Category: Video Games

Video Game History: inXile Entertainment

Published on by KyraLeave a comment

Happy Monday, Geekly Gang! Kyra Kyle here with Geekly’s first-ever video game history post, where we discuss a video game company’s history. Today’s video game publisher/developer is the indie darling, inXile Entertainment. It took me a while to realize that inXile is pronounced “In Exile.” That phrase will factor into the game’s history, and wow, do founder Brian Fargo and inXile Entertainment have a long and bumpy history, complete with plenty of stellar games. Before we get to the formation of inXile, we must first talk about Brian Fargo’s first video game publishing company, Interplay.

Brian Fargo Pre-inXile Entertainment

Brian Fargo began developing video games while he was still in high school. Per a 2017 interview with Stay Awhile and Listen, Fargo’s first semi-widely distributed game (he had an earlier game that sold five copies) was Demon’s Forge. The title Demon’s Forge will return, but not until much later. A handful of years later, Brian Fargo would co-found Interplay Entertainment in 1983 with fellow developers Jay Patel, Troy Worrell, and Rebecca Heineman. Fargo was 20 years old at the time.

In 2022, inXile Entertainment released a 20th Anniversary Documentary. I will draw from this documentary often, but since it was released by inXile Entertainment, it glosses over some details, so I’ll be providing some context from other sources. If you have a chance, and hopefully after reading this post (wink), you should watch inXile Entertainment’s 20th Anniversary Documentary. It runs about 20 minutes. According to Fargo in the documentary, (he was so young), his vice president had to buy him beer if he wanted it. Fargo tries his best to hide a smirk. I, Kyra Kyle, have never participated in underage drinking. (Wink.)

Brian Fargo’s Time at Interplay

We won’t spend too much time on Interplay’s history — that could be its own video game history post — but we will need to cover Brian Fargo’s time with Interplay Entertainment, as it provides context for inXile Entertainment. Fargo hit the ground running with a trio of hits between 1985 and 1988. Fargo led the Interplay team with the original The Bard’s Tale (1985), Battle Chess (1988), and the RPG classic Wasteland (1988), which would later inspire the Fallout series.

When the Eighties transitioned into the Nineties, Fargo ceased to develop games directly with Interplay. The last game I could find Fargo co-developed for Interplay Productions was 1991’s Track Meet for the Game Boy. Instead of designing games, Fargo served as Interplay’s CEO. The business may have started small, but with Interplay amassing numerous intellectual properties like Dungeons & Dragons (leading to the Baldur’s Gate series), Wasteland undergoing a title change to Fallout (and thriving as Fallout), Earthworm Jim, and Alone in the Dark, the company became a major force in video games. At this time, Interplay was easily one of the best video game developers.

Fargo has a knack for spotting video game development talent. During the early 1990s, Fargo advised Silicon & Synapse. In exchange for 10% equity in the company, Fargo and Interplay contracted Silicon & Synapse to port games developed by Interplay into other consoles, which gave Silicon & Synapse the capital it needed to transition into making original games (and eventually becoming Blizzard Entertainment).

Despite a great track record and hits like 1997’s Fallout, 1998’s Fallout 2, and 1998’s Baldur’s Gate, Interplay experienced financial difficulties. To avoid bankruptcy, Interplay went public on the NASDAQ. According to a Bit Gamer article, Brian Fargo admitted that further losses (because of increased competition, an underwhelming sports division, and a lack of console titles) forced Interplay to look to a third party. That third party would be French software developer Titus Interactive S.A.. Per a Los Angeles Times article, Titus bought 6 million of Interplay shares for $25 million, giving Titus a controlling stake in Interplay. Fargo and Titus’s relationship was strained.

Fargo would claim (in a Gamespot interview) that he and Titus have a “very different ideology of management that was not compatible.” Fargo always loved video games, and Interplay grew into a huge company of over 500 people with offices all around the world. He had to deal with shareholders. He grew distant from his first love, video games. Fargo no longer got to make games; he didn’t want to be a CEO. Ripples of this pattern will emerge in the future.

So, Fargo stepped down as Interplay’s CEO. He was a CEO without a company for several months, when he’d attend an industry convention.

Founding inXile

Fargo recounts his experience at E3 in an interview found on RPG Codex: Right after Interplay, I was going to E3 in May. I needed a quick name to get a badge. I chose the “Workshop,” and as a joke, I gave my title “CEO in exile.” It got such a funny response that we figured there was something to it.

“InExile” was already taken, so “inXile” was chosen as the newly formed company’s name. Fargo’s experience with finding talent during his days at Interplay served him well as he recruited the best team for inXile. According to the YT inXile Documentary, Fargo called Matt Findley (New Orleans, Louisiana Chief) to join the newly minted inXile. Unlike what Interplay had become, inXile would work on only one game. (Vice President of People) Elene Campbell received a phone call from Fargo to go to lunch, and she quickly joined. Max Kaufman (inXile’s former art director) also joined.

My favorite anecdote during these early days of inXile came from Elene Campbell. Campbell said, “inXile Entertainment’s office had a great location. We were right across the beach. We would purchase a surfboard for an employee if they wanted to surf.” Sounds like you couldn’t beat inXile’s location.

The Bard’s Tale (October 26, 2004)

The one video game inXile Entertainment chose to develop first just happened to be its first hit. 2004’s The Bard’s Tale couldn’t continue the story of the original trilogy because Interplay/Electronic Arts still owned the copyright. 2004’s The Bard’s Tale was neither a remake nor a sequel. It had to be something different, and it certainly was. According to Findley (in the inXile Documentary), we wanted to make some sort of cliché-busting, fourth-wall-breaking game. Former art director Kaufman added, We wanted The Bard’s Tale to be irreverent, looking back at the tropes of RPGs and making fun of them.

Fargo noted the difficulty of including comedy in video games. Humor is a subjective thing, Fargo said, but typically, people rate your game on certain criteria: graphics, gameplay, sounds, (control) responsiveness. When you add humor, you’ve added another category for people to criticize you for. You could hit on all the other categories, but someone could think the jokes are not funny. It’s very tricky doing humor.

Adding humor to The Bard’s Tale was risky, but the risk paid off. The Bard’s Tale became a classic because of its sarcastic humor. While the classic Bard’s Tale trilogy used a first-person view, 2004’s The Bard’s Tale had a 3D environment with the player watching in third-person. The player controlled “The Bard,” who never received a name. Dialogue followed a “snarky” or “nice” option system. While the player wouldn’t know exactly what The Bard would say, the player can set the tone for how the game’s world perceives The Bard.

The first dialogue decision is with a barmaid in The Drunken Rat. Being nice to her gives the barmaid the impression The Bard is a gentleman, and she leaves him alone, while being snarky results in the barmaid spending the night with The Bard. The Bard’s Tale gets into some adult themes. Nudge-nudge. Wink-wink.

inXile always intended The Bard’s Tale to be a comedy, but Findley shares (in the Documentary) the moment The Bard’s Tale became a “silly” comedy was when Art Director Maxx Kaufman turned in a drawing of a Bug Bear. Findley told Kaufman the bug bear looked like a guy wearing a terrible Bug Bear costume.

Kaufman admitted he rushed the Bug Bear character concept. He was doing a character concept a day, maybe even two a day. When he made the Bug Bear, he was being serious with the character. His intent was not to make a funny character, but that’s what ended up happening.

I have to agree with Findley. One of The Bard’s Tale’s most enduring legacies must be its use of music within the game. One of The Bard’s Tale’s biggest innovations was the original music that they wrote that had lyrics, Findley said (in the documentary). The songs weren’t just a soundtrack; they were being performed by characters in the game. This cornerstone survived all the way up to Wasteland 3 and The Bard’s Tale IV. inXile loves using original music to tell a story.

I always liked “The Blood of the Lamb” song that plays when dealing with a crazed cult in Wasteland 3. So creepy. And I appreciate inXile’s use of original music to tell a story. It also doesn’t hurt to have stellar voice actors for a video game. Tony Jay narrates The Bard’s Tale, while Cary Elwes earned a nomination for Outstanding Character Performance — Male from the Academy of Interactive Arts & Sciences.

With one hit under their belt, inXile looked poised for a long run of hits (much like Interplay a couple of decades prior), but inXile immediately hit a snag.

HEI$T

Heist (stylized as HEI$T) is a cancelled action-adventure video game developed by inXile for publisher Codemasters (known for the video game peripheral Game Genie). Set in 1969 San Francisco, Heist follows a group of criminals as they perform various thefts.

Heist features plenty of high-speed chases in what could’ve been an immersive open-world. In a Gamespy article, Lead Heist Designer Sean Patton, cites Need for Speed: Most Wanted and its virtual cops as one influence in the general flow of the getaway chase in Heist. The game sounded amazing. inXile sunk tens–if not hundreds–of thousands of dollars and countless design hours into making Heist the best they could, and then, Codemasters canceled the project.

“Heist is probably my favorite title I ever worked on that never made it to the end,” Findley said in the documentary. “We had an inspired concept of doing something that was supposed to feel like Quentin Tarantino. We had Bruce Campbell as the main character. Ed Asner, Rutger Hauer, Vinnie Jones, Christian Slater, and we had recorded the entire script from beginning to end before the project was shut down.”

Fargo added, “It (Heist) was the closest I’ve ever come to finishing a game–it was finished–and not coming out, but we just couldn’t. Unreal Engine, at the time, to do a true open world wasn’t working for us. Our publisher (Codemasters) really wanted a true open world, but we would have had to make it sort of modularized. Our publisher canceled it.”

