I never thought that I would have so much fun with a chore. There are various curated threads online about watching power washing. It’s satisfying to see someone turn an incredibly dirty surface into a sparkling clean one like wiping a window with a squeegee. There are many jokes about missing a spot and everyone in the comments losing their minds. r/powerwashingporn is a popular subreddit dedicated to these videos. FuturLab has done an incredible job of making this chore feel fun and satisfying. There’s even a silly story that’s evolved over the course of the Early Access phase involving gnomes.
Every surface is covered in dirt, rust, mud, or some type of grime. You get a power washing nozzle and you spray things down until they turn clean. You can decide what to spray, what direction, and in what order. That’s part of the fun. Tackling each area in a certain way is satisfying and fun for you. Your tools include various spray nozzles that have different widths as well as spray liquid for getting tough areas, but this stuff is expensive and limited. You also have a spray gun that shoots various distances. These can be bought and unlocked with money by completing levels. You are paid at the end of a level and you can see a sped-up replay of your work. There are also cosmetic items such as your suit and gloves.
Some levels are multi-storied so you get step stools, ladders, and scaffolding that can be moved around and put wherever you need it. There are a few levels that have some frustrating buildings to clean such as the giant shoe level. There is a meter on each surface that shows how complete it is and sometimes it can be hard to find that one dirt spot that’s keeping the surface from dinging. Thankfully there is an illuminate dirt button that turns all dirt a golden yellow for a few seconds so you can see what you’re missing. Getting down the last percent in each level can get annoying as you’re just hunting down that last dirt spot. There is also a list of each surface and the percentage that they’re cleaned, so you can at least eventually narrow it down.
There isn’t any background music. You just get ambient noises like birds chirping or cars driving in the background. It’s a very silent game. You’re best just playing your own music in the background as this is a very zen game where you can veg out and not think about much. I also appreciate the control scheme on a controller too. It’s easy to control and you don’t have to move your aim camera back and forth like you used to in Early Access. You can now press a button to move your sprayer within the frame of the camera. This can reduce motion sickness and overall irritation. It wasn’t a big problem on a PC with a mouse, but it was unbearable with an analog stick. Most levels can take you 1-3 hours to complete depending on how big they are. There are smaller challenges that involve just cleaning a vehicle like an RV, alien spaceship, Mars rover, or bicycle. Levels get more complex as you go on with more small objects and more complicated surfaces. Things like planes, boats, helicopters, and the previously mentioned shoe house can get really busy. I would end up doing some levels in multiple sessions. The longest level I spent time on was nearly five hours.
Again, you have to like this kind of thing to see an appeal to it. The visuals are bright and colorful, but rather basic and simple. There is no raytracing, AI anti-aliasing, or anything complex rendering-wise. The game can technically get very repetitive, but that’s actually the point of this game. I feel many may mistake this game for a business simulator when you only do the power washing and buy upgrades and cosmetics. I had a blast (no pun intended) with this game and FuturLab is still putting out content that I need to catch up on. Overall, PowerWash Simulator is one of the most relaxing and satisfying games I’ve ever played.
The 8-bit era of Atari was before my time. I started the next generation with the Sega Genesis and Super Nintendo as a young toddler. I still respect and have enjoyed iterations and ports of Atari 8-bit games over the years. What hasn’t been done well is anything outside of bundles of seemingly random collections. They’re nearly countless at this point and have spanned nearly every console imaginable. Atari anniversary collections, various Atari-themed packs, and various retro packages with fancy UIs or presentations However, no single retro package has been as cohesive or beautifully created as the Atari 50. Even Sega’s recent Genesis Collection, with its retro 90s bedroom and bookshelf display, can’t beat this.
The entire game is presented like an interactive history lesson. You go through four timelines. Atari’s origin story and their arcade routes You get to see photos, printouts, commercials, and interviews with various Atari developers and industry veterans such as Tim Schafer (Psychonauts) and Cliff Bleszinski (Gears of War). These are presented in chronological order. A game is presented when its release comes up in the timeline. Some games have cover art, photos, and even comics underneath them to view. As you advance in the timeline, you get the feeling that you’re playing an interactive museum tour. There are no fancy 3D menus or anything, but the clean and simple UI works well. There are a few surprises peppered in, like unreleased prototypes and Digital Eclipse’s own recreations of iconic games like Yar’s Revenge and Haunted House.
As you advance to the home console and PC timelines, things get more interesting. You will eventually get to the Atari 5200 and 7800 games, which are a bit more advanced. You will also get to play a few PC games for the Atari home computers. Then you will finish up in the 1990s with the Atari Lynx and Jaguar. Sadly, there aren’t many games in this timeline, and the biggest issue with this entire game is the lack of third-party titles. You only get to play Atari-published and owned games. That’s very limiting, and while I understand this is Atari’s own history, there are many games that helped make their systems great outside of internal developers. The few Jaguar games range from Cybermorph to Tempest 2000 and Missle Command 3D. They aren’t great, but they are interesting to dive into. That’s another thing about this whole collection. Very few games are fun to play for longer than five minutes. Some are pretty clunky and bad. This isn’t a “greatest of” collection, which I really appreciate. You will most likely go back to the more fun games like Missle Command, Centipede, Millepede, Tempest, or their latest versions in this game. You get special bezels, backgrounds, overlays, and control options for every game as well. You can also select various modes, and some games support save states, which is cool. You also get a digital view of every manual for the game, including the arcade operator’s manuals. They didn’t leave anything out.
