- Wolver

Game Informations : Developer: Shem Philips Platforms: Microsoft Windows - macOS - iOS Original release date: 16th September 2019 In December of 2016, the other TouchArcade writers and I each posted our Top Ten lists detailing our favorite iOS games of that year. One of my top picks was Mini Metro, which I wrote was “an incredibly addictive little strategy game that has literally been the only thing on my iPad’s screen all week.” My life started to get really busy around that time and it wound up being the last thing I ever wrote for TouchArcade. Three years later, the newly released Apple Arcade has sucked me right back into iOS gaming and I couldn’t stay away from TA any longer. So what better game to review on my first day back than the sequel to one of the last games I ever wrote about? Mini Motorways by Dinosaur Polo Club should look instantly familiar to anyone who loved Mini Metro. In fact, I didn’t even know it was coming out until I scrolled through the Apple Arcade section of the store last week and saw that familiar art style with the word “Mini” attached to the screenshots. It’s every bit as crisp, clean, and bright as the original looked, although not quite as minimalist this time around. There are shadows and topographical features now (or is that grass?) and a grid to help you place your mini motorways, and actual buildings that pop out of the ground instead of abstract lines and shapes. If Mini Metro looked like a subway map, Motorways looks a bit more like a board game. Overall it’s a very satisfying evolution of the previous game’s visuals that feels new and unique while still maintaining the feel of the original. Also returning is the wonderful sound design that continues to perfectly compliment the distinct art style. The music is minimalist to the extreme, with simple chords droning softly in the background and seemingly random bleeps and bloops chiming away pleasantly as you plan your city. Some of the sounds aren’t random at all, and are meant to clue you in to certain events (a new building popping up, or the week ending, for example). One of my favorite cues is the extremely satisfying Waaahhhhhhh! when a new week begins. Just because the music and sounds are relaxing doesn’t mean the game will put you to sleep, however. In fact, it can get downright stressful after 20 minutes or so. Just like in the first game, your goal in Mini Motorways is to connect points on the map with tracks (roads instead of rails this time) that will allow the unseen commuters to get where they need to go as efficiently as possible. If a building gets too clogged up with alerts (signaling a ride is needed), a timer will begin filling up. If you can’t get enough cars to that location and it fills entirely, it’s game over. This being a sequel, of course, there are some important differences this time around. Since the game is all about roads and cars, you are no longer just connecting all the “stops” on a map; rather, you have to connect little houses (which contain cars) directly or indirectly to the larger buildings that share their color. Also, you have the freedom to draw roads any way you like instead of being limited to straight lines that snap into place like in Metro. This allows for a bit more freedom since you can draw multiple paths zig-zagging between any two points (or three, or four…), or even create your own roundabouts if you want. You can also attempt to draw main roads with shorter arterial paths branching off, and Dinosaur Polo Club’s algorithms seem to encourage this by often creating house-heavy suburban districts separate from areas with a lot of buildings. After each week you can choose a few upgrades for your city, too, like more roads and bridges (basically the same as the original game’s “tunnels”) or even a highway that allows for faster travel between two locations. Another one of those upgrades is the traffic light, which in theory should alleviate congestion and make your roads run smoother. In practice, traffic lights seem to do absolutely nothing at best and actually make your roads even more congested at worst. This is where the game starts to show some rough edges, and it’s indicative of one of its biggest problems: the ‘rules’ the traffic follows are entirely unexplained, and most of the late game seems to rely on you understanding and anticipating how that traffic will move. For example, if one road gets too congested, would it make sense to create a second longer road that gives some cars an alternate path? Will they take it, or will they stubbornly choose the shorter path that has a traffic jam? Even if you set up a test, it’s hard to tell since all the cars are coming from different places and by the time congestion starts to occur there are just too many to follow. This lack of clarity on how or why the cars choose to go where they go makes it incredibly tricky to come up with long-term strategies. At first, for instance, I tried to make neat and orderly roads that mostly went in a straight grid pattern, but I soon found that haphazardly drawing crazy roads all over the place seemingly worked just as well most of the time. Contrast this with Mini Metro, which was always exceedingly clear on how every piece of the game worked. The subway cars would move and behave exactly the same way every time, and every loss felt like it was 100% my fault (with some RNG sprinkled in, of course). I could spend hours trying different strategies in that game and fully understand why each one worked or didn’t work, tweaking them to go just a little bit further next time, whereas in Motorways I usually end each game in roughly the same 500 to 800 score range as the last session no matter what random strategies I come up with.

