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DUSK Review

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Man, I’m late again, I know. But I’m not late to the proverbial party. Because DUSK has officially launched, and I can tell you it’s really freaking cool. Where a lot of games have been tugging at our nostalgic platformer strings, DUSK tugs away at your nostalgic FPS strings. And while it isn’t the first to do so, it is one of the first to do it this well. It clearly takes inspiration from late 90’s shooters like Quake, Unreal, and SIN.

PROS: Classic visuals. Intricate maps. Fantastic characters. Gun play.

CONS: Minor bugs. One particular puzzle isn’t very intuitive.

DELIVERANCE: Some of these enemies will make you squeal like Ned Beatty.

But not only does it take that inspiration, it runs with it clearly into the end zone. This is noticeable before you even get to playing. Booting the game displays those familiar text parsers to anyone who played DOOM, ROTT, DUKE 3D, or QUAKE for MS-DOS back in the mid to late 90’s. Even after Windows 95 became an overnight sensation, it took a long time for video games to migrate to the environment as the de facto standard. Even in 1996, QUAKE was running on DOS. So this nod is going to make many old school PC game fans very nostalgic.

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But that’s just the beginning, because DUSK gives you a smorgasbord of visual settings, and sound options to choose from. You can run the game in resolutions set for 4K, HD, SD monitors. You can make things look grainy with a pixel filter. You can play with borders. You can screw around with the color scheme. You can have the game looking bright, and colorful. You can have the game looking near grayscale. You can make everything look Sepia if you want. The wealth of customization is great.

As in the FPS games of yore, you can bind nearly every key to your liking, and you can even turn off the vertical axis on your mouse. This is really cool because during the game you can do somersaults, and backflips in the air! It’s just one of many innovations you’ll find this game has added atop the classic shooter. You can also map everything to a controller if you prefer to play with a game pad over a keyboard, and mouse. Ideally, you’ll get much better control with the latter. However with the game getting a release on the Nintendo Switch next year, the controller support is a welcome addition.

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Once you’ve gotten your bindings, and other settings configured to your liking you’ll be able to start the game. As in the Apogee, and iD games from back in the day, DUSK is broken up into three episodic campaigns. It follows a three act structure, and the story is told through a combination of audio voiceover, level design, and paragraphs of exposition upon clearing each of the first two episodes. So many players who remember spending countless hours trying to find every last bit of environmental lore in DOOM, and QUAKE will feel right at home here. Of course this game doesn’t spell everything out right away for you in terms of its story. You’ll start out the first episode in a dingy, and dark dungeon armed only with two sickles.  You’ll immediately be attacked by three guys right out of Deliverance, armed with chain saws while sporting burlap sacks for masks.

It is here where you’ll notice that the game has an aesthetic direction that brings back the look of old FPS stalwarts in addition to the classic game play. Everything looks like it was released in 1997. Even if you opt to put on the fancier visual options, to make it look more modern, it will still look decidedly old school. This is really cool because it isn’t something that has been really done much. The closest thing to it would be Strafe, and that game unfortunately doesn’t come close to this game in terms of level design or gameplay. That’s because this game eschews the trend of randomly generated stages. Instead it builds its experience around some excellent level design, and atmosphere.

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DUSK may look old, and blocky on its surface. But it uses its employment of simplified graphics to its advantage. There are enemies in the roster that are truly unsettling. In fact, they may be more so because of the low detail, blocky designs. DUSK uses its retro chic very, very well. At the same time it takes the motif much further than you might find possible. It reminds me a little bit of American McGee’s Alice in this regard. That game was incredibly eerie for its time, and echoed feelings of a Tim Burton vehicle. But DUSK doesn’t feel like something out of The Nightmare On Christmas. It feels more like a perfect blend of psychological thriller, horror show, and action film. Because it takes elements from all of these things. Episode One will introduce you to a seemingly backwater group of occultists. Occultists with supernatural powers, brainwashed masses, and some horrific monsters to boot. Episode Two begins to show you just how deep their grasp on society in this world really goes. You’ll fight a combination of military, and industrial enemies. But as you go down the rabbit hole of stages, you’ll begin to see things get more, and more intricate. More, and more inventive too. You’ll start out in military installations. But by the end you’ll be dealing with laboratories of mad scientists, and machinations of twisted designs. There’s even a wonderfully crafted, and eerie level designed around M.C. Esher’s iconic Relativity drawing.

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By the third episode things begin to start coming together, and some of the more obvious questions are answered. There are a number of call backs, and the level designs become even more involved.  A lot of these may very well be some of the most memorable stages I’ve ever played through. All of the stages have a bevy of secrets to be found, and many of these even include old school secret exits that lead to secret stages. This is another splendid reference to those games of yesteryear. Many of those titles also employed secret exits to secret stages. But again, DUSK performs this trick in its own way. Really there isn’t a lot to complain about in terms of the game’s campaign. It gives you hours, upon hours of content. As I’ve said before, all of the stages have fantastic designs that will require not only reflexes, but your thinking cap. There are a plethora of puzzles you’ll need to solve in order to find all of the required colored keys to get through the corresponding colored doors, and to the exits. If I were to complain about anything it would be that one of the boss fights in particular isn’t very fair. I won’t spoil it for you, but you’ll likely know exactly which one I’m referring to when you get there. And it isn’t the final confrontation. That one is fantastic. There is also one gigantic horde mode of a moment near the end of the game where things turn into something out of a Serious Sam game. Which goes to show just how little that series really had to do with the old games many thought it did. It isn’t a bad moment per se. But if you’re not prepared for it you’ll find yourself very low on supplies, which will make getting through it a lot harder than it needs to be.

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Fortunately quick saving mitigates this a lot, and you’ll probably find yourself save scumming a lot during your initial play through. After that you’ll have a pretty good idea of when major hurdles are coming up. So during subsequent play throughs, you’ll have to save far less often. I should probably mention another cool thing about DUSK is just how funny it can be at times. In spite of the fact that things are played so seriously, and that it combines a vintage look with such a dark, anxious tone it will throw in comic relief. But like the best horror movies, these moments don’t make the experience feel campy. Again, it will likely remind you of the goofy stuff hidden in classic iD, and Apogee releases. You’ll be startled by invisible death reindeer one moment, and laughing at a Schwarzenegger impression the next.

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Andrew Hulshult (who did the excellent soundtrack to the Rise Of The Triad reboot in 2013) brings his talents to this game. He brings his love of Metal along with him here, but there are also some phenomenal moments of symphonic industrial sound, and a lot of ambient tracks too. There are even a few tracks involving some eerie pipe organs. One of the hallmarks of a great soundtrack is how it works with the setting of the game it is used in. Everything here melds along perfectly. It rocks out when there’s an ambush or a larger than life boss fight. It feels desperate, and fearful when there are moments of isolation or the prospect of deadly enemies around a corner. The sound effects are also top-notch. They make the weapon feedback feel great. They make the creepier enemies ever so more likely to freak you out. They make the environment feel like the universe the game takes place in feel all the more real.

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Not only does DUSK give you a compelling thirty stage (or more) campaign to battle through, it also includes multiplayer. DUSKWORLD is this game’s competitive death match offering. Now admittedly this isn’t going to be the reason you’re getting a ticket to this carnival. But it is a genuinely fun, and customizable experience. You can choose to play as many of the game’s enemy roster, and you can alter the color scheme of any character you choose. As with the main campaign, you can alter the key bindings, crosshairs, and various visual, and performance settings. The game also supports a multitude of multiplayer server options, and it has a respectable number of maps. The game will also have mod support, so if enough players enjoy it, there could potentially be a fair amount of content added to the game by the community. As for what is here, you’re getting a really good death match mode that can hang with SIN, and QUAKE II. You can rocket jump, strafe jump, and zip along at 100 mph. It’s a lot of fun, and fills a gap for those who miss the arena shooters in the vein of Q3A or UT.

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Again, like the main campaign, the shooting, and movement here is amazingly well done. Everything is not only fast, but responsive. Aiming feels smooth. Projectile weapons feel accurate, requiring a mastery of leading. Hit scan weapons work as they should, requiring you to get the cursor right on the enemy. The visual feedback goes along with everything well, as you’ll see red blood pixels with every hit, along with an audio feedback. You’ll hear a familiar tone when hitting opponents in the arenas. You can expect a full server to result in some spam techniques in smaller maps. But that’s merely a staple of the subgenre. All of the multiplayer maps feature multiple paths through to key power ups, and weapons. These are all either designed for the ground up for death match, or campaign maps that have been properly retooled for competitive play. Net code is pretty good. Finding a server in your area rarely results in rubber banding, or warping enemies. The action in multiplayer is a very fun experience. One can only hope enough people enjoy it to retain a decent player base. But even if it doesn’t carve out a niche for itself, it is possible to play privately with friends. Which is welcome as this is a rather well made death match effort.

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The game also offers a horde mode. It isn’t something most people will choose as their primary way to play the game. But it is here. There are three maps to choose from, and you’re given a limited number of supplies to survive each onslaught of enemies. You keep going until you lose. Basically it gives the game an arcade style Hi-Score flair. There are point multipliers for rapidly killing bad guys in a row too, so if you do enjoy this game mode, do take advantage of that.

