Sheinman has displayed just what a talent he is. Coding, creating the art, writing the game, writing and performing the music (with vocals from the actors)… that’s all sickeningly impressive. Having it manage to come together as a pretty tricky puzzle with so many moving parts is deeply impressive. But more than that, there’s a depth of knowledge here that I find daunting, an understanding of music scenes based on a lot of reading, listening and thinking.

What I think stands out most about this is the way story is used as a commodity, while also being ingredients in the telling of its own story.

This is a short game in the Metroid-like sense, but it’ll offer you a fair few hours for a very reasonable price. There are imperfections that will lead to frustrations, but there’s plenty more here that makes this a pretty interesting play.

I just adore the art, which is what caught my eye first of all. Monochrome, 2.5D, with a sort of pop art aesthetic. And there are some lovely details within that, especially the intricate reloading animations on the pistol.

Honestly, I don’t find The Highway to be quite as compelling as his other games. Certainly not for its art and design, which is pixel-perfect, with brilliant lighting, surprises and incredible timing. I just find the loosey-goosey super-ambiguous Twilight Zone thing a bit too distancing, and I think the final moment in this is a bit flat. However, it seems everyone else who’s ever written about it strongly disagrees with me, so you may well too.

I love this. It’s just so splendid, and I’m absolutely bloody determined to keep getting better at it. It’s a slow process for me, but I’m definitely improving! And in the game.

Should you buy this now? Well look, it’s £1.35, so you’re not exactly going to be taking out a second mortgage. But understand this is, at the most generous, a demo at this point. I’m just so taken with the ridiculous idea, and the lovely presentation, that I couldn’t help myself. [Early Access Score = 75]

This is just tremendous. It’s extremely silly, but so well executed. I love the relationships between the aliens, and the superbly lackadaisical supervisor makes me laugh every time he appears. This is a piece of jubilant daftness, and that’s why I adore it. It’s short, perhaps an hour to go through the first time, but at its super-low price it’s still a bargain. SPACE COURT!

If you fancy being completely weirded out by a deeply sinister and absolutely mystifying three-hour creep-em-up, jump on this one. I am super-intrigued to find out what Faceless is going to be.

Gosh there are too many “explore an abandoned space station” games, but I keep finding myself drawn to them, and it’s for exactly the reason that I hope they’ll offer what Spirits Of Xanadu includes. I mean, it’s not amazing, and I’ve still yet to find the Solaris of videogames that I’m desperately hoping for, but it’s nice to have something that delivers it all in a satisfying way.

This is a simple, original idea, done really well. I don’t know that I’ll ever unlock those blue levels, but it’s a great time trying. And for less than £3, it’s a pretty low-risk choice. This is an easy one to recommend.

But do check this out, because it’s an original approach to a familiar genre, and one people with cleverer brains than mine are certain to enjoy. Also, it has a super-chilled jazzy soundtrack that I love.

I really like the shooting! It’s a very satisfying FPS game, with a great collection of enemy types, and weapons that are very definitely becoming favourites. There really is a lot of great balance already in place as I switch between rapid-fire blasters and one-shot rocket launchers, responding on the fly to the mix of enemies in any given area. [Early Access Score = 78]

For a weeny $5, this is well worth your time. It’s intelligent, peculiar, and replayable. I do wish more items in the shop could be interacted with, even if it’s just to pick them up and put them down again. But there’s enough detail hidden around to keep me happy.

This would be great for kids comfortable with using a mouse (and indeed would work far better on a tablet, but sadly seems only to be on PC). It’s never difficult, but often grin-inducing. The cats are lovely, and giving them hats makes them happy! So much so that every single hatted cat gains you an achievement almost all with the exact same words: “The cat is happy!” I made the cats happy!

Oh my goodness, get this, and indeed every other game they’ve made. Play them all, and you’ll only probably maybe go completely loopy. I adore them, and this one lives up to their reputation completely.

This is by far one of the more interesting escape games around, if you’re looking for something silly and strange and relatively simple. It’s not trying to be the lofty intricacy of The Room, nor the Lynchian faux-narrative of Rusty Lake. It’s just goofing around, and that’s important too. And at this, it does very well.

There’s something utterly charming about this kitchen table FMV gaming. It’s am-dram, with sound levels all over the place, friends-and-family casting, incredibly terrible CGI, and the sort of story that barely holds together in the most fun way.

