Source: Cashmoneys
Price: £14.99
Where To Get It: Steam, GOG, Humble Store

It’s no exaggeration to say that The Sexy Brutale, by Cavalier Games and Tequila Works, has been the high point of my month. Not least because it’s so pleasurable to see a game so delicately planned that the keyboard and mouse control scheme, while a little clunkier than controller, has a neat little touch that made me chuckle.

Hokay, Blood lady!

Reversing time is bound, on keyboard, to F1. I’d like you to think about that for a second, and chuckle with me. It’s nice and subtle, and a good segue into the rest of the game.

The Sexy Brutale can best be described as a stealth puzzle adventure with almost Metroidvania elements, in that solving the puzzle (Which, funnily enough, involves using your time travel and stealth powers, gifted to you by a lady made of blood) gives you extra abilities that will unlock new areas, new people to save from a devilish casino and its employees that, all of a sudden, has stopped fulfilling dreams, and is now murdering folks in blackly fitting ways. Ways that range from the mundane (Poison drinks, a stabbing… It was the 8 of Diamonds, officer, in the Church with the Rifle!) to the bizarre (This is a good time to mention that the game has something that arachnophobes may want to steel themselves for: A giant spider. Just the one, as far as I know, but… Be warned)

The game has Content Warning: Arachnophobia. Thematically appropriate, considering the mask, but yeah, you have been content warned.

But I’m not saying any more about the plot, as this is a moderately linear game, and instead, I’m going to try and persuade you by telling you just how accessible it is, and charming to boot.

First up, aesthetically, the game is beautiful. While the models are not hand-painted, they are stylised in such a way that you could almost believe they were, and the exaggeration helps make this game keep a somewhat light hearted tone despite the fact that, y’know, it’s a supernatural murder party. Similarly, the swinging music helps the mood immensely, from when it’s jazzy and breezy, to the tense tunes when time… Is running out. Everyone is a character, even the Playing Cards, the murderous henchmen, and it says a lot that I was perfectly fine with both watching the demise of the characters for their speech, and spending a lot of time making sure I knew everyone’s route, rewinding the clock to get collectibles, story, and the like. It’s a game where, thanks to the time mechanic, and the usefulness of a map that tracks characters you’ve seen during the day (As long as you’ve seen them, that is), I don’t feel bad about taking my time.

Clear. Concise. USEFUL.

The game encourages me to explore as a result, and that’s a good thing. Similarly, the differing control schemes of the game are both understandable, from the mouse and keyboard’s Dungeon Siege like “Hold right mouse to move, left click to do things, and then keys” to the controller’s “Right stick to move, face buttons and trigger to do things.” So it’s an accessible game too. Things are highlighted, the consistency of the UI is a delight…

…It’s very rare I can say that I don’t have anything negative to say, but I’m quite happy when it happens. The Sexy Brutale is one such game, as it’s accessible, charming, and the clues to its puzzles are uncovered organically. Recommended, and gladly.

The Mad Welshman wears a wolf mask. Well, he would, if the damn thing wasn’t using american shipping. He really wants a nice wolf mask. A red one.

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Source: Cashmoneys
Price: £10.99 (£14.99 for Deluxe with artbook, music, and other nice gubbins)
Where To Get It: Humble Store, Steam

Flinthook, a game about a ghost headed pirate with time-slowing powers, an anchor that he uses to effortlessly hook his way around, and, of course, a blaster, begins in an extremely fun way. So many possibilities! An interesting cartoon universe, hinted at in scraps of lore and relics and enemy designs! Good sound effects and a consistent, action-cartoon aesthetic I can’t help but love!

Alas, that first bloom has faded. Let me tell you, folks, about my own White Whale. Let me tell you… about the Midgame.

Your choice of ships to raid is, for the most part, clearly explained, and it’s easy to remember what does what. This, as it turned out, was a Poor Choice.

Currently level 39, I am, at the time of this review, about halfway through. And I feel like I owe my victory more toward grind and luck than skill, without feeling bad about it. Why? Because, from about level 20 onwards, from about three skulls onwards, the game starts throwing some distinctly unfair rooms at you. Rooms where I have yet to figure out if there even is a way to get through without taking damage. And it starts playing tricks that, honestly, I’m not on board with. Here, screenshotted, is a pretty good example: The Bird Room. While exploring the procedurally generated ship-dungeons of the game, you may come across the bird room. The birds are invincible. No, those bubbles, unlike the others you may encounter (including in boss encounters) cannot be popped with your hook. And they will poop similarly invincible bombs at you until you leave. How not to be damaged? Don’t be under them. Don’t touch them. Good luck!

Thank you, Flinthook, for very briefly wanting me to replace my cries of FUCKING BATS with DAMN BOMB POOPING SPACE PARROTS

Similarly, combat rooms start getting, for want of a better word to describe them, dickish. And a lot of this fuckery comes from one enemy in particular: The bubble wizards. As long as these robed assholes live, everything else is invincible. And often, these same lizard wizards are hiding… behind the invincible enemies. Oh, never in such a way as to completely block them off, it must be said… But nearly always in a way that getting to them has a much higher chance of you needing to damage sponge your way to them.

