In southern California, we experience something called “June Gloom.” It is sort of a mid-season switch from the “Cold” (aka Less Hot) season into the Hot season, and basically everyday feels like my heart — cloudy, overcast, and named something stupid. I would be hard-pressed to tell you what the “opposite” of June Gloom is, other than simply “a normal day.” Why did I bother giving you this useless trivia since you’ll never be in southern California or my heart? Fox N Forests, an otherwise typical platformer, takes the idea of “swapping seasons” to heart and creates a unique gameplay gimmick that feels like it was ripped out of the late 90’s to early 2000’s.
While it’s easy to assume the intended throwback of the title is to the Super Nintendo era, it feels more like a Game Boy Advance platformer, which was an extension of 16-bit games past the year 2000. This is mostly due to the game feeling different than what you may normally get from the Super Nintendo in regards to level design, controls, as well as the ability to upgrade stats or unlock abilities. There is also sarcastic dialogue that gives the game a feeling of being more “postmodern.” The graphics are great, and pixel art is beautiful at times, but the resolution is purposely very low to emulate playing on a classic platform, which is not usually something I would be a fan of, but in this case it works. The main gameplay hook is an interesting one — changing the season you are currently in so that it changes the terrain or adds elements to get you through obstacles. This ability uses mana, and as there is a limited amount of it, this ability is on a timer essentially. There are also mana crystals littered throughout levels, allowing you to replenish your mana bar quicker, or keep the season change in effect as long as your timing is right. Logically, changing seasons is a curious mechanic, because it seems you are actually time traveling, yet all of the enemies are in the same place as you go back and forth through time. Baby birds instantly turn into asshole crows that drop shit on you, fire tornadoes coming off burning windmills are replaced with angry lightning clouds, large leaves coming from space float down, etc etc. It all sort of just doesn’t make sense in that context, but you roll with it as the game has a lot of fun with this mechanic in interesting ways.
As a platformer, the main thing you do is progress through a level by jumping and getting through obstacles. The levels are purposely very long and can take upwards of 30 minutes or so to complete one run, including deaths. While games in this genre usually have a high quantity of levels that take 5 to 10 minutes each to get through, Fox N Forests has a lot less individual levels and crams the already sprawling levels with secret paths and areas. The gameplay never gets a break because they set you back to a checkpoint without restarting the level from a menu; this is a nice quality of life consideration, but the side effect is your Del Taco fries will go cold if you were planning on eating “after this level.” The enemies add to the texture of a level, keeping it somewhat fresh depending on your problem-solving skills. The enemy variety can also feel a bit lacking, with some enemies just getting a pallet swap or appearing over and over.
As you play an asshole fox named Rick, you’re promised something or other by a large tree-face-thing and an adversarial wise-cracking bird. They want you to help save the forest from the “Fifth Season” by collecting Magic Bark from ridiculously large, equally assholish bosses — it’s basically something you’d expect in the genre to have to go and collect shit to save something you have no emotional attachment to. The Magic Bark could very well be tree-face-thing’s shit for all you know. The large tree-face-thing gives you a bow that has a bayonet on it, allowing you to only shoot straight. Sad! All of the other directions can only use the bayonet, which has a very short range but is powerful. Useful! You eventually get magic arrows to change your firing pattern and along with your ability to change the seasons, you’re on your way to killing tons of evil forest creatures and stealing their money. Additionally, there are also shoot-’em-up levels to break up the platforming; they feel out of place, honestly, but are still fun since they rely on the season-changing mechanic heavily.
A big “feature” of this game is the secrets. Going back and playing levels to find all of the nooks and crannies in pursuit of obtaining collectibles is going to be the main time sink here. The collectibles are actually pretty hard to find and there are only a few of them, so when you find one it is actually meaningful. As all of the collectibles directly relate to upgrades or unlocking levels themselves, you’re definitely motivated to go back through them over and over. Upgrades to health and mana are similar to what you could expect in a platformer. Fox N Forests is also said to have “RPG elements,” but there’s no experience or progression necessarily, so you’d be hard-pressed to qualify any game system as an “RPG element.” I would say the only “RPG element” is the fact you have to grind gold and replay levels over and over (SICK BURN!!!!!!).
Each level has 5 magic seeds and a couple of other collectible items, with four “seasons” containing 2 levels and 1 boss. To enter a level for the “fifth season” you have to collect all of the seeds for a particular season, and then you get to enter the level. Since the seeds are pain in the ass to find, I haven’t been able to get into one just yet, and I have no idea what to expect since it’s hard to imagine what a “fifth season” would be. Boss levels are also unique challenges, but since their challenges haven’t been introduced at any point before you attempt the boss, you’ll always die on your first attempt. An odd decision on the game developer’s part is that they add a “help” text box after you die to the boss, basically telling you exactly what to do to kill the boss the next time you attempt it. There is no consequence to dying in the game, so you are allowed to attempt bosses as many times as you want. This feels a bit fourth-wall breaking, and doesn’t really make much sense why they blatantly tell you how to beat a boss like this, considering there isn’t an arrow pointing you to all of the collectibles in a level. Usually a boss is supposed to utilize at least some sort of skill you learn beforehand in a more advanced way, rather than being completely independent of what you had previously seen. Otherwise, the bosses can be a fun challenge.
Fox N Forests is a pretty enjoyable title, and with pretty graphics, responsive controls, and a simple upgrade system, you’ll find there to be a unique challenge with the large levels full of secrets. Exploration is not typically something you see in platformers, so it feels like something different despite being an obvious throwback. If you can somehow change the season to a Steam sale, consider this an option to spend your money on.
Developer/Publisher: Exordium Games || Overall: 6.5/10
Last Encounter is a bit of a puzzling game for me. The gameplay itself is fine, but the game is a chore. You’ve got a space-themed twin-stick shootery game wrapped in a roguelite progression system, but the progression is so metered, it’s as if there isn’t any at all. What it comes down to, is that being stingy in a roguelite just does not work. Upgrades are few and far between, health drops are practically non-existent, and never mind the amount of enemies that want to blow your face off.
For a roguelite, there’s hardly any progression to be had and one of the major road blocks is that you research weapons you find by using Credits. Credits are found only by killing stuff, and you lose half of it every time you die. You can only research when you are back at the base, but you are unable to return to base until you die; this makes it hard to research or buy any weapons at the home base for a better run. Credits can also be used to purchase weapons in a level where there’s a shop, so there’s probably going to be even less of it by the time you’re back at the base — if you even get the opportunity to spend it.
