Amanita Designs has developed quite the reputation for creating simple games with beautiful hand drawn visuals. Whilst they’ve been active since 2003 it wasn’t until their release of Machinarium in 2009 that they really broke through as a developer. Since then they’ve gone on to release several games in their trademark style, many of which have won praise for their visual design. Indeed I remarked as much in my review of their second full length game Botanicula back in 2012. I gave Samorost 3 a miss, mostly because I didn’t have the time to play through the previous 2, but when I saw CHUCHEL I was excited at the prospect at playing another one of Amanita’s games. However, whilst the trademark visual comedy style remains, this particular game failed to grab me in the same way Botanicula did.
You follow CHUCHEL and his pet/friend/enemy Kekel through a variety of challenges with one goal in mind: to get back that delicious cherry. To do so you’ll have to complete many and varied challenges ranging from simple things like distracting a watchful beast to playing a simplified version of pacman. Each of the panels is filled with clickable items that will react in varying ways, some producing rather hilarious and unintended effects. Solving the puzzle doesn’t necessarily mean you’ll get your hands on that cherry though as a disembodied hand, which seems to revel in torturing poor little CHUCHEL, will likely sweep in at the last second and take it away from you.
Amanita’s visual design is as great as ever in CHUCHEL, leaning more towards a child like hand drawn aesthetic than its previous more dream-like works. The backgrounds are usually simple watercolour inspired designs with soft colours bleeding out and mixing together. Items and characters stand out from the background thanks to their hard edges and use of solid, bright colours (with the exception of furry things like CHUCHEL). The design has a children’s book feel to it with each of the levels feeling like it could be a page from one of your childhood favourites. It should come as no surprise that the game has already been recognised by the Independent Games Festival with an Excellence in Visual Art award.
Like their previous titles CHUCHEL is a point and click (sans adventure) game, requiring you to explore the environment by clicking around to figure out what you can and can’t do. For the most part the puzzles are contained to a single panel however there’s a few that take place over multiple, increasing the challenge. You’re quite unlikely to get stuck as the game seems to recognise when you’re taking too long to solve a particular puzzle and begins dropping hints about what you need to do. However there’s a lot to be uncovered should you take your time in solving the puzzles with much of the games content hidden in non-puzzle elements. This is then accompanied by a great soundtrack and excellent foley work which is sure to captivate many players, both young and old.
However unlike Botanicula, which managed to engage me right through to the end, CHUCHEL just failed to grab me. More so than its predecessor I believe CHUCHEL would likely be enjoyed more by children and played on an iPad as the game lends itself well to the platform. Playing it on the PC, whilst far from a bad experience, just feels like its half a stepped removed from how it’s meant to be played. I haven’t yet had the chance to unleash this particular game on any of my nephews or nieces but I’d hazard a guess this is the kind of game that could keep them thoroughly entertained for hours on end.
For me though there just wasn’t enough to keep me coming back to play it. The art and sound design are great but the puzzles quickly start to feel repetitive after a really short period of time. I personally could only play it in ~20 minute bursts before I grew tired of it. Perhaps the lack of even a simple overarching narrative, which Botanicula had, is the key here as there really wasn’t much beyond wanting to see the next scene to keep me going. I’ve barely played it for an hour and I just simply don’t feel like going back to it. Maybe I just need to watch someone else play it.
CHUCHEL is proof yet again that Amanita Design is a master of their style, delivering another gorgeous point and click adventure game that’s sure to delight many. The hand drawn childlike aesthetic is simply beautiful, echoing the kinds of things many us would’ve drawn as kids. Unfortunately the repetitive nature of some of the puzzles combined with the lack of even a simple overarching story made it hard for this reviewer to remain engaged with it long term. Still it’s easy to recognise the quality of the work put into making CHUCHEL and, whilist I might not have enjoyed it as much as their other games, it’s still likely worth picking up even if it is just for the kids.
CHUCHEL is available on PC, iOS and Android right now for $9.99. Game was played on the PC with just over an hour of play time and 0% of the achievements unlocked.
Even if I don’t manage to get 1 review per week out I do try to make sure I’ve at least played one game a week. That does become a little troublesome when I’m travelling for work, like I was all last week. Fear not, I thought, I’ll peruse the Google Play store and something will catch my attention. After an initial burst of excitement seeing Monument Valley 2 available I was inevitably let down by the fact that it’s not available on Android yet and was left to the pit of sorrow that is app discovery on the Play store. Eventually I came across Milkmaid of the Milky Way, a simple point and click adventure game that seemed perfect for playing through on the plane ride over to Singapore.
Ruth’s life has never been easy. Her mother disappeared when she was young and her father passing away many years later. Now she is in charge of the farm, churning out butter and making cheese that she sells at the local markets. Ruth can’t help but wonder if this all that there is for her in this life, doing the same things day in and day out. That all changes very suddenly when a UFO flies overhead and (predictably) steals away her cows, something that she just can not abide!
Milkmaid’s art style is now somewhat typical blend of traditional pixel art with a smattering of modern effects that we see in many modern adventure games. The detail is certainly on the low side, with most of the environments being decidedly uncluttered and most textures being solid colours. Considering most games are now overflowing with detail it’s refreshing to see a title that pairs it down a bit, letting the story and other elements do a bit more of the heavy lifting. Speaking of which the soundtrack to Milkmaid is top notch and is one of the things that will likely leave a strong impression on you. From there though things start to get a bit mixed.
Milkmaid is an adventure game, albeit a very short one. All the base elements you’d expect to see are there: a small inventory system, different areas that you’ll click madly around trying to figure out what you can interact with and some kind of challenge you need to complete before you can move on. There’s really nothing else of note to talk about from a base game mechanics perspective but, since I played this on my phone, there are some issues that I think are platform specific which bear mentioning.