Ultimately, DUSK is a must-buy. It retains what made the original two QUAKE games, and its contemporaries so good. At the same time it does so much the those games couldn’t do thanks to running on a modern Unity engine. If you’re an older player, you’ll love all of the pulls at your nostalgic heart-strings. If you’re a newcomer you may find that old can feel new to you. While there are some games that have tried to bring back that classic feel of the past, this game goes all in. Even as excellent as it was, iD’s own DOOM reboot didn’t fully bring back the level of exploration of its original game. But even the old FPS guard will find this game does plenty of new things with a proven concept. I might even recommend this one to some who might not typically be drawn to the FPS genre. It has so much personality, and creativity, those who are looking for something new to try out may find themselves pleasantly surprised. Plus for people who want even more lore there is a digital comic one can pick up with the soundtrack on Steam.

In short; DUSK is freaking cool.

Final Score: 9 out of 10

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No Thing Review

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Imagine the surprise I was given when Nintendo reminded fans on Twitter that they may have a few unredeemed coins on the eshop set to expire. I had a scant handful, and so I figured, “Why not give it a shot?” and looked to see if there was anything that cheap. Well I stumbled upon this little game. A game about travelling along a path, in a Orwellian future that would actually lead me down quite the rabbit hole.

PROS: Simple, yet compelling game play.

CONS: Fairly short for anyone adept at it.

SUDA51: Your first look at the game will almost certainly remind you of No More Heroes.

Apparently I’ve been living under a rock, because after playing it for a couple of hours, (Yes, hours.) I just had to do some research. No Thing started life on phones, and tablets during the craze of endless runners. Except that it set itself apart in, many, many ways. The most obvious is the art style. This game looks like something Suda51 would have made for a No More Heroes mini game. Blocky minimalist geometry? Check. Low color palette? Check. Regular images that somehow come off as surreal or even creepy? Check. It has a very similar art style.

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But that isn’t to say it’s a stereotypical endless runner dressed up in edgy shock value. Far from it. For starters, it isn’t endless. There are ten stages. That’s it. Many of the stages are pretty long though. Even in the early goings. The stages are also not made via procedural generation. Every time you play, they’ll be the same. So this game is much more conducive to speed runs. It also isn’t a 2D side-scroller. This one uses a First-Person perspective.

No Thing also has a story that seems simplistic at first, but uses its stage layouts, and bizarre imagery to tell it. In this regard it reminded me an awful lot of games like Portal, and Deadcore, despite the fact it plays nothing like them. And through it all, it just became something I had to keep playing to see more of. The setup is that it’s the dystopian future of 1994. You’re an office worker who has to send a message to the Queen Of Ice. That’s it. Walk to her, and give her the message. Except it isn’t that easy.

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No Thing’s stages are essentially long tracks, and walkways. You use two buttons. One turns you ninety degrees left. The other ninety degrees right. At first you’ll go along fairly easily. Left turns. Right turns. You’re probably thinking to yourself “So? That sounds pretty boring. What’s so special about that?” Well before long the game puts gaps up in the path. Going over them makes a minor jump. The better you do, the faster you begin to go. So it doesn’t take much to have you running. Eventually, the game throws in ramps, branching paths, and mazes. Keep in mind all the while if you go off the path, you fall to your death as this is Super Mario Cyborg in that all of these stages hover over a chasm.

Over the course of the game’s stages, a voice that sounds like it came from early speech synthesis technology narrates instructions, and vague words that also tie into the storyline. Of course you won’t have time to read it as things become faster, and faster. Take your eyes off of the task for even a second, and you’ll fall to your doom. Throughout all of it  you’ll die a bunch of times, but you’ll keep playing it. It’s strangely addicting.

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The stages themselves have a pretty wide variety. Which you might not assume considering the length of the game, and the simple control scheme. But some of these work like tracks you lap. Others are long trails. Others place a lot of ramps in places which speed you up, and have you catching air. There are other stages that throw you curveballs by waiting to give you a turn at the last moment. And that’s part of why you’ll keep giving this one a go. You’ll just want to see what comes next.

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This isn’t to say, it’s a perfect experiment of course. Sometimes you’ll catch air, won’t be able to see below you, and you’ll have to estimate your landing. Also, while many of the filters in the game go along well with it, they can get in the way. When you’re about to make a crucial decision, and the distortion filter comes on, it could lead to you missing a turn. That means starting the stage all over again. The storyline may also a little too vague for some. You’ll get some references through the visuals, and cryptic speech. But chances are you still won’t get exactly what’s going on. On the other hand that could be the point; everyone can take something different away from the experience.

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One thing that certainly stands out is the soundtrack. Coincidentally if you get this one on PC via Steam you can buy the OST as DLC. Many would throw it under the Synth Wave genre, which pays homage to the New Wave, and Synthpop genres, particularly of the early 1980’s. Most of the compositions here are pretty catchy, and make great use of simulated analog synthesized sounds, and percussion.

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No Thing may have come out alongside much of what fans would cast under the shovelware category. But it isn’t. The aesthetics aren’t for everybody. But the underlying gameplay is honestly pretty good. And in spite of some of the cheap deaths due to the eventual jumps, it’s still a pretty fun game. Persistence is the key in No Thing. Every time you screw up, you just have to play again until you beat the level at hand. I enjoy going back to it fairly regularly. It even has a handful of achievements you can receive for beating stages, and scoring exceptionally well. With it being on Steam, and the Switch, I can see it being something speed runners may look into. Again, an acquired taste to be sure, but it might just be a game you want to check out. Especially if you want a game that stands out on your phone, or just something different from the genres you might normally buy on your computer or console.

Final Score: 8 out of 10

Mega Man 11 Review

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After Mega Man 10 came out nearly a decade ago, Capcom slowly went silent on the Blue Bomber. One of their most prolific franchises, Mega Man has always been known for its excellent action platforming, wonderful characters, and excellent soundtracks. Other than perhaps Street Fighter,  the series is synonymous with the company name. After Keiji Inafune (the most recognized name attached to the character) left Capcom, however We rarely ever saw a mention of Capcom’s most recognizable series, or any of its spinoffs. For years many wondered why. Leading up to the release of Mega Man 11 here, the game’s director Kazuhiro Tsuchiya was interviewed by Game Informer. He reasoned that after Inafune left Capcom, the company wasn’t certain they could do an entry on the same level of the previous ten games.

PROS: Great visuals. Level design. Gear System is an excellent new mechanic.

CONS: The soundtrack, while good, doesn’t reach the lofty heights of older games.

NICE: The little touches you’ll notice throughout the adventure.

Well thank God the people behind this iteration decided to step up, and take a risk. Because Mega Man 11 is pretty great. It gives long time fans the challenging action-platforming they’ve come to expect. But it also builds upon the foundation that was solidified way back in 1987. In a way, they could have come out screaming “THIS AIN’T YOUR DADDY’S MEGA MAN!”, and they would be accurate. But before some of you worry, that proverbial Father will still find a lot to love about Mega Man 11.

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The storyline is tied to the game’s fancy new mechanic; The Double Gear System. Basically, Mega Man has two new powers he can use temporarily for a few seconds by pressing the corresponding shoulder button. Pressing the left shoulder button increases his attack power immensely. Pressing the right shoulder button temporarily allows Mega Man to go into a bullet time state like in the Max Payne games. Everything will go into slow motion, allowing you to quickly move around obstacles, and attacks.

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The emphasis however is on that word; temporary. You’ll only have a few seconds to use these powers. If you go beyond that, you’ll overcharge the move, and you won’t be able to use it again for several moments. So you really can’t rely solely on this feature to get through the entire game. But throughout the many stages you will reach sections where you may just find them helpful enough that you don’t lose a life.  In any event when you start the game you’ll find like most of the series, there’s an opening run of cinema screens that set up the arc. This time around Dr. Wily remembers back in his youth he created the Double Gear System. A device that accelerates the speed, and power of robots. But his research was barred when most of the other scientists in the community including Dr. Light feared (with good reason) the horrors that could arise from its abuse. Being the quintessential evil mad scientist, he decides all of these decades later to implement it. He kidnaps the latest run of Dr. Light’s robots, programs them for evil purposes, and installs the tech in them.

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Par the course, Rock begs Dr. Light to install the technology in himself when it is brought to his attention that he likely wouldn’t be able to stop Dr. Wily without it. So Dr. Light reluctantly does so, thus setting up the campaign’s backdrop. As is the case with the rest of the series, you’re going to go up against each of the Robot Masters. Then move onto Dr. Wily’s latest castle stronghold. Unlike some of the older games like Mega Man 3,4,5, or 6 Capcom doesn’t try to fake you out here. There are no Wily stand in castles to go through before Dr. Wily’s inevitable castle run. However that doesn’t mean that Mega Man 11 is particularly short. Even though it is one of the cut, and dry entries (think Mega Man, Mega Man 2, or Mega Man 7) the stages here are quite long. Every stage in the game now has three checkpoint rooms, and have a fair amount of obstacles to get through. Many of the Robot Masters employ mini boss rooms along the way as well. Sometimes twice.

 

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For those who have not played a classic Mega Man game before, you’re able to choose to play the stages in whichever order you choose. The hook is the Rock/Paper/Scissors mechanic that pertains to the Robot Masters you face at the end of every stage. When you defeat the Robot Master, you acquire their signature attack. Each one of the Robot Masters is weak against one of the other Robot Masters’ attacks. Not only do you need to beat all of the stages, but figuring out which boss is weakest against which attacks makes them more manageable. It’s also useful in determining which order will get you through the game the fastest.

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But even if you don’t figure that out on your initial run there are tools to help you. Returning is Auto’s shop. He’s the giant green robot who crafts items for you to buy with screws. As you collect them from fallen enemies, you can spend them on extra tanks to replenish your weapon ammo, and health meter. You can buy upgrades to your primary weapon, and even some items to negate some of the environmental hazards.  And even seasoned veterans may find themselves picking up lives, and E-Tanks because Mega Man 11 can get pretty difficult at times. Not only are there the expected Mega Man tropes, like robots jumping out of pits you’re trying to jump across, or crumbling structures you’re going across, but many new pitfalls too.

