure that’s the size of the entire planet. There’s a great deal of exposition during the game with much of of it establishing a backstory for En’s long journey as she explores her initially unlit surroundings. When she locates a spot to place that cube, The Palace reacts by coming to life and over time, producing many copies of En that eventually end up coming after her with murderous intent.