Nuance comes from special moves which don’t use up one of your three goes (Rainbow feint! Olympic kick!) and the sense of challenge in deciding how to spend in-game credit. Success brings riches, but it’s not always wise to splurge it on players – investing £14K in a youth academy limits transfer options, but guarantees a promising youngster every six months. Which sounds like a long wait, yet at seven minutes per match seasons fly by in evenings just like those dugout sims of yore. This time with no threat of the tape wearing out. [Issue#172, p.80]

Perhaps the only downside to Tokyo Dark is the amount of text present in comparison to gameplay. There is a lot of talking, to the point where it verges on visual novel territory, and more interactivity with other aspects of the world would have helped prevent this. If you don’t mind a bit of reading, though, this is a gripping and stylish whodunnit. [Issue#172, p.86]

The team have made the most of what was clearly a small budget and the engrossing dialogue obscures the confines of this smaller project for the most part. For the uninitiated, this is a worthwhile introduction to the Masquerade, though be prepared to make full use of the in-game dictionary. The World Of Darkness is a tumultuous place, to say the least, and if you’re already familiar, then you’ll know whether Coteries Of New York’s edgy tone is right up your dark alley or worth a well lit detour instead. [Issue #175, p.70]

Some of the puzzles can get quite tough, but you can use the hint button, which can suggest where you should look next, highlight screens that still have things to uncover, or allow you to completely skip puzzles if you want.2 Hidden-object diehards might find it a bit lacking, but it’s a fun romp that strikes a decent balance between searching and puzzles that’s more than worth spending an evening or two with. [Issue #175, p.76]

What really makes the game is Map Editor mode, where you can create your own maps and share them online. This is much more worth your time than the main mode. Many of the creations already available show great inventiveness with limited assets – things like cross-time football games or ‘Little Yharnam’, a Bloodborne-themed map. Hidden Through Time is basic, but at a low price (£6.49), it’s worth fooling around with if you’re still fond of Wally. [Issue#174, p.92]

If making your own vehicles holds appeals, especially if you have some engineering knowledge, you’ll have a lot of fun with this. Just be aware that the world you’ll explore is little more than a glorified testing ground. [Issue#177, p.144]

Boasting bitcrushed soundbites and bitpop beats by Defense Mechanism, it sounds the part. As for looks, the sprite work has the bobble-headed charm of chibi art styles. The vehicle aesthetic is more realistic but they still look like they’re straight out of the doll’s house. The art direction feels far more confident rendering nuts and bolts rather than our protagonists, but the pixel art is nothing to sniff at. There is a clear understanding that bosses are sold not only through their challenge but also via visual spectacle. They’re still diminutive but not to be trifled with, bringing the pain with screen-sweeping attacks in standout arenas. The Beljantaur Kingdom can take us on again any time. [Issue#177, p.156]

The level of control this system gives is compelling, and creatively arranging dialogue fragments is rewarding. The need to find the ‘right words’ creates an interesting tension throughout – unless you’re a people pleaser in real life, in which case this may hit a little too close to your everyday. Its short length and focussed story allows for an engaging variety of dialogue options and social scenarios, but it does also feel more like a proof-of-concept in the end. But it’s less than a tenner, which feels like a reasonable price, and we’re going to enjoy seeing how Insatiable Cycle fleshes out this dialogue system in future as what we’ve overheard here presents a tantalising snippet of conversation. [Issue#179, p.72]

At various points you need to choose how you feel about the other characters using the star-chart-like Senses Sympathy System, rating them on a scale. This is the only way you make decisions and branch the narrative. It’s a nice idea that works for the most part, but also feels a little clunky. For a visual novel that released in Japanese in 2012 it still holds up well, and it’s a mature story that relies on sci-fi disaster thrills more than romance, which leaves it on top. [Issue#179, p.80]

There’s a lot of text, but you only have to read enough to get the information you need. It’s more of a detective game, offering just enough guidance to ensure your snooping genuinely feels like an investigation into the denizens of this strange, surreal internet. [Issue#180, p.76]

You’ll quickly learn which foods you’re comfortable making under pressure, but the harder challenges push you out of your comfort zone. With over 350 levels, there’s masses to do. And while hitting buttons to make food is pretty much all you do, each challenge feels unique. Though we don’t think we’ll ever be able to eat sopapillas again. [Issue#182, p.156]

Lair Of The Clockwork God is sometimes very, very clever, although this cleverness leads to rare instances of self-indulgence that obscure the way forward, which is thankfully the exception rather than the rule. When the disparate parts fit together, and you overlook the ropy platform controls, there’s an unusual game in here with personality. It’s a jolly (and occasionally filthy) adventure, the likes of which we’d love to see more of. [Issue#183, p.65]

When you combine all of the smart design decisions with superb writing and dialogue, you get a truly memorable game, proving you don’t need a Night City-sized budget to impress. [Issue#184, p.89]

The five-to-six-hours-long single-player mode is certainly challenging, with some very well-designed boss fights, but the main maze-like levels feel basic and dreary. It’s a slog. Ponpu’s clearly best suited to local party play, but… well, it would be a pretty strange party if you got this one out. [Issue#184, p.89]

Roguelike games can sometimes feel very generic, and we’ve seen a lot of them in recent years, but the stylish pixel look combined with a subtle but effective soundtrack helps Colt Canyon stand out from the crowd, and with levels randomly generating each time you play, no landscape will ever be the same as the previous one. This offers a fantastic challenge (albeit sometimes it can be a little too tough) but you’ll keep coming back for more. [Issue@#185, p.87]

Ultimate Fishing Simulator rewards patience and skill like any good sim, and there’s something satisfying about picking your own fishing spot, casting a line you’ve prepared yourself, and pulling in a big one after a fight. Progression may prove to be too slow for some, but for fishing fans, this might just be a kipper app. [Issue@#185, p.87]

Technically there’s little wrong with the game. It’s visually solid, smooth to play, and the 3D models do a decent job of replicating the style of an 8-bit side-scrolling shooter. Yet it feels anodyne. The magic sauce that made us shove ten-pence pieces into arcade machines is missing. [Issue@#185, p.82]

Freddy’s first outing is a jump scare legend and a fantastic case study of pure, simple design. It’s too bad later outings simply don’t play well on a controller. [Issue#185, p.89]

While there’s no ignoring the limitations of the production, everything culminates into a laser-focused indie experience that is very much more than the sum of its parts. For a sunrise you won’t soon forget, this is more than worth the just-overfive- quid price of entry. [Issue#186, p.82]