Now I don’t know if Unity, Android or the game itself are to blame here but the touch detection on objects and UI elements is down right terrible. I can’t tell you how many times I tried to move an item out of my inventory only to have it not respond at all. Worse still tapping on the screen doesn’t always seem to register on interactive screen elements, leading to a bunch of highly frustrating incidents where I was stuck on a puzzle because I thought I’d already clicked everything, only to find out that nope, that thing I thought was unclickable actually was. Worse still is the fact that some elements are so small on screen (and it’s not like I’m using a small device either, it’s a Pixel XL) that it’s nigh on impossible to actually see them. This ultimately left me thinking the game was bugged as I simply couldn’t find anywhere else to explore. Checking a walkthrough showed that there was a screen I hadn’t got to yet, one which had an impossibly small area to click on to get to it. Suffice to say, whilst this game can be played on mobile, I’m not sure it’s the best platform for it.
From a story perspective it’s certainly not bad, indeed I’d rate it above most story-second games, however the developer made the horrendous choice of using rhyming couplets for all text. I’ve lamented the use of this kind of dialogue style before and my opinion hasn’t changed since then. For me it feels like it removes a dimension from the characters, constraining them all into the same cadence and making it hard for them to differentiate themselves properly. Worse still it seems like the dev actually started off with a more traditional script and decided to change it after writing the first chapter. How I’d feel about the story if it wasn’t told in this way is something we’ll never know.
Overall Milkmaid of the Milky Way is an average adventure game, one that’s probably better played on the PC rather than on a mobile device. The uncluttered pixel art style and great backing sound track are its stand out achievements, both of which are let down by the so-so mobile implementation and the honestly bonkers choice of writing in rhyme. Of course I’m willing to admit my impression might just be due to this old writer’s biases so take that into consideration. Though for the price of admission, and the fact I could play it on the go, Milkmaid of the Milky Way was a perfectly acceptable way to spend part of my plane trip overseas.
Milkmaid of the Milky Way is available on PC, Android and iOS right now for $5.99. Game was played on a Pixel XL running Android Oreo with approximately 2.5 hours of total play time.
This may come as a surprise given my gaming pedigree but I never really got into the old Lucasfilm adventure games. It wasn’t a lack of interest, more that we were a MS-DOS/PC house and my friends who loved those games were all Mac families. So I stuck to my titles and they to theirs and so I was left to discover adventure games much later in life. I tell you this because I feel a lot of what should make Thimbleweed Park good is tied up in the nostalgia associated with those games. Don’t get me wrong, nostalgia is a completely valid thing to base a game on, however for those lacking the requisite history with the product/franchise/developer those same elements can be confusing, kitchsey or downright trite. Such is my experience with Thimbelweed Park, one where I can see a lot of what I know is likely to be a huge draw card for many but simply not for me.
Thimbleweed Park puts you in charge of a whole host of characters, ranging from two detectives who couldn’t be more different, to a young girl with aspirations to become a game developer and even a clown cursed to never be able to remove his makeup. The game starts off with the detectives investigating a murder in this sleepy town of just 81 people. What follows is a deep dive into the town’s history, how it came to be and why everything seems to hinge on a single dilapidated pillow factory on the town’s outskirts.
As the game was developed by the very same people behind all those Lucasfilm Games titles it should come as no surprise that its art direction reflects them to a tee. The art is perhaps a bit more detailed than its predecessors were with things like better shading being quite noticeable on comparison. Thimbleweed Part definitely leans more towards a stylized, cartoony feel rather than a pixel-art imitation of the real world which, again, is reminiscent of its spiritual predecessors. The simplistic graphics do belies a great amount of detail in some areas however, like the bookshelves (which in most adventure games would just be decorative) containing hundreds of titles in them. This is, of course, all part of the game’s core mechanics.
There’s nothing new or inventive about how Thimbleweed Park plays out and that’s very much by design. Long time fans of these specific kinds of games will be instantly familiar with the trademark grab-bag of verbs at the bottom left-hand side of the screen which dictate how you can interact with objects and NPCs. There’s your inventory which will contain a bevy of both useful and useless items, although which is which is an exercise left up to the reader. Every room is filled with details, some of which you’ll need to solve the current issue du-jour and others that will come in handy later. Indeed the structure of Thimbleweed park is done in such a way that there’s no dead-ends and no way for your character to die so you should (hopefully) never get stuck. Combine this with witty quips from all the characters, constant breaking of the fourth wall and not-so-subtle references to the developer’s previous employer and you’ve got a campy but interesting trip down memory lane…I assume.
As the game will tell you (if you listen to the pigeons, that is) Thimbleweed Park is a well designed adventure game in terms of mechanics and puzzle layout. For the first few chapters there’s always something to do and a pretty logical construction to all the puzzles. The inclusion of a to-do list for every character means that you’ll always have at least half a thought towards what you should be doing, even if it’s not immediately obvious. You will however still spend your time doing what you always do in these adventure games: trying a whole bunch of different item combinations and interactions until you finally figure out which one works. Of course once you figure it out it all makes sense, but the journey to that point can be quite frustrating at times.
Thimbleweed Park’s puzzle construction and layout might be both its greatest strength and weakness. Whilst it’s great to have a lot of avenues for progression having them early on can be something of a mixed bag. If you’re like me then you’re quite likely to chase down a bunch of red herrings that aren’t related to your current objective, just because they seem like obvious problems to solve. A good example of this is a puzzle in the diner which I cottoned onto very early on in my play through. Trouble with that was that puzzle didn’t need to be solved until right at the end of the game and so I ended up wondering what the point of it was, thinking I had wasted my time. This is in stark contrast to my general experience with adventure games (both new and old) which gate puzzles like that to keep you on track.