By the time I spent around 5 hours in the game, I got to the end of the timelines. You can go back and play any game in the library view and pick your favorites. These games run really well and look great, but many gamers who didn’t grow up in the 80s will probably find this nothing more than a history lesson. Even more, will find pretty much every game boring or uninteresting. However, that’s not a knock to the games, but just a warning to younger audiences. Anyone younger than 30-35 will most likely not find this game interesting or fun. If you have a curiosity about Atari’s history or games then this is the best place to get that. If you have an itch for trying out 8-bit games or want to go back without emulating anything then this will give you nearly 100 games. I also appreciate how few ports and copies of the same game are in here. Each game was hand-picked and placed with relevancy.
Overall, the Atari 50 is one of the best retro packages you can ever play. Telling an entire developer’s history with games placed in their correct time slots and even including unreleased games and reimaginings of some is just fantastic. The videos are entertaining and interesting, and you will learn a lot. There are so many details added from commercials, print ads, posters, manuals, customizable controls, save states, and more. It’s a complete and cohesive package for Atari lovers out there. Just be warned that there are no third-party games and less of the 90s stuff.
What would happen if you combined Resident Evil with Silent Hill? Probably a game with crazy enemies, creepy music, inventory management, and tank controls. Well, that’s exactly what Signalis is. It combines the best of PS1 horror and shoves it into a nice retro package with great controls and animations. Developer Rose Engine might be a bit on the nose with its inspirations, but it does a good job of making it feel more modern with a retro flair.
The weakest part of the game is its story. I will get that right out of the gate. While most PS1-era horror titles had convoluted and messy stories that usually made no sense or were open for player interpretation, Signalis is very cryptic, but the overall journey has a twist ending that is pretty eyebrow-raising. It will leave you stunned a bit and is a great payoff outside of the fact that there is almost no world-building or lore to get into. You get the occasional note, similar to Resident Evil, that tells a little snippet of what happened just before the current event. See, you’re some sort of AI controller robot in some dystopian German world. That’s all I really got out of the story and the few cut-scenes peppered throughout the game.
Just like the horror games that inspired Signalis you have limited inventory space, very little ammo for your weapons, fewer healing items, and lots of backtracking. I will praise Rose Engine for making backtracking in Signalisless painful than games of the PS1 era. There is a good map system that even marks puzzles that require items. The final area of the game has no map, but you will learn to remember landmarks. The level design in Signalis is fantastic. A game with a lot of backtracking needs good landmarks so you remember where every room is. If you are familiar with the 32-bit era of horror games this style of progression won’t bother you. There were some puzzles that had me write stuff down (math puzzles) or take photos of diagrams. You get a radio about halfway through the game and you can use the frequencies to help solve puzzles. I will admit that inventory management is a little too tight here. You only get 6 inventory slots and there are no upgrades in this game. I wish I had at least eight. I constantly had to leave healing items and ammo behind to dump puzzle items and backtrack a couple of times. At least in my first playthrough, I was able to preserve quite a bit of ammo. I didn’t even end up using two of the weapons. You can easily run from most enemies which I recommend later on when you enter rooms with four or more enemies.
You can only shoot enemies while standing still. There is an aim button that auto-locks, and you can fire. Enemies will fall down, and you have to stomp on them to temporarily kill them. Yes, after the first area, you get thermite, which will permanently burn enemies and keep them from rising. This is why I recommend only killing enemies in main corridors that require you to frequent them often. Most rooms have a one-time entrance. You run in, grab everything, and leave. Rooms with puzzles and save rooms don’t have enemies, so this helps. Just like games of this genre, you will eventually unlock shortcut doors to get back to the main puzzle areas or save rooms, which help cut down on a little bit of the backtracking.
The enemies themselves are very Silent Hill-like. Almost exact copies. There are EULR enemies that look exactly like the Bubble Head Nurses from Silent Hill 2. The STCR enemies look like the Closer enemies from Silent Hill 3 or the Siam from Homecoming. Everything aesthetic and atmosphere-wise is very close to Silent Hill. Even the music is similar. The entire game looks similar to the Otherworld from Silent Hill as well. I have to say I like it a lot. We need more Silent Hill, and this is the closest you will get. There’s a little cyberpunk infusion with the AI robots and dystopian world. It’s a great fusion, and I couldn’t get enough of it.