Created by one person, this is an excellent use of pre-made assets to build an Unreal Engine horror game. I love that there are tools that allow someone to piece something like this together, without the need for being able to build complex 3D models or record swathes of sound effects. It’s about the smarts in how they’re put together, and Alexandr Reshetnikov shows a lot of those here. The jump-cuts, the constant rearranging of locations behind you, the application of so many horror tropes at once – it all comes together so nicely for a very scary hour.

This is a ton of fun, bright, silly, fast and tough. I think there’s definitely potential to build it out into a larger game, especially with the building mechanic. However, it works just as it is, a morsel, and you’ve nothing to lose in giving it a go.

I really love this! I cannot justify this well. I guess sometimes it’s just fun to be rubbish at something. But it’s really nicely presented, the music is fun, and it’s no slapdash effort – the controls and timings are incredibly precise. And if you happened to be good at it, well I cannot imagine how thrilling that would be.

When we look at History, and we learn about Wars, we see arrows on maps, armies defeating armies, flags replacing flags. But it’s so easy to forget about the minutiae within that. The farmer in the mountains whose life was bounced between fascist regimes, before being completely destroyed in their wake. A Painter’s Tale offers this perspective with such an extraordinary lightness of touch, almost a nonchalance, and is so much more powerful for it.

It’s also worth noting the excellent underground spooky sound-effects, and some lovely music. This all adds up to a very fun little game, with just enough Lemmings to remind me of happy times, but not so much that I can feel it triggering my anxiety. Oh, and good gracious, it only costs a pound. Which is silly. Put that price up!

It’s free! It’s a bit like Hexcells! It needs the ridiculous decision to have left-click move the puzzle fixed immediately! But it’s definitely worth bringing to your attention.

Honestly I’m not entirely sure if I’m a kitten, and I’m solving these puzzles for food? Or if I’m a scientist who’s motivated myself to solve these challenges else my pet cats will starve? I don’t want to think about it too hard. I just want to sit back, solve little puzzles, and be pleased that there are kitties to watch.

Running at about an hour long, that this is free feels such a brutal shame, but invariably the correct thing to do with a student project where there’s no actual company registered behind it. Still, if they’ve any sense they’ll form one themselves and embellish this into something even longer and more involved. Because this is a huge demonstration of talent, and extremely worth your time.

It’s a shame that there will only be bug fixes from now on – it’d be great to see this embellish into a bigger, more complex idea. Also, I would love to see a change where only one mouse button moves the screen around, as it’s currently tricky to move branches and leaves without accidentally moving about. But there’s definitely enough right now for your weeny £4, and it’s captured me (and oddly, my 6yo) for a decent amount of time. Ooh, and as I type a thunderstorm is rolling in over my latest tree.

Add in some lovely music, and I’m having a great time. I love these simplified versions of larger genre, and while I certainly do wish for more complexity in the battles, I’m still hooked on having yet another turn after each failure.

In another universe this got picked up by Valve and became the next Portal. In this one, it’s a buggy release on Steam that I feel shouldn’t be priced. Or at the very least, be in Early Access. But gosh, it’s impressive.

This is from Minor Key Games, who blew everyone away with 2013’s Eldritch Reanimated, and have since put out a series of very odd little projects, none of which have really caught on. In amongst them is Eponymous, which also received seemingly no attention at all, which is a shame – it deserves some, hence my highlighting this now. And for a couple of pounds, it’s an hour’s oddness well spent.

I want you to buy it and play it. I want you to see all the clever things it does, all the lovely surprises, all the silly moments. But I don’t want to recommend you do that, then you play it and say, “But hey, it just doesn’t make sense – and also I wish he’d have gotten a theatre school friend to do the voice over.” You know that already, go in and enjoy it anyway. And heck, it’s £1.50. You’d spend more on a glass of Coke.

There’s a good amount of game here – it’s a lot shorter than The Witness, but then, good – I’m a way in, and I’m convinced. And indeed frustrated that this isn’t already more famous. Being derivative of something enormously popular is often more of a hindrance than a help, and that’s likely an issue too. I mean, I strive to review things in isolation, and yet all I’ve done is compare it to The Witness throughout. It’s kind of inescapable. But I honestly prefer it, even though I can recognise that it’s not as good in almost every way.

Oh, and goodness me it looks amazing. The screenshots obviously show off the lovely modern interpretation of Game Boy-ish graphics, but a lack of motion doesn’t do it justice. Even the level picking screen is a thing of beauty. Add in some of the best music I’ve heard in a very long while, and the completely brilliant sound effects, and this is a fine package.

