# SUPERJUMP > Wonder, imagination, and insight from the world of video games. SUPERJUMP is the home of award-winning features, opinion, and reviews of indie and AAA games. Public Ghost content for AI and LLM tooling. This file includes a bounded export of public pages first, then recent public posts. Append `.md` to any post or page URL to get the content in Markdown (for example, `/example-post.md`). ## Pages ### DNA URL: https://www.superjumpmagazine.com/about-us/ Last updated: 2026-05-06T02:29:00.000Z ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2022/04/1080_1080--1-.gif) **SUPERJUMP** is a video game magazine designed to honour the art and science behind the games we love. **What you won’t see on our pages is as important as what you will.** Reducing great games to a numerical score, hand-wringing about the price of the latest DLC release, or worrying about the market share of a particular console simply does not interest us. These are all newsworthy topics, but they are covered thoroughly and effectively by many others. Oscar Wilde described a cynic as **a man who knows the price of everything and the value of nothing**. We believe that there is already a chorus of cynical games critique in the world, and we have no intention to add our voice to it. In order to fulfil this commitment, **we will only ever write about the experiences that thrill and delight us**; the worlds, characters, and creators that capture our imagination and fill us with wonder. **SUPERJUMP** is a place to share this wonder with you, and each other. If you believe in our mission and want to share your enthusiasm by working with us, please do [say hello](https://www.superjumpmagazine.com/contact/). ### Team URL: https://www.superjumpmagazine.com/team/ Last updated: 2023-12-11T04:59:45.000Z SUPERJUMP is a writers' collective. Our size, shape, and focus areas shift and evolve at all times, reflecting the experiences and personalities of the collective that breathes life into our stories. As you browse through the faces of the folks behind SUPERJUMP, you can click through to view their author profiles, which showcase their incredible work. ### Why join SUPERJUMP? There are several great reasons to join the SUPERJUMP team. Here are just a few: ❤️ Gain access to the **SUPERJUMP Discord server**. It's a super-friendly place where our team socialise, collaborate, and share job opportunities. 💪 Work closely with editors who are focused on developing your skills and making your writing the very best it can be. SUPERJUMP actively supports our writers to connect with both paid freelance and permanent jobs in the industry; this includes providing formal references. 🏆 Participate in our **revenue sharing program**. Each month, site revenue is distributed across that month's active/participating authors. 👕 Receive free [SUPERJUMP merch](https://store.superjumpmagazine.com). ### Sign me up! If you'd like to work with us, the starting point is to complete the application form linked below. From there, we'll reach out to you. [SUPERJUMP author application form](https://forms.gle/4MVCXSkXhVhNzEhj7) ### Library URL: https://www.superjumpmagazine.com/library/ Last updated: 2026-05-04T10:09:34.000Z _No content available._ ### Hello! URL: https://www.superjumpmagazine.com/contact/ Last updated: 2026-08-06T11:44:45.000Z 👋 Hi there. If you'd like to reach out to us for any reason, we'd love to hear from you. There are a few different channels to connect with us depending on what you're looking for. ### ✍ Join Our Team If you'd like to see your own writing here on SUPERJUMP, we'd love to work with you. Simply fill in our [**author application form**](https://forms.gle/6DLLQTyxtk7xUJvv8) to get started. Here are just a few of the benefits of working with us: - Gain access to the **SUPERJUMP Discord server**. It's a super-friendly place where our team socialise, collaborate, and share job opportunities. - Work closely with editors who are focused on developing your skills and making your writing the very best it can be. SUPERJUMP actively supports our writers to connect with both paid freelance and permanent jobs in the industry; this includes providing formal references. - Participate in our **Writers of the Month** program (each month, selected authors receive a **$25USD** tip from SUPERJUMP). ### 🎮 Submit Your Game Maybe you are building a game and you'd like to have others try it out and write about it. We understand how difficult discovery can be, especially for small or solo developers who are competing with hundreds of other releases each year. Fortunately, we love writing about games, especially if we find one that really resonates with us. If you'd like us to check out your project, [**reach out to our editors**](mailto:editors@superjumpmagazine.com). Before you do though, bear in mind the following: - Like all media outlets, we do receive *many* press releases and offers for keys. For this reason, we can't guarantee a response via email. However, where capacity allows, we'll let you know if we plan to cover your game. This leads to a second point: - We never assign specific game or reviews coverage to our team. When we receive a key for a game, we broadcast it internally to the team. If an author is interested in the project or feels they have particular expertise in the relevant genre, they'll pick it up and write about it. But this isn't guaranteed; we hope you understand. 🙏 ### Thank you URL: https://www.superjumpmagazine.com/thank-you/ Last updated: 2024-12-01T10:08:43.000Z _This page is for subscribers only._ ### Team Portal URL: https://www.superjumpmagazine.com/team-portal/ Last updated: 2026-09-16T05:14:13.000Z ❓ If you have questions about any of the content on this portal, please reach out to the Editors via the [***Editor Help channel**](https://discord.com/channels/408547862419472384/811883098030604308) in Discord. ### Getting started If you are viewing this page, it means you're already on our Discord server. The next step is to set up an Author Profile: 1. James (#kuribojim on Discord) will send an invitation email to your designated email address. If you haven't received this link, please DM James. 2. The email invitation contains a link that guides you through a self-service process to setup your Author Profile. 3. Make sure to fill out your Author Profile completely, including a description you are happy for the public to read, and a good quality custom avatar. 4. Now you're done! Easy. 🤔 SUPERJUMP is built on the ****Ghost** platform. If you see us mentioning "Ghost" or "Ghost CMS", we're talking about the system that contains all of our writing/editing tools, Author Profiles, and more. ### Story exclusivity Before we move on, please note that all stories published on SUPERJUMP must be exclusive to SUPERJUMP. We do not place any restrictions on you working with other publications, so please feel free to work on your own publications, undertake freelance digs, and so on. Story exclusivity is a critical tool for us to build an audience around our unique value proposition. Please check in with James if you have any questions about this. ### Using Ghost #### Signing In Once you have set up an Author Profile, you can access the Ghost CMS (Content Management System) at any time by clicking on the **Team Login** link on our homepage (found in the global nav at the top). We recommend bookmarking this for easy access in future. You can also use this button: [Enter the Ghost CMS]( Here's the direct URL: https://superjump.ghost.io/ghost/#/posts) #### Starting a new story When you sign in, you should see a page that contains all of your posts. The filters at the top of the screen enable you to view your drafts, published posts, etc... Simply click on **New post** when you want to create a new draft. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-15.png) ℹ️ While you're working on a draft, make sure to put ****\[DRAFTING\]** in the title. This tells the editors that you're actively working on the story and that you aren't yet ready for an editor to review it. #### Editing tools Creating and formatting stories in Ghost is super easy. In the screenshot below, you'll see a little example of a few kinds of basic formatting. If you want to access a richer set of tools (enabling you to create Callouts, Image Galleries, and more), just type the **forward slash key** (or click the + button that appears next to your cursor) to bring up a tools menu: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Screenshot-2026-05-07-at-9.35.48---pm.png) Click the button below to check out Ghost's official guide: [Guide: Using the Ghost Editor](https://ghost.org/help/using-the-editor/) #### Editing images One of Ghost's coolest features is the ability to edit images *directly in Ghost CMS* without needing separate tools or fancy Photoshop skills. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Screenshot-2026-05-07-at-9.38.23---pm.png) When you upload an image, click/tap on it and you'll see a few options appear. The tooltip that appears at the top allows you to set the image size on the page, add a hyperlink, or save as a snippet. The really powerful functionality comes from the magic wand icon on the top right. Click/tap on this and you'll enter a powerful in-house image editing app: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Screenshot-2026-05-07-at-9.39.50---pm-1.png) This app allows you to do a really wide range of things with an image. You can do everything from adding filters, cropping/scaling/rotating, adding/changing frames (e.g. if you want lovely rounded corners you can do this) - and so much more! We encourage you to play around with this app to add visual flair to your stories. ### Story guidelines We aren't super prescriptive about how SUPERJUMP stories should be formatted or written in general, but there are few simple guidelines we ask that all authors follow. These are a combination of formatting rules and general editorial rules. #### No AI All stories on SUPERJUMP must be written by humans. There are no exceptions to this rule. You are welcome to use AI tools and systems like Grammarly to help you plot out structure or ideas, to correct your spelling and grammar, and so on - but you must not have AI write stories for you/on your behalf. Our editors periodically use AI detection systems, especially where a story's text appears suspicious, to validate that stories are genuinely written by human beings. #### Visual balance Once you have written your story, we recommend taking a moment to step back and look at its visual structure. Very large bodies of text are unpleasant for readers to work through, so we recommend leveraging the available tools to break up text and build a more pleasurable reading experience. Use tools like: - Headings and sub-headings - Quotes/block quotes - Images - Dividers If you're struggling with how to best present your story, don't worry; that's what the Editors are here for - we can help you polish your story so that it's ready for prime time. #### Languages All of SUPERJUMP's stories are currently presented in English. If you are interested in producing a story in a different language, please contact the Editors. It's important for us to ensure we can maintain editorial quality control in these cases - it's not impossible, but might be more or less difficult depending on the desired language. We support both American and International English. You may use either, but please make sure you stick with one for each story (i.e. the same story should not switch between American and International English). #### Console names Make sure to correctly format console names. For example: - **PlayStation** (not Playstation) - **GameCube** (not Gamecube) - **Game Boy** (not Gameboy) When in doubt, format the name of a console or video game the same way the publisher does. The exception is for all-caps words that are used frequently in.story (e.g. if you are writing a story about Final Fantasy, don't format it as "FINAL FANTASY" everywhere throughout the piece - this is jarring for readers). If in doubt, check in with the Editors. #### What to do before submitting your draft Before submitting your draft (more on that in the [**Story creation, editing, and publishing process**](https://www.superjumpmagazine.com/team-portal/#story-creation-editing-and-publishing-process)section below), please: 1. Proof-read it yourself (it helps to read your story out loud to yourself to catch sentences that don't flow well, for example). 2. Run it through spell check. ### Story creation, editing, and publishing process 1. When you are thinking about crating a draft, it's worth first checking that it meets our ⁠[**story strength criteria**](https://www.superjumpmagazine.com/team-portal/#story-strength-criteria). 2. If you're in any doubt, you can either ask the editors for help in the [***Editor Help channel***](https://discord.com/channels/408547862419472384/811883098030604308) or you can float your idea to the full team in the [***Writers Room channel***](https://discord.com/channels/408547862419472384/971143768663273484). 3. As mentioned in the [**Starting a new story**](https://www.superjumpmagazine.com/team-portal/#starting-a-new-story) section above, make sure to put **\[DRAFTING\]** in the story title while you're still working on it. This prevents Editors from pulling the story into our editing queue. 4. Once you're done and ready for Editors to review your story, you can remove **\[DRAFTING\]** from the title and let us know the piece is ready by pinging us in the [***Editor Help channel***](https://discord.com/channels/408547862419472384/811883098030604308). 5. Editors will then bring your story into our editing queue (by applying the **#editing** tag to it). If we have any questions, feedback, or suggestions for you during the editing process, we'll usually either reach out via DM or we'll tag you in the Editor Help channel. 6. When stories are finalised and scheduled for publication, they appear in the [***Scheduling channel***](https://discord.com/channels/408547862419472384/996378680492298270). ⚠️ On rare occasions, an Editor might flag a story for review. If this happens, we'll add ****\[REVIEW\]** to the title in Ghost. This usually means that the reviewing Editor wants to discuss the draft with other Editors before proceeding. The reasons vary, but it could be that the story doesn't meet our story strength criteria or maybe the Editor just wants to get a second opinion on the piece's suitability for SUPERJUMP before moving forward. If a story is declined or requires significant re-work, an Editor will always reach out to you via DM to provide further context and advice. Please note that we decline stories for many reasons; this is usually not an indication that the story itself isn't great, it's typically just that we don't feel the story is the right fit for our publication voice. ### Story strength criteria Deciding what to write can be one of the most difficult challenges for any author. Even if you are a regular contributor to SUPERJUMP, we will not automatically accept every submission. As a general rule, you should always run your story draft through these four strength criteria. Does it satisfy all of them? Bear in mind, we're not expecting drafts to be perfect! But all stories should attempt to meet these criteria. Our editors are here to help you polish up aspects of your story, or to brainstorm ways that your stories can meet these criteria. **💡 Is this story innovative?** Am I approaching the topic from a unique angle - perhaps one that hasn’t been widely discussed before? If there are many other stories (even on SUPERJUMP) with the exact same angle, then maybe this isn’t the right path. **💡 Is it interesting?** Would readers actually want to read this story? Does it present new or interesting information? Is it a pleasure to read? Is it well-worded, or witty, or humorous, or thought-provoking? **💡 Is it insightful?** Do I come away from this story having learned something new? Or maybe I discovered a new way of looking at an existing topic? **💡 Is it quality?