When I saw the trailer for Rain On Your Parade, my initial reaction was “its probably like Untitled Goose Game, but with soaking items to cause chaos instead of moving items”. That statement isn’t entirely wrong, but it massively understates the game’s charm and character.
From start to finish, Rain on Your Parade is filled with creative levels covering a surprisingly wide range of styles for a concept that could so easily have been a one-note joke. Every part of the game fits together coherently, from the interactive start screen that acts as a pre-game controls tutorial, to the credits level that contains its own mini-games. It feels like a complete game rather than just a collection of levels. Even the world map contains hidden characters to talk to and secret areas to discover.
So what is in Rain’s world? As Rain is set inside a bedtime story, Cloudy’s epic quest to reach Seattle is filled with an eclectic mix of characters and locations. The locations include schools, beaches, moshpits, game development conferences, and desert canyons filled with lasers. Although Cloudy has to overcome rhyming villain Dr Dryspell, who wants to eradicate clouds so that he is never rained on again, they are helped along their way by a cast of eccentric friends. Some of these are typical adventurer’s mentors, like the wise old cloud, while others are more unusual; Froggie introduces himself by claiming to be the hero from “a famous 90’s video game”, and later recruits turret-wielding monkeys to help you on your way.
The first few levels of Rain are almost impossible to fail, as they are simply about getting used to the objectives system and how long the rain meter lasts. However, Rain quickly goes beyond its title and introduces new sources of power for Cloudy. Hovering over any bubbling liquid lets Cloudy rain down that liquid instead, whether its corrosive goo, coffee, cleaning fluids, or even petrol. Cloudy also gains new permanent abilities such as lightning strikes and snowfall, which can be combined to create even more chaos. To give just one example, snowing on people (hoomans, in this world) to turn them into a snowball can be followed with a lightning strike to propel that snowball around the level. Similarly, raining petrol in an unbroken line from a fire source lets you trail fire across the level and cause major destruction.
What do you get if you mix chimney sweeps, evil industrial tycoons, PG-rated toilet humour, and matryoshka dolls?
A charming and surprisingly entertaining adventure game.
When I first saw screenshots of Stacking, I was intrigued by its art style, but I was also unsure of whether it would actually be a complete game rather than an experiment. But once I saw that it was created by Double Fine, who have a penchant for making games that are both weird and enjoyable, Stacking jumped onto my to-do list.
Stacking‘s opening scenes lay out its setting and style quickly. The world of Stacking blends the familiar tropes of Victorian England and of early silent films. Cutscenes take place in theatre sets, accompanied by dialogue cards, piano soundtracks and film projector effects. Most importantly, every character is a matryoshka doll. This isn’t just a visual style, but the foundation of Stacking’s design.
Because protagonist Charlie Blackmore is “the tiniest Russian doll in the world” getting anywhere fast relies upon taking control of a chain of dolls, each one size bigger than the next, to get to the doll you need. (This raises some questions about how their consciousness works, how their anatomy works, and the weirdness of bodysnatching without consent…). Stacking into other dolls is essential because many of them have special abilities that you’ll need to access new areas and explore each level. Taking control of a railway maintenance doll lets you use his wrench to open an alternate route into a challenge, while taking control of a bird allows you to fly into map areas that human dolls can’t access.
Rather than relying upon convoluted logic or long sequences of causes and effects, each puzzle in Stacking has up to 5 smaller solutions to discover. In the first level, these can be as simple as bringing the right doll to the right place and using their ability. Later challenges bring in a greater degree of lateral thinking, such as stacking into the largest doll you can find to use their weight to move an object around, or using one doll to lure a second doll into a new location so that you can use the second doll’s ability. The last level also introduces ability combinations. One puzzle solution required stacking into both a doll who could produce water and one who could produce a blast of cold air. After going to the correct area and using the water ability as the water doll, I then needed to quickly un-stack into the smaller doll and use the cold air ability to combine the water and cold air into ice.
The 3rd season of Rocket League began this week, and it came with one change that I really liked, plus another change that was unexpected and arguably deleterious despite its good aims.
The negative change affects the Premium Rocket Pass, the aspect that people spend real money or in-game credits to access. Previously, after reaching level 70 in the Premium Rocket Pass, players would receive a random item from the new series every time they levelled up. This item would be Painted (essentially a palette swap to one of 13 different colours), and it wouldn’t be a duplicate of any versions of that item already received from the pass.