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Mega Man 11 is also very creative. Every Robot Master has a terrific design, and like all Mega Man games, their stages are built around their themes. Acid Man’s stage has many pools in which enemies will throw in chemicals. Each of which makes the pH level more lethal. Torch Man’s stage sends a column of fire after you, disintegrating everything in its path. Bounce Man’s has a deceptively deadly layout. It’s layered with cute looking enemies, bright pastels, and more. But upon further analysis you’ll find it one of the most challenging stages in the entire game. Block Man’s stage has a lot of falling boulders, and even some maze structures you need to get through as quickly as possible. Tundra Man’s stage is the quintessential ice level. But with plenty of wind gusts to make things difficult. Impact Man reminds me a lot of Optimus Prime. But with blades. But his stage feels like a continuation of the Guts Man stage in the original Mega Man. Of course with far more trick jumping, and a dash of Quick Man’s Mega Man II stage. Then there is Fuse Man’s stage. One of the highlights of the game, it involves a lot of puzzles centered around time. Rounding things out is Blast Man’s stage, which involves an evil theme park motif. You could almost place it in a Batman match against the Joker. The little henchmen robots throughout the level are cool because while they’re a nuisance, they’re also necessary. It’s a lot of fun.

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But as hard as the game may be, Mega Man 11 is always fair. When you fail you’ll know the onus is on you. Maybe you panicked, and jumped into something. Maybe you were hit by a laser, and fell down a chasm. Maybe the Robot Master shattered your dreams when you got to them on your last life. In all of these cases you won’t be able to blame anybody else. And yet, there’s something compelling about that. The sort of thing that always makes you want to attempt it again, and chip away until you come out on top.

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But Capcom has also put in multiple difficulty settings this time. The original NES outings usually had but one setting. Mega Man 10 had an easy, and hard setting. Mega Man 11 has four of them. Newcomer sets things up for those of you who have never played a Mega Man title before. Up from that is the Casual setting, which is geared for those who may be lapsed Mega Man fans. Then there’s the Normal setting which is the one geared toward seasoned veterans. But the game also has a Super Hero setting. This setting goes beyond the Normal setting by removing most of the pickups in every level, and increasing the damage enemy attacks do to you. Honestly, the four settings are pretty close to reaching about each player type. If you honestly have never touched a Mega Man game, you may want to get your feet wet with the first one.  Veterans may want to just dive into the Normal setting. But whichever way you decide to go, you’ll have a pretty good time with it. Although there is a sense of pride if you can clear it on one of the higher settings.

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With the well crafted level designs, and bright, colorful visuals that bring it all together one has to wonder if there’s anything wrong with this one. And to be honest, not that much. Again, the characters look like the evolution of Mega Man 8 (PS1/Saturn). The game looks beautiful. The backdrops are high quality, crisp blends of 2D art, and 3D models. Everything looks like it belongs in the Classic series though which is one that mostly appeared on the NES. Even 9, and 10 recreated that 8-bit aesthetic, and sound. But Mega Man 7 (Super NES), and Mega Man 8 took that same style, but updated it for their 16-bit, and 32-bit platforms. So this looks like an extension of those styles. If you ever wished more of the games looked like the artwork in the manuals, and other media you’ll be more than pleased here.

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And again, it isn’t just about how good it looks. It’s that the great visuals fit the narrative of each of the Robot Masters the way it has in all of the mainline games. This is also the first game in the classic series since Mega Man 8 to involve voice acting. It isn’t bad, but your mileage will vary. Some of it veers toward what was done in the PS1/Saturn classic. Bounce Man seems to really elicit memories of fighting Clown Man as the voice work goes for the high-pitched cuteness of an anime archetype. Some of the other actors went in other directions with their respective characters. And all of it works. But you’ll probably enjoy some more than others. As for Mega Man himself, again, he sounds perfectly fine. But if you’re coming into it after Mega Man 8, it’s a completely different take, and delivery. So how much you’ll like it may depend on whether or not you love the way he was portrayed in the eighth installment. As far as the soundtrack goes, it isn’t bad by any means. The electronica goes well with the action, and there are distinctive themes for each of the stages. However, it doesn’t stand out the way the rocking chip tunes of 1-6, 7, 9,and 10 do. The songs in Mega Man 8 also felt more memorable than these do. Be that as it may, I really wouldn’t call any of it bad. Just different, and depending on what you prefer, you may agree or disagree. Which is fine.

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Once you do complete the game though there are a few things here to make you want to play it again. The first being the challenges. As in the last two games, you can try to run a battery of missions with the goal of reaching achievements. Some of these can be done in the main game, but the majority are found here. You can also go to a gallery where you can read bios of all of the major, and minor enemies in the game. They even have the voice samples here so you can listen to them all. There’s not too much else in the way of extras, though on the Switch there is a surprise if you play the demo before playing the full game.

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Overall, I quite liked Mega Man 11. I played through it on Normal, and found that this time out the Robot Masters’ respective stages were as challenging as Dr. Wily’s Castle stages, which isn’t always the case in these games. Even still, I had a fun time. I yelled at myself for messing up at times. But I had fun rising to the challenge, and overcoming the obstacles it threw in my way. Which is the joy that all of these games deliver. All while delivering a new tool for you to use. Which you don’t have to. It is possible to get through the game without touching the Double Gear System. Though you’ll probably want to. At least on some of the tougher bosses. Still, this is a great entry in the long running series, and I can easily recommend it to not only fans, but to almost anyone who is remotely interested in it. It won’t be a cakewalk. But it does have that addictive “One more match.” feeling the series is known for. Don the mantle of the Blue Bomber, and save the world. If only the music could have been *that* much better it would have been perfect. As it stands, it’s still a highly recommended Mega Man game. Or Rock Man if you prefer.

Final Score: 9 out of 10

The Messenger Review

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Sometimes a game comes out with a ton of fanfare, but ultimately lets everybody down. This is not one of those games. The Messenger earns every ounce of excitement, and praise preemptively thrown its way. Nearly everything about this one is so on point you can stop reading, and buy the game. In the words of Triple H, it is “That damn good.”

PROS: Sprite work. Controls. Music. Story. Humor. Nearly everything really.

CONS: A bug that makes a certain section of the game nearly impossible to solve.

NINJA GAIDEN: The original NES designers were invited to play it, and loved it.

The Messenger was largely advertised as a love letter to the trilogy of NES Ninja Gaiden games. Upon booting up the game it’s easy to see why. The action, cinema screens, wall climbing, and secondary weapon throwing are obviously influenced by those classics. Devolver Digital even had the two lead designers of Ninja Gaiden play their demo before release as they couldn’t wait to see their reaction.

But while The Messenger would have likely done well enough as a mere homage, that wasn’t good enough for the team at Sabotage. The Messenger does so much more than mimic one of gaming’s best action platform games. It uses that formula as one small piece in a much, much larger puzzle. A puzzle that will likely take you hours to solve.

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The Messenger centers around a Ninja clan that gets attacked by monsters. As one of the Ninjas, you’re chastised by your sensei for not taking your training seriously. You’re told a super warrior is supposed to save the day, but unfortunately for everyone this person doesn’t show up in time. The monsters wipe out the village, and you’re about to be destroyed when they show up just in time. The enemies retreat, and this warrior gives you a scroll. You’re told to deliver the scroll to the top of a mountain, and so you go on your way.

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I won’t go into the rest of the surprisingly deep, and convoluted storyline here. But rest assured it is quite good. Filled with twists, turns, and even a lot of sardonic humor. I laughed a lot at the various jokes throughout my time with the campaign. But at the same time, I was pleasantly surprised at just how invested in the overall story I became. Plus the gameplay ties into everything very nicely. When the game begins, it truly will remind you of the NES Ninja Gaiden games. You have a similar run speed. You have similar jumping physics. You’ll even have a sense of familiarity as you can climb certain walls.

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But The Messenger throws in its own entirely new mechanics that set it decidedly apart from Ninja Gaiden. Most notably the extra jump you can get by killing enemies, or hitting specific targets. If you get the timing right, you can jump, hit a target, and jump immediately after to get extra air. You can also gain momentum by repeating the process on subsequent targets. This allows you to kind of hop distances between targets, and get through areas faster.  As you progress, the game makes mastering this technique essential, as it begins throwing in jumping puzzles, as well as highly challenging platforming sections where you’re surrounded by bottomless pits, spikes, or other death traps.

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The game goes along much like those old NES action games. You’ll battle your way through a stage, then fight a boss, watch some dialogue boxes, or cinema screens, and move on. However each stage has a few checkpoints after every few gauntlets. Some of these gauntlets are shops, where you can spend the diamond shards you find on upgrades for your ninja. Some of these give you more resistance to damage. Some of these give you more attack power.

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Over time you’ll also acquire new abilities like a wind suit, and grappling hook. And later in the game you’ll need them because stages are built around their use. It’s crafted so well, and so engrossing you’ll want to keep playing until you get to the final showdown with the demon army, and win the day. Throughout it all, you’ll be blown away at the NES inspired sprite work, and Famicom-esque chip tunes. It’s nothing short of amazing, and you’ll love every minute of it.