** Have I proofed this story myself before submitting for editing? Am I happy with the spelling, grammar, and structure? In addition to these four principles, make sure that your piece aligns with the [**SUPERJUMP DNA**](https://www.superjumpmagazine.com/about-us/). If you have an idea but you aren’t sure how to approach it, or you have a draft but you’re in doubt about its story strength, feel free to reach out to the Editors via the ⁠[***Editor Help channel***](https://discord.com/channels/408547862419472384/811883098030604308). It's always best to put your query/request in there (rather than DMing a specific editor) just to make sure someone can look at it. ### Images and artwork usage policy SUPERJUMP is headquartered in Australia, so we adhere to Australian copyright law (including "fair dealing" provisions). Please follow this guidance in relation to image use: #### Video game screenshots and artwork These kinds of images should be sourced from (in rough priority order): • Official developer/publisher press kits. • Official Steam pages or developer/publisher web sites. • Screen/video captures taken by a member of the SUPERJUMP team. • Copyright-free sources (for example, Wikimedia Commons or Bing Image Search where "All Creative Commons" is selected). #### Non-video game images (e.g. photos of real people, places, etc...) These kinds of images should be sourced from: • Unsplash (in the Ghost Editor, type "/unsplash" to pull up the integrated Unsplash gallery). • Other copyright-free sources (for example, Wikimedia Commons or Bing Image Search where "All Creative Commons" is selected). • Photographs taken by a member of the SUPERJUMP team. #### Use of AI-generated images Please do not use AI technology to generate images whole cloth. AI tools can be used for minor editing tasks on existing images (this can be hard to avoid with modern tools anyway), but please bear in mind that we also have some embedded image editing capabilities in Ghost (as mentioned above). ⚠️ ****In all of the above cases, every single image should be clearly sourced using the caption function in Ghost. Here's an example: "Source: Press Kit".** ### Image resources Here are a range of image resources you can use for your stories. I've tried to assign these into logical groupings to make it easier. We will add to this resource list over time. #### SUPERJUMP brand assets Contains: • SUPERJUMP branding assets (logos, proprietary artwork). • SPOILERS image. • Stock artwork created by the team for use on SUPERJUMP. • Screenshots and videos created by the team for use on SUPERJUMP. [SUPERJUMP brand assets](https://drive.google.com/drive/folders/19IrQJi1IIUGhow91D0b7KYFrhaK--sZX?usp=sharing) #### Video game hardware Contains: • High-resolution, copyright-free images of video game hardware. [Hardware images](https://commons.wikimedia.org/wiki/User:Evan-Amos) #### Stock photos Contains: • Various copyright-free stock photos. *Unsplash:* While in the Ghost Editor, type "/unsplash" (without quotation marks). *Wikimedia Commons:* *Bing Image Search (remember to filter by "All Creative Commons"):* #### Press kits Contains: • High-resolution official visual assets for press use. ⚠️ Please do not share these login details outside the SUPERJUMP team. Also, please do not request press keys via any of these portals, as this process is centrally managed. | Publisher | Portal URL | Username | Password | | ------------------- | ------------------------------------------------------------------------------------- | ----------------------------- | -------------------- | | Bethesda | [press.bethsoft.com](https://press.bethsoft.com/app/login?redirect=%2F) | editors@superjumpmagazine.com | Kopryd-8dofmo-gemkyf | | Capcom | [press.capcom.com](https://press.capcom.com/) | superjumpmag | ;4/6TR4xm8nW | | Electronic Arts | [eapressportal.com](https://www.eapressportal.com/app/login?redirect=%2F) | editors@superjumpmagazine.com | qixsah-deghum-Webve4 | | Nintendo Australia | [nintendo-europe-press.com](https://nintendo-europe-press.com/app/login?redirect=%2F) | editors@superjumpmagazine.com | kozhoZ-hiwcyw-kaddi2 | | Nintendo of America | [press.nintendo.com](https://press.nintendo.com/) | superjumpteam | bRPNHA5Fiz1CF9MiijNv | | SEGA | [sega-press.com](https://www.sega-press.com/app/login?redirect=%2F) | editors@superjumpmagazine.com | RRkGVkFkUupb88 | | Sony (PlayStation) | [scee-press.com](https://www.scee-press.com/app/login?redirect=%2F) | jb@superjumpmagazine.com | 1/L2C^8b$iff | | Ubisoft | [ubisoft-press.com](https://ubisoft-press.com/app/login?redirect=%2F) | editors@superjumpmagazine.com | e^J8\_:;\*8932 | | Xbox | [xbox.pxn.world](https://xbox.pxn.world/app/login?redirect=%2F) | editors@superjumpmagazine.com | rifrom-jadbyk-moPvi7 | | Games Press | [gamespress.com](https://www.gamespress.com/) | superjumpteam | 22Y3G3+Gl+a\* | ### Support links To be added. ### My SUPERJUMP URL: https://www.superjumpmagazine.com/me/ Last updated: 2026-06-02T09:04:17.000Z _No content available._ ## Posts ### Alice Ruppert on the Science and Art of Video Game Horses URL: https://www.superjumpmagazine.com/alice-ruppert-on-the-science-and-art-of-video-game-horses/ Last updated: 2026-10-20T06:48:07.000Z **Alice Ruppert is on a mission to get video game horses right.** Whether it is gameplay mechanics, game design, or even digital ergonomics, Alice has carved out unique expertise to help game developers and designers get horses right. Her passion led to the creation of Mane Quest, a website cataloguing games featuring horses, which also serves as a resource with useful insights on how developers can incorporate horses into video games. Her work includes analysis, consulting, and even her own game development projects. SUPERJUMP interviewed Alice to discuss her work and projects. ## SUPERJUMP Tell us a little about yourself as a game developer, your passion for horses, and how you arrived at this intersection between equestrianism and video games? ### Alice Ruppert I always loved horses; I started taking riding lessons when I was eight, even though they were expensive, and that meant that I wouldn't be getting anything else for birthdays and Christmas until I was old enough to pay for them myself, basically. I always played games too, including ones about horses, such as My Horse Farm and Riding Star, but also The Sims 1+2, Tomb Raider (Legend Trilogy), and eventually Assassin's Creed and Red Dead Redemption. I ended up studying Game Design at the Zurich University of the Arts. The idea to actively start talking about that overlap only came in 2018, though, a few years after I graduated and was already working in the industry. Really, I just started talking about my opinions on horses in games on social media (mainly Twitter at the time; nowadays I'm active [on Bluesky](https://bsky.app/profile/malicedafirenze.bsky.social)), and I found that my passion for the topic resonated with people. On the one hand, I got fellow horse-loving players voicing sentiments like "oh finally, I'm not the only one who cares", but also a lot of my gamedev friends and colleagues found my horse chatter interesting and liked learning about horses from me despite not caring much for them initially. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/AliceRuppert2025-02-websize.jpg) Alice Ruppert. Source: Alice Rupert. ### SUPERJUMP How did Mane Quest as a resource come about and how has it supported your own work as a game developer? ### Alice Ruppert So because talking about horses in games found that resonance, I decided to turn my horse-game thoughts into a proper website. I had a huge brainstorming document with potential articles to write, trends to analyse, games to review, developers to interview... that list has really only gotten longer over the years. The website is essentially a huge market research project. It's the tool through which I get to know competitors, learn from professionals in the space, keep up to date with what is happening... and that extensive market research knowledge is what I now offer to my clients as a freelance consultant, and what I apply in my work as publisher for Horses of Hoofprint Bay. By now, I also use TMQ to write down basic best practices around horses in games that I can then send to clients because the same topics keep coming up across projects \[[this article](https://www.themanequest.com/blog/2026/1/9/living-creatures-vs-meat-motorcycles-how-to-make-horses-in-games-feel-alive) is one such example\]. ### SUPERJUMP When you first started your consulting work, did you initially feel game developers were simply getting horses wrong as a gameplay system? ### Alice Ruppert I mean yes, I felt that games were getting