This random item system was well-liked, especially by people who spend lots of time trading items on secondary marketplaces. I often collaborated with one of my friends – we would pool all of the colours we had of a specific item, so that he could sell its full set of colours to people who like collecting sets of items.
However, for season 3, the Pass system has changed. Now, every player receives the exact same items after level 70, and they can always see the next 30 levels upfront. Also, not all combinations of item and Painted colour are available, while Certified items (items which have an title, such as Scorer or Striker, that levels up to a better title as you score goals/save goals etc) are no longer included within the Rocket Pass.
The patch notes describe this change as “part of our commitment to removing uncertainty from in-game purchases”, which is interesting for me to think about. I usually think that initiatives that make in-game purchases fairer and more predictable are great. For example, showing the potential rarities of items inside a loot box, and providing % probability of getting items of specific rarities from a loot box, are both good ideas that should help people to stay aware of what they’re buying.
I think the idea of having upcoming items be visible is pretty great too. The static item list, however, doesn’t feel helpful or useful. For me its easier to see the downsides of where this might not work than any potential benefits.
Three things that always catch my interest are reading, gaming, and coffee. So when I saw that Games with Gold was featuring a visual novel game centred on brewing coffee, I instantly downloaded Coffee Talk.
Coffee Talk was released in January 2020 and set in the near future of … September 2020. This version of Seattle is home to elves, werewolves, succubi, nekomimi, and many other species, but thankfully not to COVID-19.
As the friendly yet mysterious owner of a coffee shop that only opens at night, you attract all sorts of customers in a variety of circumstances. Over the course of two weeks in the world of Coffee Talk, you eavesdrop on, and help along, the lives of six characters. How do you do this? By listening, talking, and of course by brewing them the perfect drink they need for the situation they’re facing.
Somehow I’ve never owned a Tetris game before, so when I discovered Tetris Effect Connected on Xbox Game Pass soon after it was released, I decided to try out this version. The graphic style showcased in the screenshots and trailers seemed impressive, and the idea of head-to-head online matches appealed to me much more than experiments such as Tetris 99.
My first impression of Tetris Effect Connected was a little negative, purely because it seemed oddly pretentious. This was mostly due to its language and exposition; the campaign is called a “Journey mode” and is described as “a voyage of emotion and discovery”, while you are referred to as a “Guardian” whose job is to help save the galaxy from a negative void that’s going to erase existence. Leaving that to one side and jumping into the gameplay, however, quickly appeased my scepticism.
Its clear from the first information screen that Tetris Effect Connected aims to be an immersive, sensory-blending experience; its encouragement to equip surround sound or wear headphones “for maximum enjoyment” is presented with the same prominence as its photosensitivity warning.
This aim is reinforced by how the Journey mode is built to be near-seamless. After completing each stage, you automatically transition into the next one, while failing a stage resets you to the start of the previous stage rather than returning you to the stage selection screen. This approach feels like its designed to absorb players into a flow state, especially as the power-up mechanic is called “the Zone”. Once you’ve filled the Zone meter by scoring points, you can activate it to slow down time and hold tetrominoes at the top of the screen until you’re ready to release them. While activated, lines that you clear won’t vanish as they normally do, but will instead stack underneath the existing game board. When the Zone activation ends, all of those lines are cleared at once, allowing for not just the titular high-scoring Tetris (4 lines cleared at once), but an Octoris (8 lines), a Decahexatris (16 lines), and even clearing more lines than the game board contains at once (an aptly-named Impossibilitris).
Today I’m looking at indie game, and former Switch exclusive, The Touryst. One of my friends recommended it to me, as he found its free exploration and relatively short length relaxing.
Initially, I didn’t find it quite as peaceful, because the first thing I did was jump out of the arrival boat on the wrong side to see if I could swim in the surrounding ocean … I could, until I was eaten by a shark.
Once I respawned which let me quickly discover that there is no life counter and no major consequence for death, I began exploring the islands. The Touryst takes place across a cluster of small islands, which you travel between by boat. The boat being at the end of a boardwalk and accompanied by an ever-present Captain reminded me strongly of the balloonist in Spyro the Dragon, which added to the game’s nostalgic vibes.Some of the islands are inspired by real-life locations like Santoryn (Santorini) and Fyjy (Fiji); all of them are compact, colourful, and studded with secrets, mini-games and tasks.
According to TrueAchievements, I first played Saint’s Row: Gat Out Of Hell in July 2015. While I’ve dipped in for a couple of co-op sessions since, it’s been on my “I’ll finish this eventually” pile for years. My plan was to spend 1-2 hours finishing any remaining campaign missions on and fulfilling any close achievements, and then to retire the game completely.