The one very positive and unique feature this game has is the weapon system. You have three weapon slots, one being the base weapon, and the other two being modifiers. The modifiers can change the way your base weapon behaves, either increasing its strength, changing its firing pattern, or making it fire faster. The different weapon changes are actually pretty fun, but unfortunately there isn’t enough of these drops occurring to keep the cadence of the game itself fun; they are also finite as you’ll use up an energy allotment unless they are a yellow-colored upgrade. There is also a lack of information regarding if you’ll replace a slot already occupied by another weapon, so you may downgrade or get something you don’t particularly want because you haven’t exhausted your previous upgrade. There are additional kinds of upgrades laying around the levels that will provide a small boost to your ship’s stats, but these stats are only permanent for the run, and will disappear once you die. The boosts are practically inconsequential and don’t appear very often, so it feels like they should have just been permanent forever.
If you are somehow able to get through a set of levels, called a galaxy, you enter a new galaxy where the theme changes and enemies become different and more difficult. The themes are actually quite nice and unique from each other, and since the challenge increases significantly from one galaxy to the next, you won’t have much time to enjoy any of it before you’re dead again. The graphics and art are a real selling point here since it’s easy to say it all looks pretty high quality and not-so-generic for enemy designs. The level layout and enemy count is all procedural, so you’ll never see the same level again per se. Using a controller is unfortunately a pain, though. I opted for keyboard/mouse and it was a much more pleasurable experience.
The story is sort of interesting, but there’s hardly any focus on it, and it gets cheapened by a wise-cracking scientist. Earth is under attack by aliens and they’ve lost the war. So it’s up to you to go through the portal as a last ditch effort to close it and go back in time or something — I don’t really remember since there’s hardly much story flying around. While in-game, you try to find out what happened to the previous excursion of battleships into the portal only to find they’ve all been destroyed, and you try to track down any survivors. So, it’s up to you and your dinky ship to destroy all of the alien ships that are doing nothing but waiting for you to come and blow them up. Rinse and repeat until you’ve lost interest, and you’ve got Last Encounter.
While the game can be fun at times, overall it is pretty dull. It seems like the game is pretty short insofar as how many levels there are to go through, so maybe that’s why the progression is so significantly metered and doesn’t really exist as part of the gameplay loop. If there were more themes, and possibly even having randomized themes, it might be a bit more thrilling to restart the game over and over. Local co-op might be a pretty fun excursion if you’re looking for something, but the visual clutter is already an issue as it is.
Developer/Publisher: EXOR Studios || Overall: 8.0/10 | Note: Review includes the “European Assault” (DLC)
I’m a big fan of the tower defense genre, so whenever I get the chance to review a new game in the genre, I get excited. Unfortunately, there’s not usually a whole lot of variety, as a lot of it relies on how well the levels are designed, what kind of towers are available, and if there’s anything particularly charming about the game. The hook for X-Morph: Defense is that it mashes the tower defense with a “twin-stick” shooter, turning the player into a very important and active participant in defeating the waves of enemies.
Back in high school, I used to play Starcraft quite a bit — but I seldom played the game as it was meant to be. I always played the “Use Map Settings” customized maps, and there were a lot of different iterations of tower defense, among other “new” genres. On its face, X-Morph: Defense feels like a fully realized version of those old Starcraft tower defense maps. The idea of forcing your enemies to move around your towers and build barriers was one of the strategies you’d employ to make those maps easier and get the most kills, whether it was intended or not. Since X-Morph: Defense is designed with this aspect in mind, this leads to putting way more emphasis on the placement of towers and terrain manipulation, rather than the tower configuration. The path of your enemies to the core requires significantly more player agency than most tower defense games offer, and that’s one of the shining aspects of the game design. Where the tower placement gets complicated, is that enemies come from multiple directions, and even more directions are added as the map expands. This forces your strategy to change between waves, and you’ll have to re-evaluate your previous tower placements. Each wave demands you to pontificate to see if you can improve it even slightly; the freedom to do so comes from not “losing” resources for selling or moving your towers. Unfortunately, the tower weaponry variety feels intentionally basic, because the main emphasis in gameplay is with the player-controlled character.
As the titular “X-Morph” defender, you will eventually be able to switch between four different weapon sets on the fly (pun intended), depending on the situation. You’ll constantly be encountering helicopters or jets trying to shoot you out of the sky, and combine that with the ground units shooting projectiles at you, you’re almost in a bullet hell game. The towers become a secondary thought in the heat of the battle and you just kind of hope everything is working out… until it doesn’t. I’m not very good at bullet hell games, so it sort of takes the enjoyment away from the tower defense for me.
There are 14 levels in the original game and three more levels that are introduced in the DLC, which is called European Assault. There’s a lot of game, with approximately five to seven waves in each level. The story is an interesting take as you are the alien invader against a highly technologically-advanced human society who make giant mech bosses. The power fantasy of being an advanced alien seems a bit softened when the measly humans bring out these huge machines, but I digress. The boss battles are really unique challenges and have a more traditional twin-stick shooter vibe. While towers are still important during this phase, depending on the boss, it definitely becomes a game of skill rather than strategy.
As you complete each level, you’ll gain more skill points to put into a tech tree, which unlocks things like weapons, more health, or other buffs. You are mostly free to create your own strategy, but eventually you’ll unlock them all so there’s not a lot to strategize around when that happens. What you do notice is if you don’t have certain tech unlocked that matches the challenge of the map, you’ll just be fucked and have to start over. There are several difficulty levels, and it is pretty difficult on normal once you progress past the first few levels. I even put it on easy and it was still hard! I think I mostly suck at the shooting part of the equation, which isn’t surprising. Very Easy is a lot more in my wheelhouse, but it’s not like the game is going to play itself, you’ll still have to make sure to pay attention to what is going on.
I enjoyed X-Morph: Defense quite a bit until I realized that it was the same sort of challenge for the non-boss waves. It also becomes daunting when you see 8 different lines heading toward your core, you’ve already got a bunch of towers manipulating 4 different paths your enemies are taking, and now you have to worry about 3 different airborne enemies, and I don’t even know where the last line is coming from. After the 8th or 9th level of dealing with crazy lines, I just lost interest. I think there needs to be more depth in the way towers worked for me to really see this as a tower defense game first. There’s only so much fun in spamming the same tower without being able to improve them in some way within the confines of the level itself. Instead, I feel like it is a twin-stick shooter game first and that’s not particularly my cup of tea.