horses wrong long before I got my first consulting opportunities. I'm not sure most mistakes happen in horses "as a gameplay system" specifically... Sure, there is a lot of untapped potential in designing actual interesting mechanics around horses. But a lot of the common mistakes \[see [here](https://www.themanequest.com/blog/2021/8/22/8-common-horse-mistakes-i-want-game-developers-to-stop-making) and [here](https://www.themanequest.com/blog/2024/7/16/adding-horses-to-your-game-tips-resources-dos-and-donts)\] are also just super basic anatomy errors, and completely forgetting about giving players the opportunity to feel any sort of emotional attachment to their horse by making it too much of a tool and not enough of a character, when it should probably be both. ### SUPERJUMP What are some common challenges you've seen game developers encounter in your own consulting work? ### Alice Ruppert I think the fact that "you don't know what you don't know" causes a lot of horse-related problems because people plan for horses to work a certain way without any awareness that they're already making wrong assumptions. That can be on a tech art level (like setting up your horse materials so they don't support multiple colors, which then makes it impossible to display a proper bay horse), or in other aspects of software architecture, but also in terms of writing and game design. If I come onto a project sooner, I can flag these issues at the concept stage before any work has been done in the "wrong" direction. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/Screenshot-2026-10-11-3.52.48-PM.png) Making a Horse Game. Source: The Mane Quest. ### SUPERJUMP What are some great examples of video games that get horses right? Shadow of the Colossus, Metal Gear Solid V, and Red Dead Redemption 2 come to mind. ### Alice Ruppert I haven't played MGS V, but I agree that SotC and RDR2 are good examples! I don't think there's one AAA game that handles horses perfectly, but many have impressive aspects to them. Like Ghost of Tsushima does well in terms of writing/narrative (like that you choose a voice-acted name for your horse), but has awful anatomy and leg movement. RDR2 has impressive animation variety and different horse behaviors, but some really uncanny details in how the horses' eyes and ears look sometimes. The horses in Breath of the Wild have my absolute favorite stylization and animation ever, but also I wish they had anywhere near the emotional narrative importance that Epona had in Ocarina of Time and Twilight Princess. ### SUPERJUMP When you talk about narrative potential, do you see ways of translating different narrative styles into video game design that fall outside the usual genres of horse riding, horse management (i.e. farming), and horse racing (i.e. gambling)? ### Alice Ruppert Yeah, there's absolutely more potential there. One interesting example is [Equinox: Homecoming](https://store.steampowered.com/app/3258290/Equinox%5FHomecoming/), a game that tells an occult murder-mystery story but also includes a lot of horse-riding and horse-care elements. I see a lot of appreciation for that from players, who are glad to have a somewhat more mature, fresh setting rather than the same old "you inherit a run-down farm" premise. At the same time, the game is getting some criticism for not including its horses in the narrative enough, which I also understand. But horses and the relationships people have with them can fit into a lot of settings! Anything taking place before the invention of cars is an obvious candidate because horses just used to be so much more present as a means of transport \[some more idea on historical horse game premises in a Reddit AMA [here](https://www.reddit.com/r/Games/comments/1r903xl/comment/o69j900/?utm%5Fsource=share&utm%5Fmedium=web3x&utm%5Fname=web3xcss&utm%5Fterm=1&utm%5Fcontent=share%5Fbutton)\]. A post-apocalyptic setting would also work really well as an "easy" way to give the horse increased meaning beyond being a pet or expensive sports equipment. I'm mostly talking about settings rather than plot here, but that's sort of because a journey on horseback and the human/animal relationship that forms along the way can fit into a lot of narratives, including but not limited to the classical Hero's Journey. The horse as companion - as a living creature you take care of and worry about but who also carries you through hardship - is woefully underused in my opinion, though with Shadow of the Colossus and Twilight Princess being some excellent examples of that being done well. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/fully-upgraded-stable.png) Horses of Hoofprint Bay. Source: Press kit. ### SUPERJUMP Tell us about some of your own game projects, past or currently in development. ### Alice Ruppert The main thing I'm working on at the moment is [Horses of Hoofprint Bay](https://store.steampowered.com/app/3727090/Horses%5Fof%5FHoofprint%5FBay/)! I'm handling the marketing and publishing for it, and the dev team consists of two people who met through my TMQ community ([full story here](https://www.themanequest.com/blog/2025/10/29/exclusive-game-announcement-horses-of-hoofprint-bay-a-2d-stable-management-game-inspired-by-my-childhood-favorite-horse-game)). The game has a very well-received demo out and will be fully released on November 4th, just a few weeks away! I'm also doing consultation work on [Barbie: Horse Ride & Rescue](https://store.steampowered.com/app/4436840/Barbie%5FHorse%5FRide%5F%5FRescue/), [Rival Stars Horse Racing](https://store.steampowered.com/app/1166860/Rival%5FStars%5FHorse%5FRacing%5FDesktop%5FEdition/), [The Legend of Khiimori](https://store.steampowered.com/app/2697000/The%5FLegend%5Fof%5FKhiimori/) and [Horse Club: Ride West](https://store.steampowered.com/app/4194080/HORSE%5FCLUB%5FRide%5FWest/). ### SUPERJUMP Thanks for chatting with us! Lastly, what are some of your favourite video games, equestrian or otherwise? ### Alice Ruppert Recently, I've been obsessed with [Vintage Story](https://www.vintagestory.at/), I put over 300 hours into it since early this year. Generally, I'm a big fan of cozy farming and life sim games (Stardew Valley, Wylde Flowers, My Time at Sandrock...), survival and exploration games (Subnautica, Pacific Drive), and I play a lot of knowledge-based puzzle games with my partner (Outer Wilds is an all-time favorite, and right now we're playing Dimhaven: The Lost Source). This is probably also a good point to mention that I would kill for a horse-focused Stardew-like game, or a game like Pacific Drive but with a horse instead of a car. My favorite horse-focused game (that I'm not personally working on) is [The Ranch of Rivershine](https://store.steampowered.com/app/1559600/The%5FRanch%5Fof%5FRivershine/)! --- Thank you to Alice Ruppert for her time and resources. You can follow her work on [The Mane Quest](https://www.themanequest.com/) \[and its [Bluesky](https://bsky.app/profile/themanequest.com) handle\]. ### Seeking Open-World Closure URL: https://www.superjumpmagazine.com/seeking-open-world-closure-in-rdr2-and-witcher-3/ Last updated: 2026-10-19T23:29:45.000Z **I’ve been mostly ignoring current video game releases, instead working to finally finish the massive stories of** [**The Witcher 3: Wild Hunt**](https://store.steampowered.com/app/292030/The%5FWitcher%5F3%5FWild%5FHunt%5F%5FComplete%5FEdition/) **and** [**Red Dead Redemption 2**](https://www.rockstargames.com/reddeadredemption2)**.** With [Grand Theft Auto 6](https://www.rockstargames.com/VI\) looming on the horizon, I've been wanting to finally knock out Rockstar Games' last release, and I returned to Wild Hunt due to the recent announcement of a fresh remaster and a brand new [expansion titled "Songs of the Past"](https://www.youtube.com/watch?v=G3kuMWediSQ) at Gamescom. I have definitely burned myself out on side quests in games like these before, and have missed some great late-game moments because of it. Now I'm ready to reclaim my open-world gamer cred. I know how the hell Skyrim ends; I can take a chunk out of these intimidating open-world behemoths! I resurrected my old RDR2 save, but started from scratch in Wild Hunt because I love making fresh starts in RPGs once I have more knowledge of the game. When I last played a huge binge of RDR2, I did a ton of side content, accepting every Stranger quest and going on some relentless hunting and fishing sprees. Starting back up, I was filthy rich and mostly focusing on the story, picking up with the gang in a precarious spot hiding outside Saint Denis after brawling with the Braithwaites. It took a moment to jog my memory on the early plot points, but I knew I had gotten too deep to start Arthur Morgan’s story over again. ![Red Dead Redemption 2 screenshots. Two cowboys ride through a field at sunset, another rider is barely visible on the horizon line.