Game Informations : Designer: Shem Philips Developer: Dire Wolf Mode: 2-4 Platforms: Microsoft Windows - Android - iOS - Switch Original release date: 30 Jul. 2019 Ever since my trip to last year’s Pax Unplugged, I feel like a veil has been lifted from my eyes. I thought I knew what all the new board games were and had my finger on the pulse of the boardgaming world. Well, that wasn’t really the case, and with how fast new games spring up, it’s basically impossible to keep up with all of them. I saw this one hit the App Store though and I knew I had to get it. Raiders of the North Sea($9.99) is a worker placement game for up to 4 players that puts you in the role of a viking intent on setting sail in the pursuit of plunder and glory. You will need to assemble supplies and a crew in order to prepare your attack. Each turn you get to either set sail to raid or take two options in your town that help you prep your ship. As you gather shipmates to your cause and amass supplies, you can start attacking harbor locations. With enough crew strength and supplies, you can push further inland to more heavily fortified locations for greater rewards. This is a game built around choice and leaves little to chance. There is a little bit of card draw randomness but strategy is going to win out over luck the vast majority of the time when you play Raiders of the North Sea. Worker placement board games are a staple of most serious table top diets. From the Dungeons and Dragons rooted Lords of Waterdeep to the nuclear proliferation based Manhattan Project, you can find a theme of any stripe to toss meeples at. What Raiders of the North Sea does differently isn’t just swap in a theme palette and call it a day. It looks at the inner workings of the genre and decides that the status quo has got to go. Instead of slowly filling a board covered in a myriad of options, in this game you only have a handful of options, and no matter what you can almost always get to the job you need to do. The problem comes with order of operations. Mechanically speaking, you take your turn first by placing the meeple you have, and then picking up one that was already on the board. You take the actions of both of those spots on the board, first the one then the other. So the worst thing an opponent can do to you is prevent you from doing two things in the order you want to do them, or sometimes preventing two actions from being done in the same turn. This vastly reduces the board control aspect other players can have on your gameplay and opens up the entire game in a way that the majority of worker placement games only wished they had. Doing a raid is a bit different, but you still end up putting a meeple down and then picking up a different one. Overall, you will never have a “dead" turn playing Raiders of the North Sea, only a less optimal or more optimal turn. The only negative thing I can really say about the way the game plays is that you and your opponents will all basically follow the same biorythym in game. Very often you are gathering, recruiting, and raiding the same time everyone else is. On one hand it’s not necessarily a bad thing to be able to gauge how quickly you are progressing vs the other players, but there is not a whole lot of asymmetry in this one. Even with the armory and valkyrie tracks that reward you for armor gained and sacrifices made you won’t get into many situations where a come-from-behind victory surprises anyone. Now if all I had to say about this game is “yep, it’s a good game" you could just go to one of the many wonderful boardgaming YouTube channels and get a whole word smorgasbord about the quality of the game. What you wont get from a boardgame review is any words about the quality of the app. Sitting at just under 365 megs on my phone, the game boasts online and local play along with a solid tutorial and easy to press buttons and icons. While it would be a nice thing to see more work done to reduce crashes the game has when starting up and maybe a color blind mode, the game has a solid foundation. I have seen no stability issues once past the initial load in, and ultimately the app does its primary job – to present the game in a clean manner and organize the inner workings of the game mechanics.