Despite my personal misgivings, I think there’s plenty of value to this game, it’s well made, and it has fun terrain physics. Once you get through the trash waves, the fun boss fights really throw in a unique aspect to the gameplay. If perhaps there were some smaller bosses sprinkled around it’d break up the gameplay and make it a bit more engaging since the trash waves take a long time to get through.
Developer/Publisher: Team Gotham || Overall: 7.8/10
One part 3D puzzle game and the other part online personality test, Solo asks a lot from you. It asks you to bear your soul about Love. It also asks you to arrange a lot of boxes so you can solve puzzles, which I suppose is another metaphor for love, especially after you move in together. There’s a lot of boxes. There’s also a lot of strange alien-like fauna, like elephants that eat cheese, cat-things that eat bananas, and some other cute creatures that you can pet. You can also play guitar.
The most obvious thing you’ll notice about Solo is its elaborate art style. While it has that disgusting Unity “marshmallow” look, it makes it its own by creating a unique atmosphere. Each puzzle takes place on a little island in a greater archipelago; solve the puzzle on the island and a new one will pop up from under the water. Interacting with the myriad of inanimate objects, cutesy creatures, and ghostly characters adds to the experience. The fauna and the general aesthetic of the world feels very “not Earth-like” which leads to the feeling you are either in some sort of dream or on an alien planet of some kind. You’re referred to as a “sailor” but there is very little actual sailing going on other than moving from one archipelago to the next. Additionally, the name you put in as “your love” ends up being the name of the ship… QUITE EMBARRASSING!
As far as the puzzle aspects go, it uses a system in which you re-use a set of blocks in continually different configurations, rather than using said blocks one time and leaving them there. You’ll have to design your solution to a puzzle, of which there are multiple solutions (depending on your ingenuity), and then you get to answer an overly personal question about your love life. Rinse and repeat, and you’ve essentially got the whole experience. The types of boxes you’ll encounter are normal boxes, boxes with fans in them (that allow you to glide in your parachute), boxes that stick to walls, and boxes that extend a platform from them. Using the boxes to create platforms is your primary pursuit; you can use these boxes in different configurations as you can rotate them and whatever works, works. You also use terrain (no jumping), your guitar (occasionally), and other elements in the immediate area to solve puzzles. They also let you take pictures with a camera, but considering your character looks like a horrendous sack of potatoes, no thanks. And there doesn’t seem to be a functional reason to making animals happy other than to get them to shut up.
The theme of Love is pretty heavy-handed. The first thing you do in the game is choose your gender, including giving you a non-binary option. They also ask what gender you are romantically attracted to, which non-binary is also an option. At this point they give you a choice of avatar to represent yourself in-game, which is only three white characters. It’s odd that the game seems to strive for some sort of inclusivity, but only so far as it matters directly to “love.” I suppose race wouldn’t fall into that category per se, but it seems out of place that these options are presented and then you can only choose white characters.
The writing itself is pretty good and gives a feeling that there was a lot of care for what is being said so that it doesn’t sound too sappy or too ridiculous. In theory, there seems to be different writing depending on your choices regarding your relationship status and the like. Interestingly, despite the game looking like it is “for kids,” the subject matter of love, relationships, and even sex, is definitely not for kids. This is just my paranoid side speaking, but you have to wonder if there is some sort of collection of data with the answers to these love questions — it seems generally out of place in the manner they present it since they make it about “you,” the player, rather than an in-game character. They say to get the most out of it, you should answer truthfully as much as possible. It also wouldn’t surprise me if this was all a disguised recruitment tool for some box-fetish cult. “Only the ones who can solve these box puzzles need apply. 10 Inch dicks or DD+ boobies only.”
So, while the game is generally a positive experience, it’s really not that engaging. The puzzles can be fun to figure out, but they can also be fairly frustrating considering the controls. You’re also constantly fighting against the camera which doesn’t seem to allow you to zoom out at all. Placing the boxes in a 3D space depends on the angle of your camera, and even though there is an “aim assist” for placing the blocks, sometimes the cursor will disappear and is fifty miles away. Holding the left trigger and clicking it over and over can also be a bit taxing on your finger and it feels like there should have been an easier way to do all of the stuff you’re doing without having to constantly hold it or trigger it. Otherwise, the performance of the game had no issues outside of random frame drops, and the sound/music is quite good.
Giving a score to this game was hard to do. It’s definitely an enjoyable game, and I’d recommend it if you are into 3D puzzle games, or at least interested in having your privacy violated by unknown data gatherers. If it weren’t for the controls and camera frustration, I’d probably score it in the higher 8 range, but when a game makes my fingers hurt for no good reason, it’s getting docked. It is perhaps a bit pretentious as well, given the subject matter being matched with it’s cutesy art style, so it makes me question possible ulterior motives of Solo.
It’s often that I’ll play random games and discover that I like them or hate them. It’s quite another experience to play a game that brings the question of “why does this exist?” Keeplanet is more of a game that confuses me more than anything else. I don’t hate it and I certainly don’t like it, but mostly I just don’t “get” it. There’s some sort of design philosophy to this title, but the end goal didn’t seem to be “fun.”
Keeplanet‘s concept rides on the principal of “balance.” You are the “World Commander” of a set of planets in a solar system, your role being to develop the new home for humanity after Earth got blowed up. Your goal is develop your world by placing objects on the outer rim of the planet and keep the balance of all of the objects such that the world keeps spinning and isn’t dragged down by being too heavy on one side. You can balance the world on the fly by placing more objects down and hoping you are “calculating” correctly before your world’s inhabitants are killed off from the lack of rotation. Gravity seems to have taken a vacation from the rules of physics, but there’s stranger things happening in quantum mechanics so anything is possible, I suppose.
