Source: Cashmoneys
Price: £12.49 (Soundtrack £5.99)
Where To Get It: Steam

I love the premise of this game: In a fate similar to The Neverending Story, the world has been unhappened. Reality has been forgotten. Except for one person, who is, on an endless loop, trying to remember how it all used to be, fighting through monster after monster, returning feature after feature.

It all melts away when you return to camp, but… You’ve still made a difference, even if it feels pointless. And it hits home, time and time again, that the world contains good and evil, and things in between. Narratively, this game works pretty damn well, with its mechanics tightly fitting to this idea that the more the world is remembered in some fashion, the brighter the possibility of bringing it all back becomes.

Gamewise? It’s honestly okay, a nice touch on the strategic roguelike, where the path is set, but what you put on that path is where the calculation comes in. You want room, for example, for villages, or features that heal. You can’t overuse them, because you need items and experience to face the boss of each area. But you can’t overuse those, because if the pressure gets too much, you might as well retreat and lose some of the resources you gained.

You’ve got time. Seemingly endless time. And the more time you spend, the more loops you go through, the more resources you can get, to improve the camp back home, giving you more memories of the outside world, more cards to slip into your limited deck that allows you to recreate a microcosm of the dark world you lived in, to become stronger… And the other two classes.

I like the three classes of this game, each has their own playstyle, their own focus, and I love it. The warrior, the first, is the most straightforward: Hit things, get equipment from them, get stronger, use crits, fuck shit up, rinse, repeat. There’s still variation in how you do it, builds you can play with, but it’s the simplest in terms of gameplay.

The thief and the necromancer, by contrast, ah, they’re not quite so simple. The thief only gets their items (except for village quest items) at the end/start of each loop, the camp. But their power, their levels, are determined by how many trophies you caught (IE – Monsters you killed.) It’s high risk, high reward, and the one I often push too far with. The necromancer, by contrast, well, they don’t fight themselves. You’re buffing your skelly boys with each equipment drop, with each skill you learn. And yes, each class has their own skillsets they can pick from on levelup, although it’s semirandom.

Once it’s boss time, though… Well, the bosses are no pushovers, so you have to feel like you’re properly prepared to face them. And you’re probably still going to get wrecked your first time or couple of times. Considering there’s three bosses, though? It’s all good, and you will be beating them multiple times.

Aesthetically? Omigod I love it so much. C64 style graphics, even down to the palette, dark, brooding tunes, it oozes aesthetic, is clear, and I fucking love it.

Yes, I definitely like this one, as it has many of the positive points I find in good indie games: Tight design, mechanics married to narrative, an interesting story, and it’s a game that can be played in smaller sessions, respecting your time. Yes, I like this indeed.

The Mad Welshman returns to his own loop, forgetting the past briefly so as to concentrate on the present, the future.

Nah, he’s having so much fun with the present and the past.

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Source: Cashmoneys
Price: £7.19
Where To Get It: Steam

You’re just one hero. You can be as fast as you want, as strong as you want, as smart as you want, but, in the end, you’re fighting an uphill battle. And you can’t possibly save them all. But maybe, if you save enough… You’ll save the world.

Such is the premise of Hero Among Us, a race against time strategy game in which you, picking from a set of hero archetypes, must solve enough world problems, improve enough world infrastructure, that the world is nominally “peaceful.” Let the villains do too much, let them create enough problems, and you lose.

It’s pretty hectic stuff, as it’s pretty much about cooldown and crisis management. And it gets harder and harder as the game goes on, with more villains cropping up (either creating problems, or trying to stop you solving them) and more problems appearing as time goes on, each linked to a stat of yours. And you only heal the exhaustion you gain from solving these problems by resting somewhere you’ve made completely safe, especially your home base.

Oh look, your home base is very often under threat, as you’d expect from hero media. You’re not just battling hunger, or pollution, or epidemic crime rates… You’re not just battling colourful villains… No, you’re battling your own weariness in this nigh constant struggle.