I didn’t find much of the game frustrating. Puzzles are fairly straightforward. You may have to look up one or two, but the solutions were mostly right in front of me, and I just didn’t see them. There are only two boss fights in the game, and they are pretty fun but not very challenging. The challenge in the game’s combat arises from getting swarmed. As long as you run, you will always be safe. Enemies usually have to stop to swing, and unless you’re backed into a corner, you won’t get hit. The variety of weapons helps, and you can store everything in your save room chests and go back to get what you need. I did finish the game with plenty of healing items and ammo. I can’t express enough how much running helps in this game. There were occasional rooms that needed my flashlight too.
Overall, Signalis nails the feeling and atmosphere of Resident Evil and Silent Hill. The monster designs are great, the music is haunting, and the level design is done in such a way that memorizing the layout of an area isn’t that hard, which is key for games that need a lot of backtracking. Puzzles aren’t insanely vague or obtuse, and it’s obvious what items go where once you find both. I just wish there were more than six inventory slots. It just adds artificial fluff to the playtime by constantly having to go back to your storage chest and dump off items. I also wish the overall story and world-building were better. The game is only about 6 hours long, so there isn’t much time or room for character or world-building anyway. Thankfully, the atmosphere, enemy design, tight controls, and well-designed areas are all tight. This is easily the best retro horror game to be released in the last couple of decades.
As time goes on, I’ve learned to appreciate engaging casual games that don’t require intense focus. Small adventure games that only take a few hours to beat, relaxing puzzle games that don’t really have an ending, and anything in between are fun to enjoy and veg out on. It has the same effect on me as binge-watching a show.A Little to the Lefttries to be that. It has engaging puzzles and serotonin-squirting organization puzzles, along with cute visuals, but it does come with issues.
The game’s puzzles start out fairly simple. There are around 75 puzzles in the main game, with 365 daily puzzles. Puzzles start out with just straightening photos on a wall, putting cat toys in a basket, arranging a dinner set, aligning colored pencils in a certain order, stacking rugs, etc. These first dozen puzzles are relaxing and really give you a taste of what this game could be. Yes, I said it could be, as the game quickly ramps up the abstractness, and even with a full-on guide and accessible hint system in the game, it still doesn’t make sense. The arrangement puzzles are the absolute worst. These are abstract shapes that don’t snap together but instead are arranged in a specific pattern. The patterns usually make no sense since the pieces are so far apart. These puzzles will frustrate most players and lead you into a false sense of relaxation and simple organization and stacking.
That’s not to say I don’t like a challenge. One puzzle has you sliding a mirror to the left and right and arranging the objects according to the reflection. Another has you stacking cat food cans in colored columns that match. These puzzles were enjoyable. My favorite was the organization puzzle. Put all the junk in the correct cubbies. That’s a lot of fun with the process of elimination. Sadly, there are only about four of those puzzles, and I wanted more. The difficulty is all over the place, but it’s artificial difficulty. The puzzles are just so obscure sometimes that most people may quit the game.
I also found the snapping system pretty broken. Sometimes you place an object in the right spot, and it will snap into place and make a faint ding sound. However, abstract pattern puzzles require two symmetrical objects in the same spot in the scene before they will snap into place. This hinders progress, as there are no tactile hints that you are making progress. There is a hint system that shows you the solution by erasing and uncovering. This was nice, as I would try to just erase one part and still be able to solve the rest on my own. However, even the hints sometimes make zero sense.
Thankfully, you can still move on with the “Let It Be” system, which skips the puzzle for you. There are some puzzles that have two or more solutions, such as sorting from highest to shortest, then by color, and then by matching an image on the same object. While the first solution may seem easy to spot, the additional solutions can be insanely abstract and obscure. I really tried to solve as many as I could on my own, but in the end, I solved maybe a quarter of the puzzles by myself. There were just too many that were frustrating, and I felt I wasn’t making any progress. Some were just me overthinking the puzzle, but some were just poorly designed.
The visuals are cute. It has a pastel, minimalistic look. Lots of colored pencils, charcoal, and watercolor art designs The music is great and relaxing to listen to in the background; it’s just too bad the game isn’t as relaxing. In the end, A Little to the Leftis misleading in its first dozen puzzles and quickly ramps up the abstractness and obscurity too much, requiring too many puzzles to be skipped. The most enjoyable ones are too few. This isn’t a bad game at all. There are fun puzzles peppered throughout the bad ones, and the overall cat aesthetic is enjoyable with great music.
A Plague Tale: Innocence was a massive surprise hit for me. I didn’t expect much from it coming from an unknown indie studio. It seemed pretty, and that’s about it. I was shocked at the fantastic acting, gripping story, well-designed enemy encounters, and unique combat system. Requiem does what sequels normally do. Improve in some areas and step backward in others. While it’s not as shockingly impressive as the first game, it does deliver an even better story with insanely good acting and a couple of new characters. Amelia, Hugo, Beatrice, and Lucas are still trying to cure Hugo’s macula and stop the plague from spreading further. A lot more details arise, and we learn the true origin of Macula and Hugo’s fate.
