PixlBit

If Seltzer and Friedberg made a game.

For all the retro-inspired indie titles out there, the genre seems mostly earnest, even deferent. There may be a small jab, such as Bloodstained: Curse of the Moon regulating the whip to a sub weapon, yet these are smaller details as opposed to poking fun at the original retro titles. Granted, the goofy nature of many retro games renders parody harder to accomplish, as even Shovel Knight feels like it could have once been an earnestly made game from the '80s or '90s. Enter Old School Musical, a rhythm game which pokes fun at an entire smorgasbord of games.

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Squad E, retreat!

One of my favorite things about playing strategy/role playing games is the sense of satisfaction that comes from executing on a well-laid plan. The thrill of deftly maneuvering units into place for a swift and deadly strike after multiple turns of meticulous consideration is something that few games deliver. I love strategy/RPGs, and I was excited to tear into Valkyria Chronicles 4; a return to form of sorts for a series held in high regard by a rabid fanbase, and a franchise I have little experience with. Sadly, instead of tearing into this game because I couldn’t get enough, I will now need to tear into this bizarre title that not only doesn’t reward sound strategy but does everything in its power to undermine player agency.

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Being a delivery boy has never been so much fun.

It’s not often that a game does something that completely surprises me, but The Messenger managed to catch me totally off guard. What appears to be a modern 8-bit take on Ninja Gaiden suddenly morphs into something more at the halfway point of the game. Its once linear levels branch out and become a Metroid-like maze, with hidden secrets abound. Not only that, but the graphics and sound boost into 16-bit and the world takes on an extra level of detail. While this gimmick was incredibly cool, the tight gameplay and intricate level design is what makes The Messenger a truly special experience.

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What do ivory, supernatural abilities, and religious zealots have in common?

I’ll start by saying that I’m in awe of Iconoclasts. It’s the culmination of nearly eight years of solo work by Joakim Sandberg. As someone who has built a much simpler game from scratch on my own, I can assure you this was no easy feat, and for such a complex and beautiful game it’s really a stunning achievement. The world, the art, the music, and the gameplay are all phenomenal. Traversing the world, solving puzzles, exploring the locales, and defeating bosses is consistently entertaining. I have some reservations with the story and the, at times, cringey dialog. The story does prove to be quite memorable in the end, but for much of Iconoclasts, I found myself lost in it, focused solely on the gameplay.

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