There’s nothing that’s inherently fun about the concept of randomly placing objects on the extreme edges of a planet, though. Not only is it a pain to actually see where you’re placing things, but the planet will get “bigger” as more objects are placed and you put down even more objects between those objects. Some levels require putting down a hundred or more of these “objects” so you’ll really have to be paying attention to what the hell is going on. Unfortunately, the game doesn’t really provide you with the tools or information to help you in this manner. There is a weight scale that defines the weight of the planet’s “left” and “right” (whatever that means) and as the world rotates on its axis and more objects are built, these numbers change constantly. The goal is to keep these numbers as balanced as possible and the world will rotate. If it stops rotating, then your population will start dying out from heat and cold and once it reaches zero, it’s game over.
The user interface leaves a lot to be desired. There’s a large “Play” button on the menu screen that you only use one time, but stays there after you click it. Selecting your level beckons you to click a WORD that says “Play” not the big Play button that becomes a quick way to close the entire menu and put you back to the Title Screen. Like, why the hell do I need to go back to the Title Screen at that point? Just hide the Play button or use it as the level selection.
The information provided regarding objects is basically nonsensical and I just don’t care about the numbers when I have to plop down 300 objects quickly — otherwise I’d be here for 30 minutes for one of these levels and that ain’t happening. Of course, I die over and over regardless, so I’m stuck playing that long anyway! I also really don’t get why the outer edges of the planet are the only thing being used; when the planet becomes bigger it becomes impossible to see all parts of the planet without zooming out, which makes the objects you are placing much smaller. Where’s the joy in placing some stupid ass mountain on a planet if I can’t see it???? Or those dumb trees, for that matter. There’s no agency here where I can pick which objects I want to place and create a strategy to overcome the task at hand — it’s more of a Tetris with objects being served to you and you dealing with it. So, some World Commander you are. Who is building these unwanted mountains for you? Why not some big speakers that play Spanish music to liven up the place? There’s also a big wasted space in the center of the planet which I feel could have been used for the user interface information in a more creative way, but instead the UI elements get in the way of the game play, and you mostly just stare at blank space on your screen. The graphics are generally inoffensive, otherwise. The sound isn’t that annoying, but there’s a siren that will go off when your population is dying, which can be a bit annoying.
The only real positive aspect of this game is that it is really cheap. It is currently $1.99 on Steam at full price, so you can probably get it with some Steam balance and check it out if it interests you. There are probably about twenty levels including the “Challenges.” It’s not particularly impressive, but it works and you can play it.
I don’t really understand why the title of the game is “Keeplanet,” but it probably goes along with the translation errors that can be picked out in the text. Maybe it’s as simple as “Keep your planet alive. Keep. Planet. Keeplanet.” ::facepalm::
When it comes to the store’s page, it’s almost comical how weirdly it is worded at points. Two quotes from the Store page and my analysis:
Develop the planet In Keeplanet, you create your own history – there’s no right or wrong way to play! Become a world’s landlord, spread out trees, mountains, houses and other objects to make the planet rotate around its axis. Remember, the most important thing is not to let the planet stop. Otherwise, all inhabitants of the planet will die out from sunburn or freezing.
Except there is a right or wrong way to play. You get game overs when you don’t play the right way! It says it right in the same paragraph that if you let the planet stop you lose, that’s the definition of having a wrong way to play!
Fight for the humanity Universe is a dangerous place, protect people from external hazards – meteorites, meteor rains and vigilant aliens are waiting for your mistakes. Don’t let them break you!
Fighting for “the” humanity = fighting for our morals?
External hazards from outside of the universe?
The vigilant aliens just ram your planet, similar to meteors. Meteorites are also meteors that have hit the Earth, so are meteors that hit Earth, flying off of Earth across the universe and then hitting your new planet? What a bunch of assholes.
The same sort of thing happens with the in-game text, but there isn’t nearly as much writing, so there’s less to fuck up. Some of the English is so broken, they are just words on screen with no association to each other.
I’ve never been much of a fan of the Bomberman series, but I got the point of it. In fact, Bomberman is a lot more fun than the evolution of the game into roguelike territory. Bomberman‘s appeal was using the map in such a way to kill the other enemies that were running around while not blowing yourself up. All of these concept carries over, but considering you are in a roguelike, you’ve got procedurally generated room layouts, dungeons, and bosses. Except, in Bombslinger, the game intentionally slows down the pace significantly by adding obstacles you have to blow up. In doing so, Bombslinger becomes much more like a strategy puzzle game than an action game where you go around and put down a bunch of bombs and run around hoping you don’t blow yourself up.
As always in a roguelike, there is loot and powerups you can unlock. Killing enemies nets you gold most of the time, but they can also drop Spirit, which allows you to use the special abilities you find. You also gain XP to earn levels; leveling up allows you to choose one of three bonuses, depending on your need at the time/gameplay style, usually being health, bomb, or spirit-related.
Without bonuses, you only have one normal Bomb and three Hearts. It is very easy to get hit by your own bombs if you’re not paying attention. In general, it can be a bit annoying if you don’t already have a lot of practice in anticipating when bombs will explode, and if you don’t really like “Bomberman” gameplay, you’ll lose the will to play pretty quickly. Especially since you get hurt by your own bombs, and always have to move out of the way, it becomes tedious having to blow up fucking corn stalks one at a time when the map is full of them.
The whole reason Mr. McMean (your character) is on a rampage is because his wife dies in the opening cinematic. I suppose it can be ironic that you also die over and over, and I suppose your wife dies again every time you start over as well. The first level is the main character’s house, known as “McMean’s Ranch.” You’ll be spending a lot of time here as you start playing, and it seems to be an unfortunate choice because the music gets annoying and the map is boring, despite the nice pixelated style. When you get to the second map, you trade the “desert ranch” map with corn stalks and old men in thermal underwear, for “traditional desert” with chickens and bandits. There’s also goats. I’m not entirely sure why you are killing old farmers when it is your old bandit gang that killed your wife, but they look mean so it’s time for murder. I suppose the story really doesn’t matter, but if they’re going to bother setting something up, at least have it make sense in the context of the story created.
The boss rooms are more traditional Bomberman grids, but the first boss, a goat, can charge you so you have time your bombs correctly. They can also push the bombs away which can change the calculation of being in a safe area. Stuff like this is probably where the game shines the most because it doesn’t veer too far away from the original Bomberman formula.
In general, the roguelike improvements seem fun enough for the confines of wanting to play a more “modern” take on Bomberman. There are what seems to be about thirty or more unlocks and power-ups. You can also buy the same items from the randomly appearing shop that you would see in chests. Some chests can be only opened with money, whereas most need a key to open. There are occasionally timed chests that will blow up if you don’t reach it in time. The rooms are randomized and all of the enemies must be cleared out before moving to the next room — this again loops back to being a slow process since you have to clear out map elements to get to the enemies.