There are conflicting reports as to why Heist was canceled. In an interview with Video Games 24-7 (VG247) about Wasteland 2, Fargo said, inXile had an agreement with Codemasters to create an open-world using Unreal Engine on the PS3–but the specs didn’t yet exist for the PS3. They (inXile) found a way to make Heist run great on PC and Xbox, but Codemasters wanted PS3. I gather that Heist worked on every system besides the PS3. Based on the wording, I’m unsure if Heist could’ve been an open-world on the other two systems (PC and Xbox) and needed to be a hub-world on PS3, or if Heist only worked as a hub-world on the other two systems and didn’t work at all on the PS3. Either way, Codemasters canceled Heist.

Heist was a massive blow. It certainly left a bad taste in Fargo’s mouth. He said in the documentary that he couldn’t wait to get back to making games he loves. He disliked making games other people wanted him to make. Well over a decade later, Heist still haunts inXile. They had created a great game in their minds, but their publisher wanted something different. And you don’t need to take my word for it. Heist gets a full segment dedicated to it in inXile’s 20th Anniversary Documentary. Fargo even lists various games, like Payday: Heist, that resemble what Heist attempted to do, but they didn’t have Bruce Campbell, Ed Asner, Rutger Hauer, and Christian Slater in their cast. Fargo insists Heist could’ve done well on the market.

Mobile and Web-Based Games

While one half of inXile developed games like The Bard’s Tale and Heist, the other half developed mobile and web-based games. This half of inXile yielded mixed results. In 2006, inXile acquired the rights to Line Rider, and later on, Fantastic Contraption. inXile ported these indie games to a wider market. They also created a series named Super Stacker. You can still play Super Stacker 2 for free as a web-based game.

Baby Pals Controversy

Fargo discusses inXile’s early days and why they chose to create two branches of the company. “We were trying to find a sustainable business model,” Fargo said (in the Documentary), “but the (video game) world was shifting underneath our feet. We just had to be plucky entrepreneurs and find something. We had the rights to Line Rider. Nintendogs had come out, and we said, let’s do cats (Purr Pals), and we sold three-quarters of a million copies. Dogs are done. What could we do next? People like babies.”

Enter Baby Pals. inXile had licensed the same sound library as the one Mattel was using for their upcoming dolls, so the company thought it was safe. But the next thing Fargo and company knew, inXile was in the news. If you listen carefully, one of the babies says, “Islam is the Light.”

During the documentary, Campbell says, “It was just a baby babbling. There were no hidden references, and it caused so much trouble.”

I like how Findley contextualized these small titles. “I have nothing but warm thoughts for Baby Pals, Purr Pals, Super Stacker, and Line Rider,” Findley said in the documentary. “All of those small and mobile titles we did during those periods…allowed us to do crazy things like Heist and the early stages of Hunted: Demon’s Forge.”

While I thought Findley had a slight smirk when he discussed inXile’s smaller titles during the 20th Anniversary Documentary, his inclusion of these smaller titles financing larger ones rings true.

Hunted: The Demon’s Forge

I promised the title of Fargo’s first semi-widely distributed game, Demon’s Forge, would return. With Heist in their rearview mirror, Hunted: The Demon’s Forge allowed inXile to return to their role-playing roots. But they added a cooperative gameplay twist. Hunted: The Demon’s Forge was an ambitious title. According to Findley in a Game Sauce article, Most co-op games are two guys with the same guns running through the world, so we really like the concept of teamwork…We’ve built these arenas with different heights and areas for players to really get out. They get to use their skills and still be able to help out their partners.

Based on Findley’s description, Hunted: The Demon’s Forge sounds something akin to an early hero shooter. The only other hero shooter available at this time would’ve been Team Fortress 2. But Hunted: Demon’s Forge only allowed couch cooperative play. With World of Warcraft going strong for seven years by 2011, and first-person shooters like Battlefield 3 (also released in 2011), and trying to capture the budding online cooperative wave, couch cooperative games were fading in popularity, and Hunted: Demon’s Forge underperformed.

Competition in the role-playing space was fierce during 2011. It didn’t help that many critics viewed Hunted: Demon’s Forge as a Gears of War clone. Hunted: Demon’s Forge may have fared better if it had been released in a different year. RPG juggernauts Mass Effect 2 and The Legend of Zelda: Skyward Sword were released the same year. Bethesda, Hunted: Demon’s Forge’s publisher, even released Skyrim that year. Yikes! Bethesda may not have given Hunted: Demon’s Forge much of a chance.

Choplifter HD

A little over seven months later, inXile released its 3D polygonal remake of the classic 1982 game Choplifter by Dan Gorlin. inXile even hired Gorlin as a design consultant for Choplifter HD. Despite Choplifter HD remaining true to the original, it was the second game in a row by inXile that received mixed reviews. Some critics appreciated how faithful the remake was to the original, while others criticized the game’s difficulty. Ryan Winterhalter of 1Up.com, compared Choplifter HD to that of a bullet hell shooter. I love Winterhalter’s title: Choplifter Appeals to Your Inner-Masochist. Yowza! That’s good copy.

For those keeping score, that’s a canceled game (Heist) that cost countless hours of development to make, a controversy (Baby Pals) that eventually led inXile to halt production on smaller games, and back-to-back near misses with Hunted: Demon’s Forge and Choplifter HD. inXile was at a crossroads.

A Comet Almost Hits the Earth

Fargo shared in the inXile Documentary, “I’ve had so many near-death events in this industry, where the comet almost hits the Earth. If Battle Chess wasn’t a hit…If Castles wasn’t a hit. I can go through ones where if that didn’t work, we’re out of business. Hunted didn’t work, so we had to scale back to a very small group of people.”

Up to this point, Brian Fargo had seen his share of misses and near-misses. inXile’s history began to mirror Interplay’s over a decade earlier. Interplay started as a focused team working on a couple of titles and then swelled to a company of 500 working on dozens of projects. Findley says (in the Documentary), “The years between The Bard’s Tale (2004) and Wasteland (2) was a roller coaster. We got smaller again, then we got bigger, and we got smaller. We went from being a focused team working on one title to 120 people working on four or five titles at once. We were all over the place.”

Interplay made itself a “public” company, entering NASDAQ. inXile would also go “public” but in a different manner. Only this version of “going public” involved inXile’s and Wasteland 2’s historic KickStarter campaign. Like Fargo said, “We threw it all in with our KickStarter and that changed everything.”

Wasteland 2’s KickStarter Campaign

“We were able to pitch the games we want to make,” Findley said (inXile Documentary), instead of pitching the game you know you can sell, which is a much more fun place to be.” This mindset changed everything for inXile. Heist and Hunted were financed by another company. Codemasters wanted a game in Heist inXile couldn’t deliver, while Bethesda released Hunted a few months before Skyrim. KickStarter showed inXile what their fans wanted to play.

For years, gamers asked for a follow-up to 1988’s Wasteland, but the rights to Wasteland proved tricky. Before inXile could begin work on Wasteland 2, they needed to obtain the rights to Wasteland from Electronic Arts. The original publisher, EA, had let the rights lapse. The last time Electronic Arts had worked on a project connected with Wasteland was Fountain of Dreams. “Originally, Interplay (and Brian Fargo) were supposed to be involved with Fountain of Dreams (1990), but EA took control of the project and produced it themselves,” said Fargo in a Wired interview. “By 2003, Electronic Arts dropped all claims that Fountain of Dreams had any connection to Wasteland.” This opened the legal door for Wasteland 2 to become a reality.

Wasteland 2 was a sequel to 1988’s Wasteland. To be fair, Wasteland 2 is a fusion of a sequel and an update to the original. The stories of both games share many similarities. Wasteland 2 is a joy to play. I highly recommend playing it. Wasteland 2 delivers on Fargo’s idea of a “hardcore role-playing game.” There is no one way to play through Wasteland 2. Your choices affect the world.

There are moments where it’s obvious how your choice will affect the world, especially the game’s first choice of saving Highpool (a community based around a local dam that provides water to the region) or the Ag Center (which grows genetically modified vegetables to feed the locals). You can’t respond to both distress signals. Other moments are more subtle in how your choices will affect the world.

But why KickStarter? inXile had never used a crowd-sourced platform before, in fact, Fargo had never heard of KickStarter. Fargo shares the moment he decided to Kickstart Wasteland 2 (in the inXile Documentary), “Tim Schaefer launches his KickStarter (Double Fine Adventures). The first day, it makes half a million dollars. I was like, this is it. I called Matt the next day, drop everything. This is what we’re gonna do. We went from what’s KickStarter? to launching within 30 days.”

Wasteland 2’s KickStarter did not end up beating Double Fine Adventures (per an inXile community post), but it was, at the time, the second-largest video game KickStarter campaign, closing in at just over $2.9 million. Add in PayPal donations of over $100,000, and Wasteland 2’s total funds equaled over $3 million.

To this day, Wasteland 2’s KickStarter campaign sports the third-highest total on KickStarter. I’ll admit, KickStarter is better known for board games than video games, but this fact may make Wasteland 2’s success on KickStarter all the more impressive. Wasteland 2’s success goes a long way to show how much the video game community appreciates inXile, and more specifically, Brian Fargo’s work.

Torment, The Mage’s Tale, and The Bard’s Tale IV

Torment: Tide of Numenara was released in 2017 after another successful KickStarter campaign. inXile learned plenty of lessons from their first crowdfunding campaign. Torment: Tides of Numenara was written by Monte Cook, who also wrote the rules to the tabletop role-playing game Numenara where Torment is set, but Torment: Tides of Numenara is also a spiritual successor of a former Interplay game, Planescape: Torment. Torment: Tides of Numenara received favorable reviews, continuing inXile’s hot streak. It also honors inXile’s past.