For people who really like to explore through everything though I don’t think this will be much of a problem. The amount of content in Thimbleweed Park is pretty impressive, putting the average completed play through at around 16 hours or so. For people like me though, those without the background in these titles or a deep interest in the story (more on that in a second) it can lend itself to frustration. This is why at around the 4 hour mark or so I gave up any semblance of dignity and headed for the walk through guides with reckless abandon. I do this because otherwise I’d be likely to quit the game in frustration and this way, at least, I can see how the story ends.
The story didn’t do much to grab me, unfortunately. Sure it’s refreshing to see a game not conform to the current norms for adventure games (both new and those in a similar style to this) but after a while some of those aspects start to lose its sheen. Breaking the fourth wall can be funny and thought provoking, but you can only do it so often before it becomes repetitive. The one-liners, repeated jokes and other story mechanics are good in moderation but that’s not something Thimbleweed Park has in large supply. I’m sure all these things that I’m mentioning as negatives are things that long time fans of these types of games say they love, and I’m not trying to take away from that. More I’m trying to show you what it looks like from an outsider coming in and, honestly, it just wasn’t all that and a bag of chips.
It probably doesn’t help that I didn’t really engage with the story past the first 4 chapters or so. The various character’s story arcs were only loosely coupled together which made their required co-operation to solve puzzles even more confusing. Again this comes back to the no-dead-end policy which, whilst ensuring the player can’t find themselves irrevocably stuck, means that certain things aren’t as tight as they could be. For me this appeared to be the story as the connecting elements just weren’t there to pull the whole thing together. Couple that with the items I mentioned before and the overall story experience just wasn’t up to the level that the hype surrounding this game would have you believe.
Thimbleweed Park is most certainly a game for the fans of the Lucasfilm Games series of years gone past, something which this old writer unfortunately let slide by. Had I not my experience of this game would likely be worlds different; a trip down nostalgia lane rather than a mediocre adventure game. All this being said though there is an inherit quality to the game, one that has obviously been shaped by the decades of experience by those who created it. So whilst it might be making my game of the year list I’m sure it’s going to be a delight to those it was made for: those with an inner child who still hold Lucasfilm Games in high regard.
Thimbleweed Park is available on PC, Xbox One, PlayStation 4, iOS and Android right now for $19.99. Game was played on the PC with 7 hours of total play time and 55% of the achievements unlocked.
I feel it’s pertinent that I get this out of the way before I start the review in earnest: Roguelikes give me the shits. I can understand the appeal that many find in them, figuring out a strategy to deal with whatever might come before you, however I really detest games that punish you with things that are completely out of your control. You get to a point where you think you’re doing great only to find that you hadn’t accounted for situation X which then proceeds to tank your game, forcing you to redo the entire section just so you can account for it. Whilst Gods Will Be Watching isn’t exactly a Roguelike (it describes itself as a Point and Click adventure, which it partly is) many of its gameplay elements take inspiration from the genre and, unfortunately, are the downfall of what would otherwise be a brilliant game.
Gods Will Be Watching is one of those games that started out as a entry to the Ludlam Dare game jam which received such wide acclaim that it then went onto a successful IndieGoGo campaign for development into a fully fledged title. You play as Sergeant Burden, a long serving member of the establishment who’s infiltrated himself into the idealistic rebellion group called Xenolifer. Your mission is to play along with them, gain their trust and hopefully limit the amount of damage they can do. However it becomes apparent that it’s not black and white when it comes to Xenolifer, or even your own organisation, and therein is where the real challenge lies. Can you protect everyone? Are you strong enough to make the tough choices at the right time? These are the questions you’ll be faced with and living with those decisions might be easier said than done.
Since the theme for the original Ludlam Dare entry was “minimalism” Gods Will Be Watching took the cue to use the current ultra-minimalistic pixelart styling that other games like Superbrothers: Swords and Sworcery EP are known for. There’s not a huge amount of visual variety in the game with the vast majority of it taking place within a single frame for each chapter of the game. It serves its purpose however, conveying the numerous visual clues and other elements form part of the core game play. It all kind of blurs into the background after a while as for the most part you’ll be spending your time in menus rather than constantly searching for things that you need to click on.
As I alluded to earlier the gameplay of Gods Will Be Watching is a mix between a traditional point and click adventure and a Roguelike. Each scene has a specific objective that needs to be completed in order to progress to the next chapter. Usually this objective requires you to play with a set variables in order to achieve the desired outcome so the majority of your time will be spent balancing them all out. Sometimes these variables are obvious, given to you in plain numbers, other times they’re hidden in the form of visual clues that you’ll have to decipher. There’s also several different ways of dealing with the problem at hand, some of which will make your life easier or harder depending on the objective. It’s an interesting concept however I feel that the execution has let it down somewhat.
You see I get the idea that there’s variables that need maximising and that you probably won’t get everything to go exactly the way you want however the inclusion of randomization feels like a big middle finger to the player. They mention this at the start, forewarning you that failure is to be expected and that you should just keep on trying, however the randomization can and will completely fuck you over numerous times before you get it right. It’s not even a matter of strategy after a while as even the best strategy can get completely wrecked by the random number generator spurting out a couple unfortunate numbers in a row. In a decently designed game this would be a low chance occurrence but in Gods Will Be Watching it happens constantly.
I’d probably be more forgiving if failing a chapter didn’t mean having to start all over from the start again, giving RNGesus another chance to fuck me over. Take for instance the torture scene where you have to distribute damage between the two characters in order to make sure you make it through the day. If your begs happen to fail, or you don’t get the response that allows you to rest, you’ll likely end up killing one of the characters. This isn’t to mention the Russian Roulette scene which can completely fuck you over, even if you use every trick at your disposal. The desert scene is even worse for this as even when I was doing things nigh on perfectly I still got ruined by random events that were out of my control which is where I ended up leaving the game.