At the end of the day, Bombslinger is serviceable. It isn’t terrible, seems to work okay, looks good visually, the controls are fine, and also has a local multiplayer mode that could be fun. It’s about as standard as you could get for a little game like this, and depending on your love for the Bomberman series, your mileage may vary on how much enjoyment you get out of this title.
I had a dream about a party at my parent’s house with tons of random “family” members, even dead ones.
Melissa Joan Hart was there and she knew me and waved. A pair of twin brothers named Eddie and Edik I hadn’t met before were also there.
There was some sort of evaluation sheet that allowed me to jump back and forth to see their degradation in smartness or something and if they changed over time, it would give a status about them.
In the family room, I wanted wine but my mom would keep pouring watered-down sparkling water and then pour some wine afterwards, despite not wanting that. I finally took the wine myself and then left to go to another room.
In the other room was a room full of young hipster-type people. I was done with my “family” and decided to go into the next room with those people. They were all huddled around the couch playing some board game, and there was about 15 to 20 of them and not all of them were playing. They all looked at me but didn’t know who I was. I said “Hi, my name is Dave and I’m an alcoholic” as a joke, but they thought I was serious and asked if I was an alcoholic.
I remember something about “The Mayor” (not a real person) showing up at the party and then all of a sudden there were gun shots or something like that, someone was trying to kill him or me, I don’t know. I woke up at that point.
The dream starts with me launching two ICBMs while on the freeway. Unsure where they went, but they didn’t explode. I got arrested but was taken to a school convention instead of a jail. I left overnight, then woke up and was arrested again outside the market place I was dropped off at. I then called elmoisfurry to warn him about the whole situation since he was supposedly there too.
Developer/Publisher: Dan & Gary Games || Overall: 9.5/10
I often wonder what a “perfect” game would be for me, as a gamer, rather than a reviewer. There are merits such as admirable game design, interesting story, fun game mechanics, but what do **I** really want to play. I like things that are strange, humorous, and keeps me guessing, among other things. Super Daryl Deluxe is one of those odd times that I could potentially say “I want something like this” and it actually exists.
Set during the post-apocalypse of a seemingly “libertarian” self-help renaissance society, Super Daryl Deluxe is what I would call a “post-modern fantasy”-themed Brawler RPG. It integrates a lot of famous historical characters, LARPers (known as the Dwarves & Druids Club), and other popular science fiction elements thrown in to make things even more weird. There’s also a lot of cultural references, like the Paranomal Club based on the “Ghost Hunters” TV show, or “Skrillex” (known as Little Johnny) being an antagonist. There are plenty of original characters as well, and the mish mash of all of these different crowds makes for a packed game. The world-building reveals itself as unexpectedly deep for this genre, and you never know who or what you’re going to see next.
Lots of satirical jokes are found throughout and a lot of attention to detail to the humor really shows. As a literal silent protagonist, the titular, spaghetti-limbed character, Daryl, never speaks or reacts to people when they talk to him; they react to him, thinking he is an idiot, or just filling in the blanks themselves — its an obvious parody of silent protagonists in RPGs. The story itself starts small, then grows bigger, as you are tasked with a simple thing like “get a can of spray from the janitor’s closet” which then leads you into a surreal adventure across time and space and air vents large enough for a space ship, located in the bowels of a high school that is itself breaking through into different dimensions. Surrealism is the key word of this game as you go ever-deeper into the craziness, and all of the characters being “okay” with it all just makes it that much more bizarre. Parallels can be drawn to the game Frog Fractions in this sense, but there aren’t any abrupt genre switches.
There is a retelling of the game’s satirical story in an in-game journal that satirically retells it — what shows up in the journal is never quite what actually happens. This becomes a bit of a fourth wall breaking experience as the Journal “writer” feels like an observer who is talking to you directly. Normally, most of the story is communicated through dialog, which never seems to outstay its welcome, but can get a bit winded at times. The way the writing is structured, it would probably not work if it was all completely voice acted, however, there is voice acting for the handful of cut scenes. The introductory cut scene is strangely unnerving, and while it doesn’t exactly explain what is going on in the story, it does set the “mood” for what is to come.
The art is absolutely the most appealing aspect of the game. Everything exhibits a hand-drawn quality and colors are used intentionally to bring important details out on the characters. With so many little touches and details to the art, the result is a high production value that is reminiscent of a television cartoon show. Enemies have fun designs and despite the theme shifts from one area to the next, all of the characters feel like they belong in the same universe. Music is also a high point where most of the tracks integrate the name “Daryl” into the song. I never would have figured that “Daryl” could work across so many genres. Other sound effects are good and add to the overall experience, especially when it comes to the abilities you use and landing hits.
As Super Daryl Deluxe is a “Brawler” RPG game, you’ll find a lot of variety and a build-your-own combo system. You can choose what works for you instead of being relegated to a set of abilities, with around 20 or so to choose from. Many abilities are also humorous or cartoony, which fits nicely with the art style. Equipment is also a thing, which gives a lot of depth to the overall gameplay. The inventory system is very easy to manage and offloading equipment for “lunch money” allows you to buy textbooks, which allow you to buy more abilities. Lunch money also drops from monsters as you kill them. The currency system feels very balanced, so even as you gain exponentially more money, the cost of items you buy also go up. There is also some simple crafting which is really just purchasing equipment with the required materials.
There are a wide variety of maps to visit, with very elaborate room layouts and fun themes, such as Science, Arts & Music, History, the Air Vents, and a couple of other smaller areas. There are a lot of secrets to unlock and leveling certain abilities allows you to unlock chests or other special rooms. As you progress in the game you’ll be able to go back to earlier areas and get into rooms you weren’t able to previously. Some new formats to play also pop up, such as the Dwarves & Druids questing, or re-summoning old bosses for exclusive loot.