We won’t go into too much detail with the remaining titles in this segment. The Mage’s Tale was developed in parallel with The Bard’s Tale IV. The two projects share some assets. Both games received average or mixed reviews. Regardless of reviews, both games had ambition. While The Mage’s Tale brought the world of The Bard’s Tale to the new medium of virtual reality, The Bard’s Tale IV: Barrows Deep attempted to fuse elements of the original 1980s Bard’s Tale trilogy with the 2004 spin-off The Bard’s Tale.

After a shaky decade, inXile had found a sustainable business model. But nothing stays the same for long.

Joining Xbox

In November 2018, Microsoft Studios acquired inXile Entertainment and Obsidian Entertainment on the same day. Eurogamer made the announcement, stating, “The two independent studios who had fought against each other would now be under the Xbox umbrella. This announcement led to Fargo staying as head of inXile, because in March 2017 (also on Eurogamer), Fargo had announced his plans to retire from inXile following the release of Wasteland 3.

Fargo has said in the past that he doesn’t enjoy being a CEO. He may have wanted to leave on a high note (with Wasteland 3). Microsoft Studios’ absorption of inXile as a subsidiary allows Fargo to stick to his passion, developing video games. Microsoft’s near limitless resources mean that inXile won’t need to rely on crowdsourcing to make the games it wants to make.

Clockwork Revolution

This video game history post is one of the final pieces I wrote in preparation for my end-of-year novel writing/editing break, so I’m writing this post in 2025. Clockwork Revolution is slated for a 2026 release. Who knows? Clockwork Revolution may already be released by the time you’re reading this. I am stoked for this title. What I’ve seen looks amazing, and since Clockwork Revolution is categorized as an action-RPG, I’m anticipating it having gameplay similar to The Bard’s Tale (rather than Wasteland). Regardless, I have Clockwork Revolution wishlisted and will be playing it soon after it releases.

inXile and Brian Fargo had a crazy ride, filled with hits, misses, and near-misses. I’m glad Fargo and his team had those Wasteland 2 KickStarter moments. In the inXile Documentary, Fargo said, “They (fans) valued the work we’ve done before. It felt good. I can say that when we hit our funding goal, it was one of the highlights of my whole career.”

Thank you for reading. Let us know what other video game companies you want us to write a history for, and wherever you are, I hope you’re having a great day.

Free-to-Play Video Game Review: Clicker Heroes

Published on by KyraLeave a comment

Hey, hey, Geekly Gang! I haven’t done a free-to-play video game review in a handful of months and figured I’d give the treatment to a game I played a lot of this past summer, Clicker Heroes. Yes. Clicker Heroes has been out for over a decade, but it’s still available on multiple platforms: PC, mobile, PlayStation 4, and Xbox One. Clicker Heroes started as a Flash game, so this free-to-play video game has been around for some time. But just because a game is “free-to-play,” does that mean that it’s free-to-play friendly? Let’s subject Clicker Heroes to our review criteria.

Mechanisms

Mechanisms: 2/10

Clicker Heroes doesn’t cover new ground, so its mechanisms score suffers as a result. Don’t get me wrong, I like idle games. I played the heck out of AdVenture Capitalist. I did the same with Clicker Heroes. I sunk hundreds of hours into this game, but it doesn’t do anything more than click on heroes, like the game’s name suggests, allow you to upgrade the heroes, and then face the next goofy-looking boss monster.

I do like how you can choose to upgrade your heroes by factors of 1, 10, 25, and 100 levels each time. This makes leveling up lesser heroes like Cid, the Helpful Adventurer (your first Hero), a breeze. Goldfish and Bees will flash on the screen with button prompts, but this does little to shake up the stale gameplay.

Gameplay Loop

Above Image from GameDesigning.Org

Gameplay Loop: 2/10

I know I just said I sunk hundreds of hours into Clicker Heroes, but most of that time I spent AFK (away from keyboard), and that’s by design. Clicker Heroes is one of those games you log in once, maybe twice, a day, check on your heroes, and put the game back to sleep.

You’re encouraged to “ascend” your world, which erases much of your progress, and then you must climb back to where you just were. This is what keeps Clicker Heroes’ gameplay loop score from reaching even lower, because Clicker Heroes’ most engaging gameplay is at the beginning. Waiting for your power-ups to recharge or your characters to defeat enough monsters to upgrade your heroes becomes tedious.

After some time, you can use hero souls (from ascending) and purchase Ancients that can help you progress faster in the game, but once you reach Level 300, you’re given the choice to “transcend” your world. This is another layer of ascending that erases your gilded heroes (upgraded heroes through relics) and your Ancients. So, after “ascending,” you go all the way back to the game’s tedious beginnings.

But you do obtain “Outsiders,” which are supposed to be stronger Ancients, but it takes a long time to accrue enough ancient souls, what you get for “transcending,” before you begin to see a tangible difference. Plenty of websites offer ideas on how to speed this process, but I don’t imagine too many players will sink enough time into learning Clicker Heroes’ math to take full advantage. Clicker Heroes becomes a slog.

Respecting Time: 1/10

Clicker Heroes is an idle game, so it’s supposed to be more of a time waster, and it does indeed do that. I can forget Clicker Heroes exists for several days and return to my heroes. But Clicker Heroes makes upgrading your world so difficult that it goads gamers into either spending hours of research to get the perfect set-up or spending money to make the hurting stop. Is the drop of juice you get worth the tens of billions of squeezes? I don’t think so.

True Cost: 3/10

While Clicker Heroes offers skins for auto-clickers (Why would anyone want that?, but okay), it gains most of its money through the purchase of rubies. Fortunately, players can earn rubies by sending mercenaries on missions, opening relics, and clicking on goldfish. But I still struggled with how to grade Clicker Heroes’ “True Cost” or its “free-to-play friendliness,” because I can see players getting caught in a trap. Heck, I got baited into that same trap: reviving mercenaries.

Every once in a while, one of your mercenaries may perish while on a mission. You can spend rubies to revive a mercenary, but there’s some math (I haven’t done the research) where the mercenary’s level and/or the amount of time they have remaining for a mission dictates the number of rubies you’ll need to revive them. In my experience, reviving mercenaries takes a mountain of rubies. Players have little chance of having enough rubies to revive advanced mercenaries, like the “Demigod +13 level” mercenary pictured above with the low, low revival price of almost 5000 rubies. Looks like time to open another credit card and buy 5000 rubies for about $400.

With one exception, outside of reviving mercenaries, I see little use for spending rubies. That one exception is a one-time damage boost for your Heroes. This costs somewhere between 50-100 rubies, and once you buy it, you’ll have it for the duration of the game. 100 rubies or less is a steal.

But the remaining ruby purchases involve buying gilded Heroes, which will reset after you ascend, some version of speeding up Clicker Heroes’ glacial pace, or buying an auto-clicker. Eh. I almost gave Clicker Heroes an average score for “True Cost.” Reviving mercenaries aside, few of the other ruby purchases can be avoided.

User Interface: 2/10

Clicker Heroes doesn’t have that many menus and submenus, but what is there is confusing and difficult to navigate. I’ve played the game for months and still get turned around, not knowing where I can find certain information. I can’t imagine a noob looking at the screen above and being able to tell what does what. And several buttons have multiple functions, so it’s easy to misclick.

Graphics: 3/10

While simplistic, Clicker Heroes’ graphics are pleasant. I’m grading this one on a little bit of a curve, because Clicker Heroes is over ten years old. But the game hasn’t received too many graphic updates through the years, so I can’t get too crazy with this score.

Audio: 6/10

I had to average Clicker Heroes’ audio score. Clicker Heroes has epic music. It often gets stuck in my head. But the sound effects are as annoying and repetitive as clicking a button thirty-five times a second. Ow! My ears. Those moments when I don’t use an ability and listen to Clicker Heroes’ soundtrack make all the difference for this score.

Aggregated Score: 2.72

Clicker Heroes is an idle game, so don’t expect much. While it has charm, the graphics haven’t been upgraded too much to keep up with modern devices. Clicker Heroes can be a slog if you don’t research how to maximize your Heroes or spend money, and I worry about gamers who fall into the ruby pit of reviving their “good” mercenaries.

Gacha Game Review: Persona 5: The Phantom X

Published on by Season2 Comments

Hi, Geekly Gang! Season here. I mentioned in a previous “Whatcha” that I’d started playing Persona 5: The Phantom X. I’ve gotten a good feel for the game and have decided to pit it against our Gacha game review system. Let’s see how Persona 5: The Phantom X scores.

Before we begin, it’s impossible not to compare Persona 5: The Phantom X with Persona 5 and Persona 5: Royal.

Mechanisms

Mechanisms: 6/10

Maybe I should have rated this lower since the mechanisms are similar to Persona 5 and Persona 5 Royal. Since the mechanisms in Persona 5: The Phantom X stay true to the original Persona 5, they’re baseline good. Enemies maintain their weaknesses, and the game is more upfront about what enemies are weak to, instead of players having to guess. The main character (Wonder) can alternate between up to three different personas for different enemies. This cuts the score a bit since the main character from Persona 5 (Joker) can alternate between up to ten different personas.

The baton pass in Persona 5: The Phantom X is a step up from Persona 5. When prompted to perform a baton pass (baton touch in this case), any character who has an element that any of the enemies they’re facing is weak to will have “Weak!” pop up next to their picture. The downside is that players still have to remember which enemies are weak to which elements, because a character possessing an enemy weakness may target one that’s already been incapacitated.

Gameplay Loop

Gameplay Loop: 5/10

I’ll start with the positives. Players can go back to cleared Palaces. Unlike the original Persona 5, there’s no pressure to collect everything before the Palace collapses. Due to small map sections, the overworld is easy to navigate. Event-wise, story-related events (the Palaces from Persona 5) remain as permanent events. Smaller events with limited rewards get phased out after a certain period of time. This makes events easier to navigate for new players, and for players who’ve never played Persona 5.