I think the social media narrative delivery is a brilliant idea, one I hope a bunch of other people have the sense to steal. It’d be lovely to see other games running with that conceit, much as so many picked up on the lost phone gimmick. But if they don’t, then I Hope She’s OK has offered it with aplomb.

I’ve had a fine old time with this. I’ve carried on playing for far longer than I’d planned, and am about to carry on playing once I’ve finished writing this. Which is a useful reminder that it’s important not to dismiss games because they do what other games have done a lot, especially when they do it this nicely. Also, to remember that storylines based around the enforced wearing of trousers are always welcome.

Hopefully it’s relatively clear at this point that this game is odd. It is indeed wonderfully strange, set in some sort of adjacent reality, where death and life seem to overlap. You are as likely to be solving object puzzles as you are to be cooking raw brains to restore the internal organs of a renter. It’s creepy, but presented as if it were anything but.

At £20, I’m hesitant to recommend it. At £10, I’d be demanding you buy it. But then, value is relative to the person purchasing, and you’re a big girl/boy, you can make that decision for yourself. Either way, this is a fab puzzle game, with just adorable art and music.

So, so much has been poured into this, every tiny crack packed with details and extras. The sheer number of computer games to find and play, some dreadful, some pretty decent, is bewildering. Let alone the amount of art created for one-off throwaway gags. And perhaps most importantly, that created to illustrate the repeated goals to escape from creature’s bottom holes.

The whole game is a twisted tribute to Italy’s Ravenna docks, and Romagna mythology, as well as an almost impenetrable folkloric cautionary tale about nostalgia and its erasure of time. Which isn’t something I’ve been able to say of any other game. I love the artistic choices made, and still don’t know if the game suffered from translation issues, or if its blending of English and – think – Catalan was a deliberate decision – I liked it about it either way.

A bright, cheerful, superbly well-made platformer designed for everyone to enjoy?! Have we, too, fallen through a portal into another universe? In fact, this is the continuing work of Skipmore, a Japanese developer which has previously given us, amongst others, Kamiko, 1-Bit Rogue, and Synopsis Quest. Transiruby is their finest yet.

Each round I get a higher score, a little bit further in, and gain a smidgeon more understanding of the process. Plus it has kick-ass music, and a superbly bemusing visual style.

It’s very nicely put together, and the simple pixel graphics and four-colour palette belie some pretty clever physics. The tether operates according to proper underwater floaty properties, meaning you can wrap it around obstacles to complete some challenges, or allow it to swing you upward when taut (I’m not quite sure how realistic is the latter).

I found two really satisfactory endings. One that bloody scared the bejesus out of me, and another that I’d consider a “good” ending. All extremely worthwhile. And yes, because people always ask, it does have jumpscares.

It would be silly to directly compare this to Returnal, given the enormous difference in scale, but I can’t help but be reminded of it. That sense of enjoying failing at the earliest stages, with a constant sense of improving as I do.

I’m adoring it, just as I did the first game a few years ago. It’s so zippy, bonkers, rapidly advancing, funny, colourful and challenging. The combat is far rarer and less of a faff this time too, and sometimes delivered as another puzzle rather than an obstacle.

This is a fascinating game, with more than one ending, but no matter how you play forcing you into some ugly situations. It’s so interesting to play this familiar setting from the side of the “infected” one on board, and to be confronted by the realities of your actions.

There’s nothing innovative here. It’s just a really adorable execution of the current trend for monochrome hidden object-me-dos, that made me smile a whole bunch while I played.

This is a brilliant little puzzle game, at a very decent price, and despite its seemingly simple beginnings it really has its claws in me.

In the end, if you’re after solid, satisfying puzzles, it really doesn’t much matter the layout of the puzzle book. And here you get exactly that, which is why I am enthused to share it with you.

This was a risky project, given the automatic assumptions someone might make about a game where dating and invading are conflated. Cast aside all those concerns, because this is a game where consent is primary, yet nonsense is overwhelmingly more important. It’s so funny that this is so lovely, and it’s lovely that this is so funny.

This is all just such a great idea, so well executed, and the best digital jigsaw game I’ve played by a long stretch. That you can play a significant amount of it for free is almost silly.