The first third of the game takes place in the new town that Amelia and co. have settled down in. One thing I love about this series is that there’s one thing that always lingers in your mind when playing. Lose all hope. Hope is something that doesn’t exist in this world. Amelia and Hugo are constantly betrayed in this game, and it isn’t always apparent. You might think they finally settled down in a nice town or met nice people who would keep them safe and love them, but nope. Not in the world of A Plague Tale. There’s constant dread, pain, and death, and it’s wonderfully portrayed thanks to the amazing acting on screen. I do want to mention that while the acting is amazing, the facial animations are really lacking, including lip-syncing being stiff. That’s a minor complaint, but overall the story is awesome and it has a satisfying ending.
That’s the game’s strongest point outside of its amazing visual presentation. The first game was well-loved for its well-crafted enemy encounters. Each area felt like a puzzle, and it was the perfect difficulty. Not too hard, but not so easy that you would just run straight through. I always felt like I could figure out where to go and how to get around each enemy. It was so good that I played that game twice. Requiem adds a lot of new layers to the slingshot and alchemy, which makes it a bit overcomplicated. There are more elements added in, such as being able to hold pots and a crossbow. The crossbow is obtained shortly after the halfway point, but you can add four different alchemic elements. Tar, fire, and rat-attracting crystals This can make fumbling around to change your weapon and add the right alchemical property cumbersome on the fly. The tar can be used in pots to slow down enemies, but it can also be set on fire with the slingshot fire. So this requires switching to the pot, and then tar, and then switching to the slingshot and equipping fire. I died a lot trying to fumble around and figure out what to do on the fly. This becomes infuriating during open combat events in which I had to restart one section nearly two dozen times because I ran out of materials and had to figure out how to preserve everything in the right order.
Guards come in more variety this time. There are helmeted guards who can’t be killed with the slingshot. These need to be avoided or taken out from behind, which causes a lot of noise, and the animation is very long. You will, more than likely, always be seen. You get to hold disposable knives that are used to get you out in a pinch. There are guards with shields now that require being blinded with powder, which is another element to flip through. Fire is still a big gameplay element here, and you have rat sections that are also mixed with guards. I found these sections with rats more fun in this game because I could be more creative. You can put the guard’s flames out with the powder and watch the rats. Then there are puzzle sections with just the rats, and these were the most fun. I really enjoyed these sections, but there aren’t enough of them. Thankfully, combat in the game is spread pretty far apart, with entire chapters of just storytelling thrown in between to give you a break.
It’s a shame the combat went from perfectly balanced to overly difficult and cumbersome. The puzzle sections use the new elements as well. There are now different types of fire, from haystacks that only last a few seconds to fire bolts that stick to wood objects. You have unique partner abilities, such as Arnaud’s shield that bolts can stick to and Sophia’s crystal that can refract light. These are new changes I really liked and fit in. You can throw tar on flames to increase their brightness for a bit and spread light out more to solve puzzles and reach extra chests. This was the stuff I really enjoyed. Flipping through all these items and alchemy stuff during combat was just too much and hurt the already perfect flow from the previous game.
The last thing I want to touch on is the upgrade system. It’s been simplified and almost seems pointless now. You need tools and parts to upgrade, but they’re so rare and hard to come by that I barely upgraded a single skill to the max by the end of the game, and this is a 15-hour game. It takes a new game plus to continue maxing out your skills, which can really help if you can get to them, but it takes so long that I never relied on these. Even if you found every hidden chest, you wouldn’t be able to upgrade much.
With that said, the pacing of the game is all over the place. Going from entire chapters of combat to entire chapters of walking around and letting the story play out. An hour or two would go by with no combat or puzzles, or you would get an entire hour of puzzle-solving with 10 minutes of combat. I also didn’t care for the open combat sections. This combat system isn’t designed for running around and taking enemies out in droves. The first game did this well by just letting you slingshot enemies. You now have to run around and fumble with the weapons and elements to decide which enemy needs what thing to take it down. It’s incredibly frustrating.
The game looks fantastic, at least. This is the first “next-gen” game, I think, that’s been released so far. It’s not on previous-generation consoles, and sure as hell, it wouldn’t run on them. My 3080ti struggled at 1440p with maxed-out settings with DLSS turned on. It did dip down into the 40s at times. While it’s not perfectly optimized, anyone outside of an RTX GPU won’t have a great time running this game. It really is a next-generation-looking game. I can’t stress enough how amazing the game looks. Beautiful vistas, lots of color, and tons of dark visuals as well. It’s a sight to behold.