Mementos differs slightly between Persona 5: The Phantom X and Persona 5 Royal (Persona 5 doesn’t include this). In Persona 5 Royal players collect stamps and flowers in Mementos to collect rewards. In Persona 5: The Phantom X, players collect train tickets to exchange for items and unlock different areas of Mementos.

I’m going to level with you, Geekly Gang. This is my biggest gripe with Persona 5: The Phantom X’s gameplay loop, and it’s not something I’ve ever complained about in a game this much. Persona 5: The Phantom X has fifteen different currencies. Fifteen. Why? I don’t even pay attention to most of them because many of them are zone-specific. The two important currencies are the Yen and Meta Jewels. Yen allows you to purchase anything in the overworld, and Meta Jewels lets you pull for characters and weapons. If you’re short on anything required for a specific task/character level, the game will prompt you to go collect it.

Respectful of a Player's Time

Respecting Time: 8/10

Persona 5: The Phantom X allows me to complete my dailies in under ten minutes. There’s no auto-clear for farming, but after a player completes a farming-related battle, they can spin a dodecahedron (a 12-sided die) up to six times and gain that much in resources. Seriously. I can complete my farming after two auto-battles.

Battle Pass: 4/10

The battle pass is nothing special. It’s similar to Genshin Impact, Honkai: Star Rail, and Wuthering Waves, but with an extra ten levels tacked onto it. I’m not sure why, since these ten levels offer the same rewards with every level.

Video Game's True Cost

True Cost: 7/10

Unfortunately, Persona 5: The Phantom X falls into the same weapon banner pattern as Genshin Impact. Players select two five star weapons they want to include on the banner in addition to the featured one, and there’s a 1/3 chance they’ll get that weapon after eighty pulls. However, pulling (opening packs to gain new units or weapons) is cheaper in Persona 5: The Phantom X than the other gachas we’ve covered. Weapons cost one-hundred Meta Jewels per pull, and characters cost 150 per pull.

Story or Narrative

Narrative: 2/10

The only upside to Persona 5: The Phantom X’s narrative is it’s easy-to-follow—especially if you’ve played Persona 5. It doesn’t build on Persona 5 or Persona 5 Royal, but reskins it with characters and Palaces that mirror the original. The group of teenagers fights to get their desire back, which doesn’t make much sense for rag-tag teenagers. They haven’t survived high school and have minimal life experience. This would hit harder if the characters were much older, by, like, thirty years.

The “time” in the game doesn’t flow well, either. In Persona 5, there were days of the week, holidays, and deadlines. Players had to plan their time well to get the most out of their time. In Persona 5: The Phantom X, “time” is only relevant for overworld tasks and when confidants are available to hang out. Instead of using specific dates, day progression is denoted by today, tomorrow, and yesterday.

Storytelling

Storytelling: 3/10

Since the story flows in Persona 5: The Phantom X, it gets a slightly higher rating than the narrative. However, it still gets a lower score than other gachas because it’s mimicking Persona 5 in every way. Come on, guys.

Also, how long are Wonder’s parents going to be on vacation? They’ve been on vacation since the game began. I think they went out to buy milk and cigarettes.

Credit: GameRant

Presentation; User Interface: 5/10

The UI has a similar setup to Honkai: Star Rail, which isn’t too difficult to navigate. There are too many subcategories. Why are there two different categories for shopping? Combining them would eliminate one of the subcategories.

Credit: Game8

Presentation; Graphics and Audio: 4/10

The audio quality is fine. It’s average. The graphics, on the other hand, are slightly better than the original Persona 5, which is almost a decade old at the time of writing. There shouldn’t be minuscule graphics differences between two games that are ten years apart.

Aggregated Score: 4.89

I tried to raise the score for Persona 5: The Phantom X as much as I could, but this is the best score I could give it. There are definitely some sections that could’ve earned harsher scores. If you’re looking for Persona 5, Persona 5: The Phantom X has that to a degree. I recommend playing Persona 5 (or any other Persona game, for that matter) over Persona 5: The Phantom X. Since it’s around the holidays at the time of writing, Persona 5 and Persona 5 Royal are likely on sale somewhere. If not, they’ll probably be on sale at the end of the year. Steam normally has a huge end-of-year sale. I’ve also seen PlayStation have sales on Persona 5 and Persona 5 Royal in the past.

What do you think, Geekly Gang? Was our final score too low, too high, or just right? Let us know in the comments. Thank you for reading and have an amazing rest of your day.

Cozy Video Game Review: Dorfromantik

Published on by KyraLeave a comment

Inspired by tile-laying board games, Dorfromantik offers the relaxing gameplay of creating a pastoral landscape of trees, villages, water, railroads, and fields. Designed by four German and Swiss students (Timo Falcke, Sandro Heuberger, Luca Langenberg, and Zwi Zausch) in a game design master’s program at HTW Berlin, Dorfromantik is a peaceful, minimalist game that lives up to the title, cozy. Hey, hey! Kyra Kyle here. We’re back with another cozy video game review. Even though Dorfromantik has crossed over into an award-winning board game, we’ll be discussing the equally stellar indie video game by Toukana Interactive. Get ready to build a gorgeous landscape with Dorfromantik.

Mechanisms

Game Mechanisms: 7/10

Dorfromantik takes a simple concept of tile laying and does it exceptionally well. I’d wager the idea of Dorfromantik stemmed from playing board games like Carcassonne. Dorfromantik’s game mechanisms lend themselves well to board games, so there is an excellent, cooperative board game by the same name. Sometimes, you don’t need an elaborate set of mechanisms to make a game sing. Sometimes, you just need to do a simple concept well, and Dorfromantik does just that.

Chain similar land types with each other to gain points and finish goals (that the game presents) to score even more points and to increase the number of tiles you have to draw from. Dorfromantik can be played competitively–there is a leaderboard–or you could watch the countryside bloom as you place tiles. Dorfromantik‘s ability to make me invested in a landscape reminds me of another cozy video game we covered, Terra Nil.

Gameplay Loop: 9/10

Whether you play Dorfromantik to get the highest score possible or casually place tiles and find your Zen, you can’t deny Dorfromantik’s gameplay loop. Once you get started, you won’t build just one pastoral scene. You’ll want to go farther with your next run, reveal new tiles like the windmill (pictured above), or watch your boats and trains traverse the landscape. And yes, the scene above is animated. It’s so neat watching your creation come to life.

Because the tiles can come out in different orders, no two scenes in Dorfromantik are exactly the same. This adds spice to the simplistic gameplay. Dorfromantik is an easy game to get into, but a difficult one to master if you want to climb that leaderboard. Or you could be like me. I just want to discover new tiles and watch my landscape get bigger and more diverse. I’m so glad Dorfromantik has been ported over to the Switch. It’s the perfect game to play on the go.

Story or Narrative

Narrative/Storytelling: 1/10

I should’ve excluded this element, but I didn’t with other video games that had little to no story, so narrative/storytelling is staying in the lineup. Let us know what you’d replace this element with for games that have little to no story. Dorfromantik has no story to speak of, so it receives a low mark in this category.

User Interface: 10/10

Dorfromantik has a stripped-down but effective user interface. The tiles feel great to manipulate. They almost feel like placing a board game’s tiles. The picture above shows how Dorfromantik will highlight the spaces where a tile can be placed. Gamers can only place the tile on top of the draw pile. Dorfromantik does an excellent job of not only showing where a tile can be placed, the callouts show where you can gain extra points, and whenever you hover a tile over a space and begin rotating it, Dorfromantik will make the matching tiles shimmer.

Dorfromantik’s elegant and minimalistic user interface makes it accessible. Like I said, Dorfromantik may use a familiar board game mechanism in tile placement, but every element Dorfromantik adds is handled with care and purpose. I had to give Dorfromantik top marks for user interface.

Graphics: 8/10

Dorfromantik has excellent graphics for a top-down isometric video game. The art style works well, and I appreciate the small details. Look at the clock towers, cottages, and windmills in the image above. Like I mentioned before, Dorfromantik uses small animations to denote movement. The boats (if you’ve unlocked the boats) move along the waterways. Smoke puffs from chimneys. While all of this is great, Dorfromantik does venture into cartoony graphics.

These cartoony graphics work well when one zooms out and sees more of the landscape, so I understand why Dorfromantik chose a minimalistic, cartoon-like art style. Players are meant to take a macro view of their village. But I dock Dorfromantik a point or two for graphics because the game doesn’t quite hold up on closer inspection.

Audio: 7/10

Dorfromantik’s music exudes the concept of a cozy game. I’ve listened to Dorfromantik’s soundtrack to fall asleep. It’s that soothing. Unfortunately, the game’s sound effects detract from this calm. The clacking and clicking of the tiles often takes me out of the game’s vibe. I would’ve preferred more pastoral sound effects accompanying the mechanical sounds of turning and placing tiles on the board. Yes, I could reduce the sound effects’ volume or turn them off altogether, but that would eliminate half of Dorfromantik’s audio. We’re grading the game’s entire audio. If we were only grading Dorfromantik’s soundtrack, its audio would score much higher.

Replay Factor: 10/10

Dorfromantik has an addictive gameplay loop, so the replay factor is through the roof. I can see myself playing Dorfromantik on my Switch while waiting in line. Heck, I’m surprised Dorfromantik hasn’t yet made it to the mobile game space. I could see plenty of people playing Dorfromantik on their phones. It may be an even better game for smartphones. The Switch tends to be a game’s first foray into mobile gaming. Fingers crossed that this cozy game classic makes it onto more mobile devices.

Aggregated Score: 8.6

Sure, I gave Dorfromantik a story/narrative score, but I’m not including that score with its aggregated score. Sometimes you need a cozy video game to find your Zen. Dorfromantik is a great game for that. I’m hoping more gamers will have the opportunity to play Dorfromantik on other platforms soon.