Which brings me to the real reason why the random elements piss me off so much: the story is actually intriguing and one where I felt I was crafting my own little narrative within the game. Looking over the forums you can see how varied everyone’s experiences is, something that I really admire in a game when its done well. However like many games I’ve played as of late the mechanics of Gods Will Be Watching are just so onerous that those tasty morsels of story are so few and far between that they are simply not enough to keep you going. It’s a real shame as after reading a couple other reviews I’ve found out there’s still 2 chapters to go but, honestly, I just can’t be arsed to slog through the numerous rounds of RNG roulette in order to see them.
Gods Will Be Watching is a game I really wanted to like as it had all the makings of other titles in the genre that I had considered good. The simplistic presentation and story with a some level of depth to it, coupled with the ability to craft your own narrative above that, has great potential. However the Rougelike elements destroyed any hopes of that happening, trapping the story behind too many RNG determined gates forcing the player to spend hours redoing content in order to get to the next chapter. I’m sure there will be many people who say I didn’t get the point of it or some other bullshit but the simple fact is that Gods Will Be Watching failed to provide the writer with a good game experience, hiding its moments of brilliance behind mechanics that are simply not fun to play.
Gods Will Be Watching is available on PC right now for $9.99. Total play time was 5 hours with 10% of the achievements unlocked.
There’s no question that the Double Fine Adventure was responsible for showing that the Kickstarter model could work for games. The now miserly looking target of $400,000 blew by quickly and the final tally saw it being funded a whopping 800% over what they initially hoped to grab. Now I’ll have to be honest here, I wasn’t completely convinced that it would be worth backing because whilst I appreciate Tim Schaefer’s ability to make games people love I just haven’t been a big fan of his. My mind was changed slightly after I played through The Cave however and when Broken Age came up in one of the Humble Bundles I figured it was worth the price of admission and the first chapter was released just recently.
Broken Age puts you in control of one of two characters. I initially chose to be Shay (voiced by none other than Elijah Wood), a young man who seems to be the only passenger on a vast space ship. It’s not your regular kind of space ship however as everything seems to be very….childish with animated stuff animals running around and all the controls reminiscent of Fisher Price toys for toddlers. Indeed this spaceship seems to act more like a prison than a safe haven as the overly motherly computer foils any attempt that you might make to break the monotony.
At any time though, should you want a change of pace or you’re stuck on a puzzle that just doesn’t seem to have a proper solution, you can switch over to Vella, a young woman who has been given the honour of participating in the maiden’s feast. Nearly all your family is incredibly excited for you with the notable exception of your grandfather, a grizzled war veteran from a time long past. As you start to enquire about what the maiden’s feast actually entails the shocking truth comes out: you’re to be eaten by the huge beast Mog Chothra in order to appease him and avoid conflict with the village. Understandably you don’t want anything to do with this and vow to defeat Mog Chothra once and for all.
The art style of Broken Age is simply delightful with every scene exuding this feeling of meticulously hand painted scenes coming to life before your eyes. I’ll admit that the start I felt it was somewhat simplistic but as you play through you get a real feeling for just how detailed many of the scenes are, especially the ones that contain puzzle elements. Indeed when you revisit places throughout your adventure it becomes apparent just how much detail is there which you simply didn’t notice on the first time through. The art style also fits the slightly whimsical nature of the game which makes it even more impressive to me as I’m not usually one for that kind of style.
Broken Age is your typical point and click adventure game where you’ll spend your time shuffling your character around the environment, looking for things to interact with and solving various kinds of puzzles along the way. Unlike other titles in this genre Broken Age doesn’t attempt to put a unique mechanic or twist on the way the game plays through so it is really, truly an old school point and click adventure. Double Fine has gone to the effort to eliminate the inventory hell that plagued traditional point and clicks but apart from that the game would not be out of place, mechanically at least, if it was released a decade or two ago.
For the most part the puzzles are pretty rudimentary, usually requiring you to have the inquisitive kind of mind that long time players of this genre will already have. Most of the time you can solve the puzzles by simply clicking around and finding the things you can interact with and, should that fail, a quick rummage through the inventory typically gets you out of trouble. The final big puzzles of both Vella and Shay’s story lines present more of a challenge, definitely requiring you to think non-linearly, but they provide the lone challenge in an otherwise rather easy game.
One tip I’ll give without spoiling any of the story line is that, as far as I could see, there was one and only one solution to some puzzles. There were a couple times when I had thought that I had achieved a certain goal without needing to take a certain (seemingly obvious) path but found out later, after coming up blank on every other path, that I needed to do the obvious thing in order to progress. Thus if you think you’ve managed to skip over a section or picked up a useless inventory item you’re wrong and there’s something you’re missing.
However harping on the rudimentary-ness of the mechanics and complaining about how I over-thought some of the puzzles is a distraction away from the real core of Broken Age: its story. Initially I thought it was rather superfluous and poorly written, mostly due to me choosing Shay’s path first, however as you play on you realise that’s the point of that section and it’s setting you up for the grander plot. What follows is a beautiful story of two people looking to overcome tradition, in one way or another, attempting to cast off the shackles that have bound them since birth.
I will lament the fact that it’s episodic though as whilst I thought at one point this would be the future of games I always find myself wanting to play the whole thing through and grow disinterested in it between the lulls in content. This is not a fault of the game per se, more a gripe from a person who loves to envelope themselves in a game from beginning to end as one continuous experience. I understand the reasons for releasing Broken Age in this way but I would have not been mad if I had to wait another year to play the whole thing in its entirety.