With all that said, Requiem does a lot of good in the story and visuals department but falters when it comes to combat and pacing. I enjoyed the puzzles and sections where you had to get through rats, but the open combat is infuriating, and fumbling through all the elements
I really like the Persona and Shin Megami Tensei series, but they are insanely long and challenging. These are hardcore JRPGs, not meant for casual players. Most won’t have the stamina needed to sit through 150+-hour games, and the PlayStation Trophy data shows that. Less than half of all Persona 5 players finished the game. Thankfully, for people like me, Atlus put me in an extra-easy mode called Safety that let me finish my first-ever Persona game. I tried the third and fourth games several times and just couldn’t do it. While I eventually did well in battles, the games were too long. The story in Persona 5 is fantastic, and there are plenty of great things about this game, but a few key issues may drive most players away, even more casual JRPG fans.
The story is insanely deep and detailed. There are plenty of mysteries, twists, and turns that kept me trucking on because I wanted to see what happened next. The characters are compelling, well-written, and very likable; however, you still need to like anime to enjoy the characters in this game. There are some typical anime tropes that leak in, but I think people who play JRPGs are already aware of this. Your character is Joker, a teenage boy wrongfully convicted of assaulting a high-profile individual for just trying to save a woman from harassment on the street. You end up living with someone who volunteered to take in a convict and watch over you so you can get rehabilitated. This game plays just like previous persona games, with a time limit, days going by, social rankings, and acquiring personas.
The game will introduce things to you throughout the entire game, and I mean throughout. 40 hours in, I was still getting tutorial messages. The game is an incredibly slow burn. I didn’t get to do any battling until the fifth or sixth hour. This was all story and world-building, introducing the idea of personas, your purpose, and your back story, and showing you how to go about the day-to-day. The game is mostly dialog, to be honest. Out of the 80 hours it took me to finish the game, maybe 25 of those were spent actually exploring the dungeons and fighting. There is a lot of character-building and slice-of-life stuff in here. You also have a time limit to finish every palace, which is the main dungeon in the game.
When you’re not battling, you are living your everyday life. You need to go to school, and the day is broken up into sections such as early morning, which is reserved for dialog you hear on the train going to school, talking to friends at the train station, etc. Morning and afternoon are reserved for things happening at school during the week or random quizzes that you can answer to increase your social stats. These stats are knowledge, proficiency, charm, kindness, and guts. These are needed to finish confidant arcs and max out that persona category, so you can get stat boosts when using that type of persona. These stats can be increased by doing certain activities like watching movies, playing games, doing chores, and other everyday activities. It’s important to use your downtime to increase these stats, as the game is balanced by not just level grinding but having these extra stats for each persona type.
After school time is reserved for doing things around the city, such as said activities, and getting together to enter Momentos, which is a secondary dungeon with a few dozen levels that you need to descend to complete requests from people. In the end, it’s required to descend fully for the final dungeon, but before that, it’s optional. I recommend doing these late-game activities so you can just barrel through the levels at the end. The evening is reserved for nighttime activities and jobs, even to earn more money. After the activity is done, you advance to the next day and do this all over. Some days are interrupted by story elements, scripted scenes, and other events. It’s important to hang out with confidants when you get texts from them to advance their persona ranking. These are where the side stories for each character are held. They can be long-cut scenes too. Usually, you get 30 odd days between each major palace to fill the time. This time period can take hours to finish.
When you do actually battle, your persona is based on finding the weaknesses of your enemies. This can be both good and bad. If you find the weakness, you get one more turn. This can be elemental or physical. The downside is that the entire game can be over if you don’t find these quickly. It’s trial and error as to finding the weakness, and some just don’t have one. You waste precious turns trying to figure this out, and it can make some boss fights grueling. You can save within these palaces and return to the real world to buy items and increase your persona rankings more, but if you don’t find the treasure and beat the boss by the deadline, it’s game over. I’ve always hated this about the series, and it makes the game more difficult and frustrating than it needs to be. You can capture personas by talking to them when they’re weak in battle. If successful, they will join your ranks. It’s important to keep a good variety of personas leveled up and acquire new ones with better skills. You can fuse and itemize them in the Velvet Room, as well as sacrifice weaker ones to strengthen others.
While you can use multiple personas, your party members are stuck with one. Every few levels, they will gain new abilities for their personas, and you have a limited number of slots, so it’s important to keep them balanced. Inside these palaces, you can acquire items, treasures to sell, and powerful equipment that you can buy in the airsoft shop. These palaces are huge, with multiple levels, and can take hours to complete. I played the game on safety difficulty so I could beat each palace in a single sitting, but if you need to level grind and fuse personas, you could take the entire time limit. Each palace has a different theme, and they look cool, but the weak puzzles and labyrinthine halls of some of them are really annoying. Enemies walk around in real-time, and because you are a thief, you can get behind cover and dash around them stealthily or take them head-on. Some palaces are a really confusing mess, and I found some just went on for too long.
