All in Quick Thoughts
For reasons unknown to anyone, my final moments with Splatter saw me facing off against Cthulhu and his many rocket launching penises as I danced around acid pits trying to chop off his alarmingly phallic artillery.
There’s a sad irony to how Polarity succeeds at being both bloated with ideas and creatively bankrupt.
It’s just an immensely unenjoyable experience all around, and one that seems intentionally so but without anything interesting with which to fill the black hole that seems to have enveloped Bermuda to ensure nothing joyful or humorous finds its way in. And so Bermuda comes and goes, full of drama yet lacking any presence and leaving me grasping for even the tiniest justification of the hour I just lost.
There’s something untraditionally appealing about Out There Somewhere’s insubstantiality. It’s a very brief, straightforward experience, but rather than feeling shallow it uses its brevity to subvert the players expectations in interesting ways.
Stories at the dawn is only a few minutes long. It’s unclear to me right now if it’s finished or will potentially be something entirely different by the time you play it. The developer might have an entirely different vision for it than what I saw tonight, but that’s what I love about the space within art. With the absence of distinction what people see in it can take on a life of its own.
DAGDROM is one neat idea wrapped up in a whole lot of surreal delight.
Heavens Below felt scared to let me in.
To be entirely clear, Caster is pretty terrible. It’s also a ton of fun, in large part because it’s only just barely holding it together and doesn’t really give a damn if anything makes sense as long as it’s entertaining.
Go Go Nippon is a special kind of torture. Writing this, I’ve not quite gotten over the shock of the sheer abhorrency of its dialogue, the dryness with which random geographical trivia spills out of its characters mouths, and the painful lengths it goes to pander to its audience.
ob Lozenge feels like a digital replication of this perpetual working grind. Crates drop in from the sky, which are then to be dropped into the abyss on the other side of your small village. There to ensure your cooperation and ability to perform your task is a bossy observer, showering you with praise when you finally finish your job but always with the assurance that there will be more crates the following day.
Fragile Soft Machines asks a lot from the player. It asks that they buy into the plight of a butterfly crippled by its broken wing, to guide it through the dangerous garden it’s fallen in and attempt to make it a better place. It asks for the player to fill in much of the plot themselves, through text boxes and choices for which the outcome is often difficult to discern. And it asks that they accept their fate with little in the way of closure.
Mussel’s outrageous, self-destructive style is so in your face that I almost forgot I was even playing a game, which is fine as as a shooter Mussel is perfectly enjoyable if not especially deep. Every card has been played into the game’s digital rampage of flickering pixels, and in this case it’s a single trick well worth investigating, putting fellow would-be CRT replicants to shame with its unfiltered ode to image degradation.
David. is what happens when biblical theology is applied to an abstract arcade game.
You can probably relate to the scenario: it's your birthday, you're throwing an awesome party with all your coolest friends. Everything is going great but then...oh, it's your mom coming to check on you and RUINING EVERYTHING.
Plug & Play is delightfully bizarre in ways that are as unsettling as they are endearing.
For the price of a burger and less of my time than I spend looking at pictures of cats on any given day, I was happy to give Unhack a chance.
10 Second Ninja moves so fast that it's over almost before you realize it's begun, but its brief length is used so effectively as a tool to making a blisteringly precise, difficult platformer accessible that it's actually the better for it.