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Another interesting mechanic is that while old school, this is another game that ditches lives. Instead of dying a set number of times, or having a limited set of continues, you simply keep playing. Now the original first two Ninja Gaiden games on the NES had unlimited continues. However this game does something a bit different. When you die, a little red bookie monster shows up. He steals any money you make until his debt for respawning you is paid. So while the game becomes more forgiving, at the same time you do well for not dying. Because not dying means more money, and more money means getting all of the items, and upgrades sooner.

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When you finally defeat the Demon army’s second in command you’ll probably do what I did. Think there’s one last stage where your endurance, and cunning are pushed to the proverbial limit. Then one grandiose boss fight, and a satisfying finish. Well this is one part of the game I have to spoil in order to talk about the entire package. I’m not giving away details, just know that nothing could be further from the truth. The game basically comes out, and yells “Surprise! Now you’re going to play a Metroid clone!” The game really opens up at this point, and connects every stage you’ve played together. This makes one overarching world, and you’ll be sent throughout it.

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However, The Messenger does not go sending you on power up fetch quests, in order access the new areas. Rather, you have to go find items that act as keys, and find NPCs to further the story. You can buy map markers in the shops, but even then, getting to those places is going to be very intimidating when you first attempt it. These new areas are filled with new traps, and puzzles. There are also challenge rooms where you can try to get these green tokens. If you find every one of them in the game there’s a surprise waiting for you. But that’s not even the best part.

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The Messenger also adds a dash of stage morphing. It may just remind you of Giana Sisters: Twisted Dreams, although it isn’t done in the same way. The storyline adds an element of time travel, where you go through portals that send you 500 years into the future. And then other ones send you back. When you go into the future, the 8-bit NES aesthetics change to 16-bit Super NES aesthetics! The music also goes from sounding like the Famicom, to sounding like the Super Famicom, and Mega Drive decided to go on tour together. The soundtrack in this game immediately skyrockets from a pretty great one, to an absolutely stellar one. Not only that, but the game uses the time travel mechanic in some pretty intricate ways. Like Metroid Prime 2: Echoes did, The Messenger will make you go to one area of the map in the present, go through a portal to the future, so that you’ll come out in the right place in a different section of the map. Then you’ll go through a portal there to come back in the present where you’ll meet an NPC, or find a room with a green token challenge. Or something else entirely.

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The story also begins to get both more interesting, and more cryptic when you discover a hub section, and you’re discovering entirely new areas that were never part of a previous linear stage from the first act of the game. They’ve done a terrific job with all of this, and that’s before you even get to the impressive boss encounters that follow. They make the early bosses you may have found difficult seem like you were lifting feathers before. But it does this by easing you over time without you even realizing it. It’s an action game, that becomes an adventure game, that implements a feeling you get when playing an RPG.

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And I think that’s probably the best thing about The Messenger. It’s like you’re playing two completely different games back to back. You played Ninja Gaiden II: The Dark Sword Of Chaos. But instead of credits, a dying Jaquio goes “It’s not over. You have to defeat Mother Brain now, or the world will end! Ha. Ha. Ha.” The fact that it makes you feel elated, rather than angry is quite the feat.

So with all of that said, is this a 10 out of 10 game that will forever be the title future indie games are held to as a standard? Not quite. Though it is very impressive, and should be something you should buy I had one major problem with it. At one point in the game there is a section where you have to navigate an area by listening for sound. Well for whatever reason, the game would not play the sound properly. It made finding my way through a complete crapshoot. I had to guess my way through as if I were playing the final stage of Super Mario Bros. And while this isn’t something that breaks the game, as you can still get through it. It does ruin the intended experience of hearing what you need to hear in the place you need to hear it in order to follow the right path. I’m sure in time they may fix it with a patch. But as it stands it’s just enough to keep me from calling it near flawless.

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Still, if you were hoping for a wonderful homage to Ninja Gaiden, you’ll get it. If you were hoping for something more than a wonderful homage to Ninja Gaiden you’ll get it. The Messenger truly is one of the best games to come out this year, and is something you really ought to check out. It’s one of the most engrossing games you’ll play this year. As impressive as the trailers may be, it’s still the kind of game you have to see to believe. Go buy The Messenger now. Even if you’re just stumbling upon this review 500 years from now.

Final Score: 9.5 out of 10

Raging Justice Review

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Double Dragon. Streets Of Rage. Final Fight. Crime Fighters. Teenage Mutant Ninja Turtles. Battletoads. Ninja Combat. Sengoku. PIT-FIGHTER. The list goes, on, and on. The 1980’s, and 1990’s were filled with many entertaining games in which you took control of characters out to rid the world of criminals one by one. Armed with your fists, and the occasional melee weapon. Beat ’em ups were a big deal, and while some of them ran together, most of them were a lot of fun. They were about as close to an action movie a game could be at the time. While they haven’t had the resurgence other genres have had, they still sprout up from time to time. And when they’re done as well as this game is, you really ought to pay attention.

PROS: Unique art style. B+ Movie action. Good Cop/Bad Cop mechanics.

CONS: Tacky title screen. Some choppy animations. Minor bugs.

WWE: There’s a moment that seems like it was placed by wrestling show bookers.

Raging Justice is a title that elicits thoughts of a 1990’s Direct-To-Video B Action movie starring Dolph Lundgren. Which is actually pretty fitting because this game is a complete homage to many of the aforementioned games of old. The storyline is about as easy to follow as one of those old movies. The Mayor of your city has been abducted by violent street gangs, and our heroes have to rescue him. When you fire up the game you’ll have a handful of options on hand. There’s the primary campaign, a survival mode, an options menu, and the credits.  The credits are pretty self-explanatory, and the options menu is rather anemic. You can change volume levels, and you can turn friendly fire on or off.

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So you’re more than likely going to begin by playing through the campaign. When you begin you’ll be able to select one of three characters to choose from. This follows the character archetypes set up in Final Fight, and Streets Of Rage. Rick Justice is the loose cannon of the force who doesn’t play by the rules. He’s basically the power class of the three. He moves slower, but his attacks do a lot of damage. Then there’s Nikki Rage who is the opposite of Rick. She prefers to properly get arrests, and warrants. She is the more well-rounded class. She moves faster than Rick does, and can attack faster while doing a little bit less damage to opponents. Finally there’s Ashley King. A teenage explorer with the fastest, and flashiest style. Ashley is by far the fastest all around character, but does the least damage so you really need to master getting combos to use them.

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Once you’ve selected your character it’s onto the cut scenes that set up the plot of the game, before thrusting you into the action. Immediately Raging Justice begins showing you how it sets itself apart from the games that inspired it. You’re greeted with a screen overlay with some important information. Each stage features certain enemies who have a warrant out for their arrest. If you manage to arrest them you’ll get a health bonus, and if you manage to arrest all of them you can get 1-Ups too. There are also secondary objectives you can shoot for. If you’re successful you’ll score big points, and garner achievements.

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As you play you’ll notice certain enemies will have a red outline around them. These are the criminals with a warrant out for their arrest. This is also where the game begins to implement a virtue system not typically seen in games like this. If you do the right thing consistently (arresting perps rather than killing them), you’ll get the aforementioned perks. If you go the bad cop route, and knock their teeth in you don’t. However, if you’re enough of a loose cannon DTV character you can get help in other ways. Arresting people sounds easy enough. You fill up their dizzy meter by slamming them to the ground or using particular attacks. Then when it’s full, they will be dazed in one spot allowing you to grab them, and cuff them. But this is also much easier said, than done. Because they’ll never be alone. Raging Justice sends hordes of criminal waves at you. So it’s going to be tough isolating them long enough to pull this off. Even when you do, another bad guy can interrupt the process by knocking you down, or even knocking them down. Thus resulting in a resist of arrest. Sometimes you’ll be able to arrest someone. Other times you may find it safer to simply take them out.

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It’s a pleasant surprise to see a mechanic like this in Raging Justice, as it makes the game feel a little bit more unique. Few arcade genre entries have done this, the most notable one being classic Run n’ Gun NARC. For the most part it is implemented fairly well, though there are a few times when a warrant will be dazed next to a weapon or other item, and the game makes you grab the item rather than cuff the criminal at hand. Still, it’s pretty neat, and you can actually arrest most characters. Not just the ones with a warrant out for their arrest.

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The one thing in the game that may be a little bit divisive is the style of the artwork. The backgrounds are honestly quite good by any measure. They have a wonderful mix between pre-rendered models, and airbrushed matte paintings. At least that’s how they appear. The texture quality on all of it is very nice. There are also a host of homages you can spot throughout the game’s backgrounds to other games. Particularly to the original Final Fight’s latter stages. But there are others like Sega’s Streets Of Rage series, and Atari’s PIT-FIGHTER. One especially can’t help of think of that game near the end of the second stage where you’re met by a crowd of enemies in very much the same way that game set up bouts. The comparison continues with the character sprites, and this is why I think some will love the look, while others may not get behind it as much.

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The characters seem to have a similar style. The difference being they aren’t motion captured actors. Instead they appear to be pre-rendered models that were condensed down to sprites. Similar to how the characters in Donkey Kong Country, and Killer Instinct were created. However, the animation quality, while fairly good sometimes results in things looking a little choppy due to some of the wild movements in the characters’ positions in some sprites. Granted this is speculation on my part as I was never in the studio where this was made. But the end result resembles something to that effect.

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Nevertheless, it runs fairly brisk, and I can’t say I’ve even seen much in the way of slowdown in my playtime with it. It’s generally responsive, and there’s little to really complain about here. That said, if you’re not into the art style they were going for, that may disappoint you a little bit. One thing that I think should have been improved is the title screen. Mainly because it is used to sell the game on every digital store it’s stocked on, and sadly it looks woefully generic. Perhaps I’m being too harsh, but it gives the impression the title is something you’d find on the rack of shovelware at an office supply store. Not the incredibly fun, if silly homage to B movies, and brawlers that it is.