Game Informations : Developer: Square Enix Business Designer : Yoshimitsu Inagaki Mode: Solo Genre: Role-Playing Platforms: PlayStation Vita - Nintendo Switch - PlayStation 4 - Microsoft Windows - Android - iOS Original release date: 2 août 2018 Square Enix’s SaGa games, and indeed most of the works of their creator Akitoshi Kawazu, are like the blue cheese of the JRPG genre. To many players, the inscrutable mechanics, emphasis on random elements, and complete lack of interest in the norms of the genre make the SaGa games complete turn-offs. And yet for a certain type of player, there’s really nothing else quite like them. There’s a special zing to them that can excite even the most exhausted of taste buds. Luckily for Kawazu and his fans, there have typically been enough of those players to keep the series going, albeit by a hair at points. Indeed, things seemed awfully grim after the one-two punch of Unlimited SaGa and Romancing SaGa: Minstrel Song on the PlayStation. The former pulled off the unlikely trick of turning off even a lot of SaGa fans with its awkward design, while the latter was a humble late-gen remake that seemed to suffer from both poor timing and the ill reputation of the prior release. Kawazu was called in to help guide the troubled Final Fantasy XII to the finish line, and SaGa went dark for several years. Its ideas lived on through games like The Last Remnant ($19.99) and The Legend of Legacy, but SaGa itself seemed like it had finally burned through all of its chances. That said, the series had been quite po[CENSORED]r in its time, and Square isn’t the sort of company to leave nostalgia untapped if it can help it. When the 25th anniversary of the first game’s release rolled around, the publisher announced a slate of projects to celebrate the occasion. There was a browser game called Imperial SaGa, a remake of Romancing SaGa 2 ($17.99) for mobile phones, and the crown jewel of the announcement: a brand-new SaGa game for the PlayStation Vita called SaGa: Scarlet Grace. Of these projects, only the remake of Romancing SaGa 2 earned a Western release, but across its various ports that game apparently did well enough to keep things rolling. One important goal was to get that Japan-only Vita SaGa game out to a wider audience. An enhanced version of the game, now titled SaGa Scarlet Grace: Ambitions ($29.99), was brought to a number of other platforms in Japan in 2018. That game was localized and brought out worldwide on several platforms a few weeks ago. This is the first release of a brand new SaGa game in English in 16 years, which is one of the reasons why I’m giving a history lesson here. The other reason is that, well, it’s-a me, Shaun. Anyway, 16 years is a huge chunk of time in the games industry. There was no Xbox 360 or Wii or even Nintendo DS when Unlimited SaGa released. Master Chief had only had a single adventure, and Kratos was still a twinkle in Sony’s eye. Did this stubborn series actually learn anything in that time, or are we back to the same old stinky cheese? Ha, I love those leading questions. Actually, I hate them. Here’s the answer: SaGa has learned a lot. SaGa has learned almost everything. I’m utterly shocked at the quality of SaGa Scarlet Grace: Ambitions. This is what is likely a very budget-strapped game from a highly eclectic creator, and its Western release felt practically invisible for how much noise Square Enix made about it. Perhaps more importantly, this is a series known for… I don’t want to say “thoughtless design", because that is absolutely not the case, but certainly design that paid little heed to what was going on around it. I need to emphasize that because SaGa Scarlet Grace: Ambitions is perhaps the most thoughtful, tightly-designed RPG I’ve played since The World Ends With You ($17.99). I suspect very strongly that this game was originally planned as a premium mobile release before the bottom fell out of the market, because it’s very economical in how it’s put together. There are no dungeons to explore here. Towns are basically single-screens with menus. Everything not only controls just fine with touch controls, but feels like it was made for such input methods. The game can be perfectly sliced into shorter play sessions or played in lengthy runs. There’s very little fat hanging on the bones of this 20-hour (per character) game, and that turns out to be a very good thing indeed. And I know, some may worry at what is missing. Are you here for epic battles? Got ’em. Interesting party building? Got that too. Stories? Wow, do we have stories here. Side-quests? Replay value? Strong writing? Check, check, check. While I like every little bit of SaGa Scarlet Grace, it’s easy to pick out the best part: the battle system. This is one of my favorite RPG battle systems ever. You are given all of the information you need to make informed plans. You can see the turn order. You can see which moves the enemies are going to make. You can see how the moves you choose will affect those things. How many actions you can take per turn is governed by how many action points you have, with each turn adding another action point to the pool. Battles start off simple but escalate the longer they go on, meaning that skirmishes with goons are short and simple while boss battles turn into drag-out wars. The turn order is more than just a helpful guide to who goes when, however. You (and your enemies) can mani[CENSORED]te the turn order by using moves that counter or interrupt attacks, and that’s something you’ll want to do because of one of the most enjoyable new aspects of SaGa Scarlet Grace‘s battles: United Attacks. If the removal of a participant in the battle results in two characters on the same side moving together, a United Attack will be triggered. This causes the characters who moved closer together on the timeline to launch an assault on another enemy. If that attack takes out a participant and causes two more characters to move together? Oh boy. You can see where this is going. On top of that, the characters that joined in will be able to act with fewer action points in the next turn, allowing you to use more powerful moves at a cheaper cost. Don’t be cocky, though, as the enemy can do this to you. You can even do it to yourself if you’re careless. There are a few random elements to keep things spicy, but for the most part the battles in this game are a matter of knowing what you can do to counter what the enemy is going to do. Sometimes it’s a lot, sometimes it’s not enough. But you’ll rarely be blindsided if you pay attention to what you’re doing. I haven’t even mentioned battle formations, an element seen in many prior SaGa games but a lot easier to understand the value of here. I could not get enough of these battles. In some RPGs, I get tired of the combat system and try to avoid unnecessary fights. Here? I was picking every fight I could, simply because I was having so much fun shutting down my opponents. Working hand-in-hand with the battle system is the familiar SaGa growth system. New moves have a random chance of coming out while using other moves, teaching that move to the character so that you can use it at your leisure in the future. Stat growth is a little less chaotic than usual here, mainly relying on random upgrades for hit point gains. Equipment is less frequently bought than upgraded using materials collected from fallen enemies, and new magic is learned by assigning points earned after using a mage in any battle. All of this adds up to a very flexible system that opens up nicely the deeper into the adventure you go. As far as party building goes, the amount of choice you have depends on which of the four playable characters you end up with. Some give you plenty of options, while others are stricter. Ah, I could gush about the mechanics all day. What an impressively designed video game this is. But RPGs are more than mechanics, and some of you are probably worried about that whole “lack of dungeon exploration" thing I mentioned. Indeed, you’ll be spending most of your time traveling around a pop-up storybook-like world map. Your characters will venture into dungeons, but their exploration in such dungeons will be described in text, calling on you to make the occasional decision or fight some battles. In lieu of the usual dungeon exploration, the world map itself is packed full of points of interest, secrets to uncover, and places off the beaten path to see. You can follow the main path if you like, but you will certainly be rewarded in every sense of the word if you choose to wander around. It honestly reminds me quite a bit of an adapted gamebook, along the lines of things like inkle’s wonderful take on Sorcery! ($4.99) or Nomad’s Fighting Fantasy Legends ($3.99). It’s a bit more complex than those, but it conveys that same sense that you’re sitting across the table from a proper Dungeon Master. Some of the side-quests are silly, while others are deadly serious. Some require you to solve a few puzzles to uncover, while others can pretty much be stumbled over. What you choose to do, or not to do, will have very real effects both mechanically and narratively on the rest of the game, whether for good or for ill.