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/RDR2-Fields.jpg) Red Dead Redemption 2\. Source: Steam. ### Like Riding a Smelly Horse Exploring Saint Denis and the surrounding area was a great way to jump back into the game. The main story missions in the city really drove home the futility of Dutch’s mission to keep robbing and sweet-talking his way to a mythical massive score to escape the encroaching Pinkerton agents. Every job is a bust or a set-up; fellow gang members you’ve grown to love start getting picked off brutally quickly, but Arthur is a right-hand man to his core. Any minor questioning of Dutch’s tactics exposes the gang leader’s skill as a master manipulator, silencing Arthur with just a few barbs and paternal scolds. Oh well, I’m sure Dutch will get everyone out of this pickle, and Arthur’s cough is probably nothing serious. Armed with newfound knowledge and love for the world of The Witcher after reading the full book series last year, I’ve truly enjoyed my reintroduction to Wild Hunt as well. I’m still a few hours from where I left off last time, and currently diverting from Skellige shenanigans to play the Hearts of Stone expansion. Like the books, the world is sharp and mean, but also bleakly funny, and the story doesn’t hesitate to deliver a gut-punch with unexpected twists when you’re expecting cliché open-world quests. Crime scene investigation and cave exploration do get a little old, but I still haven’t gotten tired of the monster fights and writing. I miss being an Alchemy freak, as in my last playthrough; I opted to go all in on Signs this time, but I still love poring over the glossary to see my monster index expand. The [remastered version](https://www.cdprojekt.com/en/media/news/the-witcher-3-wild-hunt-remastered-available-now/) has refreshed the visuals and animations, updated systems like the menu UI, and, in my favorite change, beautiful new skill trees that help Geralt feel more like a battle mage than my previous Signs build. These additions are all extremely welcome, and help emphasize how the game's foundation has remained so solid in the years since it launched. My first was on the Nintendo Switch port, so there's definitely a feeling of whiplash thinking of my first hours in the world compared to how it looks now. Wild Hunt is generally a smoother play experience than RDR2, but it’s interesting to see where they both refrain from sanding down the edges completely. Neither permits unrestrained fast travel, with RDR2 only letting you fast travel to previously visited settlements unless you pay for a stagecoach. Wild Hunt lets you fast travel between markers, or between ports when you hop in a boat, with a small smattering of markers already unlocked when you open a new massive map. Adding a minor extra step to commit to fast travel helped subtly push me to do the longer horseback journey more often. ![The Witcher 3: Wild Hunt Screenshot. Geralt of Rivia stands on a dock by a boat in the Skellige Isles.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Screenshot--176-.png) The Witcher 3: Wild Hunt. Author Screenshot. ### Dual Revolvers and Dual Swords RDR2 is undeniably fiddly and frustrating to pilot at times, but it’s impossible not to get swept away in the grandeur of the experience. Just riding through towns, sticking up any store you want, and chatting up random NPCs feels so sublime. Both the developer-authored and spontaneous player-driven action segments deliver on all the Western gunslinger fantasies I could possibly dream up, and several more I never expected. The depth of control here, while it may spin out occasionally, really lets you sink into the character and feel like you’re part of this world, capable of making a meaningful impact. Both games feature gruff male protagonists; I never expected to care about them when I started the games, but their voice actors, Doug Cockle as Geralt of Rivia and Roger Clark as Arthur Morgan, deliver brilliant performances in these tough roles. These characters are outcasts in ever-shifting worlds, leaving their ways of survival behind. They've adopted monstrous qualities to stay alive against the odds, and attract scorn from the "regular" folk for reflecting the more brutal parts of their world back at them. While these characters trade in ruthless violence and live in moral grey areas, they are shaped and somewhat redeemed by the people they fight for: Dutch’s Gang for Arthur, and for Geralt, his dysfunctional family consisting of Ciri, Yennefer, the Witchers of Kaer Morhen... and Dandelion, who could forget him? The player isn’t deprived of important story choices, but Geralt and Arthur are both notably beholden to the strong, driven personalities of other characters. I could see writing teachers balking at this, on paper, but their surly agreeability fits in games where the list of favors you agree to inevitably swells massively. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/Spoilers_Ahead.png) Red Dead Redemption 2 spoilers ahead. ![Red Dead Redemption 2 Screenshot. Dutch's gang gathers by the fire at night for music and merriment.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/RDR2-Camp.jpg) Red Dead Redemption 2\. Source: Rockstar. ### Unfinished Business I love side quests. I really love them; I've written [thousands of words](https://www.escapistmagazine.com/expedition/) about some of my favorites. I could easily get lost in either game's side content and never resurface, but I'm obviously no completionist. I get especially feral with RPGs, wanting to track down the best gear and the hardest fights, but even tiny favors that end with a paltry stack of Crowns in Wild Hunt help the small settlements Geralt and Roach are barging through feel more alive. Both games cram great writing and voice acting into every nook and cranny of their worlds, and it's tragic to think that players could be skipping through a lot of it. I've certainly been guilty of that at times, and I'm all for a zoned-out "podcast game" session now and then. Still, I've felt very rewarded by my decision to focus more intently on the stories here, both grand and small. You don't need a huge ethical dilemma to make a memorable story, though I have stumbled into plenty of those in Wild Hunt. In RDR2, Arthur's cough is revealed to be a terminal case of tuberculosis in Chapter 5, which he contracted while beating up a debtor to the gang named Thomas Downes way back in Chapter 2\. This reveal absolutely affected how I approached the side content. It's hard not to think that Arthur would do everything he can to help the gang before his time comes and lean more into story missions, hastening the inevitable, but side missions also let you leave a mark, good or bad, on the world. I did a streak of story missions, but eventually felt a push to go for a hunt again and meet that next Stranger. Even as you distract yourself, Arthur's racking cough when you consume provisions, or his more somber mood in late-game cutscenes, remind you that he's on borrowed time. Is walking away from the main story, or the whole game, actually the most merciful move? How many Arthur Morgans are living in the digital limbo of unfinished games? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/RDR2-Hunting.jpg) Red Dead Redemption 2\. Source: Rockstar. ### It’s a Game, Not a Sprint I can't guarantee whether I'll have the stamina to see both these games through to credits, but I was not expecting these experiences to resonate with each other as much as they did for me. I thought it might be jarring to jump between such different settings, but it was actually a relief to remember I could go slice up some Drowners if I've gotten tired of shootouts with the Murfree Brood. When I'm too sad about Arthur's impending mortality, I can work on Geralt's fantastical tasks for an [immortal noble](https://witcher.fandom.com/wiki/Olgierd%5Fvon%5FEverec#Meeting%5FGeralt) in Hearts of Stone. I regret losing steam on both of these games when I first began. I'd certainly consider them some of my favorite open-world games, with these recent sessions only affirming that stance. It feels like a disservice that I still don't know their endings all these years later, but they demand a *lot* of your time and attention. I get bummed out when I feel like I'm rushing through an experience people painstakingly put together. That can happen more than I like when I'm putting a commentary piece together, but sometimes rushing is the only option to be able to see more along with, you know, living my real life. You don't have to beat the final boss or clear all the achievements to prove how much a game means to you, but these two unfinished journeys had definitely been weighing on me. I haven't tied a neat bow on my time with either game yet, but I'm happy enough that I'm not burned out on them either, and genuinely excited that I have more to discover. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/Screenshot--188-.png) The Witcher 3: Wild Hunt (Remastered) - Author Screenshot ### PAX West 2026 - Dungeon Lurker: Retro Fantasy for the Modern Age URL: https://www.superjumpmagazine.com/pax-west-2026-dungeon-lurker-retro-fantasy-for-the-modern-age/ Last updated: 2026-10-17T23:11:11.000Z [**13AM Games**](https://www.13amgames.com/)**’ new upcoming retro-action dungeon crawler,** [**Dungeon Lurker**](https://store.steampowered.com/app/4669960/Dungeon%5FLurker/)**, is exactly the kind of meta I thoroughly enjoy in the indie scene.** Right off the bat, the visual style fascinated my team and me. It's retro-modern 2.5D pixelated perspective so accurately recalls that wonderful warm and fuzzy feeling of a long-past gaming era. Dungeon Lurker doesn't look like an old Nintendo game, nor does it look like an old PlayStation title. No, Dungeon Lurker invokes the nostalgia of an old Sega 3DO experience, when we weren't quite in the era of 3D everything, nor squarely in the realm of 2D pixelated art. It feels like a game you went to the store to rent, excitedly tearing through the manual on the drive home, eagerly awaiting the moment you could sit down, turn on your big tube TV, and get lost in a brutal fantasy adventure. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-11.png) Source: Steam. It seems like thousands of years ago now, but before memory cards became the default way to store game save files, progress was saved on the cartridges themselves. This resulted in an eerie, difficult-to-describe feeling of intruding on another person's life if you happened to be playing on a used or previously-owned game cartridge. It was a strange reminder that your gaming memories, everything you experience while playing something, could be shared with more people. Deleting one of these files felt sinful, especially if the progress on the file was far along, as it felt like erasing a bit of someone's life. Someone decided to spend hours of their limited existence on this game, and you were about to just... get rid of it. Ultimately, it is just stored data on a piece of hardware, and eventually time would do this for you anyway as cartridge batteries die and files get corrupted, but it always felt like a dirty act. When playing Dungeon Lurker, you are experiencing a game within a game; the story centers on not only what's happening on screen, but also what's happening off-screen. You are playing a used version of Dungeon Lurker, complete with a mysterious and ominous save file next to your own progress. The save file is totaled out: max level, max currency, the works, but no matter what you do, you can't delete it, you can't alter it, and you can't access it. If you open up the in-game menu, you are greeted with a rendition of the game's manual. As you flip through the pages, you see the previous owner's notes scribbled throughout. Notes give potential clues about the game's puzzles, how to defeat certain enemies, and tidbits on the mysterious save file's owner. As you play, you must not only beat Dungeon Lurker, the game, but also figure out what happened to the previous owner and why so many strange things are happening with your copy. I adore this concept, as I have so many vivid memories of hovering over old game saves in rented and pre-owned games, hesitating to delete them, but knowing they couldn't stay. Dungeon Lurker isn't the first to come up with something like this, but 13AM's take on it is absolutely my favorite. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-13.png) Source: Steam. If the gripping narrative isn't enough, the game itself is a blast to play. Dungeon Lurker is a rogue-lite hack-and-slash beat-em-up, tasking you with delving deeper and deeper into the dungeon to progress. When you die, you are sent back to a town where you can purchase upgrades, new spells, talk to the locals, and get hints on how to progress before setting out again. Upon re-entering the dungeon, you can find your previous self where you perished, and duke it out with your ghost, Shadow Link-style. Defeat your ghost, and you're able to resupply with lost items and lost loot. As much as I like running over my glowing lost runes in every Soulslike ever, this is a much more engaging risk/reward system, allowing you to strategize whether getting the old gear is even worth the danger of fighting your old self. The combat itself feels snappy, responsive, and easy-to-read. Every death I experienced felt earned and fair, and I learned a lesson going back in. It feels very easy to get into, but very difficult to master, with button-mashing only getting you so far. The pixel-art is phenomenal, the animations are gorgeous, the combat is engaging and fair, and the overarching narrative is gripping and interesting. I only got a short hands-on with Dungeon Lurker, but I came away with only good things to say about it. While it doesn't have an exact release date, Dungeon Lurker is likely to come out in 2027\. Wishlist it on Steam; you won't be disappointed. ### Ocarina of Time: Yes, The Wonder Is Still There URL: https://www.superjumpmagazine.com/ocarina-of-time-yes-the-wonder-is-still-there/ Last updated: 2026-10-16T19:12:35.000Z **I first met the Great Deku Tree when I was eight years old.** It was a school morning. I was racing to discover as much as possible before being pried off the Nintendo 64 and bustled out the door. My time in Hyrule was inevitably cut short, but the forest stayed with me. But the forest wasn't where my relationship with The Legend of Zelda began. At roughly the age of five, I'd sneak onto my older brother's SNES, sit through the opening sequence of A Link to the Past, and find the nearest Fairy Fountain. This was as far as my five-year-old mind could take me; I didn't yet understand the sheer scale of Hyrule, nor its ancient legends, nor the urgent task of protecting Princess Zelda and restoring order to the great kingdom. But this was a world I wanted to visit over and over again. And so, each time, I'd take myself to the Fairy Fountain and bask in the ethereal calm of Koji Kondo's beautiful melody. Twenty-eight years after my first experience with The Legend of Zelda: Ocarina of Time, we meet again. This time, it's my birthday. I'm now in my mid-thirties and I have been invited by Nintendo to play a reimagining of one of the most highly acclaimed video games of all time, more than a month before release. This is a very big deal for a self-professed Zelda nerd like me, who often jokes about being raised by the Super Nintendo. Sitting in front of this new title screen, as the finely textured depth of the all-new orchestral soundtrack washes over me, I'm struck by the very same sense of awe I felt decades ago. My childhood friend has returned. I am here to play The Legend of Zelda: Ocarina of Time for Nintendo Switch 2\. This is an in-development build that includes the initial Kokiri Forest sequence (Great Deku Tree and all), Hyrule Field, Castle Town, and the Forest Temple. ![Key art for The Legend of Zelda: Ocarina of Time on Nintendo Switch 2, showing young Link with Navi in a sunlit Kokiri Forest beside the game's gold logo and the Master Sword.