Video Game Review: The Survivalists

Published on by KyraLeave a comment

Team 17 produced The Survivalists as a cooperative adventure game set in the Escapists universe. The player wakes up marooned on a mysterious island. You must adapt to your new surroundings. Prepare your defenses against island threats. Explore, hunt, build, craft, and train monkeys with up to three friends as you do your best to survive.

Hey, hey! Kyra Kyle here. Today’s post is a follow-up of sorts. Months ago, I mentioned during one of our Whatcha Playing segments that I’ve been playing The Survivalists. I finished the game and figured I’d share my thoughts. I played The Survivalists on PlayStation (so most of my comments will reflect that), but The Survivalists is also available for Xbox, Nintendo Switch, and Steam. Typically, it retails for about $25, but The Survivalists tends to go on sale for as low as $5. I snagged a copy when it was this cheap. Let’s see how The Survivalists measures up in our review criteria.

Mechanisms

Mechanisms: 8/10

Full disclosure: I’m not the biggest survival game fan; that’s more Skye’s video game genre. Survival games often frustrate me. It takes a while to make progress (I’m impatient), and your progress can be foiled with a single false move, which causes the game to devolve into a frustration simulator. I usually like to chill whenever I play video games. Most survival games have no chill. That’s where The Survivalists is different.

The Survivalists takes a laid-back approach to the survival game genre. Sure. You can–and most likely will–die in the game, and after respawning, you’ll have to travel back to where you lost your belongings, but The Survivalists is more forgiving. Upgrades don’t take as long, eliminating one of the barriers for me. If you train monkeys, these upgrades take a fraction of the time. Monkeys are The Survivalists’ single best addition. It took me a while to figure out how to train a monkey (the controls are a little wonky), but once you get the knack, you’re no longer alone on this island. Even if you play The Survivalists solo, you have allies.

The Survivalists’ monkeys element is enough to give it an above-average score in mechanisms, but the game doesn’t add too much to the survival video game genre, so I couldn’t give it higher than an eight out of ten. Still, I enjoyed my time with The Survivalists, and the game’s mechanisms kept me engaged.

Gameplay Loop

Above Image from GameDesigning.Org

Gameplay Loop: 8/10

The Survivalists has the same addictive gameplay loop as most survival games. While I love the addition of monkeys, you can get stuck waiting for your monkeys to finish constructing key materials. That holds back this score a bit. The missions can also get too specific; one also doesn’t receive credit for a task unless they have the mission in their questline. The Beast Master is notorious for this. Kill 10 Bats. I already have; I guess I must hunt for 10 more. And the Beast Master’s questlines (in particular) don’t appear to have a linear progression. You can go from slaying a mid-level boss to hunting wolves, and then to taming animals, which transitions to killing warthogs (an equivalent animal to wolves). These mission progressions tend to be head-scratching.

Still, The Survivalists has a satisfying gameplay loop. The world resets after every few days (after a blood moon). So, if you must hunt wolves for their pelts (or to finish a quest), you may need to wait for them to respawn after a blood moon. The morning after a blood moon, you’ll be attacked by natives. Perishing during one of these raids isn’t too big of a deal, provided you’re at or near one of your camps. You’ll lose the items in your inventory, but your attackers will vanish, and you’ll respawn at your nearest camp. Easy.

Sailing can be tricky to master. I was fifteen hours into the game before I could navigate the waters well. Once you get the hang of sailing, exploring becomes a blast. I couldn’t wait to discover a new island or the materials I could find on the island. This is a hallmark of survival games. Perhaps I should give more of them a try.

At first, obtaining a new monkey can be exciting, but you’ll end up with well over 15 monkeys. That’s a lot of monkeys. The number of monkey companions will become unruly, and monkeys have a range limit. The Survivalists doesn’t do a good job of marking this range. I lost count of the times I’d task a monkey to do something like chop down trees, only to see the monkey skip a tree to knock one farther away. Make the monkey’s range make sense. I’ll also get a monkey falling me a little too long, and then they’ll randomly swim on the beach on a foreign island. It’s a good thing monkeys can’t die.

Story or Narrative

Narrative: 6/10

The Survivalists has a basic premise with little story beyond that, but it doesn’t need a lot of story beyond a person marooned on a distant island. I do enjoy the ending. It’s not a true ending, because you can continue playing after this moment, and the credits roll. I won’t spoil what happens here, but The Survivalists has an adorable cutscene after the player rebuilds the Galleon and sets off for home.

Storytelling

Storytelling: 7/10

Even though The Survivalists has little story, the story it has is done well. Flavor snippets from the labyrinths and vaults sprinkled through the various islands do a lot to build The Survivalists’ world. My favorite parts of The Survivalists’ story are piecing together a story from the random objects I encountered. This game allows players to fill in certain blanks in its story. As of writing this post, I have yet to play The Escapists. I’ve heard that there are references from the previous games set in this universe. If so, that’s fun.

User Interface: 9/10

The Survivalists’ user interface works well. With few exceptions (I mentioned a lack of showing the player their monkey’s range), the game provides ample information in a digestible manner. The volume of information a survival game needs to convey is staggering. Players can get lost in menus and submenus. While that can happen occasionally with The Survivalists, it doesn’t happen as often as other survival video games. This contributes to The Survivalists‘ ease of play.

The well-laid-out GUI gives players the information they need. Yes. I could locate my missing monkeys if I wanted; I just didn’t want to retrieve them. The map allows for customized markers, which makes remembering where things are easy enough. Furthermore, you don’t really need too many personalized markers because the taskmasters have unique markers, and they spawn on the game’s five islands: Mysterious Strange at the player’s island, Beast Master at the Badlands, Survival Gourmand in the Swamp, The Collector at the Volcano, and The Salesman at the final island shaped like a skull and is a combination of all the biomes. The Survivalists also labels all the labyrinths and vaults, so the randomized map is clearly marked.

One can also mark a recipe and know when they’ve collected the necessary materials. I only have a few gripes, like the lack of a monkey range display. The Survivalists did their homework and included enough features from other survival video games to make playing this game enjoyable.

Graphics: 9/10

In keeping with The Escapists’ universe, The Survivalists uses a cute pixel art style. I don’t tend to like pixel art because the art style sacrifices detail for the sake of the designer not wanting to include detail (it tends to be cheaper), and it taps into nostalgia. A stripped-down look is a key feature of pixel art; it makes the art more abstract, which can allow players to see themselves in the graphics. Somehow, The Survivalists’ graphics maintain a level of detail despite using pixel art. That’s impressive.

As you can see in the image above, The Survivalists uses a mock 16-bit art style, but the shadows from the trees have detail, the water ripples, and the grass shifts. The Survivalists has enough detail to make its world breathe, but it has enough abstraction for players to see themselves in their protagonist. This is pixel art done right.

Audio: 8/10

Truth time. I predominantly played The Survivalists muted. The times when I had the sound on, the effects sounded natural. The music is solid and suitable, except for the sailing tune. That song alone raises the audio score a full two or three points. I would sail from island to island just to hear this tune. The Survivalists’ sailing music feels like an adventure, and that’s what I wanted from this game. Don’t believe me? Check out the audio on YouTube. The track is titled “Adventure Awaits.” That’s so fitting. I can almost smell the salt from the ocean.

Replay Factor: 8/10

The Survivalists’ ability to be played cooperatively raises this score a lot. I don’t know how often I’d play it as a solo experience. If you have no desire to play The Survivalists in co-op mode, I could see you dropping this score a point or two, but I do like playing this game as a co-op experience. Since the game randomly generates the islands each time, The Survivalists becomes a different puzzle. During my solo play, I had plenty of rocks for masonry but not enough trees for lumber at the game’s start. The inverse was true during my co-op playthrough. Plenty of other game elements, like the labyrinths and vaults, change too, so each play of The Survivalists is different.

I enjoyed my time on the island and wouldn’t mind returning after several months. If you need me, I’ll be listening to “Adventure Awaits” while heading out on a road trip.

Aggregated Score: 7

Quirky Video Game Review: Ratropolis

Published on by KyraLeave a comment

Happy Spooky Season, Geekly Gang! Kyra Kyle here, and while Ratropolis doesn’t exactly fit the horror aesthetic for this month’s theme, it is an interesting blend of deck building, tower defense, and real-time strategy. That’s right, it’s time for another quirky video game review. Relatively new, Korean video game design group, Cassel Games, combines so many disparate themes and mechanisms that they couldn’t possibly work together. Could they? Let’s put Ratropolis against our video game review criteria.

Mechanisms

Game Mechanisms: 9/10

Ratropolis does manage to merge its separate parts into a cohesive whole, but I don’t imagine players unfamiliar with deck building to fare well. Sure, Ratropolis begins with slow waves of enemies. The deck-building is somewhat pared down, but this game retains most of a deck-building game’s complexity, and the time constraint can be intimidating. The real-time strategy meets tower defense work well together. They’re almost seamless.

The deck-building does get streamlined to a point. Ratropolis splits cards into specific leader types: Builder, General, Merchant, Navigator, Scientist, and Shaman. Each leader type has a male and female variant with their own special powers, so this specializes each potential deck even further. You begin the game with the Builder, which allows for upgraded buildings and extra building cards that provide sustained benefits, even resources over time. Ratropolis has addictive gameplay and since it offers so many avenues to customize your deck, once you get hooked, you’ll lose several hours and not even notice.

I can’t believe how well Ratropolis blends its various game mechanisms. Each leader takes advantage of different design spaces, and I love that. Different avenues for victory make a great deck-builder, and Ratropolis is a great deck-building game without the added wrinkles of an RTS and tower defense.