Turning the clocks back to early 2011 brings us to the original release of Mika Mobile’s Battleheart ($2.99). It’s hard to forget for me, as I was living in Paris for a few months at the time, but instead of doing all sorts of Parisian things I was pounding away at monsters on my iPad. It was impossible to put down, as Battleheart did something totally unique in that it allowed you to effortlessly control a whole party of dudes in a MMO-feeling boss encounter, with fairly complicated boss gimmicks, without ever feeling frustrating. If you haven’t played it, I still highly recommend the game For all the incredible things Battleheart did, there was one super-valid complaint: It was hard to escape the feeling that Battleheart was a basic framework for a more advanced game that was hopefully coming in the future. A couple other developers borrowed some of Battleheart’s control mechanics to try a make a similar feeling game with increased depth, but like most “inspired" games, they all lacked that je ne sais quoi that made Battleheart so damn good. Historically, Mika Mobile’s games have been a little on the basic side, largely because their strengths have always lied in their stellar art and animation. So, looking at their back catalog, it seemed overly optimistic to think it’d be Mika Mobile that’d bring us the evolution of Battleheart that fans of the original so badly desired. I’m absolutely elated to say that didn’t turn out to be the case. Battleheart Legacy ($4.99), by Mika Mobile, has exceeded my expectations to a point that the only way I can rationalize how this was even possible involves, well, aliens. Or something similar. If you, like me, wished the original had more depth, you’ll be happy to know that Legacy has enough depth to dig a hole all the way to China. In fact, if that was your complaint of the original, feel free to stop reading this review now and just grab the sequel. Backing things up a bit, like the original, Battleheart Legacy is controlled exclusively through tapping and dragging, with a familiar quick bar at the bottom of the screen with virtual buttons to tap to execute the various moves your character can do. Instead of controlling a party of guys, you’re controlling a single avatar inside of the game world. Classes are gone, and instead are replaced with a stupidly flexible character stat and skill training system that allows you to quite literally be whatever you want to be in the game… And it’s all balanced in a way that makes sense. So, as you play you’ll gain experience and level up. When you level up you get points you can dump in to your character stats. In town you’ll find trainers that can teach you new abilities which are gated by stat requirements. Spend your points on strength and you’ll likely meet the minimum to learn some skills from the knight. High in dexterity? You’ll qualify to learn some rogue skills, and so on. What’s nuts about this is that you aren’t railroaded down a particular skill tree at all. Want to build a character that’s a two-handed weapon wielding lightning shooting battle mage who also can charm monsters like a bard? Go nuts. In fact, discovering the skill synergies that result when you dabble in training from multiple classes is an amazing part of the game. If this skill training system were the only new thing in Battleheart Legacy, I’d have been pretty satisfied. But, remember the whole hole to China thing? This game doesn’t stop there. Using your ultra-customized character you’ll meet an entire game world full of characters who, like most RPGs, typically want something from you. Multiple dialog options with decisions that can actually have a drastic impact on the game are everywhere. You could be sent on a quest to kill some bandits in a cave, and really, the game could’ve stopped there. You would’ve had a ton of fun dungeon (err, cave) crawling, killing bad guys, collecting loot, and completing quests… But Mika Mobile takes this a step farther. Instead of killing said bandits, why not negotiate with them? Make the right choices and instead of killing them and completing one quest, you make a new bandit contact which opens up additional quests that you never would’ve discovered if you just went in with your crossbow firing. It’s these kind of things that make none of the decisions you make in Battleheart Legacy feel like simple throwaway dialog options as you never know where they could lead you. Replay value is off the chain too, as with each successive play through you can choose to do different things, build your character a different way, and end up using a whole different array of equipment in the game. It’s truly incredible, and while comparisons to games like Skyrim may seem pretty lofty, it’s hard to think of anything else to liken Battleheart legacy to when it comes to complexity, customization, and branching choices in the game world. On the technical side, the game looks and performs beautifully. There’s no load times to speak of when going in and out of buildings (Which may even make this game, dare I say, better than Skyrim?) and it’s pretty crazy how they managed to take the same art style and spell effects from Battleheart and make them not only work in a 3D world, but also retain all the charm of the original cartoonish graphics. Additionally, there’s not only multiple save slots, but they also handle iCloud in the ultra-intelligent way we’re always asking for. Anyone who has lost a game save to iCloud knows just how irritating the “automatic" sync iCloud does is. Instead of trusting that whole thing, each character slot has buttons that allow you to upload and download your current character to or from iCloud. This way, you can both use iCloud as a backup every once in a while, or use it to easily move your dudes back and forth between your iPhone and iPad. It works great, and I wish more games would implement a system like this… As nothing is worse than losing dozens of hours of gameplay to an iCloud sync. (*cough* Infinity Blade *cough*)