The game is very long for this genre but it stays fun. I’m already at fifteen hours and have no idea when the game will end, but I would guess I’m getting close. But, I’m still only in “Part 1” and supposedly there are five parts. Fifteen hours is what they are advertising, so I suppose your mileage may vary. A small amount of grinding is also necessary to level up so you don’t just skip through all of the areas with enemies — monsters have levels and will get harder as you go along. If you do all of the side quests, it helps you with the grinding, but it really isn’t that bad if you’ve found a good set of abilities to quickly defeat enemies with. While I wouldn’t classify the game as difficult, I had fun experimenting with all of the different abilities and finding out what worked the most. I died only a handful of times, and the bosses are unique gameplay challenges that mix up the logic of beating the crap out of everything to something more strategic. Occasionally, I didn’t read something or forgot what I was supposed to do, so I would run around aimlessly trying to do things to progress the story cussing and getting frustrated about not knowing what to do. But this happens to me in almost every game.
That’s really all there is to it. Super Daryl Deluxe is an experience in and of itself, and a unique one at that. There’s nothing bad about it, really — so what prevents it from getting a full 10/10? The lack of a really engaging game loop that makes you want to come back for more is probably what holds it back from that. The game is also very linear, and while you can visit older zones, they aren’t made relevant again — though you spend a lot of time in each of the zones while you are there. Presumably there are reasons to revisit as there is a locked mysterious blue door in each of the main areas, with no explanation attached. I could also see playing through the story once and just being done. Despite that, a lot of personality and love went into this title and it shows. The art is great and a real treat. If a sequel ever comes around, I’d like to see what direction they take it in.
MORE STAR WARS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! And Toys R Us store-visiting experiences!!!
We talk about the general concept of shared universes and crossovers. There’s a general lack of crossovers nowadays, and I think the idea that Alien, Blade Runner, and Soldier all being in the same universe is a dandy one. Thanks Ridley Scott!
The new Jersey Shore reunion is a topic of discussion.
And there’s a Star Wars: The Last Jedi porn parody. It’s probably better than The Last Jedi.
Looks like they got rid of Finn completely — so it’s actually just the director’s cut of The Last Jedi.
Wow, another podcast in the same year as another one?!?
We talk about what we are going to talk about. Unfortunately we have some recording issues, with dropping out and connections I guess, so sorry for that.
Pacific Rim Uprising is what we discuss at the beginning since it is out this weekend. We talk about reviews and how it compares to transformers. then we talk about transformers and actors who appear in this sort of movie.
We then go into about Comedians becoming dramatic actors and dramatic actors who take on comedic roles, such as Chris Hemsworth in Thor: Ragnarok.
We talk about having no time to watch shows. Atlanta, Black Mirror is discussed. Then we talk about Eddie Murphy, which leads into Smash Mouth tour dates and then a discussion on fast food.
Somebody once told me the world listens to Squacklecast.
I think they were lying.
We talk about the Facebook data breach and other miscellaneous things.
I’M GOING TO GO SEE PACIFIC RIM UPRISING NOW, EVERYONE.
Oh, right we do… well get ready for the POST-OSCARS OSCARS 2018 TRAILERS GUIDE!!! WITH THE SQUACKLECAST!!!
This is Peak Squacklecast right here folks. Or is it “Pique?”
We talk about The Oscars, and how we would improve it. A pear is also involved at multiple times. We talk about the movies we did and didn’t see during The Oscars. There are other things too, I guess. I sort of forgot at this point.
We also do a quick recap on Black Panther, our likes and dislikes. I NEVER FREEZE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Something I forgot to mention in our mini-recap about Black Panther — I would have liked more “panther” type kinetic releases (like swiping and jumping or whatever) rather than a big kinetic cloud coming out of a suit.
We also recommit to doing a Squacklecast more often so that our listeners out there can get more content! Or maybe we didn’t recommit.
Developer/Publisher: The Station || Overall: 6.0/10
The dude that brought you the rare flash game “Cat Attack” and the other dude who made a local pizza restaurant’s online delivery form come together to bring you The Station, from developer The Station. I can’t tell if the company name is just lazy or if they are the gaming-equivalent of a musical supergroup that makes one album/song and that’s it. This needs as much explanation as the goop that is left over in the microwave after making Annie’s Macaroni and Cheese. I NEED TO KNOW!
The premise of The Station is that you are a “recon specialist” on your way to find out what has prevented a large traveling space station from accomplishing its mission. The original mission is to study and observe the first intelligent civilization that is found in the universe — the ripple being this civilization is in the midst of a “civil war” so the home government is unsure of how to present themselves to this new race, or if they present a threat. Their plan is to send three idiots stalwart members of society without putting them through a vigorous psychological screening process on this important mission, and of course lo and behold something goes wrong.
As the “recon ‘specialist'” you are not-very-urgently trying to figure out what is going on with the lost crew. No real attempts to communicate occur, as the recon specialist takes their “recon” occupation to heart. You will walk around, look at things, read things, fiddle with switches, take things out of boxes, and put things in other things. You’ll also listen in on “augmented reality” conversations that have been left over by the three staffers on board as you slowly realize that none of them should have been sent on this mission. Oh, did I mention that three people might be dead or dying and there is no sign of them the whole time? At the end of it all once you figure out all of the ins and outs of the mystery, it’s the most competently underwhelming game story I’ve experienced in a while. I saw the twist coming a mile away, but I was holding out hope that it wouldn’t be something so obvious, though it was “disguised” cleverly enough along the way. At the end, it went even further in the direction of “cliche” and it ended up feeling very pretentious with a blunt political message. The passive aggressive melodrama playing out in audio-only was not particularly enjoyable nor relevant to the greater “mystery” at hand, making me not particularly care about their fates and even hoping for their deaths. It also didn’t make sense why people’s dirty laundry would be floating around in augmented reality orbs for others to listen in on.
Technically, the game is competent as a “walking simulator.” Any of the “lack of gameplay” this title exhibits gets a pass since that’s just the genre it’s in; it achieves what it strives for. The puzzles are not too complex, but can be challenging if you aren’t good at remembering the differences between similar symbols (which by the way is the worst way to realistically organize/configure anything). Not every puzzle or room needs to be explored to complete the game, and you can easily miss something on the first go around. There is one small room that I opened up on my second play through, and I was unable to figure out exactly how to get into one of the character’s lockers due to an incomplete puzzle hint. There’s also another section I was unable to figure out how to get in at all, and still don’t know how to get in. It’s also possible I missed more and just didn’t “notice” it was something I was supposed to try to get into.