I wept for Mara here. The precision with which creator Meredith Gran recreates that time, both the millennial world and the coming-of-age within it, is astonishing. It’s an incredible feat of storytelling, of recalling the deep truth of being 15-turning-16, without ever patronising. Of clinging to the security of childhood, yet desperately fighting to escape into the possibility of adulthood. It’s also lovely, very funny, beautifully written, and let’s not forget, a really decent point-and-click adventure. This is breathtakingly good.

My unfair complaint is I want so much more of this. I think it really gets going around puzzle 19, and then you’re just six from the end! However, this is £2, and a really lovely collection of puzzles, so at this point I’m just being greedy. Yet, by puzzle 25’s fantastic sprawl, I really felt like it had found its groove. Perhaps if everyone just buys this, it’ll incentivise developer Molter to make some more! I thoroughly recommend you do.

This really is one of the best Metroid-likes I’ve played, and its lower-than-usual difficulty is something I have found incredibly welcome. And I feel certain I’ll be playing it all over again when it comes out on Switch. There’s a lot here, and it entirely justifies its $20 tag.

The game, essentially, plays like the first chapter from a larger project. This hour-and-a-half of levels ends in a satisfying boss fight, and then runs its entertaining final sequence. Which left me with an odd combination of feeling delighted at such a neat morsel of a game, and saddened that I wasn’t going to carry on playing something so fun and well made.

It’s been done! After thousands of years and countless deaths trying, someone has finally made Chess 2! Shotgun King: The Final Chronicles, winner of Ludum Dare 50, is the vastly improved version of the dated, low-violence game of Chess. It removes most of the pieces from the board, and gives one side a shotgun.

This is tremendous stuff, a game that could absolutely have been released alongside Raven Software’s mid-90s fantasy shooters and held up. (Although people would have been mystified by the lighting tech.) Hands Of Necromancy is a welcome addition to that fold, and HON Team have become a team to follow.

It's mystifying that something so free, so open, is the work of two people, total. I have managed to break it a couple of times, through some outlandish actions, but the majority of the time I've just been delighted to find out my cockamamy plan has worked out. It also offers that most crucial of immersive sim elements: the bit where a great plan goes to crap, and you're flailing to survive. It's a joy that Ctrl Alt Ego rarely has me wanting to reload in such moments, but instead to scramble, to try to improvise my way out of a sudden and overwhelming jam.

As ever, the art is exceptional, and it makes great use of music. The sound effects, however, are perhaps a little cartoonish in places, somewhat tempering the tension. Overall, it maintains an excellent level of spookiness, and even managed to make someone as jump-resistant as me feel startled at one point. For its tiny price, it’s a definite pick for fans of creepy tales.

Oh, and it’s FREE. Presumably a requirement of being a student project, but damn, these devs need to be making money from this fantastic game. It’s so great, so smartly put together, and also the St Peter pigeon has a moustache.

A twin-stick action game that crams in everything I want from the genre, into a few-hour vignette.

Most of all, Lumencraft makes busywork feel fun, the core drilling always satisfying, especially as it speeds up with more powerful drills, and it’s sweet to sit back and watch as your constructed defences take care of a wave of enemies. Or even, watch as your base just survives until the final wave is complete, and you scrape that success. I love an RTS for the rest of us, stripped down and then given more life with twin-stick combat and mining.

What makes this work for me is a light narrative that doesn’t overly get in the way, alongside its willingness to step outside of the immediate meme’s boundaries to provide entertainment. And that it scared the bejesus out of me over and over.

Melon Journey is also the very essence of “wholesome gaming”, without feeling puritanical or pallid. It’s entirely family-friendly, extremely cute, but not saccharine. It has an edge, even if that edge is entirely about melons.

More than anything else, Loop is a dollar. In fact, it’s 90 cents this week, during the sale, just in case you needed 8p for something more important. That’s completely daft, and I’d have been delighted to have spent a fiver on this. This is very smart, very nicely designed, and gorgeously presented. The only negatives are the boring name, and the peculiar developer name of “Lofi Robot”, the trademarked name of a popular Polish robot construction kit.

This is a wisp of a game, but I just had fun playing it, and that’s the real criteria for inclusion.

Shiner is primarily this concept, the surrounding story rather slim (although kudos for the ranch dressing-based religion), and it would be lovely to see such a mechanic built into a larger, more established RPG. Of course, this is a student thesis project, and as such is an excellent proof-of-concept for an idea that merits further realisation. Also, it’s free, so if it sounds interesting you’d be a right berk not to check it out.