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And Raging Justice is incredibly fun. There are a wide variety of criminals to take down in the brawls. You have the archetypical street punks, gang members, street-walker, morbidly obese guys who stampede you, and knife throwers you’d expect. There are also 80’s movie drug dealers who throw dynamite from their trench coats, bikers, Rottweilers, and more. There are a lot of weapons, and background details that can be destroyed on display here as well. Barbed wire bats, knives, swords, clubs, hammers, crates, phone booths, and a slew of other things I’m likely forgetting. All of which can take down some of these enemies with ease. There’s even drivable vehicles at a few key points!

The bosses are also a lot of fun due to a combination of silliness, and nostalgia. There’s the typical brute characters, but then the game decides to have you fight a 10 foot super pimp. There’s a security guard who looks suspiciously close to Final Fight’s Edi. E. But not long after that fight you’ll be facing an abomination that may just remind you of PIT-FIGHTER’s Chainman Eddie. I won’t spoil every boss for you, but suffice it to say, you’ll come away from them both challenged, and entertained.

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Throughout all of it, the audio keeps up with everything. The clanging of knives, screaming of enemies, the bold announcements, all sync up. The ambient synth-pop goes along with the action well, again, bringing along memories of those obscure films you may have rented from the video store back in the day. Or perhaps one of the more recent ones you caught at 2am on HBO or saw in a Red box at the local grocery store. In any event, it’s pretty good. Musically, it might not be something you’d want to hear on the morning commute, but it does get the job done. The sound effects however, are superb.

There are a couple of things that hinder the fun. Namely a few small bugs. There were a couple of times the game hanged after I got a “Game Over”, and so I had to exit to my main menu on my Switch to close the game, and then reopen it. This wasn’t horrible, or something game-breaking. But it was annoying, as minimal as the occurrence was. Another weird bug I experienced, was upon losing my last life as I killed the third boss. Unfortunately, because of this it wouldn’t let me continue. The counter just kept going down regardless of my jamming on the “YES! I want to continue!” button. So I had to restart the stage.

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I will say one other novel thing about Raging Justice is its continue system. You get three lives, and a set number of continues. when you run out of continues, the game ends. Par for the course, right? Well, the cool thing the game does is allow you to select any stage played up to that point. The flip side of this is you’ll start in the condition you did when you initially played it. So if you make it to the final stage with one continue left, and lose when you select it later, you’ll begin with however many lives you had, and the one continue. You won’t start with a full set of continues. This really gives you incentive to go back, and do better at the earlier stages so that you’ll have enough continues to clear the game.

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Finally, there is the survival mode I mentioned earlier. There really isn’t too much to write about here. It’s what it sounds like. You start the game with the character, and difficulty setting of your choosing. Then you try to beat up as many waves of enemies as you can until you lose your sole life. It can be fun in short bursts but the main course is where you’ll get the most fun in my opinion.

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Raging Justice may not be the best game you’ll play all year. But it just might be one of the more fun ones. It’s silly. It’s over the top. It doesn’t have a deep narrative. But it has a lot of personality. It also does what a beat ’em up game should: make you feel like a bad ass. Between the moves, weapons, and everything else, you’ll honestly feel like you’re playing a Dolph Lundgren or Jean-Claude Van Damme vehicle. It’s just a fun game. And in the end isn’t that why most of us play games? Don’t let the tacky title card fool you. Raging Justice is a pretty awesome (if sometimes cheesy) brawler.

Final Score: 8 out of 10

Slam Land Review

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(Full Disclosure: I know one person that is attached to the creation of this game. Be that as it may, I paid for my own digital download of the retail release on Steam with my own money, and have not been endorsed by the studio, publisher or any creator. All thoughts are my own.)

Super Smash Bros. is one of Nintendo’s most beloved franchises of all time. It started out humbly enough on the Nintendo 64. Then it became a massive success on the Nintendo Gamecube, being one of the console’s top drivers. Every sequel since, has done gangbusters. Even iterations that weren’t as well liked, have all sold well, and have been enjoyed by the general audience. Super Smash Bros. Ultimate is one of the most hyped upcoming entries yet.

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So it should be no surprise, that over the years many games large, and small have experimented with Nintendo’s formula. From Cartoon Network Punch Time Explosion XL to PlayStation All Stars Battle Royale, other developers have tried making platformer fighting games. Some of them have been solid. Some have been pretty good. Some have been outright terrible. But Slam Land has to be one of the better takes on the formula I’ve purchased, and played.

PROS: Great visuals, audio, and a compelling twist on a proven formula.

CONS: No online multiplayer. Small character roster.

MISSED OPPORTUNITY: The announcer never shouts “BOOMSHAKALAKA!”

Why is this? Well, because it has a really simple mechanic that really changes the dynamics of the game. Instead of the game focusing on knocking every player out of the arena, it adds a proverbial basket to each of the game’s arenas. The object is instead, centered around throwing or punching your opponents into the goal like a basketball. But it doesn’t end there. You can stack multiple opponents together for major point bonuses when you dunk them. You can “Steal” the ball so to speak, by knocking an opponent out of the hands of another opponent, and catching them for yourself. This one simple change also keeps people running to the goal. So you don’t find yourself falling off of the stage, at the last second, unable to see yourself in the mayhem. At least not as often as you might have in some of the Super Smash Bros. games.

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Slam Land also makes a few adjustments to keep things from getting monotonous. Namely by adding a few different modes. There’s a Trash mode, where instead of throwing each other, you, and opponents collect garbage bags to throw into a goal. As is the case with the main mode, you can knock bags away from people or throw them off the stage to buy yourself some time. You can also, again, stack up multiple bags to dunk at the same time for big points. But the more you carry, the slower you move, allowing an enemy to knock you down, and take them away.

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Another variation is the game of Horse, where you spell the word “Horse” by getting baskets as in the basketball game. However, it does this by dropping Knight pieces with the corresponding letters into the map. And once you get one letter into the basket, you can’t score with the same letter again. So the four of you will be trying to balance getting letters you need, and throwing the ones you don’t need out of the map. This way you can keep opponents from catching up to you.

The other mode you can play is Peanut. This mode drops a peanut into the stage. Again, you’ll all want the peanut so you can shoot a basket for points. However, the longer you hold the peanut before dunking it, the more points you will get for doing so. So if you can hold it for several seconds you can be scoring 8 points or 12 points instead of only one. Of course, as in the other modes, enemies can knock you down. Thus claiming the peanut for themselves for a massive point boost.

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Every one of these variations is a lot of fun because they all feature a great sense of risk versus reward. Do you go for more bags for the big points, or do you just throw one to retain the speed to get away from everyone? Do you hold the peanut or go for a shot before someone can steal it? Do you throw your opponent now or wait until they’re distracted by someone else?

All of the modes go for three rounds too. So you might dominate one round, only to find you’ve been triple teamed faster than Braun Strowman in a fatal four-way. Even so, you’ll find all of them quite engaging. You can also play the primary mode with either time or stock rules. These work the way they do in Smash Bros. Where you’re either trying to get the highest score in a duration, or trying to be the last person with any lives left. The difference however is that stock mode in Slam Land, means you’re still going for points by eliminating opponents. Unlike Smash, you can be the last one standing, and still lose. So you can’t expect to turtle your way to victory.

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There is also a pseudo-campaign mode here, but really it just puts you in five games involving a mix of the pre-existing modes. I recommend playing through it initially because you’ll get acquainted with the modes right away to see which you enjoy the most. After that though, you can really roll with whichever modes you, and your group of friends like most. Rounding that out is a quick mode that just starts up a single game.

Audio-visually the game is really quite nice! Everything has a really crisp 2D look that resembles a sticker book. The characters all have a cute look infused with some pulp. It screams early 90’s Nickelodeon cartoons, and even some contemporary Adult Swim cartoons. One of the playable characters reminded me a bit of  The Ren & Stimpy Show, while the ominous blue character who shows up in some of the game’s stage backgrounds reminded me a lot of stuff like Superjail. But that isn’t to say any of this stuff feels like a copy of anything. Everything is wholly original, but these are just some of the things I was reminded of by the game’s art style. The bottom line is that it looks great. The light audio soundtrack, and booming announcer voice accent all of it very nicely too.

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There are a few things that I would have liked the game to have implemented though. While I love the look of the characters I would have liked to have had a bigger roster. Functionally every character works the same way of course. You move them, and then you have a jump button, a pickup button (which you also use to throw), and a punch button that makes your character throw an uppercut. A simple control scheme, that anyone can understand. But having more characters would have been a nice touch. The five characters you do get are pretty cool though, each with neat little details. The human walks around in his BVDs. The Skeleton has some great inking for wear, and tear. The bug animates nicely. The carrot has a giant grin, and the other garish figure is so weird you’ll just fall in love with it. I would have liked more of that.

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It’s also going to disappoint some of you that this game has no online multiplayer. So if you’re someone whose friends are mostly long distance, you’re stuck playing against bots. The bots have pretty good A.I. but there’s nothing quite like playing against other people. This is why the Switch version is also an attractive option. Because it’s exactly the short, and simple kind of game you can take to a family gathering, or play with strangers at a coffee shop or with your coworkers on a lunch break. The other versions are great if you do have people over regularly. But for those who don’t, but who do own a Switch, it’s something worth considering. If you pretty much only play by yourself though, it’s not as easy to recommend.