Adding to this is that half the subweapons… Feel much more situational than the other half. Spinning Skulls are a finicky subweapon to hit folks with, and don’t do a whole lot of damage, the bomb barrels are for when you want an enemy heavily damaged or dead right damn now, whereas, by comparison, the freeze globe is a “Get out of miniboss/dickish trap room” card, or at least something that helps, and the Fighting Bell is temporary invincibility, which… Is also a “Get out of miniboss/dickish trap room” card. I often forget subweapons as a result, or end up with Giant Robot Crab Syndrome, where I don’t want to use my freeze globe on the trap room because I might need it for another room.

Poor Bad Billy Bullseye. This is the fifth time I’ve done this to him out of frustration I’ve died on the way to the Baron so much.

The bosses, by comparison, are… Well, actually somewhat easier. Bad Billy Rex, the unlockable upgraded form of the first boss, felt like a victory lap, since his base pattern doesn’t really change: Hook his ride’s glowy bubble butt, shoot it, and a new glowy bubble butt appears, shoot his tumbling starfish brethren that he adds each time, repeat until there are no bubble butts to pop, his centipede-buffalo pal is dead, and poor Bad Billy is left crying like the Rancor trainer in Return of the Jedi.

Is Flinthook a bad game? Not really. It uses all its abilities, makes them pretty accessible, and teaches you their use very well. But it’s a game that expects you to grind out to reach the endgame, and it’s a game where the levels, not particularly the bosses, are the real enemy. It’s pretty twitchy from even the midgame, so I sadly can’t recommend this to folks who, for various reasons, can’t play that sort of game. For everyone else, the pixel art is consistent, the UI is good and clear, powerups are explained when you get them, the music is brilliant, and the sound effects are also good. It took me about 4 hours to hit the midgame, and I expect it will be at least a few more before I’m ready to tackle the endgame. It’s a “few more hours” I’m not entirely sure I’m willing to invest, myself, but your mileage may vary, so if you like arcadey platforming and shooting hijinks, perhaps this is for you.

The Mad Welshman loves universes like this. Even if, in said universes, he’d probably end up with a glowing weakpoint.

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Source: Review Copy
Price: £3.99
Where To Get It: Steam, iTunes App Store

A long while ago, I stated that games for younger children don’t get a fair rap, critically speaking. They’re considered lesser by virtue of… Being kid’s games. Edutainment, especially, is viewed under this lens. So you can imagine my pleasure when I was approached to take a look at Under Leaves, a hidden object game aimed at young children, and the parents thereof.

A clean, simple UI allows for easy access to levels holding a variety of animals living in the world today.

Aesthetically, Under Leaves is colourful and good looking, with hand painted assets that are fairly accurate to their subject matter, which is a variety of animals, the environs they live in, and a single food of each animal’s preference. The music is pleasant, and not overwhelming, and the sound effects are very well chosen. So, aesthetically, the game does pretty well, although I have raised the point that the game falls to a common flaw with some hidden object games (Not taking into account colourblindness in some of the level designs, most notably for me, the oceanic levels.)

The game can, by an adult, be played relatively quickly. In less than an hour, I had discovered many things, and each time I’d found and clicked all of the chosen food item (From nuts to clams to earthworms), I was rewarded with an animation, and a Steam achievement named after the Genus or genera of each animal in question (Such as Chamaeleo for, funnily enough, an African Chameleon – Chamaleo Africanus.) It helped that the help system consists of solving a 3×3 sliding block puzzle with the game’s title card as the image, although another minor criticism is that, on the larger areas, the help circle moves a little quick to catch up to if, say, an object is the other side of the levels.

In later levels, this hint circle can move at quite a clip if something’s across the area.

So, honestly, I somewhat like this as an edutainment game. It shows animals, not just in isolation, but sharing an expanding ecosystem in areas, the achievements are a subtle nod to things parents and children can look up together, and it’s moderately entertaining for me, a jaded thirty something grumpus wearing a reviewer mask. It has replay value (In fact, one can reset the game’s progress quite easily)and isn’t too long to completely go through. Win all round.

Did I mention how gorgeous the illustrations were? I think I did, but it bears repeating.

The Mad Welshman loves animals. Such variety! So many interesting things they do to live! So many things that can be put in tanks for do-gooders to fall into!

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Source: Cashmoneys
Price: £4.99
Where To Get It: Steam

In a somewhat different state of affairs than is usual for reviewing, let’s get the bad out in the first paragraph of this review: Bomb Squad Academy doesn’t currently have good windowed mode support, or a volume slider.

Bam. Thank you, Systemic Games, for making that part of my job so pleasant.

Cue They Might Be Giants playing “Now I Know” in the background.

Bomb Squad Academy is, in essence, a game about basic electronics and electronic logic, under the guise of possibly the nicest fictional bomb defusal school I’ve ever come across. The final bomb for the second actual puzzle category (Including the dreaded OR gate) has little LED displays connected to the correct defusing options that read, on completion, “CONGRATS YOU ARE LEGEND.” The instructor encourages you to experiment, and is even occasionally seen to be trying positivity when you screw up, the screen goes white, and presumably you are small meaty chunks. “Well, you might not need that arm!”