The graphics are a lot better than they have any right to be. There were a lot of random doohickeys and items to look at before you threw them away to the side. “Set design” was interesting and varied and the space station felt like one, though small. The sound design is very well executed, and brought up tension levels when needed or provided the feeling of the ambience required. The game lasted only about two hours, which can be a drawback if you are looking to spend at least a little more time utilizing the things you learned during the first thirty minutes to an hour. I spent about half an hour after the game ended trying to get into places I didn’t see the first time around, but lost interest after that. There weren’t any technical glitches or issues with frame rate that detracted from the experience. The only way the game could have been longer was if they forced you into every room somehow, though at the same time the parts of the space station you explore feel a lot smaller than they look from the outside.
Despite being really down on how the story turned out, it was a generally pleasurable experience once my expectations were tempered in the gameplay department. Observing and soaking in a well-crafted atmosphere has its value if you enjoy doing so. Though I don’t usually play this genre, it really leans on its writing/presentation for the goods. The story really needed to be executed well, and while you could say it technically was, it felt more like a prologue to an actual story, and not a complete one. The muddled political message didn’t exactly elevate the story either.
Developer: SEMISOFT | Publisher: Another Indie || Overall: 8.5/10
If you’ve never thought a developer, naming itself a dick joke, could make a faithful, competent, and actually fun “JRPG” then I’ve got a surprise for you. And it’s in my pants. Legrand Legacy: Tale of the Fatebounds coins itself as a “love letter” to JRPGs with a “fresh take” on turn-based combat. In practice, it’s like jerking off JRPGs of the early PS1 and early PS2 eras and blowing their collective loads all over your PC’s hard drive.
During high school I became quite a big JRPG player and it has persisted until now. Final Fantasy, Breath of Fire, Xenosaga, Persona, Legend of Dragoon, Chrono Trigger/Cross, Enchanted Arms, Star Ocean, Unlimited SaGa, Lufia, the list goes on. I’ve kept up with my personal interest of JRPGs, exploring the Wild Arms series more recently, but its been a good four years now since I’ve really stuck with one through the end.
Legrand Legacy: Tale of the Fatebounds takes you back to specific time periods of console JRPG gaming. Think of all of the titles that are released just as a new console comes out, with developers trying to get their first JRPGs out quickly; they are less about doing something new and exciting, but more about the basics of the genre and telling a fun story. Legrand Legacy hammers this feeling right on the head, and while it’s admittedly a better-looking game than you might be used to from those time periods, there are so many callbacks baked-in from past titles. So much so, that you just get a nostalgia overload for gaming mechanics being combined in one place and seeing it all just work out becomes a fun exercise in pointing out what came from where. Practically every gaming mechanic can be referred back to another game, and while there are some modern sensibilities, such as a quest log for sidequests, nothing particularly “degrades” from making you feel like you’re playing a JRPG from the era it hearkens back to. And, of course, the characters are also of very attractive design. They really thought of everything! Just don’t hump the mattress too hard, friends.
The biggest accomplishment for Legrand Legacy is that it is actually enjoyable, despite not really solving any of the problems JRPGs from that time period have in today’s gaming environment. Combat is the biggest gameplay aspect; the battles are a bit slow, but you’re not “waiting” as much as you might be used to in this genre. Turns are more phase-oriented, but a turn-order is not completely ignored. The biggest efficiency increase is allowing for all melee attacks to execute at the same time, with spells “channeling” and being cast after melee attacks. Most spells are channeled, while some will cast before melee attacks. Melee attacks are also allowed to interrupt enemy spells, but you’ll have to use the Formation mechanic to prevent that from happening to your characters too. Your “front row” is best served for melee characters, while the “back row” is typically better for casters/ranged. Although enemy spells can still interrupt your back row, you are more reliably able to cast spells there. There is also a slight stat re-balancing from placing a character in a certain row, reflected in having less attack but more defense in the back row, and the opposite in the front row.
You are allowed three active characters during battle, but are able to switch them out like in Final Fantasy X. I’ve always sung the high praises of FFX being the best traditional turn-based system since it opens the ability to use all of your characters during a fight rather than only being able to switch out of battle. It always annoyed me when I’d have so many characters but didn’t have any reason to use them. Though, in Legrand Legacy, when switching characters from the “Reserve” they are able to act in the same turn as well, but may need to move from the front/back row to properly work for your strategy, which does cost a turn.
The major aspect of defeating enemies is the Persona-like elemental weakness/strength attribute system where using particular attacks/spells deal more or less damage. Although not as intuitive/fast-paced as Persona is, Legrand Legacy‘s spell-casting system, known as “Grimoire,” is akin to Chrono Cross with no mana cost and assigning the skills to particular slots. You can use your Grimoire skills as often as you like, with no cooldown or mana cost, and their effectiveness mostly relies on the enemy’s weakness/strengths. Similarly, items are assigned to slots and you’re not able to use your whole item list, forcing you to strategize about the item spread. Grimoire heals are not particularly overpowered, actually healing less than items, so the decision between attacking and healing, and how to heal is a thing. This isn’t typically a dynamic that is present in JRPGs, at least in my experience, since it tends to be an out-of-battle-only mana-management exercise. In Legrand Legacy, however, the only way to heal out of battle is by using items, which are all percentage-based, giving them longevity in their usefulness. Learning of new Grimoire spells is reliant on the way you build your characters with stats as they level; while they basically force you to go in a particular direction, how you get there is up to you. Character builds are intentionally not diverse as a result, but having control over the path allows you to aim for particular spells before others. I have yet to see a dick-themed spell, but anything is possible late-game.
The combat interface is reminiscent of Xenosaga in a sense, while being as functional as a typical Final Fantasy game. Unfortunately, that means you menu hunt a bit more than you feel like you should, and it would have been nice to add “shortcuts” to your favorite spells on the main interface layout rather than having to go two levels to repeat the same skill over and over. Also, for some god-awful reason, they decided to allow for the directional buttons to confirm your choice of spells after highlighting them, which I constantly accidentally hit since the Xbox360 controller’s D-pad is ass. This made me find out there is no way to customize any controller inputs and stop that from happening.