Speaking of tower defense, Ratropolis does an excellent job of ramping up its difficulty from one wave to the next. Gameplay balance like that is difficult to find. Each city run lasts up to 30 waves of enemies. The furthest I’ve ever gone has been level 25 or 27. Each new enemy type adds a new threat for the player to manage, and while these new challenges can feel unfair when first introduced, runs don’t take too long (players can even send in a new wave early to earn extra in-game money), and a quick look at Ratropolis’s card library should reveal a strategy to deal with each one. The only reason Ratropolis doesn’t get top marks in game mechanisms is that the deck-building can–at first–be overwhelming.

Gameplay Loop: 10/10

I spoiled this entry in the last one. Yes! Ratropolis has an addictive gameplay loop. I spent hours playing the game, not knowing I had spent hours playing the game. Not only does Ratropolis start players with one leader type, but you can unlock other leaders and extra cards for each deck by gaining experience. Ratropolis manages to add a little bit of Pokémon to its gameplay. Gotta catch ’em all! These new cards tend to be more complex, but they also break the game in fun ways. Ratropolis is one of those video games where you’ll be arguing to play one more game.

Story or Narrative

Narrative/Storytelling: 6/10

One wouldn’t think a deck-builder, real-time strategy, tower defense video game would have much of a story, but that’s not the case with Ratropolis. The game has a loose story that adapts to the events of your game. Did you recently have a lot of rat citizens die during an enemy raid? You may get approached by grieving parents who want burials for their children. You decide how your rat leader reacts. Do you give them a proper burial? Do you ask the parents for a death tax? Yikes! That got dark, but so does Ratropolis’s story. This game paints its story in its liminal spaces, but there isn’t much in the way of an overarching narrative.

User Interface: 7/10

Ratropolis’s user interface is well designed, but a lot is going on in this game. Too much. I don’t know how Ratropolis could fix this issue, but it is an issue and drags down the game’s user interface score a hair. Currently (I’m writing this review in June 2025), Ratropolis is only available on Windows (and by extension, Steam). I can’t imagine Ratropolis on a console or mobile device, despite deck-building games running well on smartphones. Information pockets form in all four corners. The screen is cut into two sections: the top is the city (which players can scroll from side to side, making this space even larger and unwieldy), and the bottom center shows the player’s hand. Many cards have extensive text, so that adds even more cognitive load (how much information one’s brain must compute at one time).

Throw in the random story elements, and Ratropolis can get overwhelming. Still, Ratropolis has a space for everything. It offers a clean interface for players to find most information. I don’t know how the game could improve on its UI design, but it’s missing something.

Graphics: 8/10

Ratropolis’s graphical details are fantastic. The images on the cards are cartoonish but have a well-defined style. Ratropolis is a pretty game. I may have lowered it to average if it wasn’t for the city, slowly building in the space above the cards. Look at the reflection effects in the water. You can see your entire ratropolis reflected in the river. Depending on the location you build your city (Ratropolis offers a handful of places, which can vary gameplay), you’ll be given flourishes that make every rat city unique.

Audio: 7/10

Typically, I play most video games with the sound off. That makes grading a game’s audio difficult. But I have heard plenty of Ratropolis’s audio, and it’s well above average. While the soundtrack does its job (it doesn’t stand out, but it serves the game well), the sound effects, especially the jingling of merchants entering your city or the growls and grumbles of various enemies invading your rat city raise this score. In fact, it’s these unique sounds–that I grew accustomed to–that made managing my city a lot easier. I won’t go as far as to say that you need to play Ratropolis with the sound on, but the sound mixing immerses me in the game’s world. And that’s what you want from a game’s audio.

Replay Factor: 10/10

Unlocking all the leader types, the cards, and the random city generator that makes each playthrough different gives Ratropolis an infinite replay factor. Not since Civilization have I felt this strong of an urge for “just one more turn” or game or unlock one card in my journey of mastering the Merchant leadership style. Ratropolis combines several game mechanisms that lend themselves to replay (deck-building, tower defense, and a varied enemy and environment for a real-time strategy). These mechanisms work together to form a game you won’t put down for hours.

Aggregated Score: 8.14

Ratropolis does the unthinkable and combines deck-building, tower defense, and real-time strategy into one addictive indie game package. This game may not appeal to everyone, but if you’re interested in two or more of the game’s three main mechanisms, you should try Ratropolis.

Cozy Video Game Review: Terra Nil

Published on by KyraLeave a comment

Terra Nil flips the city/civilization builder on its head. The world has been sapped of its resources, and it’s up to the player to return the world to its former lush landscapes, complete with wildlife, and then leave without a trace, allowing life to begin anew. Can you bring the world back to life Hey, hey! Kyra Kyle here. Today’s cozy video game is Terra Nil. I wish listed this one on Steam when its demo dropped, and then forgot about it. It wasn’t until Terra Nil popped up on Netflix, of all places, that I tried the full game. Terra Nil doesn’t have much of a story, so I’ll merge those two elements. Let’s see how Terra Nil rates on our review criteria.

Game Mechanisms: 9/10

Like I said in the introduction, Terra Nil deconstructs the city/civilization builder video game genre. Players start with a barren wasteland (similar to the picture above), and they must clean the (nuclear?) waste with items like scrubbers and then replenish the Earth using various gadgets like propagators, seeders, and hydroponics. Each stage of Terra Nil plays out like an elaborate puzzle. Depending on the climate you’re trying to achieve, you may need to lower or raise the region’s temperature. Balance between biomes is crucial, and you can monitor animals and the animals’ desires when they return.

This game loop is satisfying and familiar. For being the opposite of a city builder, Terra Nil uses plenty of city builder game tropes. This makes the game easier to get into, even if what you’re doing is the exact opposite of a city builder. Finding the right balance between biomes gets tricky–Who am I kidding? It can be rage-inducing. I lost count of the number of times I was off on a certain biome and had to add an acorn to a tree to create more forest, or I had to burn more green area with a solar panel incinerator. Ugh!

And just when you’ve almost figured out how one region works, Terra Nil will add a twist like adding tundra and lava floes to the mix. I binged Terra Nil on Steam and Netflix (I still can’t get over how Netflix has a video game of Terra Nil’s caliber), and it only took about forty or fifty hours to complete the game. There was a lot of trial and error. Terra Nil’s tutorial level teaches the basics, but you’re on your own after that level, and I got stuck. A lot. But Terra Nil made getting stuck fun.

Gameplay Loop

Above Image from GameDesigning.Org

Gameplay Loop: 7/10

The frustration Terra Nil can create at higher levels keeps the Gameplay Loop score from claiming top honors, but outside of that, it’s fantastic. Terra Nil shuffles the gameplay enough to keep gamers on their toes for a good forty to fifty hours. Later levels combine elements of former levels in intriguing ways, building a super puzzle. Unlocking as many animals as you can for each region is a mini-game unto itself. I forget how many times I was rooting for a frog or otter to populate.

Terra Nil is a good, chill time. I would crank up the sound effects to hear the sounds of the forests, streams, and lakes. Perhaps Terra Nil is a new way to Netflix and chill.

Story or Narrative

Narrative/Storytelling: 3/10

Because Terra Nil doesn’t have much of a story, I’m lumping Narrative and Storytelling into one element. Despite being mostly a straightforward building a green space game, Terra Nil’s premise suggests a greater story. That keeps this score from being any lower than a three. Terra Nil gives hints to what happened to the planet and drives home the idea that humans should be stewards of the environment.

User Interface: 7/10

Terra Nil’s volume of information causes the game to falter with its user interface. Despite an easy-to-navigate heads-up display and well-crafted menus, I got lost in Terra Nil’s mountains of options and data I needed to parse. The game does a good job of easing players into its cavernous menus at first, but after the first three regions, you’re thrown to the wolves. Good luck.

Terra Nil offers a detailed rulebook with phenomenal detail. I would flip through this rulebook even if I weren’t lost on what to do. The page above does a great job of showing and telling gamers how a turbine and a toxin scrubber work. I love Terra Nil’s attention to detail.

Graphics: 8/10

For what it is (a city builder game where you’re not building a city), Terra Nil’s graphics are on point. Despite how pretty Terra Nil can be, it still uses an isometric, top-down view of the environment. Sure, there’s an option to view your creation at the ground level, and that’s fun, but Terra Nil’s graphics stop shy of top marks.

Terra Nil pours in a lot of detail. The geese in the picture above are geese who reinhabited the area. If you look closely at wetlands, you can spot a frog hopping. You can find deer, bears, and wolves roaming the forests and mountains. You don’t even need to zoom in at the ground level, even though I love doing this after I finish a region. Terra Nil works as an interactive background. It’s soothing, cozy.

Audio: 10/10

Terra Nil is one of the few games I will always play with the sound. While the game’s soundtrack is relaxing and memorable in its own way, the sound effects of the environment give Terra Nil a high score. Even the noises the gadgets (like the scrubbers and terraformers) make satisfy. Putting down a ditch borer and listening to it create a future river feels great. The crackling of fire as it makes way for new growth makes me smile.

Terra Nil spares no expense with its audio effects. From the animals to the wind and snow, I’ve spent hours listening to one of my regions, trying to pinpoint which sounds I’m hearing. In short, Terra Nil may have some of the best sound editing I’ve ever heard in a video game.

Replay Factor: 7/10

Even though Terra Nil plays like a puzzle, it’s one of those games I can see replaying after multiple months or years have passed. It won’t take long for me to forget how to complete each region. In fact, I played Terra Nil within the last couple of months, and I’m pretty sure it would take me a couple of playthroughs before remembering how each gadget works and when best to use them. Terra Nil also includes scenarios, variable difficulties, and each region is randomly generated during each playthrough. That last point alone gives Terra Nil better than average replay value. I enjoyed my time with Terra Nil and look forward to playing it again.