Broken Age is a wonderful game, combining a whimsical art style with the tried and true adventure game play that Tim Schaefer is well renown for. It stays true to its genre, eschewing the current indie norm of adding in mechanics to distinguish themselves and instead opts for the more seamless improvements, ones that long time adventure gamers will be thankful for. Broken Age is definitely a game for the fans of Tim Schaefer and the adventure genre so I’ll stop short of recommending everyone play it but should you fall into either of the 2 previous categories then it’s definitely worth a look in.
Broken Age is available right now on PC for $24.99. Total play time was approximately 3 hours.
Often the origin tale of a developer can be just as interesting as the games they develop. Long time readers on here will know that I’ve got a soft spot for Wadjet Eye Games who’ve been responsible for publishing some of the best pixel-art adventure games in the last couple years but they’re also a developer themselves having released numerous titles previously. Their first ever game was called The Shivah, initially done as a entry into a monthly game contest, but quickly became their first commercial title. I unfortunately never even heard of it at the time, most likely because I was deep in the throws of my World of Warcraft addiction at the time, but they’ve since remastered it and released it as The Shivah: Kosher Edition and they provided me with a copy for review.
You play as Russell Stone the lone rabbi of a small synagogue in New York city. It’s not the easiest of times for Rabbi Stone as his congregation has been steadily shrinking and the bills keep piling up. Just when he was about to pack everything in he gets a knock at the door: the police want to see him about something. As it turns out a former member of his congregation left him a large sum of money in his will, more than enough to keep the synagogue open. Puzzled as to why this strange windfall has come his way rabbi Stone sets out to find out the reasons as to why this money was left to him and the circumstances in which came.
Whilst I never played the previous version looking through the various guides and reviews of the previous edition of The Shivah shows that a lot of work has gone into revamping the visuals with every aspect being redone. The difference is quite stark with every scene now having a lot more detail, fidelity and lighting effects. It’s the kind of thing that I’ve come to expect from every game Wadjet Eye publishes and I’m glad that their in house titles are no different.
The Shivah is an adventure game where you’ll spend the majority of your time clicking on things, reading through text and figuring out where to go next in order to progress the story. Whilst I can’t comment on its previous incarnation it does feel like this was the part was left pretty much as is as the mechanics are quite simple and barring a couple of the challenges you’re not likely to get stuck at any one position for long. I think this is telling of its origins as an entry to a game challenge contest as many games done in a similar fashion eschew elaborate puzzles due to the constrained development time.
Whilst there’s an inventory system it’s thankfully kept to the bare minimum, mostly serving as another point of reference for solving the other puzzles. I must admit that playing The Shivah I felt like I’d been spoiled by more recently releases in the genre with many implementing a clue system to record pertinent details. The Shivah has this for a few things but there were a couple times where I found myself forgetting a name and having to scramble around the game looking for it again. The notable lack of feedback for some turning points, like in other games where a clue being added to your journal was a good indicator that you could progress, can also leave you wondering what else you need to do. Thankfully most of the time you can get past that by simply travelling to another location but I did manage to get myself caught up in my own head a couple times.
The story is interesting, running you through the trials and tribulations that religions face in the modern day and how the rigorously devout deal with them. Whilst I was a little sceptical as to it being of any interest to me the way The Shivah deals with people compromising on their ideals and how others react to that is quite intriguing. I might understand the plight of the modern day Jew but I’m very familiar with people holding one stance publicly yet doing something else privately and the way The Shivah deals with such hypocrisy has a very real feeling about it.
With it being a rather short game though it’s hard to deeply empathize with any of the characters and whilst some of the scenes can be confronting on an emotional level it certainly didn’t elicit emotions of the same level as say To The Moon (although to be fair few do). The Shivah does get a lot of bonus points for having a story that changes depending on your actions though as how you resolve the situation will greatly depend on how you conduct yourself. Thankfully getting all of them isn’t too difficult so there’s no need to keep a treasure trove of saves lying around and the auto-save function ensures that you’ll have all the chances you need to get the ending you want.
The Shivah: Kosher Edition is a short but sweet experience from Wadjet Eye games, capturing the essence of what led to the publisher’s creation and showing how remastered games in this genre should be done. It’s a simple title, one that’s aptly suited to the iOS platform that this version is available on, and whilst the replay value isn’t high if you’re a fan of Wadjet Eye style games then you’ll definitely enjoy The Shivah.
The Shivah: Kosher Edition is available on PC and iOS right now for $4.99 and $1.99 respectively. Game was played on the PC with 2 hours total play time and 60% of the achievements unlocked. A copy of this game was provided to The Refined Geek for the purposes of reviewing.
I remember sitting in one of my university classes, it was Game Programming Techniques which I was giddy with excitement to be in, and being proposed a simple yet poignant question: how many of you have tried to code a game? The room was filled with students who had spent much of their past few years at university coding but out of the dozens of people there only a few raised their hands. The answer as to why was the same for all of us, we simply did not know how to go about it. Fast forward to today and thanks to tools like GameMaker and Unity it’s possible for anyone, even non-coders, to be able to create a production quality title. Lilly Looking Through is a great example of how these tools enable people to create, without the necessary background in flipping bits.
Lilly is just like any other ordinary kid, letting her curiosity run wild as she ventures around her own little world. One day though something strange catches her eye, a piece of cloth that appears to move with a life of its own. However she can never seem to get close to it, the devious strip of cloth always flitting away at the last possible second. Then suddenly the cloth seemingly takes a dark turn, snatching up Lilly’s brother Ro and whisking him away faster than Lilly can run. What follows is Lilly’s journey to get her brother back, taking her through all sorts of wonderful and whimsical worlds.