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All of that said though, this is a phenomenal multiplayer experience. It’s also a cut above many other Smash clones because it plays so much differently. There may be four of you, and an arena. But the basketball mechanics really make Slam Land stand out. In fact, if you’re looking for a party game, and you’re not a fan of Super Smash Bros., you may just find you’ll enjoy this because of that different goal. Bread Machine Games should really commend themselves on making such a simple, yet addictive spin on the platform fighter. It might not be as deep as Nintendo’s own game, but it is a super fun game that can complement it nicely. If you’ve got a Steam account, a PS4, or a Switch, and want something a little bit different pick up Slam Land.

Final Score: 8 out of 10

Most anticipated titles shown at E3

Man, what a hectic last few weeks, with more to come. It’s kept me away from time to do much. Though at least I was able to get a couple of streaming nights in. Still, I missed most of the E3 conferences, and I’ve been playing catch up. All three of the platform holders had pretty average events this year. Bethesda did a 180 from last year, even if none of the people in attendance seemed to know who Andrew W.K. is.

Ubisoft seemed bog standard. I didn’t see EA’s though the reception doesn’t appear to have been too warm. But beyond the big conferences there were a lot of trailers, and announcements of smaller titles. And I tend to like to pay attention to those, because they can often turn out to be as exciting as the hyped stuff. So these are some of the titles I saw that caught my attention. Hopefully they’ll turn out to be great games we want in our computer, and console game libraries.

Daemon X Machina

Nintendo’s Direct was the first time I’d heard anything about this game. But a trailer’s job is to generate interest in the subject matter. So mission accomplished. It appears to be some kind of action game involving mechs. But what sets this apart (at least in the trailer) is the No More Heroes unsaturated art style, and a rocking industrial metal soundtrack. It goes really well with the depictions of exploding robots, and bloody skies. I want to hear more about this one. If you’re a fan of Voltron, MechWarrior, Metal Storm, Transformers, Gundam, or giant killer death bots in general, you may want to too.

Insurgency: Sandstorm

I’ve been looking forward to seeing more about this once since it was announced. The original game is a wonderful blend of tactical shooter, and team shooter. There isn’t much of a HUD if any. There aren’t any kill cams. Most of the weapons will kill you in one or two hits. If you have body armor, maybe three. There aren’t any unlockable items that require grinding. If your class can use a weapon, you can use it. They balance this with a point system that forces trade offs. And it has all of the modes a Battlefield player might want. This sequel hopes to bring that experience to consoles next year after it launches in September on computers. Without the focus on loot boxes or battle royal modes this could be something Battlefield, and Call Of Duty veterans may want to check out. For those who don’t like to deal with sore sports online, it also offers a robust one player campaign. To sweeten the deal NWI is bringing it out at less than half the cost of a AAA release, and giving customers who bought the old game 10% off. They’re giving an additional 10% off to people who preorder.

Super Smash Bros. Ultimate

Frankly, I don’t know how you don’t get at least a little bit excited for this one. Even if you’re a staunch fan of traditional fighters like Street Fighter, or 3D fighters like Soul Calibur or Tekken, this one should still impress you. Maybe just a tiny bit, but still. They’ve reworked the damage for 1 on 1 fights, heavily nerfed repeated dodges, and made short hop attacking a little bit easier. This is going to make the competitive end of the audience intrigued, and in some cases happy. For the rest of us, this is giving a lot of great stuff too. If you bought the figures, and adapters for your Gamecube controllers, they’ll all work on it. Every character from every previous Smash game is in here. Plus there is bunch of new assist trophies, items, and even some new characters.  This one comes out later this year, and I can already sense many will fire up the older games to practice up.

Serious Sam 4

Serious Sam may not have the star power he did back in the early 2000’s. But you’re always guaranteed a fun time filled with mindless action. For those who don’t know, this long running series by Croteam puts you in a large campaign of stages that have you constantly shooting, and managing resources. Some compare it to stuff like the original Doom. But that’s actually a long way off. The level designs are often interlocked arenas. So you’ll enter a room, destroy a wave of enemies, get an item, and destroy another. The thing is each room potentially has hundreds of enemies to contend with at a time. It’s more accurate to compare it to old Midway games like Robotron 2084, Smash TV, and Total Carnage. But the constant introduction of new enemy types, weapons, and the vast number of Easter Eggs to find keeps them fresh. This time they got the writer of The Talos Principle to write the story for Serious Sam 4. So who knows if Serious Sam will be Serious? Either way, I find these games fun so I hope to check this one out as well.

RAGE 2

Yes I know, there are a lot of shooters on here. But I did enjoy the original Rage when it came out. Abrupt ending aside, it was pretty cool. The desert was a hub world with towns in it. It had a pretty entertaining Mad Max inspired story, and it had the shooting you’d expect an iD game to have. So this sequel has me intrigued. The desert is more than a hub world supposedly, and there are a larger multitude of factions. The action looked good, and so I’m hoping for the best. The original didn’t sell horribly but it didn’t sell Doom, or Wolfenstein numbers either. So I was honestly surprised this sequel was green lit. Still, I liked the old one, and this one looks like it could be an improvement.

Tunic

I know there are a ton of Legend Of Zelda clones out there. But this one stood out to me during the Microsoft conference. It doesn’t look like it does a ton of new things with the gameplay, but at the same time it has an inviting art style, and I loved seeing some of the character designs. Hopefully it turns out really well. It displayed a fairly large map so there will be a lot of ground to cover.

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Similarly, at the Sony show there were a lot of big, anticipated games. But once again, something smaller showed up in the line of trailers. This one is by Remedy who invented the Max Payne franchise years ago. They also did the Alan Wake, and Quantum Break. While Quantum Break was derided for making people watch long, episodic cut scenes, this seems to have eschewed that experiment. The protagonist has this telekinetic ability allowing her to pick things up remotely, and use them as weapons. Sure it’s not the most original idea. But it looks cool in this one. When you’re done with The Last Of Us 2 you might want to pop this in. It looks fun.

Super Mario Party

I rarely get excited about a Mario Party game. Don’t get me wrong. I have most of them. Even the least exciting iterations are still a hit during holidays, and get together moments. But Super Mario Party is the first one in a long time that I kind of really want to play. For starters the frame rate (at least in the trailer) seems like it will be 60 fps on most modern HD TVs which will be pure glory for some of those mini games. Second of all, they seem to be doing interesting things with it if you network two Switches together. On the flip side, my nieces only continue to learn games in 8 seconds. So when I visit my Sister I’m likely leaving with the least amount of stars. They’re pretty good at Smash, and Kart too. But I suppose it happens to even the best of us. We get old, and our siblings’ progeny dethrone us eventually. Still, Super Mario Party looks pretty great even if it will leave me with zero stars.

Ninjala

I really want to see more about this one. Ninja kids Nerf sword fighting while doing parkour, and Baby metal is rocking out in the background? It looks like there is a big reliance on bubblegum. Not sure what that’s about, but it also looks like there is co-op, and versus modes in it. The trailer doesn’t go into much detail, but like Daemon X Machina, I am intrigued.

Ghost of Tsushima

This game looked really cool. The trailer didn’t show off much of what the objective or story was. But the combat, the environments, and characters looked really compelling. I would have liked them to have spent a little bit more time on it. But in any case, Sucker Punch got me talking about this game, and if you missed it or forgot about it, you may want to follow this one. Again, hoping it turns out great. But it looked really good, and like something those with a PS4 ought to look into.

Octopath Traveler

Even though I veer more toward the instant gratification of action genres, I do like a good RPG now, and again. This game has me interested for a few reasons. One is the look of everything. It reminds me a bit of the Ys remasters with its blend of 3D models, and 2D sprites. The filters on everything makes it look unique too. Another reason is that it’s giving players eight different characters to play with, each with their own career paths, and storylines. So it looks like it can be something a die-hard RPG fan can marathon for days. But also something someone with limited time can span out over a year by playing through one story, taking a break, then going back to it.

Mega Man 11

I’m a huge fan of the Classic Mega Man series. I’ve played through all of them. 1-10, as well as the GB line, and the side game Mega Man & Bass. This one looks like they’re trying to make it accessible to newcomers with a bullet time mechanic. But they’re leaving it optional so veterans can play completely old-school. They’re also returning to a more modern 2.5D look. It’ll be interesting to see how they do without Inafune at the helm. But the trailer does look decidedly Mega Man.

Cyberpunk 2077

CD Projekt Red always seems to deliver solid RPGs. (A few of which I still need to finish.) But this one looks like a big departure from what we normally see. It’s Sci-Fi instead of Fantasy. It’s taking inspiration from a pen, and paper series, and yet also seems to have action elements.  I do want to see where they take the not too distant future theme compared to some of the others that have ventured there.

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They showed off a little more of this one in some interviews, and I’m even more excited about it than when I saw the initial trailer two months ago or so. It’s a love letter to both the NES Ninja Gaiden Trilogy, as well as action platformers on the Super NES. It’s fast, frantic, and being built with speedrunners in mind. The visual changes are tied to the game’s story, and it’s been confirmed to not only release on the Switch, but on PC as well. As someone who loves action platformers, I’m really looking forward to this one.

Metal Wolf Chaos XD

Originally released on the inaugural Xbox, most have never played this one. Because it was exclusive to the Japanese market at the time. These days, finding an original copy for your Xbox is an expensive endeavor. It’s a mech action game with the premise of a DTV B Movie.  By From Software no less. Devolver Digital is re-releasing this game with some updated visual options on Xbox One, Playstation 4, and PC. It’s completely silly, and over the top. If the high aftermarket prices online have kept you from getting this already, this is one remaster you might not want to miss.