This comes from Adamvision, who not only has a back-catalogue of similarly hooky arcade games, but has reimagined a bunch of licensed Atari games. (Oh, and he made Lewdle.) Poosh is his triumphant return after a couple of years of doing the latter. And for the rest of this week you can pick up this latest title for almost half price, and his previous arcade games for just 50c each.

This is a massive undertaking, and seemingly the work of just two people, which is mindblowing. The story didn’t hit at all for me, but I’ve found myself absorbed in that hypnotic ARPG space where I am delighted to just keep attacking and looting, while the other half of my brain listens to podcasts. And as much as I might wish for a world where indie developers are pushing the Diablo-like into entirely new directions, that world doesn’t exist, and I’m just so grateful that there’s anything else at all in the space that’s soon to be filled by the entirely standard arrangements of Diablo IV.

This is something really special, the work of solo Finnish developer Antti Tiihonen (one of the creators of the mighty Legend Of Grimrock), and for $10, you’d be a loony not to get this. Stuffo captures that perfect sweet spot of puzzle difficulty, where you’ll sit and stare bemused at the screen for minutes at a time, but always with a solution within your reach.

This is utterly splendid. GOTY stuff for me, certainly one of my favourite games of 2023 so far. It’s already looking like it’s proving popular on Steam, yet has had no reviews anywhere I can find. I do suspect this is partly because it was in Early Access for a few years, which seems to confuse most publications as to when to review something, so they opt for never. But it also means you’re less likely to have been pointed toward it, so let me have done that for you today.

Overwhelmed‘s presentation is great, feeling very slick and modern, yet with ingenious nods to the genre’s history through its colour choices and ship designs. (And yes, I mean the real history, the one preceding a hidden bonus game in 2003’s Project Gotham Racing.) This absolutely doesn’t have the life-changing profundity of Geometry Wars, but not is it trying to. Instead, this is six brilliant little arcade vignettes, each compelling and compulsive, that form an excellent cohesive hole. And all the work of one guy – Paul Giovannini – but for the music by Mathieu “Richie” Dubois. My magical powers remain unchallenged.

I’m not entirely sure what earns it the grandiose name! I feel like a completely unnecessary storyline might have been wisely cut at some point, leaving just the mystical title behind, and rather love that. You can imagine your own overly-grand reason for pointing light in specific directions as you play. And play it you should.

It’s worth adding that it’s all presented in a tiny, two-colour rectangle in the middle of your screen, and looks lovely. The art is incredibly simple, but this belies the detail in the animations, the movements, and the perfect sound effects. This could have been much more throw-away, and still worked, and I love that it’s not. It is definitely a shame that the text is so incomprehensible, because it’d have been the cherry on top to have a great little story told as you played. As it is, however, you can just click through it.

It’s lovely, it’s cheap, and it’s longer than you might expect.

This is really decent. Strong puzzle design, such that when you find one that seems too easy, it means there is going to be one that follows that looks almost identical, but is much more fiendish. And I’m delighted that, in the end, it doesn’t even make sense to compare it to Flow Free – this is a wholly different approach.

That Matt and Mike Chapman are still making new Homestar content brings me so much happiness. It’s sporadic now, the two brothers having gone on to work on many other TV animations since, including a bunch of Disney projects. That they’re making entire games, albeit pretty short ones, is mindblowing.

This is tremendous fun, and for a fiver, there’s so much of it. There are 12 different classes, each with three variants, which offers an enormous amount of replayability. Plus, its more bite-sized approach to the format, accompanied by a 3D view and vast array of enemies, makes it different enough from the crowds to stand on its own merits.

This is simply tremendous, has kept me busy for countless hours while watching YouTube nonsense on the other screen, and I love it.

I’ve shouted out loud so many times while playing, sometimes in mad frustration at myself, other times in absolute delight at my success. I have even proclaimed, “I AM SO GOOD AT THIS!” immediately before leaping straight into the teeth of a spinning cog. It’s just an absolute pleasure to play, no matter how bad you might be at it.

Absolutely excellent.

It’s a bunch of lovely ideas, each used just once, despite many being strong enough to be the basis of a game of their own. (The Snake puzzle especially.) I can’t wait to see what FLEB does next.