Those are your two main parts of the game. Battling in Momentos or palaces and living your everyday life to increase social stats and play mini-games I personally don’t like the trial and error of exploiting weaknesses to win each fight. The graphics are decent, while stylistically they look great with lots of flash and color, but technically it looks like a typical JRPG and borderline last generation and not too much of a step up from the PS3 version. While it seems there is a lot to do in the game, there actually isn’t. You’re so focused on visiting confidants and maxing out social stats in the real world that it feels like a chore after a while. You have to realize there are nearly 250 in-game days you have to get through on top of the palaces and moments. The game just feels like it never ends. 80 hours to finish safety difficulties, and it can take 150–200 hours for higher difficulties. I had to dedicate every free minute I had over the last three weeks to finishing this game and not playing any other games in between. I wish there was a warning at the beginning of the game letting players know how long the game can take on average, or even put it somewhere on an official source of information for the game. I have played and bought many JRPGs, not realizing just how long it takes to beat them.
Overall, I don’t want to talk too much about the story because I can easily spoil something. The Phantom Thieves and trying to change the hearts of criminals is a great story. It can be very dark at times when talking about child exploitation, abuse, murder, money laundering, and many other crimes. It’s a dark game, and I felt it had a very memorable story, but it takes way too long to tell it. Many will balk at the trial and error of weakness exploitation to win battles, insane amounts of grinding, and the constant need to micro-manage your personas to get a well-balanced, always leveled-up arsenal, which might seem like too much. That doesn’t include dozens upon dozens of hours of reading dialog and watching cut scenes. I recommend this only to the hardest-core JRPG fans. This game is not to be taken lightly. While I complain about some of these things, fans of this genre embrace it, and that’s okay, but for only around 40% of players to have finished the game says something about the length.
Rick & Morty became an animation phenomeon due to its quirky humor, crazy art style, and memorable characters. A lot of people don’t like the show, which is fine, and a lot of people love it. I just want to preface this review by saying if you don’t like Rick & Morty you won’t like this game. It’s basically an interactive Rick & Morty episode with the same voice actors, but with original characters. It’s the same humor, but more vulgar and mature due to not needing to tone things down for cable TV.
You play as a Chairorpian. A floating person in a chair holding what looks like a PS4 controller. The center part shows Trover’s health and the button presses reflect yours in real life. This is mostly for playing in VR, but it’s still funny without. Your two dogs get stolen by an evil god thing and Trover is sent to you so you can control him to save the universe. The story is insane and crazy and while it makes sense it’s as simple as an animated TV episode. It’s nothing groundbreaking. The most entertaining part about the game is the dialog. Characters break the third and fourth wall constantly and call out typical video game tropes which is hilarious. You can stand near a character and they will drone on for several minutes longer with a new dialog. If you don’t do a certain action Trover will call you out on it knowing you’re supposed to do it. The writing never misses a beat and is spot on.
When it comes to gameplay this is where Trover kind of falters. It’s incredibly simple and basic and pretty boring. Trover has a lightsaber-looking sword and he has a simple basic and heavy attack, but the heavy attack has to be acquired later on. You also have a dodge roll button which also has to be acquired. It’s an obvious stretch for gameplay time and feels necessary. Enemies are “kiddie video game” territory in terms of ease. There’s zero challenge here. Some enemies need armor knocked off which you can do by throwing objects into them, but it’s still not a challenge. There aren’t any puzzles here either. The ones that could pass as one are super easy and require no thinking. There is some platforming, but this is marred by the weird camera angles due to your perspective. There are nodes that allow you to move around and you can hover higher up to get a bird’s eye view, but it still makes some platforming more difficult than it needs to be.
There are green babies you can collect to upgrade Trover’s health, but I didn’t bother much with this outside what was out in the open. The game is so easy the upgrades feel like an afterthought. I mostly enjoyed just exploring the weird worlds and listening to all the dialog. The game gets incredibly graphic, but I personally love this kind of stuff. Too many games are afraid to dive into this territory. It’s just gross, sexual, vulgar, and super weird which I can’t get enough of. The writing of the show is elevated a bit due to not needing to censor anything. Visually, the game is fairly tame outside of some cartoony gore, but the dialog goes off the rails.
The game can be finished in about 5 hours, maybe 6-8 if you collect all of the green babies. It doesn’t stay its welcome and has a satisfying ending. However, there’s zero replay value unless you want to go back in VR. The gameplay is so basic and dull that I wouldn’t even do that, to be honest. If it weren’t for the awesome writing and characters and striking visuals this would be a pretty basic and generic game at its core. The pacing is at least great and you get pushed along the story and always see something new. A single evening would suffice and it would be well worth your time.
Overall, Trover Saves the Universe is full of Rick & Morty humor cranked to 11, but offers simple childlike gameplay. If you hate the show you will hate this even more, but fans of the show must play this. The over-the-top writing that you never see or hear in video games is a breath of the fresh air and it’s never boring. Once you finish the game there’s no reason to come back, but the time spent is worth the price of entry.