Aggregated Score: 8

Even though I gave Terra Nil a story/narrative score, I’m omitting that score from its aggregated score. Terra Nil offers dozens of hours of calming gameplay. It functions like an interactive desktop background. I’m shocked Netflix picked up the rights to Terra Nil. Perhaps this is a sign of things to come for the streaming giant.

Quirky Video Game Review: Organ Trail

Published on by Kyra5 Comments

Organ Trail gives a zombie apocalypse twist to the classic Oregon Trail. Not to be confused with the 2023 film of the same name, Organ Trail was developed by Men Who Wear Many Hats in 2010. 2010! That makes this game a decade and a half old. Yikes! Organ Trail began as a web game before a 2012 Kickstarter campaign expanded its release to Steam and iOS. Organ Trail has gone on to sell over half a million copies.

Hey, hey, Geekly Gang! Kyra Kyle here. Today, we’re reviewing the 2013 Organ Trail: Director’s Cut. The developer claims that this version moves past the original’s pure parody of Oregon Trail to become a game in its own right. Trade in your Conestoga wagon for a station wagon. It’s time to see how Organ Trail rates against our criteria.

Mechanisms

Game Mechanisms: 8/10

Organ Trail follows its inspiration’s lead (Oregon Trail) with its game mechanisms, but it differs enough to warrant a higher than average score. The Director’s Cut adds Choose Your Own Adventure aspects to the original’s release. Fighting off biker gangs and avoiding zombie deer stampedes are nice touches. But the bulk of the game (at least for me) was with scavenging. Honestly, I spent most of Oregon Trail hunting, so spending a lot of time scavenging (Organ Trail’s version of hunting) makes sense.

Despite being essentially the same mini-game, scavenging (in Organ Trail) feels far different from hunting (in Oregon Trail). First, the zombies are heading toward you. While you may find the occasional wild animal that will attack you (like a bear), animals like deer in (Oregon Trail) run away from you. Organ Trail even references the bear by having a bear be a boss fight, so there is a tip of the cap there. Second, killing zombies doesn’t give you any resources. Instead, you must pick up randomly generated items in the wilderness. While this makes thematic sense, I kind of miss the push and pull of do I use bullets to kill animals for food, trading one resource for another. But ultimately, the zombies are fun.

I do my best to dodge zombies, which is easy to do if you don’t face a horde. Zombies in the scavenging mini-game will follow your movements, so you can trap them behind fences, walls, trees, and other obstacles. The other mini-games, like avoiding a zombie deer stampede, shake up the doldrums, but repairing your station wagon is the most pervasive mini-game outside of scavenging. Repairing your car is a timing mini-game, and I stink at it. Looks like I’ll have to carry plenty of extra scrap. Even so, the trickiest mini-game to master is the one where a bandit randomly picks one of your friends/family members to kidnap. You’ll only get one shot to shoot the bandit in the head. Don’t miss.

There are 20 stops before you reach your destination, Safe Haven (in the Pacific Northwest), and each stop has some combination of an Auto Shop, Combat Training, and supplies for you to purchase, but every stop has a Job Board. Jobs add even more mini-games. These jobs become more important at higher difficulty settings. If you begin on “Easy” mode, you won’t need to do them beyond the halfway point on your trip. Player choice is paramount in Organ Trail.

Note: I’ve played the PlayStation4 and Steam versions. The PlayStation version is better than Steam’s. Unfortunately, players have fewer options if they play on Steam, so I’d lower the rating by a point for the Steam version.

Gameplay Loop: 9/10

Organ Trail’s core gameplay loop of scavenge, repair, shop, rest, and travel is a satisfying one, especially when you throw in the day/night cycle. You may want to rest or repair during the evening, when zombie activity is higher. This is a consideration when leaving a stop. There’s a percentage chance you’ll encounter a zombie horde, but player choice comes into play. You can sneak past the horde, floor the gas and try to speed past them, or bust out your shotguns and shoot while you drive. Even with a set gameplay, Organ Trail offers micro choices that have a profound impact.

Just like Oregon Trail, random events occur while you drive. Some are silly, like “Mike gets bored and starts making an annoying noise.” Others are more serious, like “Your mom has dysentery,” and you may need to stop and rest or risk her dying. And since Organ Trail is set in a zombie apocalypse, someone, like Jamie, could be bitten by a zombie (which is indicated by a green skull). So long as you keep them healthy with med packs, which aren’t cheap, they won’t turn. I hear there’s a weirdo at Safe Haven who pays for someone who’s infected.

Add in some combat upgrades for yourself and some car upgrades, and Organ Trail has plenty of options for you to explore. This improves Organ Trail’s already stellar gameplay loop.

Story or Narrative

Narrative/Storytelling: 8/10

Organ Trail has a simple but effective narrative. You’re traveling from one side of the United States to the other. The game uses liminal space to tell its story. I could see plenty of gamers missing Organ Trail’s story. To get the most out of Organ Trail (from a narrative perspective), it’s best to talk to strangers at each stop. They fill in the gaps by asking why the government thought nuking its people would “solve” the zombie crisis.

Nuclear strikes are the reason why you must take an indirect route to make it from Washington DC to Safe Haven. Other tidbits of information are sprinkled during these interactions. Organ Trail manages to add in a few more with merchants and the random bandits who abduct your passengers. Organ Trail has an interesting world. How did the disease (if zombism is a disease) cross over from humans to deer and bears?

User Interface: 8/10

While clunky (or outdated) at times, Organ Trail has a simple-to-understand and navigate user interface. If you’ve ever played Oregon Trail, you’ll know how to play Organ Trail. The game keeps players informed with specific details about their party. You can check the map and see how many stops you have remaining, and if you know anything about geography, you can plan when you may need certain upgrades like snow tires. Hint: most likely when you’re traveling through the Rockies.

Notifications will pop up on the main screen if any major issues occur. The tabs work and are self-explanatory. I have few issues with Organ Trail’s user interface.

Graphics: 6/10

I struggled with scoring Organ Trail’s graphics. Yes. The graphics aren’t the best, but they’re not meant to be the best. Organ Trail is a retro game, parodying a video game released in the mid-80s. And yet, Organ Trail finds ways to make its graphics unsettling. This works to steep the game in atmosphere.

Audio: 8/10

Organ Trail has a good mix of sound effects meant to mimic Oregon Trail (like clinks and bloops after a stage is complete) and others that subtly suggest a game with a darker subject matter (like splattering brains and cocking a gun). Organ Trail’s soundtrack, by Ben Crossbones, does a lot of heavy lifting. I often play video games on mute; I didn’t with Organ Trail. Crossbones does a great job of capturing the game’s mood and theme without going too over the top. Organ Trail’s soundtrack is the right level of creepy.

Replay Factor: 7/10

Organ Trail plays quickly, no less than five hours, so it’s easy to replay this title. It offers multiple difficulty settings, and the higher ones offer a good challenge. There’s even a leaderboard (Organ Trail grades your accomplishments during each playthrough). I even like the addition of finding your tombstone from a previous playthrough. All of this is fantastic, but I don’t see gamers playing Organ Trail more than a handful of times. I could see replaying it after several years. I sure have. I can only give this game a slightly above-average replay factor.

Organ Trail is typically sold for $5-10. That’s a steal for the amount of game you get. I recommend giving it a try, especially if you like zombie apocalypses and the original Oregon Trail.

Aggregated Score: 7.9

Dark Walking Simulators

Published on by KyraLeave a comment

Hey, hey, Geekly Gang! Kyra Kyle here. We’re keeping the theme of Spooky Season alive with today’s post, but we’ll be taking horror or dark themes in a different direction. I’ll be up front, this post may meander more than usual. I didn’t know what to call these types of video games at first. Some of these video games could fall under the term “empathy games.” I mentioned some of these games in a previous post, but the prevailing term for the type of video game we’ll cover today is Walking Simulator. That name doesn’t do these games justice.

In fact, the Walking Simulator term is beyond reductive. It’s demeaning. All you’re doing is walking. This pejorative name reminds me of the terms Euro-Trash or Ameri-Trash board game from a decade or two ago. We’ll use the modern, friendlier terms for these board game types. Euro board games focus on mechanisms and balanced gameplay, while Amerithrash–they’re totally metal and they “thrash”–board games place more emphasis on theme. If you used the negative terms, you’re thumbing your nose at the other board game type. Many “hardcore” video gamers despise “Walking Simulators.”

“Hardcore” video gamers not liking “Walking Simulators” makes sense. Video games sprang from the Military Industrial Complex. The first video games came from military facilities. Many “hardcore” video games promote wanton violence where the player kills countless enemies, feature “heads-up displays” one might find in a fighter jet, and some video games are even military recruitment tools. Of course, something quieter and geared toward empathy would ruffle the feathers of “hardcore” video gamers.

Getting back to Euro and Amerithrash board games, modern board games often blur the lines between these two game types. I reviewed Cretaceous Rails a couple of months ago, and it’s equal parts interlocking mechanisms and heavy on theme. Death Stranding notwithstanding, I don’t know if AAA video games have adopted enough from indie Walking Simulators, but that’s another topic. I told you I would meander. Despite the negative connotation (all you’re doing is walking), Walking Simulator is the term most people use. We’ll use that one. Since we’ll be dealing with psychological horror and/or darker themes, let’s call these games Dark Walking Simulators. Let’s cover a brief history with some of my favorite Dark Walking Simulators.

Prior to 2012: [domestic]

Point and click games could and sometimes do fall under the heading of a Walking Simulator, because they involve movement and interacting with the game world’s environment (which are hallmarks of Walking Simulators), and point and click games have been around since the early 80s. But we’ll begin this quick history with 2003’s [domestic] by Mary Flanagan. Flanagan repurposed the Unreal gaming engine to recreate a childhood memory of a house fire. One look at [domestic], and you can see why many consider it the first modern Walking Simulator.