 

So there you go. This year’s show might not have had the hype, and power of last year, but there was still plenty to look forward to. Whether you looked for grandiose blockbusters, or indie games, or somewhere in between. These were some of mine, and I hope you enjoyed this run down. Hopefully you’ll enjoy seeing some of these as much as I did. What were some of your E3 announcements? Feel free to comment below.

Wild Guns Reloaded Review

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Every now, and again a previously obscure game ends up in the spotlight. Often times because it turns out to be pretty uncommon or even rare. Said game then begins to skyrocket in price in the aftermarket. Wild Guns, is one such game. Originally released on the Super NES by Natsume, it was an action game with a unique setting, and mechanics. It blended Run N’ Gun gaming with Rail Shooter gaming. All in an attractive steam punk western setting. Of course to buy it now is an expensive endeavor. But Natsume, and Atari have brought it back in an updated package.

PROS: New content. 4-player Co-op. Tight controls. Visual flair.

CONS: Multiplayer has some design choices holding it back a bit.

SUPER PETS: There’s a dog operating a giant drone.

Wild Guns Reloaded is a beefed up version of the original Super NES game. As I don’t own the original version, I can’t speak to every minor difference but upon doing some research there are a few big ones. On the positive end, the game now supports 4 players. So you can enjoy this with more people. They’ve added two new playable characters, and you get some bonus stages in cooperative play that the original release didn’t have. The game now renders in a full 1080p resolution, so you don’t have to decide between pleasing your purist friends who want original aspect ratios, or pleasing your other friends who don’t mind stretch-o-vision over black bars. There are sliders for you to scale the image though, so lovers of the 4:3 standard can also rejoice.

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On the flip side, you do not have any continues in multiplayer. Which is absolutely absurd considering you have unlimited continues when playing the game alone. It’s the biggest blemish on the package. But as disappointing as it may be, this is a game you still may want to pick up. Because there really is a lot about this game to love.

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As I mentioned before, Wild Guns Reloaded is a blend of two action genres. On the one hand, you move your character about as if you were playing Sunset Riders. On the other hand, you fight enemies as if you were playing Operation Wolf. If that sounds like a strange combination, that’s because it is. But it’s one that works really well once you become accustomed to it. You move around freely, able to jump, and avoid the incoming projectiles. You can also use a melee attack on enemies that get in close. Some enemies can only be taken out this way. But when you start shooting, you’ll instead move a cursor about the screen. Aiming at all of the different threats around you. While firing, you can perform a quick dodge to get out-of-the-way, and you can even throw electric laser lassoes around bad guys. The lassoes temporarily hold them in place so you can deal with other impending threats.

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The end result is a fast action game, that also requires a lot of strategic thinking on your feet. You also have to have eyes in the back of your head, as you can’t really focus on just one threat. You have to be able to react to every last interruption on hand. Is it difficult? Absolutely. But at the same time it feels ever so rewarding when you’re able to complete a segment. The game starts you out in an initial stage that sets up the formula. You’ll play through one section until a timer hits zero. Then you’ll move onto the next section, and then if you complete that section, you’ll move onto a boss fight.

Once you win the initial stage, you’ll then move onto a Mega Man styled stage select screen. Here you’ll go on to play through each of the next few stages in any order you wish. Most of these follow the same sequence as the first stage. Though one stage is an automatic scrolling stage. But even this stage follows the trend of using three sections. After completing these you get thrown into the final stage where you’ll go through a huge gauntlet of enemies, and bosses.

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Wild Guns Reloaded offers four playable characters with their own traits. Clint, and Annie return from the original game. They perform similarly with faster firing weapons, and movement. They’re not exactly the same, Annie seems a little bit more mobile. Joining them are Doris, who throws grenades in lieu of using ballistics, and then there is Bullet. He’s a Dachshund.  A Dachshund with a killer drone. So he plays with a lock on, but like everyone else, one hit takes you out of the action. Clint, and Annie are probably the best all around characters to use. But Doris, and Bullet are great new additions for those who may want even more of a challenge.

That being said this game has three difficulty settings to choose from, but I wouldn’t call any of these particularly easy. The lower tiers make bosses a little bit easier to take down, and some of the midrange enemies take fewer hits. But you’re still going to die if you get hit by anything. So again, expect a challenge. But as the case with Contra or Operation Wolf, the challenge is more or less the point. Interestingly the Nintendo Switch version also includes a Beginner difficulty that just gives the player unlimited lives. Handy for a first time play through. But it also makes the campaign feel hollow as there is no way you’ll be forced to overcome any of the game’s obstacles.

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Playing with other people is a mostly fun endeavor. Having backup means you don’t have to manage every last obstacle, as the other players can do some of the work. But the lack of continues is a puzzling decision. Especially if you’re playing with a group where there’s a considerable skill gap. Because not only can none of you continue from the last stage you reach upon a fail state, your lives are all grouped together. If you have a friend or relative that can’t cut it, you’re getting held back. If you’re the one who can’t cut it, you’re holding your team back. It’s also strange because you have unlimited continues when playing alone. The Nintendo Switch version also doesn’t migrate that Beginner setting to the multiplayer. So you won’t get any mercy in that version either. Despite the odd decision to remove continues, playing with others is a fun time because of the reasons outlined above. It really is great when you are all able to rake in a high score, and defeat a giant boss together. As with the one player game, every little inch you scrape further feels like an accomplishment. But you’ll really need to grow a thick skin when playing with friends because once your lives are gone, that’s it.

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Visually, the game now renders in a proper widescreen aspect ratio, and resolution. The sprites, and backgrounds sport an immense amount of detail. This shouldn’t surprise anybody who has played the original Super Nintendo Game Pak. It was visually impressive then, and it’s pretty impressive now. The little details in the backgrounds, the wonderful use of gradients, all work with its anime-styled designs. The steam punk influence is obvious as you’ll fight robots, vehicles, and cowboys armed with laser guns. The audio goes along with it nicely, as explosions, and screams sound great. There’s also a techno-western fusion going on in the soundtrack.

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Performance is pretty solid too, with the game maintaining a steady frame rate. Even during battles where the screen is completely congested with projectiles. Whether you’re playing the PC version, the PS4 version or the recent Nintendo Switch release. The Switch version looks great in docked mode on the TV or in tablet mode when taking it out on the road with you.  All versions offer a scan line filter if you want to simulate the look of an old CRT Television. There are also an online leaderboard you can try to shoot for.

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Overall, Wild Guns Reloaded is a really fun, and challenging update to a cult classic. It has a great look, really intriguing characters, and does a lot with its setting. The enemy design is great, and it’s an enjoyable arcade experience. It’s just unfortunate it is so inconsistent with its rules for single player, and multiplayer. It’s strange that one can continue at their leisure when playing by themselves, but not with friends. One would think the multiplayer would be given similar stakes. Be that as it may, playing with other people is still fun to do. But you’ll definitely want your guests to know what they’re in for before you start playing.

Final Score: 8 out of 10

Owlboy Review

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The Super NES is known for many great things. Obviously Nintendo’s own wonderful games, and some of the most memorable efforts from names like Capcom, Konami, Square, and Natsume. These efforts often resulted in excellent adventure games, action RPGs, and action platformers. In recent  years a number of new games have shown up paying homage to these titles. But not all of them have done it as well as Owlboy.

PROS: Beautiful visuals. Tight controls. Engrossing story.

CONS: A few annoying bugs. Objectives aren’t always clear.

PIXEL ART: This game really does raise the bar for the art form.

Owlboy is easily one of the best modern platformers done in a style that resembles the 16-bit titles of yesteryear. Immediately you’ll be blown away by the insane amount of detail in the pixel art. The shading of the grass, the gradients in the clouds, and the plethora of tiles that make every background, and object stand out. Not only is there a great amount of detail, but so much of it is animated. Animated so well, in fact, that it matches the characters with their text balloons almost flawlessly.

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Speaking of facial sprite animation, and text balloons, Owlboy has a story on par with many coming-of-age animated Disney films. When the game begins you take control of an owl named Otus. Otus isn’t well liked by most of the inhabitants of Ville. He’s mocked, teased, bullied by many of the other owls his age (often because of his muteness), and he’s ostracized by adults. He gets blamed for things he has little to nothing to do with. He has one friend named Geddy who works defense for the town. Things change drastically one day, when a mysterious troublemaker distracts the two, and allows an invasion of pirates to occur.  From here, our pariah has to go on a three arc adventure to become the hero.

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Along the course of the story new characters get introduced, and this is where the game’s mechanics start to really take shape. Owlboy combines the Platformer with Adventure, and Action RPG elements to create something pretty special. You’ll explore different towns, and talk to NPCs the way you might in a game like Ys, or Faxanadu. You’ll explore areas the way you do in Metroidvanias. You’ll get into boss fights on par with those of the Classic Mega Man series. The developers at D-Pad even went the extra mile to make the shop one of the most entertaining moments in the game.

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Otus can run, jump, fly, and do a couple of  roll attacks as you go through the game. But he can also pick up some of the NPC characters you’ll meet, some items, and even some enemies. All of which are needed to solve puzzles, and get to a lot of areas. Most of the puzzles are fairly challenging to solve, involving every possible thing you can lift. Throughout the campaign you’ll also find fruits, and vegetables that replenish health too. Around halfway through the game you’ll find a shop. It works a little bit differently than the typical shops in most RPGs, and Adventure games.