Ever since P.T. was shown and canceled it set a new standard for survival horror games. Silent Hillhas always been the gold standard to live up to and many games have since. MADiSON is one of the first games I’ve played in the style ofP.T. to actually be good and pull off the scares and atmospheres. While not inherently as frightening as P.T. or other horror games it definitely gets across a dark and haunting atmosphere with plenty of scares.
The game starts out really solid but also has foreshadowing of the game’s main weakness. You start out in a dark room with just a TV on and your dad pounding on a door. You need to use the TV as a flashlight by spinning it around and finding a handle to a cupboard on the wall to get a hammer. You get to crawl your way into the rest of the house which acts as the main area you will be solving puzzles. Madison is all about puzzle solving as that’s all you do. The first half of the game can be solved fairly easily. It’s the same affair of examining everything you can and finding that one thing you can pick up and can use on something you remembered it would go to. A lot of finding and matching at the beginning. In between, there is the main gameplay mechanics which involved a Polaroid camera. A Camera Obscura isn’t unusual in horror games. The entire Fatal Frameseries is based around one, but here it’s used to advance the story. There are Polaroids laying around objects you can photograph. When you do you can shake the photo to expose it. While most photos don’t need this some need to be exposed to show a number for a combination lock.
I have to give the developers credit for the great layout of the house. This is a huge issue with a lot of horror games. Many require tons of backtracking through the same area and they grow as you unlock new areas. The house in Madison is well laid out with lots of landmarks to memorize where certain things are. I knew the main starting point with the “ritual area” was past the dining room. The basement was in the main hallway etc. The house is laid out like all horror games should be laid out. Make it memorable with easy landmarks because you trek through the house probably hundreds of times. Most of the rooms hold puzzle areas or transport you to new areas to solve puzzles. You also have an 8-item inventory limit and need to trek to your safe often to store and pick up items. Outside of occasional scripted events, not much happens in the house outside of sounds. There is one scene in a water-filled basement that was probably the scariest in the whole game. The developers really used audio to spook the crap out of you and draw out many fears people would have. Creepy static on radios with unclear voices is haunting.
When you’re wandering around the house nothing happens in between puzzles. Just a lot of squeaking doors, wind blowing, slamming doors, etc. There’s Luca’s breathing that gets annoying as his deep sighs repeat often, but the house itself is just haunting. The sterile lighting, the ultra-realistic look to the house, and the head bobbing. If you played the P.T. demo you know what I’m talking about. This is the new-age horror style that needs to get perfected and Madison definitely sets a new bar. Here’s where things take a bit of a dive. Halfway through when you get to the infamous candle puzzle area in the church many players may turn the game off. You must find four different candles in two different time periods and match those colors that are associated with religious imagery. You also have to navigate through four different mazes and if that candle’s image isn’t there you have to backtrack, go back to the other time period, navigate the same maze again, then repeat this three more times. The one thing the game doesn’t tell you is that if you listen to the confessional too early a ghost stalks you and can kill you if you don’t place the candle down before he shows up. Thankfully he only exists in one time period. I was able to place the first three candles before doing the last one, but many players won’t know this.
Then there’s the clock face puzzle. You must match clock faces that are shown on five different walls but the correct faces are spread out around the house. It’s a lot of memorization and backtracking. And then there’s the Blue Knees ghost puzzle that was incredibly frustrating at the very end. None of this spoils the story, but the last half of the game will really try players’ patience. The game got so much right up until this point and it felt like filler to stretch a 2-hour game into 5. Horror game developers please listen. You don’t need insanely mind-bending puzzles to be a good game. I know this is a trope, but please stop it. No one liked them 25 years ago and no one likes them now. We play horror games for the atmosphere, scares, and intense scenes, not puzzles.
In the end, the story itself is open to self-interpretation. It’s not obvious or clear when the credits roll about what happens to Madison or Luca, but what is obvious are the possible reasons why the ending occurred the way it did. Props to the developers for making an open-ending without being cryptic or making no sense. The visuals are excellent and the production values are up there, but those later half puzzles really bring the game down quite a bit. If you can push past them you’re in for a treat with this being one of the best horror games in recent years.
We as humans tend to dwell on death and what lies beyond. It’s only natural as we simply don’t know. Behind the Frameexplores this concept with an emotional tug-of-war of a story, but you really need to pay attention, and a lot of the story is more between the lines and not what’s really being shown in front of you. There’s a lot of assumption that you know what’s happening when the main character looks shockingly off in the distance based on the previous scene. It’s done fairly well too.
Most of Behind the Frame is puzzle solving. It takes a dark twist halfway through and it surprised me. Your goal is to acquire all five missing colors on your paint palette to finish your painting. To do this each color is locked away behind a chapter puzzle. These got rather complex towards the end, but nothing you can’t figure out without exploring and finding that key item that gives you that “AHA!” moment. Some puzzles are as simple as matching colors on a painting to memorization. Nothing is overly complex and it does eventually come together. The painting itself is a matter of scribbling enough in the empty space and it will auto-fill. Nothing extraordinary there. There are some other small tasks like making food which is as simple and dragging items around.