UX wise, it’s pretty clear. More blue good, more red bad. Problems are similarly clearly highlighted, and villains (and sidekicks or drones, if you have them) are tokens. Skill trees fit the character in question, as much dealing with infrastructure additions as the improvement of your own stats, which dictate how fast you can solve problems, and how weary you get from fighting them, and…

Well, it’s a pretty good game, with a tight narrative all about fighting a tiring, endless battle against the woes. Damn near alone. The only big hero on the planet.

You’re all alone, hero. Comrades nowhere to be seen… I’ll enjoy this…

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Source: Review Copy (Which meant I had the DLC of ye original Nioh 2, and still died a whole bunch)
Price: £49.99
Where To Get It: Steam

Play with a controller. Make sure you get a comfortable right stick setting. Prepare to die a whole bunch learning this. This is your primary warning for Nioh 2, as it is unforgiving of mistakes.

I learned this… A lot. A lot a lot.

So yes, Nioh 2 is an action RPG with slowish levelling, more requiring skill with equipment and your abilities than anything else (although what you can equip is limited by your stats, and you should definitely keep this considered), fixed attack animations (don’t be hammering on the attack keys), combat with a fair amount of depth, such as which stances to use, tactics, using your demon abilities well… You’ll get an exam on these real early on, along with the exam on “There are enemies you definitely shouldn’t fight unless you’re super skilled”, and the lessons will be painful.

Getting to your stuff you dropped when you died is not going to be easy if you died in a particularly nasty spot, and… Look, it’s a tough game with a steep early learning curve. Play the tutorials. Experiment. Be prepared to die a lot, or less if you’re already experienced in this. There’s a fair amount of timing to it, such as recovering your ki (stamina) by pulsing it at the right moment after a combo, which also serves the purpose of purifying an area, an important facet of fights with demons, because they can power up or use them.

Aesthetically, it’s gorgeous. Lovely music, characters and monsters that really pop, taken from Japanese mythology and history alike, great sounds, and a clear UX. It’s good here. Writing wise, it’s stylish, and an early touch of the ghosts of your parents commenting on your character creation is… Okay, I teared up a little at hearing the character’s mother, who’d died messily not even thirty seconds earlier, say how we’ve grown so fondly.

But yes, it is tough as heck, and if that’s a turnoff, don’t bother, even with toning the difficulty down, mastering the systems I pretty much a must.

Beyond this, though, there’s… Not a lot for me to say. It’s good, and it has a lot of the stuff you’d expect from an RPG, with several different weapon types (I went edge, with a kusarigama and a switchblade, aka “It’s a scythe that turns into a bat’leth, deal with it, yokai.”), and… I enjoy it. Even if I die, and am going to die, time and time and time again.

So, yes, if you’re either good at this sort of thing, want to struggle to play a cool game using Japanese mythology and history to tell a dramatic tale in a world of demons… This one’s good for you.

The Mad Welshman defends quick weapons to the death. Multiple deaths. Many, many deaths.

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Source: Review Copy
Price: £15.49 (£7.19 for hintbook and bonuses, somewhat recommended)
Where To Get It: Steam

Geneforge is a name with associations for me. The clunky charm of Windows 95. College. Being able to play 2^nd Edition AD&D without wincing. Not all of these are dependent on the time it was released (Windows XP was the same year as Geneforge, and AD&D… Well…) But they’re associations for a reason.

Geneforge is what we would call “oldschool.” It only takes one look at the screenshots to see eras bygone in game design, and the game was, originally, pretty damn tough. Save early, save often.

Although difficulty selection is a wonderful thing, don’t you think?

In any case, being an old school type RPG is both a strength and a weakness. It’s a strength, in that the developer has considered how classes might be seen by the NPCs of the game, different dialogue options exist for both classes and skills, and dialogue is rich with lore.

It’s a weakness because some design elements have never really been fixed, and combat can be brutal for the unprepared, although it does ease you in very well.

God, that UI. That UI has no scaling options, and so icons are very small, so very small. Text is not quite so small, but it’s still… This ain’t the most accessible visually, and, as an aside, you will be holding down Tab a fair bit to see what the hell is interactable, and even that won’t necessarily help you with items that are just on the floor.