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/NS2_16x9_TheLegendofZeldaOcarinaofTime_KeyArt-1.png) The Legend of Zelda: Ocarina of Time. Source: Press Kit. ## Wake up, Link I look upon a Kokiri Forest awash with dappled lighting that ebbs and flows as the dense canopy above gently rustles in the breeze. A stream meanders by, cool and inviting. The children of the forest are still here, too: they never grow old. This is, in some sense, the village as it was always meant to be. It has emerged from the platonic imagination of my childhood and unfurled in crisp high resolution before me. As I tilt the control stick forward, my attention shifts. Link feels a touch lighter on his feet, responding to my inputs with a smoothness the original couldn't quite manage. His tunic carries the hallmarks of having been lovingly hand-stitched, his hair bounces and sways playfully, and his expressive eyes eagerly follow points of interest around him. Link can now jump on command, too. In the original Nintendo 64 game, Link's jump was context-sensitive: it activated automatically as he ran toward a ledge. This was, in part, because players were not able to freely control the camera (other than targeting specific things or re-centring the view behind Link). Here, I can move the camera in all directions at my whim and jump whenever I like. *It feels good, too*. These two seemingly minor changes make Ocarina of Time feel noticeably more modern to handle (although I do find myself forgetting to jump here and there, my hands apparently still loyal to 1998). Great Deku Tree I spend as long as possible running around Kokiri Forest, chatting with its denizens, taking in all the sights and sounds. But now I have another highly anticipated reunion: a meeting with the wise elder of the forest, the Great Deku Tree. This is the moment. Sombre strings float around my headphones from all directions as the iconic Zelda theme emerges. The outside world disappears. I'm no longer in a room playing a game. My brother, the Nintendo team, our media colleagues...they've faded away. Now I'm here, in the forest, with the Great Deku Tree. Just the two of us. Great Deku Tree As I enter the tree, trusty sword and shield in hand, I encounter my first enemies. The freer camera and manual jump pay off here: I'm no longer wrestling with the viewing angle or accidentally leaping off a ledge mid-fight. ## Hyrule awaits I emerge from the shadows of the forest to the dazzling dreamcore horizons of Hyrule Field. This isn't quite what I expected based on the Nintendo Direct footage, which at first might suggest that Nintendo is simply muscle-flexing with "high-fidelity realism" here. Yes, everything's gorgeously high-resolution, hyper-detailed, and oh so *shiny*. But there's a very deliberate whimsy woven into this world. Hyrule Field is both sharp and vibrant while also being faded, soft at the edges, slightly oversaturated and overexposed as if from a dream. Enemies are vividly colourful and move with playful, mischievous pantomime. Forest Temple I am seeing Castle Town from the perspective of a young boy from the forest. It looks so much more imposing now. Rooftops reach into the sky and glisten in the sun. The town square is alive with activity and there are new laneways to explore. There is a genuine sense of this being a place where busy Hylians live, where they go about their business entirely unaware that the little boy in green running around at their feet is the Hero of Time himself. The injection of life here only deepens the foreboding, too. If you've played the original game, you'll know what happens here. The more vibrant the town, the more it has to lose. Then again, isn't that the theme that sits at the heart of this game? Your path begins in childhood with a sense of innocent wonder, but soon, you'll grow up and take on the associated responsibilities (and then some, in Link's case). Castle Town affords me a quiet moment to reflect on this hero's journey. As far as the demo goes, this is a brief detour: I'm not yet allowed to enter these shops and dig in further. That'll have to wait until I get my hands on the final version. Forest Temple My next destination is the Forest Temple. I can conjure the deeply mysterious theme music of this place in my mind on command. The updated orchestral score is remarkable and I reflect on the fact that it has clearly been crafted by a team who truly understands the emotional resonance of the original piece. I think I know the Forest Temple like the back of my hand, but exploring it now feels genuinely novel. Art design, sound design, and those smoother controls fold into each other to become more than the sum of their parts. Beyond these elements, I also notice that the entire inventory management—and menu system in general—has been reworked from the ground up. The inventory interface borrows liberally from Breath of the Wild's scrolling-selection model and it feels *snappier*. This new iteration of the Forest Temple proves to be a showcase for the dreamcore aesthetic I referenced earlier. I can't emphasise this enough and I don't think videos actually do it justice either. I walk down a dark stone hallway with a bright white light guiding me to safety at the far end. It renders Link as a silhouette. The glow bounces off damp stone pillars, rolling over mosaics of ancient brickwork. In another chamber, an imposing stained-glass window bathes the space in deep red. Forest Temple I face my first Stalfos, the tall skeletons who now seem far more intimidating than I remember. Navi, my fairy companion, dutifully hovers over each enemy I target. Her soft blue glow transitions into furious red, lighting up enemy faces in the dark. And as I explore deeper, volumetric fog pools around my feet and seeps down staircases like a slow-moving waterfall. Ocarina of Time is so much more than a mere demonstration of improved technical specifications. It is an example of what talented artists can do when given a broader canvas and a more capable brush with which to create. This experience is all about being transported to a place that feels highly familiar but also wonderfully alien at the same time. The demo already has my mind racing about what I'll uncover and experience across the vastness of Hyrule. What will Kakariko Village feel like? What about the Shadow Temple? How about the infamous *Dead Hand*? ![Screenshot from The Legend of Zelda: Ocarina of Time on Nintendo Switch 2, showing young Link riding Epona as she rears up on her hind legs in Hyrule Field under a blue sky.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/NS2_TheLegendofZeldaOcarinaofTime_scrn_02-1.png) The Legend of Zelda: Ocarina of Time. Source: Press Kit. ## Return of an old friend Immersion is the name of the game here, and based on my extensive time with the demo, I'd say Nintendo has hit the bullseye. Art and sound design—underwritten by a masterfully reimagined score—elegantly dovetail to draw me deep into Hyrule anew. Even with my newfound battle confidence, I'm tested by the greatly improved warning music, which plays as I escape from a [Peahat](https://www.zeldadungeon.net/wiki/Peahat) in Hyrule Field. I cast my mind back to the reunion with the Great Deku Tree, realising that the motivations that guided me as a child haven't really changed: I've always found a sense of calm in Zelda games. Now, decades later, I know what it feels like to return to a familiar world after many years apart, with the wonder well and truly intact. --- The Legend of Zelda: Ocarina of Time launches on Nintendo Switch 2 on November 5, 2026\. Thank you to the team at Nintendo Australia for the opportunity to hang out with a childhood friend once again. ### State of Indie 2026 Part 4: Going International URL: https://www.superjumpmagazine.com/state-of-indie-2026-part-4-going-international/ Last updated: 2026-10-15T00:22:49.000Z **Welcome back to the final installment of State of Indie for 2026!