There isn’t a lot of context on the main character’s life itself through any reading of notes or anything. It’s pretty much learning about her past and her connection with her neighbor. The game has gorgeous anime-Ghibli-inspired art with a few small cut scenes thrown in. I never got tired of looking at the game, but it is confined to mostly her apartment. Every so often you “dive” into a painting, but it’s usually just for story context. There were a few panoramic scenes that were breathtaking. I actually felt like I stepped into a painting myself a few times.
In the end, the game is over in about 90 minutes or less depending on how long it takes you to solve the more complex puzzles in the final chapters. Without having to solve these this game is over in an hour. The story does unfold quite a bit towards the end and without voice acting it gets a lot of emotions across and I have to give the developers credit for that. Most of these short indie games don’t have any meaning behind them. They have some clever gameplay ideas or neat visuals and nothing beyond that. Behind the Frame actually tugged at my heart strings a bit and got me thinking at the end which is more than I can say for 60-hour-long AAA titles. If you want a puzzle-filled emotional evening with great visuals and fun gameplay mechanics then look no further.
Oh man, where do I start. I’m not the biggest 3D Sonicfan and never have been. I didn’t care for Sonic Adventure even when I was a kid. My hot take here is thatSonic Adventureis awful and not a good game. Sonic Team seems to be the only developer on the planet that can’t improve their games in 20 years. Sonic Generationswas the only good 3D Sonic game because it cut out all the crap that slows the game down and makes it frustrating. Why do you need combat? Why do we need gimmicks? Mario hasn’t changed in 30 years but has somehow naturally evolved. Why can’t Sonic just do what it’s good at Going fast?
That may have made some people mad, but I don’t care. This type of stubbornness is just unacceptable today. NowSonic Colors is a better 3D Sonicgame, but it has many problems. The game is poorly balanced in difficulty, but it makes going fast still fun. I hate the combat. I don’t like homing in on enemies to speed the game up. If anything it makes jumps inaccurately. I nearly tore my hair out trying to complete certain levels due to stupid game mechanics.
Sonic’s double jump is terrible. It’s too floaty and I constantly overshot jumps or undershot them. His wall jumping is awful. You have to waggle the stick in the same direction as each jump. This is too much for a game that’s supposed to be fast. The Wisps, while interesting in their own way, just slow the entire game down. Some are neat like the drill that lets you burrow through water and dirt. The purple one that turns you into a giant monster is fun. The green one that lets you shoot around like a dart is also fun. The ghost is an awful Wisp. It’s slow, the zooming through rings mechanic just doesn’t work right, and it made some levels insanely difficult to complete. The Wisps are cute, but I don’t want them back.
Like other 3D Sonicgames, you are on a track and transition from 2D to 3D. I honestly wish the game stayed in 2D. The fun loops and speed pads are so much fun. This is where the game accelerates (HA!) and does a great job. The levels zoom by here and there are a good amount of collectibles. Red stars plus gold coins to spend in the shop to customize Sonic (which I didn’t care about at all), and it made my completionist demon itch. Sonic games have always been good at making you want to explore and retry levels and master them to know where all the goodies are. Colors kind of does this until you have to use the bad mechanics in certain levels. Why does the game need to slow down and make me bounce across a moving spring through half a level just die dozens of times to get a single jump timed right? That is what killed this series.
I also don’t care for the repeating boss fights. They are pretty dumb, to begin with. A giant Ferris wheel thing that just adds annoying obstacles later on that make it frustrating and not challenging. There’s a ship you need to take down and the captain jumps down after you get through its obstacle course. Later on, it adds missiles that need to follow you through a series of moving platforms to break a glass bubble. This slows the game down as you need to wait and guide the missile carefully. This isn’t what makes Sonic games! That’s like having Mario go through an entire level on a floating platform and jump over an occasional rotating fire bar. But that’s it. No enemies. No power-ups. Just float along and occasionally jump. It would be maddening!
There are a few levels that made the game enjoyable somewhat. They were better designed but didn’t have any obstacles or ridiculous platforming shenanigans or floating platforms to deal with. The levels that focus mostly on using Wisps also were frustrating and took dozens of tries to get through. I also never mentioned the story. Yeah, just forget it. It’s pretty basic and pointless and doesn’t really have a conclusion. The voice acting has at least improved over time.
The visual upgrade from the Wii version is decent. The game runs smoother and there are texture and model upgrades, but it’s not mind-blowing. There’s an extra mode where you can do challenges in 2D mode only, customization, and that’s about it. I don’t see any reason to replay this game unless you specifically like this kind of Sonicwith the momentum always being interrupted. It’s over-engineered gameplay when it needs to stay basic. Colors is decent to play through, but many gamers will turn it off after their first irritating level they get stuck on.
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Yeah, it's pretty damn awful. Notoriously one of the worst games on the PSP. A 4 was actually being generous.…