Game Informations : Developer: Giant Network Mode: Solo Platforms: Microsost Windows - Xbox one - PlayStation 4 Original release date: 16 Jan 2020 When Pascal’s Wager ($6.99) was shown off in the iPhone 11 keynote, I had high hopes. A visually impressive Dark Souls-like adventure on my phone or iPad? Sign me up! Despite my hopes, though, I couldn’t help but expect a mobile Dark Souls or Bloodborne—that is to say, a game that took the basic elements and atmosphere from those games, simplified them, wrapped ’em up with micro-transactions, and released them as a complete game. You know, the usual mobile fare these days. Actually playing it, though, I’m quite impressed. Visually, it nails the drab world, the grim atmosphere, the air of inevitable demise; it delivers challenging combat that forces players to learn and adapt to enemy patterns; and, best of all, it’s dark. Like, really dark. In other words, it’s exactly what I hoped for. Pascal’s Wager starts with a dream-like carriage ride to the domain of Heggem, a vast Colossus that emits a protective light to ward off the dark and its evils. This journey sets the tone for the game to come (dark, ominous, and just a little scary), and displays its graphical prowess—it also, quite unintentionally I’m sure, highlights its faults. It is without a doubt very pretty, but it is also flawed. The textures and character models are detailed, the environmental and particle effects are excellent, and colour, when used, stands out against the rather drab backgrounds. All that said, however, it is as though a film has been placed over every cutscene and most textures. They are blurry, indistinct and, compared to current-generation console games, frankly disappointing. If this were to be released on last-generation hardware, these faults would hardly be noticed. Similarly, the voice acting is… acceptable. While it isn’t going to dampen an otherwise enjoyable experience, it doesn’t exactly help immersion either. It is frequently stiff, unpolished, and generally disruptive to the atmosphere as a whole. Music and sound effects are another matter entirely, however, and are in turn eerie and satisfying. The soundtrack conveys a sense of quiet horror, of something not quite understood but nonetheless of awful importance. The sound effects are satisfying, lending weight and flair in ample helpings to combat, as well as inviting the player to come a little closer, dig a little deeper, believe just a little bit more. What, exactly, are players choosing to believe in? Simply put, the world and its atmosphere. Players are given the opportunity to immerse themselves in a land without a sun, evil lurks in the shadows, waiting to infect them, their children, their neighbours, and very well may have already. A land where the only protection from the night comes by way of towering Colossi that roam the land with orbs of unnatural light. A land of monsters both eldritch and human. Every aspect of this is reflected as players roam the world: The sky is overcast, the land is blighted, twisted and unhealthy, its denizens similarly twisted and changed. It is grim, foreboding, and quite hopeless. While the graphics and voice acting disappoint, combat is nothing but impressive. Smooth animations, interesting opponents, and rewarding fights—especially boss fights. Each boss has its own unique set of attacks to learn, all of which are used to devastating effect. Failing to dodge or parry an attack is punished mightily with both health loss and sanity loss. Health is self explanatory, but sanity is unique to Pascal’s Wager, and represents a character’s mental state. It has three stages (sane, abnormal, and lunatic), introducing a penalty at abnormal and increasing it significantly at lunatic. The penalty includes a damage increase at the cost of less maximum health and another, character-specific, status effect. Entering a lunatic state is the equivalent of a boss entering a rage state and is incredibly risky but can, sometimes, pay off very nicely. Compared to boss fights, regular enemies are a walk in the park, although players still have to be mindful of their stamina. A poorly timed attack, roll, or parry can be a major problem fighting even one enemy, let alone several, as running out of stamina can leave characters unable to avoid enemy attacks. Just in case I haven’t emphasised it enough, Pascal’s Wager is not an easy game. Players will die, probably a lot, and they are expected to learn, adapt, and overcome. When they die, or if they choose to rest a while and recover their health and health potions, they will find most enemies (bosses excluded) have also returned. While there is a way to activate an “easy mode" (Look for the Statue of the Bearer in Heggem, by the knight with the axe), it isn’t readily apparent, and it isn’t something most players will find unless they’re looking for it. Nevertheless, players who persist will find it to be a rewarding experience that includes numerous secrets, hidden areas, and side-quests, not just great combat. Adding a little spice to the usual Dark Souls formula are the three other playable characters. Each character has their own unique skills, fighting style, and upgrade tree, although they share experience. Meaning all four characters have the same number of stat points to invest, but investing an immundus (a skill point) in one character means it cannot be invested in another. Characters can be swapped to at any point except during combat, although a new character will automatically enter the fight upon death, unless all characters are already dead. While each character plays similarly, they each have a very different feel. Terrance, for example, specialises in light attacks and dancing around enemies, whereas Norwood prefers to pummel them into submission, or bash them to pieces with his iron coffin. Overall, Pascal’s Wager feels great to play despite its quirks. The combat is great and more than makes up for the graphical flaws and dubious voice acting, the character swapping mechanic is new and interesting, and it is delightfully dark. Despite its problems, I can’t wait to spend more time with it, and very much look forward to where it’s taken in the future. It has without a doubt exceeded my expectations and, with a little help, could readily meet my hopes. All it would take is a bit of polish, a few fixes, and a lot of editing.

