The Game is a Lie

Baba is You has very high peaks, especially in the early stages and in the introduction of new rules, but its lows are terrible. Trying to be extremely difficult, it ends up with a bad, frustrating, and stale level design. The game seems to have forgotten that less is usually more.

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Being an RPG fan, I particularly enjoyed 6 Eyes Studios' creation, since, like every good game in the genre, it offers its own combat system and a well-elaborated story. If you like a good story and the kind of gameplay proportioned by RPGs, Fell Seal would be a great addition to your game library.

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Zombotron is interesting and noteworthy, but the repetition makes the game tiring. For those that don't have the patience to repeat the same level, again and again, the alternative is to get good or get out.

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At the end of the day the game is very polished, including an innovative and creative gameplay mechanic, but requiring a bit of patience to get to the end, impacting how much I wanted to play it. If you like "light" games with nice graphics and don't care too much about repetition, Degrees of Separation will satisfy your needs.

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With simple and soothing gameplay and well-planned mechanics that correlate really well, the only thing you'll lose playing Slime Rancher is a lot of time, but it's worth it to get to see cute smiley gel balls.

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Pikuniku is a little game that can be a lot of fun and even funny at times, but is, most of the time, monotonous and unoriginal. It shines brightest when it's not afraid to be naturally quirky but sometimes tries too hard to fabricate quirkiness that doesn't belong.

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Loaded with philosophy, The Red Strings Club is able to capture the player in a narrative that is deeply controversial and full of dualities with simple but satisfactory gameplay, reaching its pinnacle with one of the best endings ever in a game.

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Sunless Skies is a game with such an intense and complex story that it might have been better applied in a book. The game as a whole would be mediocre at best, if not for that part. Its gameplay is slow and hard; its art direction is good, but has no identity of its own; its soundtrack is just average. Playing it can be worth it, however, if you have the patience to follow an amazing story.

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We Happy Few is, above all, a disorganized game with no identity. It was inspired by great games, but fell into a limbo of bad executions and left the fact that it's nothing more than a copy clear as day. The game had a huge potential to become a classic but threw that all away.

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Super Meat Boy is at least a basis of what every platformer should be. It's lacklustre when it comes to innovation and it can be a bit tedious at times, but it gets almost everything else right. What makes me the most impressed is its capability of, despite being almost a decade old, still being current and holding up as a very quality game.

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Life is Strange 2's first episode kickstarts an emotionless journey that employs critical topics in the worst ways. It fails in many aspects and doesn't even get close to being as good as the first game, but at least it makes the player reflect a bit.

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Subnautica is a survival horror game that should be one of the best of all time, but its optimization harms it drastically. It's immersive, has a chaotic story, enjoyable visuals, incredible sound effects and gameplay that gets almost everything right.

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Celeste gets absolutely everything right. It has surprising audiovisuals, innovative gameplay and an inspiring story. Breaking the fourth wall constantly, it deals with current topics and makes the player embark on a beautiful rollercoaster of feelings, therefore being so immersive. It's indispensable to any player.

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From the first cutscene, GRIS shows what it is here for. Fully committing to its minimalism, it knows how to balance sentimentality and reflexion, noise and silence, to create an experience like no other. This game is truly a work of art.

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An aesthetically pleasing game is worthless if its gameplay is repetitive, dull and unimaginative. Oscar Brittain seems to not have realized that on time, unfortunately, and Desert Child ended up becoming another beautiful but extraordinarily shallow indie game.

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It's hard to find flaws in Return of the Obra Dinn. Everything's so polished and well-planned, completely new and familiar at the same time. There's nothing even similar to this game on the market, and, when it was over, I just wanted to keep investigating more strangers' destinies for hours on end.

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Q.U.B.E. 2 adds much to the genre, be it the gravitational power from the gloves or the puzzle mechanics. Unfortunately, though, a lot of potential is wasted, since it has a mediocre story that leaves many blank spaces and its puzzles are very easy — and therefore monotonous — most of the time.

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The Messenger is a game that, despite being heavily influenced by the classics, should be played by all. It has very few flaws and is good through and through. Its art direction is stunning, its soundtrack is exceptional, its level design is marvellous and its gameplay is intuitive, but it's not as innovative as it should be.

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Moonlighter turns a boring chore into innovative gameplay. Its concept is unique, and it deals with overcoming in its most varied senses. Its flaws, such as the unbalanced bosses, are too small and can be easily ignored. It's a charismatic adventure that you have to try for yourself.

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Despite being technically competent, The Adventure Pals alas becomes forgettable because of the lack of ambition from the developers. Because of the fear of making mistakes, Massive Monster played it safe, dooming the game to mediocrity. It can still be a fun pastime, though, especially if played with a friend.

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