This is very deliberately not a true point-and-click adventure, so don’t go in expecting one. And be warned, this is a grim tale with unpleasant themes. It is, after all, a horror game. As you might expect, if you’ve played any of Navarro’s games before, the pixel art is impeccable. The writing is fantastic, too, and the hour-long experience – as ever – makes me crave a longer, more involved game from the creative team. However, these episodic bite-size games allow entirely different approaches, art styles, and themes, which is very welcome too.

This gobbled up a couple of hours of my life in a really enjoyable way.

I’m so, so impressed by Neoproxima. I desperately wish it had been properly script edited in English (hey, indies, hit me up – my rates are very reasonable!), because it’s a constant issue. But it’s testament to the quality of every other aspect that I still loved this game so very much. Especially the way it begins to mess with its own UI, to force you to ask questions about your experience as you play. Just excellent. This is a brilliant idea, brilliantly executed, and absolutely shouldn’t be overlooked.

It’s ridiculously cheap for a game of this size and complexity, and it’ll absorb you for many, many hours. If you, like me, wish Nintendo would just make another Link To The Past, then this is a must-buy. It completely understands the remit, and then delivers and delivers and delivers.

Mimic Search definitely feels like something that could become a very engaging longer game. There’s a lot of unrealised potential in the whole idea of the Mimic possibly being one of the few people in these woods, and that’s certainly not helped by the game’s one rather enormous flaw: it uses character models that don’t blink. Oops. I really like the idea of a game like this, with a larger forest to explore, more buildings, and a different NPC as the Mimic each time you play. Someone make me that, pronto.

Leap Year describes itself as a “clumsy platformer”, but don’t be fooled. Nor indeed put off. Developer Daniel Linssen is being mischievously modest, because beneath its clumsy presentation and opening gambits, this is anything but. It’s actually rather brilliant.

I cannot fathom why this is free. I even asked the developer, Daniel Carr, and he sort of shrugged and said he wants as many people as possible to be able to play it. So, take him up on this!

I’m assuming this is free because it’s so short, but I would very gladly have paid a few pounds for it. I can find nothing about the two developers, other than guessing that they’re Icelandic from their names. (Get in touch!) But clearly this could be developed into a longer game that people would be delighted to pay for. As it is, this freebie is a proper treat.

StormEdge is, therefore, refreshingly original in many respects, while familiar in its constituent parts. It’s also just a really good time. Failure doesn’t feel awful at all, especially given you return to the village with progress either way. It’s a lovely game for chipping away at improvements, and learning new approaches and finding preferred methods. That’s a pleasure, which is a good term to describe the entire game.

I am now absolutely fascinated to see what R_Games does next, to see if the scope can be expanded, and the ambition raised even further.

Daemonologie achieves so much more thanks to its brevity and its lack of an attempt to preach or proselytise. The horror is the horror, and it’s not a scary witch. That you have to be a part of that horror to experience it only makes it far more powerful.

It’s pretty, it all works very simply, and yet there’s a good amount of depth to the tactics. Sure, if you’re used to playing elaborately complicated turn-based RPG/strategy games, it’ll perhaps seem a little twee. But it’s not for you, so there.

It’s so very gratifying to spend a good long while learning about EMF scams and what a truly dreadful person is Russell Brand, then mousewheel scroll back out from the small section of the puzzle you’re working on to see the enormous painting coming to life. It’s also very fun that after completing certain sections, a pop-up appears referencing the proverb alluded to in the section.

With a bit of tweaking to difficulty, it’d be hard to fault Dungeon Clawler. It absolutely mimics a million games that came before it, but the combination of a unique mechanic and so many interesting innovations of its own within the format, means a game I figured would be just “that but with a claw machine” (which sounded good to me!) is actually something far more rounded, involving, and interesting in its own right. I just need to figure out how to stop playing.

The puzzles are great, there are hidden switches all over the walls, and it feels so comfortable to play. Yes, I miss ranged combat being a bigger feature (you get magic weapons, but in the first four levels there’s nary a sign of a bow or arrow). Health potions are perfectly distributed, forcing you to worry and skirt around on low health, but find one just in time, but I do miss being able to make my own. But this is so brilliant, such a solid, excellent example of the genre with its own sensibilities, ideas, and such brilliant movement, that I’m far more delighted that it exists at all than I’m bothered by anything missing.

This is really brilliant! This is a game deserving of widespread attention of the sorts Draknek & Friends receive for theirs. It deserves to be in their midst, rubbing shoulders with Hempuli Oy and Stephen Lavelle. I think you, a person who is good at this sort of game, are going to properly love this.