In fact, the term Walking Simulator gained prominence in the late 2000s, perhaps as a direct result of [domestic]’s release. When you have the chance, you should check out Mary Flanagan’s website. She discusses at length her artistic choices while designing [domestic]. While she doesn’t have a link for a playable version of the game, Flanagan provides a two and a half minute video of [domestic]’s gameplay. There are so many innovative choices, like family photos and text constructing the walls of this 3D space, that we’ll see in future Walking Sims.

Dear Esther (February 2012)

First, Dear Esther is gorgeous. Look at that uninhabited Hebridean island. My partner and I made our way to one of the Inner Hebridean islands in Scotland, and this looks close. I could smell the salt air and the heather on the wind. Second, Dear Esther’s gameplay is minimal. I would almost classify this game as a Walking Simulator, but in the best possible way. An anonymous man reads a series of letter fragments to his deceased wife, Esther. Each location on the island reveals a new letter fragment. Players can unlock different audio fragments with each playthrough of the game, leading to a different narrative each time you play Dear Esther.

So, you’re literally walking from one area of the island to the next and listening to various letters, but the letters reveal more about the titular Esther’s life. Esther has passed under mysterious circumstances, and her husband is looking for answers. Dear Esther has a gripping narrative, but the tension comes from internal struggles. The Chinese Room developed this Walking Simulation classic, and this won’t be the last time we’ll see one of their games on this list.

The Unfinished Swan (October 2012)

The Unfinished Swan marks Giant Sparrow’s first major release. It has a simple premise. Monroe is a young boy whose mother recently died. Monroe’s mother was a painter famous for never finishing a painting. Over 300 paintings and not one of them complete. The orphanage tells Monroe he can keep only one of his mother’s paintings, so he chooses his favorite, a swan missing its neck. The swan escapes, and Monroe follows it. Armed with his mother’s silver paintbrush, Monroe explores the painted world.

As you can guess, The Unfinished Swan ventures into magical realism. It tackles themes of loss. It puts players into the shoes of a young child, making sense of the world without their parents. The Unfinished Swan is the first of Giant Sparrow’s games to make this list. It showcases the studio’s knack for eclectic settings and its flair for the dramatic.

Gone Home (August 2013)

Gone Home puts the player in the role of a young woman returning from overseas to her rural Oregon family home to find her family absent and the house empty. She must piece together recent events to determine why her family’s home is empty. Gone Home is similar to the previous year’s Dear Esther, but the anonymous protagonist in Dear Esther knew that his wife had died. Katie, Gone Home’s protagonist, has no clue why her family is missing.

Dark Walking Simulators do a great job of presenting mysteries. In fact, I’d wager most great video game mysteries have large elements of Walking Simulators. Even the AAA titles that lean more into the mystery genre borrow heavily from Walking Simulators. Traveling in someone else’s shoes and interacting with your environment can make for a great mystery premise.

The Stanley Parable (October 2013)

The Stanley Parable stands out in a group of video games that stand out. This Walking Simulator challenges preconceived notions about video games with a thick coat of sarcasm. Developed by Davey Wreden and William Pugh, The Stanley Parable tackles themes like choice in video games and fate/pre-destination. British actor Kevan Brighting narrates while the silent protagonist (Stanley) conducts a day at the office. As you can see in the image above, Stanley may follow the adventure’s line, or he may contradict The Narrator’s directions, which, if disobeyed, will be incorporated into the story. Depending on the choices made, the player will encounter different endings before the game resets to the beginning.

The Stanley Parable proves that Walking Simulators can strike a chord with “hardcore” gamers. The Stanley Parable crossed over into mainstream video game culture. Developer Davey Wreden has gained a following, and his follow-up game, The Beginner’s Guide, actually deals (in part) with Wreden’s struggles with success. Showrunner Dan Erickson cited The Stanley Parable as an inspiration for Apple+’s Severance.

The Static Speaks My Name (August 10, 2015)

While the previous games on this list have dark themes, The Static Speaks My Name is the first true horror video game.

Quick trigger warning: The Static Speaks My Name includes self-harm. If you’re sensitive to the subject of self-harm, feel free to skip this entry to our next one.

In The Static Speaks My Name, players assume the role of Jacob Ernholtz, a man who has committed suicide by hanging at the age of 31. We start as an amorphous blob in a dark void until we inhabit Ernholtz during his last day. We awake in his dimly-lit apartment with boarded-up windows and doors as he performs a series of menial tasks, including using the restroom, eating breakfast, and chatting with online friends. Exploring Ernholtz’s apartment reveals that he’s obsessed with a painting of two palm trees and its painter, Jason Malone. Locked behind a bookcase, we find Malone in a cage. The player has the option to unlock the cage or electrocute Malone. We’re finally presented with the task to go to a small closet with a noose.

Yowza! The Static Speaks My Name is trippy in every sense of the word. Jesse Barksdale developed The Static Speaks My Name in a 48-hour game jam. I’ve participated in a few board game jams, and you can encounter some messed-up concepts during one of these events. I would’ve liked to have seen Barksdale’s creative process for The Static Speaks My Name during these 48 hours. This is a haunting game. I’ve only chosen the electrocute option once, and Malone’s blood-curdling screams invaded my dreams for a few days. Yikes!

We included the exact date The Static Speaks My Name was first released because our next entry in this list was released the next day. This week in August was a great week for Walking Simulators.

Everybody’s Gone to the Rapture (August 11, 2015)

Fresh off their hit Dear Esther, The Chinese Room takes the mysterious disappearance of people from the scope of a family in Gone Home to that of an entire English village’s citizens in Everybody’s Gone to the Rapture. Players assume the role of Katherine “Kate” Collins, which is funny because Gone Home’s protagonist was named Katie. Set in 1984, Dr. Kate Collins and her husband travel to the fictional Shropshire village of Yaughton. Players can interact with floating lights throughout the world, most of which reveal parts of the story.

Feel free to turn on radios, answer the phone, and test the power switches as you unearth why an entire English village’s people vanished. Could this be the beginning of the Rapture and the end of days? Or has some mysterious fate only affected this one village? You’ll have to play Everybody’s Gone to the Rapture to find out.

That Dragon, Cancer (January 2016)

Get ready to reach for the tissues. This next entry is a tear-jerker. Created by Ryan and Amy Green, Josh Larson, and a small team under the name Numinous Games, That Dragon, Cancer is an autobiography based on the Greens’ experience raising their son Joel, who was diagnosed with terminal cancer at twelve months old. Though given a short time to live (four months tops), Joel survived for four more years before succumbing to cancer in March 2014. That Dragon, Cancer harkens to the age of point and click games–see, point and click games are closely related to Walking Simulators–and uses the medium of pointing and clicking to experience the Greens’ lives through interactive storytelling.

That Dragon, Cancer illustrates a video game’s storytelling potential. At first, Ryan and Amy developed the game to relay their personal experience with Joel while they were uncertain of his health, but following his death, the Greens reworked much of That Dragon, Cancer to memorialize and personalize their time and interactions with Joel for the player. Joel Green may have had a short life, but That Dragon, Cancer ensures he won’t be forgotten.

it’s always monday (November 2016)

I’ll start this write-up by commenting on it’s always monday’s title. I love its use of all lowercase letters. Yes, Monday is supposed to be capitalized, but the lack of capital letters gives the impression of words in the middle of a sentence. Brilliant. I debated including it’s always monday on this list. To put it mildly, it’s always monday is surreal.

Players assume the role of an office worker who, as the game’s title implies, is stuck in a loop of perpetual Mondays. My bad…mondays. Frequently, you’ll find moments where a coworker is cut into slices. The player character will freak out–naturally–and then notice a pizza on the conference table and comment, Today’s a pizza day. Score! What? I often wonder what it’s always monday’s overall message is supposed to be. Perhaps we’re supposed to feel trapped in a malaise where we want the character to feel something. Anything. But it’s always monday’s workplace offers plenty of bizarre occurrences that run counter to the mundane.

What Remains of Edith Finch (April 2017)

What Remains of Edith Finch borrows concepts from Gabriel Garcia Marquez’s One Hundred Years of Solitude and applies them to an interactive video game where we follow the titular Edith Finch explores her family home. Like Marquez’s work, What Remains of Edith Finch ventures into magical realism. The game’s narrative works as an interconnected anthology series, and it’s all the better for it. I don’t know which member of the Finch family’s stories I like best. What Remains of Edith Finch is a triumph of video game storytelling. Giant Sparrow took everything they learned from The Unfinished Swan to create a singular gaming experience.

I could go on about What Remains of Edith Finch, but I’ve discussed it in the past. Giant Sparrow even made our 3 List of 3: Video Games as Art post. That was another shameless plug for one of our previous lists. You should check it out.

Walking Simulators in the 2020s: Exit 8

Walking Simulators fizzled out after 2017. I don’t know if the backlash of these games reached a fevered pitch or if the designers who make these games needed time to create something new. Death Stranding was released in 2019. To date, it may be the closest a AAA game has come to a Walking Simulator. It certainly incorporates a lot of Walking Simulator concepts into its gameplay. But our lack of Walking Simulators in the early 2020s can be attributed to the pandemic.

All video game struggles in the early 2020s, but we’ve seen a resurgence of Walking Simulators since 2022. Exit 8 has a premise similar to the Backrooms. Players explore the liminal space of Japanese subways. I’m writing this post in June, but by the time this post goes live, a live-action film based on Exit 8 should have been released. Walking Simulators have gripping stories and an avid fan base. I can’t wait to see what this video game genre has in store over the next decade.

If you’ve made it this far, you’re awesome. We all know it. Be sure to comment on your favorite Walking Simulator or an idea of a better name for this video game type. Thank you for reading, and wherever you are, I hope you’re having a nice day.