What actually happened was that I spent around 5 hours that evening finishing every activity New Hades had to offer, and unlocked the 100% activity ending. After my second evening of exploring, I had beaten up Satan, and collected every orb, book, and piece of audio commentary. Then I saved my progress and realised I was at 98% game completion…
So the day after that, I went for full 100% completion. It’s safe to say that Gat Out Of Hell caught my attention, and my time, much more this time around.
Saint’s Row: Gat Out Of Hell is a standalone expansion pack that follows on from Saint’s Row IV. It features the same open-world gameplay and upgradeable superpowers found in IV, but moves the actions to a new location – Hell itself. As Johnny Gat and Kinzie Kensington, you must prevent Satan from marrying his daughter Jezebel off to Johnny. You do this by getting supernatural assistance from a cast that includes previous Saint’s Row characters as well as famous additions like Blackbeard and William Shakespeare.
Given that game reviews have accidentally become my most common posts on this site, I wanted to make sure I was doing them as fairly and as well as I possibly could. One part of this, for me, is figuring out how I compare games to each other. While I don’t want to get as granular as using a number or percentage system, as I think that I would then focus too hard on those numbers at the expense of looking at the individual games, I did want to add some kind of structure.
A more general tier or category list, that covers the most likely possible options without forcing reviews into a rigid scale, seemed like the best approach. While this will change in future if I need it to, the table below contains the rough framework that I’ll use for comparing games.
I’ll also keep a running list of games I’ve reviewed in each tier below – consider this post the meta-post for my game reviews!
Games that are so strong in design, gameplay and enjoyment that they offer an excellent experience to many different audiences. Games that are the pinnacle of their genre, or even the inventor of a genre.
Grand Theft Auto V
Games that offer a consistently great experience, are finished to a high standard, and have very few weak points.
Spyro Reignited Trilogy
Games that are just “good” – competent and fun, but not extra-special. e.g. games that are technically good but formulaic, or games that are enjoyable but not impactful. The default tier.
Team Sonic Racing
Games that had an interesting concept but executed it poorly e.g. technical or design issues made them difficult enjoy to their full potential, or promised features were missing on release. Alternately, very generic games that don’t have any new/creative ideas.
Games that are so novel, or so reliant on deconstruction or meta-narrative, that they are polarising. Generally, people who like weird indie games /art games will enjoy them, while people who don’t like them won’t.
Games that offer little or no enjoyment e.g. shovelware. Or, games with such extreme technical flaws that they can’t be played/enjoyed.
Letter Quest: Grimm’s Journey Remastered (often referred to as Letter Quest Remastered) is a word-assembling RPG where you defeat monsters with your vocabulary, your scythe, and bacon.
I was introduced to LQR by two of my friends, who assumed that I would enjoy its celebration of verbal geekery. I’m happy to say that they were correct.
In LQR, titular young reaper Grimm must battle though the foes who are blocking him from his desired treasure … pizza. Battling is carried out by finding words in a board of Scrabble-style letter tiles; your score for each valid word becomes damage to the current enemy, who then retaliates with attacks of their own. Each defeated enemy and completed quest awards Gems, which you use to strengthen Grimm’s selection of scythes and to buy skill upgrades.
Imagine flying a Wipeout-style ship along the musical ribbon from Vib-Ribbon, while dodging lasers, while playing a twin-stick shooter at the same time, and that almost sums up Aəero.
Aəero is part of a new generation of indie rhythm-action games that has sprung up since the over-saturated -Hero games met their demise and Beat Saber took VR gaming by surprise. It shares two foundations with other experimental rhythm games; a blend of various gameplay styles, and an aim of creating flow-inducing multi-sensory experiences.
The core gameplay of Aəero is balancing the duelling roles of the left and right analogue sticks. With the left analogue stick, players follow the ribbon of white light that traces out each song’s most salient melody. The ribbon can soar and fall with the singer’s pitch, or swoop and spiral to follow synthesizers and bass. For me, the most challenging songs are the ones which quickly swap between delicate adjustments and larger jumps or spirals. When the ribbon isn’t on-screen, players instead use the left stick to avoid obstacles and fly through narrow gaps in routes interrupted by burning lasers or crushing platforms. The right stick controls the aiming reticle, which players use to target enemies and projectiles, while the right trigger fires the ship’s laser beams.