Rather than simply buy items with the money you have, the shop keep sends out employees to just give them to you once you have enough coins. They don’t take the coins from you though. So it’s almost like a level up progress bar accented with comedy. These moments are quite hilarious too. The game makes excellent use of its characters, and animation to deliver laughs. Rather than simply give you the normal mundane experience of grinding money until you can buy the best kit, it’s gives entertainment. And these funny moments fit right in with the rest of the story.

 

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The story is great, the characters, are great, and everything else for the most part is as well. Not only do you get a bunch of interesting challenges to solve, but you’ll also do your fair share of platforming. Any good platformer requires excellent, and responsive controls. Owlboy has them. As you jump, fly, and switch characters around, things feel natural. So while things may look insurmountable at times, with enough practice you’ll get through them. The game utilizes the Adventure feel of checkpoints rather than the life system many retro-platformers do. These are fairly numerous, so there aren’t very many times you’ll find yourself re-doing long stretches of hurdles upon a mistake. That isn’t to say things will be easy. There were a few parts of the game that I found myself spending thirty to forty minutes on because I didn’t do just the right move. Or because I didn’t kill an enemy quite fast enough. But again, perseverance pays off. If you don’t give up, you’ll get through it.

The game is a lot of fun too. It scratches the itch of just about any old-school experience you can think of, and it’s engrossing. It makes you feel accomplished when you do something grand, and it doesn’t feel discouraging when you fall down. There are also plenty of moments that will just wow you. From riding rock dragons, to infiltrating bases, to the tremendous boss fights, there is a lot to love. Boss fights bring back the era of memorizing patterns. Much like the Mega Man, Castlevania, and Contra games of old, each fight makes you watch for openings. Eventually you’ll realize the boss is doing the same thing, and you’ll learn where to move, or which character to utilize, at what time. Most of them have several forms though, and with each form, a new pattern to learn. But through it all, you’ll have a great time. Whether you were in that era or not.

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As I’ve stated before, Owlboy looks astonishing. But the soundtrack goes along with it all so beautifully. The game has a wonderful orchestral score that flows from scene to scene, and area to area. It’s as if a Metroid game were filled with symphonic songs inspired by classical composers. None of it really comes off as cliché either. It’s almost expected in any fantasy setting to hear strings, and woodwind instruments. But here again, it feels like an animated Disney film. There are up tempo notes of optimism when things are looking up for our characters, and there are bombastic yet somber moments when it looks like all is lost. It probably isn’t the sort of thing you’ll listen to on a work commute, but it does accent the story, and gameplay very well.

It would be easy to write the game off as some niche experience for geezers like me who jammed on Ys III, Mega Man X, and ActRaiser on the Super NES back in the day. But it really isn’t, and you’re doing yourself a disservice if you skip it because of that impression. Yes, indeed, there are plenty of things to like for those who were around for the 16-bit console wars of the 1990’s. But the new twists on gameplay, identifiable characters, and well told story, are things anybody who likes video games can experience. Owlboy joins the ranks of well-crafted, memorable indie releases like Axiom Verge, Giana Sisters: Twisted Dreams, Undertale, and VVVVVV.

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It isn’t without its faults, as even the best games have some issues. In the case of Owlboy it seems to be bugs. Minor bugs, but annoying nevertheless. One of which seems to screw up your controls at random. Loading from the last checkpoint seems to fix it. This only happened to me once, near the end of the game. But it’s still worth mentioning. Another is how, at least on PC, the game still runs in memory even after exiting to the desktop. Pulling up the Task Manager in Windows allows you to shut it down, but it’s still 30 seconds of annoyance. There are also a couple of times in the campaign where it isn’t always clear where you’re supposed to go next. But this is really a minor nitpick since you’ll be spending a good portion of time just exploring anyway.

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Overall though, Owlboy comes highly recommended. It’s fun, engrossing, and has something for just about anyone. It’s a game that will likely garner an emotional response from you, thanks in part to the excellent animation. It’s a game you’ll likely cherish in part because of the story, and characters on display. But it’s also a game you’ll likely enjoy going through due to the top-notch play control, and well crafted gameplay. Owlboy is a must play addition to any collection.

Final Score: 9 out of 10.

Rogue Legacy Review

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I’m really late to the party with this one, as it’s been in the backlog for quite some time. But after seeing fellow blogger Esperdreams (whose stuff you should also check out) live stream the PlayStation 4 version a while ago, I fired it up. I’m pretty glad I did. Rogue Legacy is another game that mixes Rogue elements with bits of other genres.

PROS: Great character designs. Humor.

CONS: Minor hit detection issues.

WOW: Some of the randomness is worth checking out alone.

In the case of Rogue Legacy, the Rogue elements are blended with Metroidvania game play. But beyond that, there is a very creative twist that sets the game apart from other Rogue like/lite style titles. In pretty much every game of this style, if your character dies, even once, for any reason the game is over. You’ll get to keep some of the items you ground for. But you’ll be starting the game over again.

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In Rogue Legacy this is still the case. However, upon your next play through, you’ll get to play as one of that characters next of kin. So that means, a son or daughter of the previous combatant. It gets better though, because there are pros, and cons each child inherits. Some children will have vision problems. Some children will be easily confused. Or see everything in a mirrored perspective. There are a lot of these traits, and each one of them effects how the game is played.

Another common trait among this style of game is procedural generated stages. This idea is used in Rogue Legacy as well. Like Rogue Stormers, this game rearranges pre-designed rooms in new patterns to create new maps. One pretty cool thing the game does with this is self-referential humor. Often times you’ll find journal entries where the fighters will get information about the current castle layout from their ancestors. There is also a room with a jukebox you’ll randomly find where you can change the background music. Kind of like the record room you see in VVVVVV.

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There are other cool in-jokes like the clown target test. The obituaries when you lose. There are many, moments that will make you laugh. In spite of the fact that this game shares many of the same tropes seen in the trilogy of NES Castlevania games. Or the original three Metroid games. As you go throughout the map each time, you’ll find new areas upon every play through. Dark, demonic cavern areas. Giant haunted forest sections. Haunted towers. You name it.

Of course, once you die, the castle will look completely different. But you can use the gold you’ve earned during the last play through on upgrades for your progeny. You can upgrade your life bar, the amount of mana for using special weapons (a la Castlevania), as well as getting other things. You can unlock a bunch of possible classes for your future generations. Ninjas, Miners, and more. You can also upgrade the damage level you dish out, the amount of gold you can collect, and even get shops that come up before you go to the castle.

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These shops will let you bulk up your armor,  and add new abilities like dash attacks to your characters. Eventually you’ll find a third shop where you can exchange your gold collecting percentage for the option to lock the castle map in place so it repeats the exact same layout. Every time you explore the castle not only can you collect gold, but you can find chests with blueprints that can be used in shops for more armor, and weapon types. Some chests will only open if you complete a small mission like clearing the room of enemies, or getting to the chest without getting hurt. And while these aren’t long affairs, many of them can be quite the challenge. Others can’t be done until you have the right item or power ups.

Of course once you start getting the hang of the game, you’ll find boss rooms. These fights can be insanely hard. Not so much because of the bosses themselves. Though they are a challenge. But getting to them with a full bar of health, and a full bar of mana is a challenge in of itself.  Over time you’ll figure out that combat is mastered through timing. Timing not only when it’s safe to swing, but when to jump to avoid something. When to back away. The time in between any given enemy’s attack.

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But even when you learn this it isn’t a cinch to win. Because any given random layout can place you in a room with 50 different bad guys. Plus death-traps, spike pits, and other nefarious things in the environment. This is the kind of game that relishes high difficulty, and requires the patience to learn how everything works. Some have compared it to Dark Souls in that regard. And that’s fair. Mind you they’re two completely different games, with different rules. But both do require some patience to learn those rules.

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Over time, of keeping with it, you’ll begin to improve, and find yourself enjoying  yourself more. Even when you lose, there is enough humor, and charm to keep you coming back. Plus you’ll spend your gold, bulk up some stats, and items making enemies easier to slay. There is a point though, where the game decides just how easy might be too easy. So after a while you’ll notice beefier versions of enemies, or even find harder enemies showing up in the castle sooner. So most players will not be blowing through this one in a few minutes. It can be a grind. But the game obsfucates it pretty well most of the time. It also doesn’t feel like a carbon copy of the base formula. There is a wide variety of enemies, and the jokes can be really funny at times.

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The only big issue I have is that in some spots the collision detection is off just enough to make those sections feel cheap. You’ll take spike pit damage, but your character might not look like they actually touched the spikes. Some times you’ll swear you did a downward stab on a switch in time, but it doesn’t count as so. So these few moments can be a bit frustrating. The rest of the challenge comes from having the right tools for the right job, and the right amount of hand, eye coordination. Which is fine, this is a game that is about a challenge after all. When you do accomplish something in it, it just feels wonderful. You’ll scream “I FINALLY DID IT!” only to then realize you’ve got a long way to go yet. But it’s still satisfying.

Also satisfying are the chip tunes throughout the game. Each area has its own background song. Like I mentioned before, if you’re lucky you can find the jukebox room to change the current song, but each sector does have its own theme. Which gives it some of that Metroid vibe. It isn’t quite the same, since almost every time you play, the layout is different. But it does at least help make each background feel different from the last.

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Rogue Legacy also has a very crisp look reminiscent of old flash animation. Sprites have some bright colors, and nice details. There are cool visual touches on everything as well. The game even has an element of Paper Mario, as you watch your character flip over like a card whenever you turn them around.

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Overall, this is a really inventive take on a popular idea. If you enjoy challenging adventure games, or you can’t get enough of games with rogue elements Rogue Legacy should be on your list. Just make sure you pay close attention around switches, and spikes.

Final Score: 8 out of 10