But for all that, Geneforge is nonetheless an interesting RPG, with a very unique world. In it, biomagics, “shaping”, are a rigidly controlled, yet powerful magic, that has shaped its society. Small, pig like creatures with humanoid faces take the place of computers, created to be repositories of knowledge and scanners, meant to last a long time. Servant beings have been created, and…

Look, Shapers are Not Nice People. It’s made abundantly clear early on due to the early dialogue, the matter of fact way in which the protagonist is so calm about magically created/changed beings, how he just assumes that the humanoids on the island are servants, but ones who have gone a long time without a master… What sets alarm bells in his head is the canisters, one of your prime forms of levelling up in the game. They change you, change you from the inside out, insert skills, powers into your mind, your essence. And would you look at that, they’re also Shaper creations, although banned, a dark part of the Shaper’s already dark history.

Aesthetically, it’s… It’s clunky. It’s unapologetically clunky, and clearly still made with small window sizes in full screen in mind. Nothing really scales, so at larger resolutions, like, y’know, the now common 2560×1440, it’s somewhat eyestrain inducing.

Combat, well, it’s turn based, it’s action point based (you can do multiple actions in a turn if you have the points, if not, well… Boohoo), and it definitely has its nuances and interesting encounters, although it will often boil down to “Murder things horribly with the right elements.” But it’s still good, and I still like it.

Still, overall, this is, again unapologetically, a niche game. It’s for those who love the old 90s isometric RPGs, with all their jank and dialogue heavy funtimes. I enjoy it… But not everyone will, and I’d only cautiously recommend it because it’s a good example of its genre.

The Mad Welshman prefers to play with artificial life. Don’t judge.

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Source: Review Copy
Price: £12
Where To Get It: Steam

The GameBoy still has a treasured place in many hearts. Its simplistic graphics and its relative accessibility compared to other handhelds, its library, memories of playing it in schoolyards, and of its awful, awful screen sticking with many.

And so, someone naturally made an engine that can easily make gameboy games, with gameboy limitations. And so, someone in the modern day made a commercial indie RPG with gameboy limitations, in a gameboy engine. And so we have Dragonborne.

This is, right off the bat, a limited appeal. Gameboy limitations mean a limited palette, mostly greens, small, chonky sprites… And bitcrushed sound which will sometimes conflict with other sounds, like, for example, the music. It be beeps, boops, and noise, which can be used well, and are used well, with some cool tracks, but… It’s an acquired taste.

And, of course, it’s a homage to gameboy JRPGs, which were, it must be said, a somewhat limited bunch. For the early game you can attack, or use potions. Thems your lot until you learn magic, and get hold of at least one sword, each of which has their own special attacks. But until then, and even, to a lesser extent after this, everything’s a damage race. A low stakes damage race, because once enemies are defeated, they remain defeated, but… Combat doesn’t have much depth, and the progression is in items, not in levels or XP or whatnot.

The story, similarly, is low key, no massive worldbuilding, no grand stuff, just people giving hints, or chatting briefly, fetch quests, minigames (such as rock paper scissors), and puzzles, which often consist of our old “friend”, block pushing. It has stakes, but they’re gradually revealed, and what begins as “My dad is missing, and bandits may be responsible” grows into “Ohshit, dragons” (although this is heavily foreshadowed, as with many gameboy RPGs. Y’know, like Pokemon)

This isn’t a bad thing, by the way. These are “It’s a thing” things. But it’s a very specific experience, and it’s one for a pretty specific sort of taste.

And that, honestly, is what I really need to say. It’s not a bad game, although I do wish the combat was a little more than a damage race, and I wish there were less block puzzles, but it is something that appeals to a very specific audience, and I would say to watch the first part of a Let’s Play or something like that to see if it would be the kind of experience you’d want to play.

Hell, I advise that in general with any game, but moreso with games like this. A very specific recommendation, then.

The Mad Welshman played the hell out of The Addams Family way back when. He regrets nothing.

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