Lilly Looking Through has a decidedly Dinsey-esque feeling about it, with the backgrounds all being lovingly hand drawn. It reminded me of the many similar types of games I used to play as a kid like The Magic School Bus and Mario is Missing, albeit with the additional twist of all the animation being done using 3D models. The developers behind Lilly Looking Through should be commended for blending the two elements seamlessly as traditionally it’s usually very obvious where the distinction lies, something that I find quite distracting. The background music is also quite enjoyable, being a great backdrop to the sumptuous visuals.
At its core Lilly Looking Through is a 2.5D point and click adventure game albeit without the usual trimmings of an inventory system and the requisite try this item with every other item to see if you can progress. This is quite typical of the indie scene where general mechanics are left to one side in favour of other things and, in all honesty, it’s refreshing to play a game that doesn’t have a cornucopia of things to do in it. Thus the majority of your time in Lilly Looking Through will be spent solving puzzles and drinking in the scenery you find yourself in.
The one twist in Lilly Looking Through’s puzzle mechanics is the use of her goggles you pick up early in the game. These allow you to switch between two different times in the same world, allowing you to accomplish things that would otherwise be impossible. It’s by no means an unique or innovative mechanic but it does do its job well by making you think about how to use the two different worlds effectively. The rest of the puzzles build off this mechanic, playing on the notion of time passing and setting up things accordingly.
For the most part the puzzles are challenging, encouraging you to look at the scenery around you and figure out how everything interacts in order to unlock the next section. Indeed my favourite puzzle of the lot (shown below) required you to initially play around to figure out what everything did and only then could you approach it scientifically. However the puzzles that rely on understanding colour theory are, to be blunt, unintuitive and just frustrating. I have a basic understanding of how colours mix together but I know that there’s a major difference between mixing paint and mixing light and trying to figure it out intuitively just doesn’t work. It would be ok if this was just a single puzzle but the last few all rely on the colour mixing mechanic.
The story is also pretty simplistic and whilst I’m not adverse to an absence of dialogue (indeed games like Kairo are a powerful experience) it did feel somewhat hollow. I think much of this stems from the fact that Lilly Looking Through is heavily focused on the visual aspect of the game, and in that respect it does well, however it’s just not enough to carry the game on its own. Don’t get me wrong I think it’s still a great little story, especially if I’m guessing right in that their target demographic tend towards the younger generation, but it really is the bare minimum to keep it moving forward.
Lilly Looking Through is a gorgeous little game, one that rewards the player for being inquisitive with a visual display that is quite impressive. The early puzzle mechanics are fun and enjoyable however the later stages that assume some knowledge of colour theory unfortunately let it down, leading to a frustrating experience that feels more like luck than anything else. Still I think it’s a great little game, one that is probably best played by your youngest relative while you watch from the sidelines.
Lilly Looking Through is available on PC and iOS right now for $9.99. Game was played on the PC with around 2 hours total play time.
Telltale Games has a reputation for taking IP that’s either old or from another media and translating it into a new game experience in their very distinctive style. If I’m honest I had avoided many of their titles as whilst it was cool to see things like Sam and Max make a comeback I had long left adventure style games behind, preferring the more fast paced worlds that FPS and RTS offered. Still it was hard to ignore the fervour that surrounded their interpretation of The Walking Dead and my subsequent play through of it showed me that Telltale was able to deliver a deep and compelling story. So when I heard about The Wolf Among Us I was sold on it instantly as the brief taste that 400 Days had given me of the signature Telltale experience had left me wanting for so much more.
The days of the fables living in their own world has long since past and they now attempt to fit into the world of humans through a kind of magic called Glamour. This allows them to take on human form so that they can blend in with the wider world, enabling them to live out their lives in relative obscurity. You play as Big B Wolf (affectionately referred to as Bigby) charged with being the sheriff of the Fabletown community, keeping everyone in line and ensuring the safety of all the fables that have made the transition to the real world. However the magic of glamour doesn’t change past deeds and many old rivalries are still going strong. It was only a matter of time before everything started to take a turn for the worse although you’d never expect Bigby, even with his chequered past, to be at the centre of it.
The Wolf Among Us brings with it Telltale’s trademark style for transitioning comic books to the PC gaming medium, favouring a heavily stylized world that’s light on the graphics but heavy with detail. Every scene feels like a pane pulled straight from a comic book with the only thing missing being giant speech bubbles above all the characters. The art direction has improved quite a bit over The Walking dead with the lighting having an almost oil painting like effect on everything. It’s hard to describe but The Wolf Among Us definitely has a similar feel to other Telltale games but there’s an air of refinement about it that their previous titles lacked.
The main game mechanics remain largely the same from their previous titles with the majority of it taking the form of a point and click adventure that’s peppered with quick time events for the more action oriented scenes. Like the artwork it feels a little more refined than their previous titles with the mechanics having improved UIs that are a lot more responsive. Of course the level of game play in The Wolf Among Us is deliberately simple as the focus is heavily on the story rather than anything else which may frustrate some players. I personally enjoy it, especially after such heavily interactive titles like Shadow Warrior and Grand Theft Auto V, but it’s definitely one of the more valid criticisms that are often levelled at Telltale games.
The dialogue system has seen a small change as now instead of the options being on top of each other they’re laid out as a bunch of squares and no longer begin to fade as the time runs out. The “say nothing” option also seems to be far more prevalent something which you can use to great comedic effect if you feel like doing so. These changes definitely make the options a lot easier to scan and choose between, especially when you don’t have a lot of time to make a decision, and I’m not quite sure how to put it but the flow of dialogue definitely feels different to previous Telltale games. I like it and I’d be interested to see what long time Telltale fans think of the changes.