Most actions require the same QTE game to be played for each character, a call-back to Legend of Dragoon and Final Fantasy VIII to a certain extent. There is a circular wheel with a quadrant highlighted; if your dial is timed to land inside of the highlighted quadrant then you are good, but getting it in a small sliver allows for a “Perfect” execution of the skill, allowing for bonus damage or a lesser chance of being interrupted if it is a spell. While it is simple, quick, and not particularly annoying to execute, it does demand that you are actively paying attention during an entire fight. If you don’t play the QTE game or fail it, your characters will all miss. One of the niceties of this genre was being able to plug in all of your commands then walk away for a couple seconds and do something, but in this case it’s not something that happens. Related to your normal attacks, your characters will slowly build up an AP gauge which allows for a special attack that deals devastating damage. The gauge will only fill up based on offensive attacks, so if your healer is just healing all of the time, she won’t gain anything. The numbers that fly around for damage are also a bit confusing because there are a variety of colors that can appear, and since many attacks go off at the same time, you don’t know which numbers belong to who. Considering the weakness system is important to master, this lack of information doesn’t make it easy.
The AP gauge is important to fill up before hitting up a boss, which can be accomplished while you are in the middle of a grind. Yes, unfortunately, you will have to grind for just about an hour in each dungeon before fighting the end boss, and that’s after figuring out the puzzles. There is also a bonus boss in each zone, which is usually about equivalent in difficulty to the story boss, but for the sake of convenience you should defeat it first since you may instantly leave a dungeon in the course of the story. There aren’t any random fights, but it’ll be a challenge running away from the black eyeballs that represent enemy encounters in the dungeon. They respawn very quickly while you’re in the same zone, so it hardly seems relevant that the fights aren’t random. It’s also very hard or impossible to avoid them all, so the point of having generic black shadow eyeball enemies on the map seems a bit redundant. There are also extra sidequests, maybe one or two per town, that will grant you XP after finishing a task, so it can help with bypassing the grind. I’m not particularly against grinding since you really get into the intricacies of the battle system, so the “about an hour per dungeon” seems just enough to get acquainted with the area and master challenges the enemies present before moving on. Plus, the bosses will cut your dick off and you’ll get a game over if you don’t grind, so there’s that.
The inventory system takes on a Star Ocean-type crafting system, but for weapons and items rather than cooking. You’ll collect all sorts of loot from enemies, who never drop actual money, but only items you can sell. This loot can then be used to craft healing items, offensive items, and weapons. Encumbrance is an actual thing in this game, so you won’t be able to run around and grind infinitely — you’ll have to visit a town and store away all of your unused items at a vendor. Unfortunately, the game does not allow you to access your storage for crafting purposes and you have to have it in your actual inventory to use for crafting. You’re still able to walk really slow while encumbered, so instead of picking and choosing, it’ll be less effort to just take everything out, craft your shit, then throw everything back in. The same goes for weapons/gear/dildos — you’ll only be crafting these items and nothing will drop in the field.
While the cutscenes look like shit, the in-game art-style is actually quite faithful to late PS2 visuals, most notably Final Fantasy XII. However, they go for a “pre-rendered background” look like you would have seen in, say, Final Fantasy VIII. Instead of CG, they exclusively use painted backgrounds with some in-game art/elements overlayed on top. The painted backgrounds all look very nice, but depending on the perspective it looks way too obvious that the main character, Finn, isn’t actually “touching” the ground; the shadows the character gives are also a dead giveaway on the dungeon/world maps. The purpose of pre-rendered backgrounds were to supplement the art to make it not look as crappy all of the time, but they seem to have gone too far in that direction and replaced many things you would typically see “in-game” with the paintings. This is so they didn’t have to spend time modeling things like furniture or barrels. There is some exploring of towns, but they are segmented into selectable areas, reminiscent of Unlimited SaGa, though I’m sure there might be a more comprehensive analogy to make here. The areas are physically explored in similar fashion to Final Fantasy VIII, with a static camera. Music and sound effects are also quite faithful to the genre, with the music being a highlight, in terms of variety, as each zone has its own song. You’ll also hear voices of the characters during battle.
The main character of the story, Finn, looks like Ryu from Breath of Fire, with blue hair, a “secret past,” and “loss of memory” to boot. And probably the same 10 inch dick!!!! DAMN!!! However, I was surprised he wasn’t a silent protagonist. Unfortunately, he breaks his character too often to be believed as a memory-less blank slate like they initially pitch him to be, and I wish that they went the silent protagonist route instead. The script dialogue tends to overstay its welcome a lot more often than I’d like — typically I get the point within two or three dialogue boxes, but then they continue the conversation on the same point for another five, or ten dialogue boxes. Perhaps it has something to do with the English translation as the game is being developed in Indonesia? I can’t tell. There are no voice overs either, which may or may not be good, considering they could have been forced to cut back on the dialogue if they had to actually go through and record all of the extraneous dialogue that seems to happen more often than I’d like. Most of the other characters are designed to look like anime characters and have “live 2D” reaction pop-ups to signify who is talking.
The story itself feels more like a western fantasy “prophecy” story, with some southeastern Asian designs to enemies, which isn’t completely unheard of in the JRPG genre, but it is a bit of a diversion from what I expected it to be originally. Generally, the idea is that the female character Aria is some sort of chosen one and has to assemble a group of random people to become the “Fatebound” and stop a Hell-like dimension full of evil Fur Bolgs from invading their world and to stop all wars. Perhaps this is reminiscent of the first Wild Arms‘ story, but I’m unsure at this point. Finn, the “player character” is essentially relegated to side-character in the beginning of the story rather than being the main influential character which is perhaps reminiscent of FFX where Tidus is just “along for the ride” but ends up taking a very important role later. At about 15 hours in, the dynamic is still unchanged, but the story hasn’t delved into Finn’s forgotten past, so it could go any direction at this point. I suppose as an Easter Egg of sorts, the lead game designer inserted himself as a traveling information guide, telling you about the city you’re in and introducing more lore outside of the confines of the story itself. I’m not entirely sure if this is vain or not, but I suppose it may as well happen. He keeps giving Finn some nuts, and I’m pretty sure it’s another cleverly disguised dick joke. Randomly popping up are plenty of what I assume are Kickstarter name lists/wanted posters/character names or whatever, cause they look like internet names that don’t fit in the universe.
Legrand Legacy: Tale of the Fatebounds is squarely aimed at millennials who grew up on these sorts of games and are willing to dive back into it for one last romp before they go impotent. I’ve definitely written way more than I ever thought I would for this game, and considering it’s something I actually want to finish, I’ll be putting a lot more time into it. There will perhaps be a postmortem on the story at a later point if it ends up being something worth talking about.