Game Informations : Developer: Shadowplay studios Publisher : Blowfish studios Platforms: PC ; Playstation 4 ; Xbox one ; nintendo Switch ; iOS Original release date: 2019 Projection: First Light is a side-scrolling platforming game developed by Shadowplay Studios and published by Blowfish Studios. You’ll play as Greta, a shadow puppet girl made out of paper, as she starts her journey to self-discovery after she runs away from her home. You’ll travel to Indonesia, China, Turkey, and England throughout your journey. Each place you visit will have its own unique characters for you to interact with. These characters will guide you through the levels and through your personal journey, as they give you advice for your life and the problems you’re feeling. All this, though, is told without any words. Instead, Projection does a good job telling its story by showing you what’s going on while making progress. It’s like trying to communicate with someone who speaks a different language, you’ll have a lot of “Oh, I get it" moments when playing this game. Projection’s aesthetics are one of its best features. The music and sounds are great and they make you feel like you’re inside another world, a shadow puppet world. Speaking of shadows, they look awesome. Every character, place, and object you encounter is filled with details. Despite being a 2D game, the places you visit have a sense of depth, and you’ll feel like the world is so much bigger than you think. Combine that with the music, and you’ll even feel nervous when moving to another section like something big is about to happen. And it will, you just need to be patient. Speaking of patience, you’re going to need it when learning to play this game. Projection is a simple game: Just go from point A to point B, solving puzzles and obtaining a few butterflies as collectibles along the way. The problem is, the controls are not the best when using your screen. To control Greta you need to swipe left or right to move and up to jump. Despite being simple controls, they’re not that responsive, and you might jump beforehand, causing you to lose progress or even drown. The biggest problem is the light. You see, you are not alone in this journey. You have a light ball with you that’ll help you cast shadows to solve puzzles and make progress. The puzzles are mostly simple, and even clever, although they might get repetitive. However, it takes time for you to get used to the light and to learn how it works. After you learn to use the shadows, the game becomes easier and less frustrating.