Whilst I think Telltale are probably the only company to do episodic content right this is the first time I’ve come in at the ground level for one of their IPs and, if I’m honest, it’s actually a little frustrating to start this early. Each episode is a bit sized chunk, on the order of 2 hours each, and whilst they’re quite entertaining in their own right I’m not the kind of person who likes to go back and revisit games for DLC and the like. I most likely will for The Wolf Among Us but it still feels like it’d be somewhat better to wait 5 months until all the episodes are out and then binge on them over a weekend. This can be made up somewhat by the fact that multiple play throughs can be quite a rewarding experience with Telltale titles as the game can play out very differently depending on what seems like minor decisions.
I’m not familiar with the source material behind The Wolf Among Us so I can’t comment to how true to form it is (although I’m told The Walking Dead was essentially like for like) but the story is gripping and thoroughly enjoyable. Of course that’d be all for nothing if the voice acting wasn’t up to scratch but the casting has been done exceptionally well with Bigby’s gravely voice fitting his character perfectly. I really can’t wait to see how it develops over the coming episodes as the first episode was action packed enough and the small teaser they give you at the end is almost cruel in how many questions it raises.
The Wolf Among Us continues Telltale’s success with translating IP material onto the video game medium with skill that few other game developers can match. The current instalment is more than enough to get you hooked into this new world, leaving you clawing at the walls for more that won’t be coming for another month. Whilst the simplistic game style won’t be for everyone the story more than makes up for this, providing an extremely rewarding experience for those who take the small amount of time to experience it. Whilst I’d probably recommend holding off until all the episodes are out it still stands on its own as a great experience, even if its a little short.
The Wolf Among Us is available on PC, Xbox360 and PlayStation 3 for $24.99. Game was played on the PC with around 2 hours of total play time and 16% of the achievements unlocked.
If there’s one thing that Wadjet Eye Games does well it’s sci-fi point and click adventure games. I can remember seeing the trailers for Gemini Rue and just getting swept up in it, loving the idea of revisiting a genre I hadn’t touched in the better part of a decade. Their next release (although not developed by them) in Resonance managed to continue the trend, invoking that same nostalgic feeling whilst also bringing some solid game play that reinvigorated the genre. When I was approached to preview Primordia (and subsequently given the chance to play it before it came out) I was beyond excited and today I bring you my first day 0 review of Wadjet Eye’s latest game.
Primordia is set in a post-apocalyptic future where you play as Horatio Nullbuilt, a robot who’s found himself stranded in the middle of a vast desert with a ship called the UNNIIC. It doesn’t seem like he’s particularly unhappy with his current situation, having spent his time salvaging the wrecks in the nearby vicinity to build his companion Crispin Horatiobuilt, but that’s all thrown into disarray when a strange robot forces its way into his ship and, after shooting Horatio, steals the central power core dooming Horatio and Crispin to die when their charge runs out. Of course this will not stand and this begins your quest to find your power supply and see the mysterious robot brought to justice.
Like all of Wadjet Eye’s previous titles Primordia is brought to you in brilliant pixel-art form bringing the great level of detail that we’ve come to expect from them. The colour palette is distinctly post-apocalyptic future, favouring muted shades of everything interspersed with bright neon glows every so often. Like Gemini Rue before it this really does convey a certain mood as even when other characters greet you cheerfully you can’t help but shake that feeling that something is still amiss, something fundamental. Coupled with every line being fully voiced acted Primordia is exactly what I had come to expect, a pretty good achievement to say the least.
The core of Primordia is your tired and true point and click adventure. Each screen is essentially a mini exploration game where you’ll spend countless minutes pouring over every detail, hovering your mouse over each section to see if it lights up with text that indicates you can interact with it. Unlike other games which make interactive parts obvious by highlighting them Primordia gives you no such luxury, instead forcing you to use your eyes and mouse in tandem to discover each and every interact-able part. For some this will be an exercise in frustration but for those of us who revel in this genre it’s all part of the fun, at least for the first 10 minutes or so on every screen.
Like all point and click adventures Primordia follows the traditional game sequence whereby you’re given free reign over a particular section, being able to walk/click/interact as much as you like, but in order to progress you must solve some kind of puzzle that’s blocking your way. This usually takes the form of finding out which items work with each other which can then be used on said blockade in order to progress further but there are also challenges that rely on you being able to decipher riddles and logic puzzles. Cleverly such puzzles aren’t brute forcible like they are in many similar titles, giving you a couple tries before you’re sent away in order to find another way to solve it.
What I really love about Primordia, and indeed any of the more modern point and click adventures, is the revamps of the inventory system that take away much of the tedium that was present in their ancestors. Primordia has your typical inventory, which can get rather cluttered towards the end, but it also includes a “datapack” which stores critical information that you glean from the environment and NPCs. Gone are the days when you had to rely on pen and paper or solely on your memory in order to figure out the solution to a puzzle which is an absolute godsend. It can also function as something of a red herring too, providing you with information that’s not relevant at all, which adds some challenge back in.
Another great improvement is the use of side kicks, in Primordia’s case Crispin, as hint machines that can help you get unstuck if you’ve been struggling with a particular puzzle. The clues aren’t always helpful, indeed many times asking Crispin what to do results in snide remarks or things I had already thought of, but there were many points where I found myself simply unable to think of new ideas. It was at this point that Crispin could jump start my brain again which I was really appreciative of given the lack of a walk through guide that would do the same.
I have to admit that the first half of my time spent with Primordia was one of frustration as there were many puzzles that I just simply couldn’t manage to figure out in a decent amount of time. Eventually I figured out that I just needed to take a break from it at this point and upon returning would usually be able to continue on. However towards the end something just clicked and all the challenges started to make sense. It might have been dumb luck, indeed there were some puzzles I solved by simply clicking the right item on the right place at the right time without even thinking about it, but I still feel that there’s a certain mindset you need to be in. Once you get it though Primordia becomes immensely more enjoyable.