Thanks, bomb instructor. Thanks a bunch for being understanding, and giving me a second chance in this educational setting. No, really! In any case, the game is very simple to control. Left click interacts with things. That’s it. Wires get cut. Buttons are pushed (and sometimes held down), switches get flicked or rotated… And through it all, I get to relearn the things I learned in Secondary School Electronics (that’s High School, to non-Europeans), such as the behaviour of logic gates (AND, OR, XOR, and the like), capacitors, switches and buzzers, in carefully planned puzzles that never feel overwhelming.

Each category is explained quite well, with good tutorialisation that means you never feel *overwhelmed* . Only tense.

Tense? Yes. The time limit is real, and sometimes it can be tight… But, much like real and good instruction, it’s at a pace you’re fairly certain you can handle. Concepts are introduced, then tested, and those tests slowly increase in complexity, bringing older elements in, and, since everything is visually clear, you’re never overwhelmed… Just occasionally pushed into not noticing things. Like how cutting that wire probably wasn’t the good idea you thought it was, or how you failed to account for that one AND gate.

But it’s okay. The instructor understands, and so, the fun is preserved, and you feel pretty smart when you look, trace around, mutter a bit, and, with less than thirty seconds on the clock, push a few buttons, cut a single wire, and flick a dial just so to defuse the bomb. Complete with a triumphant tune.

Simple. Elegant. And with a difficulty curve smooth as butter, rising just so for enjoyment with the occasional shock. Definitely recommended for puzzle fans, and folks looking for an entry level puzzle game.

Many bombs in the game *look* complex… Until you see what’s going on. Take a breath. You’ve still got a minute to cut some wires, it’s all good.

The Mad Welshman is looking forward to the possibility of a circuit editor in this game’s future (No promises.) After all, it appeals to his villainous side more than the defusal of bombs.

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Source: Cashmoneys
Price: £14.99
Where To Get It: Humble Store, Steam, GOG

When the apocalypse hits, when humanity’s light darkens, there shall be a cry, and it shall be louder than all the panicked screaming and dying and fire. And that cry will be “010000010100001101001011!!!”

Night doesn’t screw around, and nor do the enemies throughout the game.

So it is with The Signal From Tölva, the latest offering from Big Robot games. A game where you may die a lot, but hey, it’s the journey, not the destination or the cycle that counts. So let’s talk about that.

The Signal From Tölva is a space opera first person game (Which happens to have a lot of shooting) in a setting where machine intelligences grew from humanity, grew away from humanity, and finally kicked humanity to the kerb when humanity objected. They then splintered, because they were designed by humans, even down to that tribalist instinct. This is the story of one of those factions, the Surveyors, who wanted to find an intelligence more ancient than they were, and find their search leading them to a small world called Tölva, owned by the Cathedral, aka the Zealots… Who worship the planet and happen not to like visitors.

The game is tightly designed, with minimal mechanical complexity, and every tool used. You start as a drone in one corner of the map, explore, try to collect datacubes, and kick out anything that objects to your presence with guns and other drones. If you happen to die, well, no problem, you just download your constantly backed-up intelligence to another drone, somewhere you control, and awaaaaaay you go again!

The ship and robot designs are wonderful, but equally wonderful is the *scale* . You are a very small cog indeed, my friend.

It’s also a subtle game, in many respects. The information dripfeeds hints at the history, but equally, so do the many wrecks, occasional weird sights, and more common weird Sites hint at a world that has not only seen a lot of destruction and cosmic horror in its time, but also held a civilisation that somehow had power over space-time on a local level, and it’s only the sight of your own bigass technology and technical immortality that makes you think “Yeah, we can handle this.” Visually, a lot of the designs remind me of Chris Foss’s classic science fiction artwork, and the sound design only occasionally tries to get musical at you, even then in the most ambient manner. It’s good stuff, and I kept coming back, “one more hour”, to unravel the eerie mystery that is Tölva.

And then I triggered the endgame a bit early. You see, there’s also things going on under the hood, and one of them is that the enemy factions scale with you… But one of the other things is that, once you’ve got the means to reach the final sites, the final missions… It’s tough, folks. The Zealots get more defensive, and you will want to be on top of your game before getting there.

…And not only are you a small cog, you certainly haven’t been the first machine intelligence to try deciphering the mystery.

In summary, The Signal from Tölva is a mostly enjoyable, only occasionally stressful, and interesting journey right up until the very end, and then it becomes… A bit more stressful. Not a whole lot more stressful, but you’re definitely dying and redownloading more. Sniff the robotic flowers as much as you can, because, if you like first person exploration and/or shooting games, then it’s well worth a go. It helps that the game comes with a cool and interesting lorebook, helping expand the universe without giving too much away. The cosmic horror aspect of it is subtle, eerie, and well done, and I could definitely recommend this to folks.

The Mad Welshman likes the robot flowers. There’s just that hint of ozone to them that makes his circuits run elegant algorithms.

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