Have you heard people say that everything in Australia wants to kill you? Well, that’s the feeling you get when you play Stela () for the first time. Every living organism is out to get you and it feels great. No, seriously. Stela is a platforming game developed by SkyBox Labs set in a post-apocalyptic world. You’ll play as, you guessed it, Stela, a young woman who’s probably the last human on earth. At least she’s the only one we see. You’ll join her journey as she witnesses the last days of an ancient world. If you’ve played games like Limbo or Inside, then you know the drill with these types of games. You wake up in the middle of nowhere, with no clue of who you are or where you’re going. You only have to keep going right and see where the path takes you. All this while avoiding all kinds of monsters and creatures that are extremely deadly and violent. The best tip I can give you is to avoid everything that moves. It doesn’t matter if it’s bugs, bats, big tentacles, or Shadows. If it moves, it wants you dead. We don’t learn much about the world or the creatures we see throughout the game. Stela’s mission or back story is a mystery too. The only bits of information we get come from the achievements, which are really easy to get. They are the only things giving us information about the creatures we see and the places we visit. The stories with these types of games are always ambiguous. We never get a straight answer. Instead, we have to look in the world around us to get an idea of what’s going on, which is great. It’s what makes you keep playing. However, you don’t really feel satisfied at the end of Stela. You just end up having more questions than before. Sure, these games are always open to interpretation, but I’d love to have more answers about the world we’re in and about Stela herself. Throughout the game, you’ll have to complete puzzles to make progress. Most of them will be easy, but you probably won’t solve them on your first try. You don’t get tutorials so you’ll need to explore for yourself and use the objects around you to solve the puzzles. It’s not always clear which objects you need to use, especially when starting the game, but after a while it’ll be easier to spot them. However, this means you’ll die a lot. Especially when doing the time-based puzzles. Again, they’re not that hard, but I did have a couple of issues with them, mostly when I needed to jump quickly. I don’t know what it is, but sometimes Stela won’t jump when you tell her to. Luckily the checkpoints on this game are well placed. Still, it’s always annoying when you die because the game didn’t register your input. Skybox did an excellent job with Stela’s scenery. You’ll go across forests, frozen lakes, and even something that reminded me of Mario Kart’s Rainbow Road. It doesn’t matter where you are, the game does a great job making you feel scared and out of place.

Your nick: Anthony Your ip ( www.iptest.ro? 41.140.64.26 Your STEAMID: STEAM_0:0:852963434 The reason you have been banned: The admin who banned you: server The time: now Your proofs (screenshot Or Demo): https://imgur.com/a/9b2qcML

yea Deserve Helper

Sry your activity do not allow to become any grade - Contra

u never play tho / 0 min -Contra

dONE thanks to @NA-NO

Your Nickname:Anthony Your Problem : idk how to entre my steam in my acount csbd Screenshot: no need