Of course the main reason I play games like this is for their stories and Primordia does not disappoint. Things are slow going at the start, mostly because its just focusing on you and your companion, but the lore and back story of each character slowly builds around you until you get to a point where you realise you’re in the depths of something that’s far bigger than yourself. The way it morphs from a simple story of “get my power core back” to a full blown political conspiracy story really engaged me and the last 2 hours I spent with this game just seemed to fly by. I get the feeling there are alternate endings as well, meaning I don’t think I’ve explored every option yet, which means there’s even a bit of agency granted to the player. That’s pretty rare for this kind of game.
Primordia is a fantastic game and it was everything that I had come to expect from Wadjet Eye Games. The art work is great, the characters vibrant and believable and the puzzles, whilst frustrating at times, are incredibly satisfying when you manage to complete them without any outside help. I could really go on but the fact is that you’d be much better off just playing it as the story is what makes this game so enjoyable and I’d rather not spoil it for you here.
Primordia is available on PC right now for $9.99. Total game time was approximately 6 hours.
Taking a fresh approach to a long running genre is no easy task, especially in something as well established as the point and click adventure. I’m something of a fan of this particular genre (mostly because I grew up on them) having reviewed 4 titles in this particular category in this year alone. McPixel then, whilst fitting the basic requirements to be called a point and click adventure, feels like its in a category in all of its own thanks to its rapid place and numerous and often quite hilarious ways you can fail a particular section. Suffice to say that McPixel isn’t your run of the mill indie game.
You are McPixel, a slightly overweight man who’s given the job of saving the day in dozens of situations, all of which involve a bomb of some sort that will explode in less than 20 seconds. You’ll visit all sorts of environments ranging from the mundane like shopping centres and people’s houses to the fantastical, including choice locations such as a giant butterfly and various spacecraft. There are no second chances in McPixel either and should you click the wrong thing at the wrong time or in the wrong order you’ll find your surroundings blown to pieces and you’ll have to restart from the beginning again.
McPixel’s pixel art graphics are pretty rudimentary but I feel that’s part of the appeal. Whilst there’s been many games that show just how much you can do with pixel art style graphics McPixel’s are far more reminiscent of those which I grew up on and the ones that my friends and I tried fruitlessly to replicate within MSPaint. The crudeness just adds to the hilarity when McPixel does something that you can’t represent that well with such a simplistic medium and he ends up doing something that you can recognize but also get horribly confused by at the same time.
McPixel’s game play takes the form of a pretty simple puzzler in which you have to find the right way to defuse (or nullify in some way) a bomb that’s set to go off in 20 seconds. There’s only one “right” way to do this and whilst some times it will be the obvious answer like stepping on the fuse most of the time it will be some completely unintuitive answer that either involves you thinking in a decidedly random fashion or happening the solution by complete accident. Should you get the solution wrong you’ll be exploded in a blaze of glory and moved onto the next puzzle. You’ll come back around to it eventually which requires you to flex those memory muscles in order to not make the same mistake twice.
The bomb locations aren’t always obvious and it’s more than likely that you’ll spend a couple tries on particular puzzles just figuring out where the bomb is and which of the solutions doesn’t work as intended. This is part of the fun though as the non-working solutions usually fail in some hilarious and incomprehensible way, leaving the area around you devastated (although McPixel is usually fine, strangely enough). These jokes are actually part of the game play as once you find all of them in a particular section you’ll unlock yet another section that you can play through.
Should you manage to successfully solve 3 puzzles in a row you’ll be treated to a bonus round which apparently takes place inside a Nyan Cow. I believe the bonus round is the same puzzle every time (from what I can recall it was the same in the 2 times I managed to get it) and I couldn’t for the life of me figure out what the solution was. Considering that most of the later puzzles took me a couple tries just to understand fully what was going on it’s not surprising that I didn’t manage to solve it, especially considering how bizzare it was.
The weird randomness that’s woven throughout McPixel’s many jokes is where all the fun comes from. I can’t tell you how many times I went to do something that I was pretty sure of what the outcome would be only to be hilariously surprised by the result. The humour isn’t for everyone, especially for those that find crude/rude humour boring or unfunny, but I definitely found a lot to like in the 100+ panels that I played through. There were many, many sections that had me laughing out loud at the sheer ridiculousness of it all, even towards the end when you’d think the jokes would start to get stale (they don’t, so long as you heed the warning at the start of the game).
It’s also a pretty bug free experience as I didn’t encounter any crashes or game breaking bugs. There was one particular section where things got a bit weird however which I haven’t been able to find out if anyone has had the same issue. In the elevator selection section you can choose from one of three sections by clicking on the elevator buttons. However when you hover over them, which you do to find out if you’ve beaten/played a section previously, it’ doesn’t line up with the sections you’ve actually played through. Hovering over the top button actually shows the “Locked” icon for the bonus section (which is actually the button to the right) but clicking on it will take you to the appropriate section. Nothing major and it was pretty easy to figure out but it seems like it would be a relatively easy fix.
McPixel is one of those little indie gems that comes along every so often that fails to comply to genre specific notions and is simply fun to play. The random, sometimes rude and crude humour was what made McPixel fun to play. This, coupled with the rapid pace and bite sized nature of all the puzzles, makes for a game that’s great just to pick up and play through a section whenever you’re feeling bored or want a break from whatever you’re doing. Considering that its now available on Android/iOS this means you can take it with you wherever you want and you can be assured that you’ll still be playing it for a long time to come thanks to the built in level editor.
McPixel is available on PC, Android and iOS right now for $4.99, $2.99 and $2.99 respectively. Game was played entirely on the PC with around 1.5 hours of total game time.