** In [Part 1, we looked at the year's winners and losers](https://www.superjumpmagazine.com/state-of-indie-2026-part-1/); we examined [the scene's economic underpinnings in Part 2](https://www.superjumpmagazine.com/state-of-indie-2026-part-2-economics-and-pricing/), and [how indie games get financed and published in Part 3](https://www.superjumpmagazine.com/state-of-indie-2026-part-3-finance-and-tech/). To wrap it all up, we'll dive deep into the international side of indie gaming. Video games are a global hobby, and everybody knows it. What people don't think about as much is the extent to which development is also a global phenomenon. What was once restricted to Japan and the US has now spread to all corners of the Earth, with upstart studios in small countries making big impacts. These upstarts still need to find an audience somewhere, and particularly for those in small countries, that means reaching abroad. The Anglophonic markets of North America and the British Isles are still key for most, but other regions are rapidly growing in importance, forcing developers to adapt. Naturally, I have to start with mainland China. Source: YouTube. ## China's Mighty Gaming Culture I've been writing about China's gaming scene for years, before many others had taken any serious notice. No matter how much I say, it never seems like enough. [Newzoo produced a dedicated report on China's gaming culture in 2026](https://newzoo.com/articles/chinas-pc-market), and it's illuminating. The sheer size of the Chinese market is widely understood, but the report digs deeper into the underpinning gaming culture and the gravity that these players exert on PC games in particular. By most metrics, Chinese players are more hardcore than most. They spend more money and more time on games. They are more likely to identify as "gamers" or respond affirmatively to statements like "Gaming is a significant part of my life." Video games also seem to be a less gendered activity among young Chinese than in most of the world. Of course, this all has to be considered in light of how insular the Chinese (and Korean, for that matter) video game market can be. A few foreign games have found purchase in China, mostly massive live-service games and MMORPGs. But even there, players strongly prefer domestic games. And while indies can do very well in mainland Asia, the big successes are mainly developed in China or in culturally similar countries. It can seem like an unreachable market for small foreign developers. Then a group of filthy pirates proved that assumption wrong. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/ChinaMarket26a.png) Courtesy of the author. ## A Brief (but Important) Aside About Pirates In [last year's State of Indie](https://www.superjumpmagazine.com/the-state-of-indie-games-in-2025-and-beyond-part-1/), I briefly touched on the concept of game cloning. For those who forgot, this is a form of out-in-the-open piracy in which someone extracts a game's executable and assets, makes trivial aesthetic changes, then puts it up for sale on another site (or, for more brazen thieves, the same site) under a different name. Game cloning certainly isn't new, but 2025 saw stolen games distributed far more widely, including on console storefronts that are allegedly more discriminating. The new wrinkle in 2026 is how many of those cloned games are circulating on the Chinese internet. Some end up on the Chinese mobile market, but most surface as xiao youxi (minigames) on apps like WeChat and Douyin (TikTok). Xiao youxi are no-download games built directly into the program, similar to the ones you might have seen on YouTube. But while those are treated as silly time wasters in the West, xiao youxi have become a significant part of China's gaming landscape. What's more, the Chinese piracy groups flipping these games seem to have a keener knowledge of the scene than many legitimate marketers. [The most dramatic story involves Burgie's Cozy Kitchen](https://www.reddit.com/r/SoloDevelopment/comments/1urqfui/a%5Fchinese%5Fcompany%5Fpirated%5Fmy%5Fgame%5Fwith%5F600k), a simulation game with a desktop companion component. After clips of the game surfaced on the Chinese internet, the developer reported finding multiple unlicensed copies. The most notable was a Douyin version that topped out at 610,000 concurrent players, a number that – were it on Steam – would put it close to what Dota manages. The developer's takeaway was that he needed a Chinese publisher who could get a legitimate version out as soon as possible. While this move was born of desperation, it might not be a bad idea for other developers. A Chinese partner with an understanding of that country's culture and media environment could help small games grow there. But time is always of the essence. As I wrote this, I saw news of a [Chinese clone of an unreleased game](https://www.reddit.com/r/IndieDev/comments/1w9ssxo/my%5Fgame%5Fprototype%5Fwas%5Fcloned%5Fin%5Fthe%5Fworst/), created based on a prototype. In the future, developers of certain games may need to secure a foothold in China quickly before pirates finish their games for them. ## Whither India? Of course, China is only one market of many. Big developers are focusing more of their attention on emergent regions, with Latin America, the Middle East and North Africa being named most often. But many small developers are staking their hopes on a country that's almost always left out of the conversation: India. The world's most populous country has a surprisingly tiny games market. [With an estimated 2025 revenue of a little over $10 billion](https://www.statista.com/chart/25593/biggest-video-game-markets/), India is a smaller share than Germany and barely larger than France. Little has been written about the Indian gaming culture, and development there is scarce. Nevertheless, according to Unity, a whopping 74% of development teams with fewer than 50 people consider it a highly desirable market. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/SAsia26a.png) Courtesy of the author. This starts to make sense when you look into where these smaller groups are making their money. Small developers claim to have had far greater success in South and Southeast Asia than in more recognized regions. As such, savvy developers are looking toward countries like India, Malaysia, and Indonesia where they won't face the same domestic competition as in China or Korea. But there's more to selling games in a new market than just getting another localization. The main thing preventing developers from expanding into India is a lack of cultural awareness, both in terms of its overall culture and its gaming culture. A few teams might overcome this, but most small developers will have to maintain their focus on mature markets. ## The Content Creator Game A growing global market can be challenging as much as it is an opportunity. When you're competing with the entire world, getting noticed becomes increasingly difficult. A few lucky teams might go viral, but the rest are always scratching around for ways to draw attention. As usual, video and streaming content creators are the main modes of discovery for most small developers, though experiences vary greatly. "Replies were non-existent at first, but traction grew as [Drive Together](https://store.steampowered.com/app/4117320/Drive%5FTogether/) gained visibility, leading creators to reach out to us," says developer Otakumi Games. "We quickly learned that a solid marketing budget is often the fastest way to win influencers over." That points to an open secret in the creator space: Promotion isn't free. Many major creators won't cover a game without some added incentive. [Worlds Upon the Wind](https://store.steampowered.com/app/3640430/Worlds%5FUpon%5FThe%5FWind/) developer Max Shawabkeh had a lot to say about creator sponsorships. In at least one case, it worked beyond his expectations. "I offered a sponsorship, and he instead did it for free because I was a self-publishing solo dev. That brought in the most players." Others yielded mixed results: "One sponsored creator did a good job, clearly got the game, and brought in folks, but the cost was quite high...Several other sponsored ones were clearly doing it just for the money and produced unexciting content that did not draw in players." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-14.png) Worlds Upon the Wind. Source: Steam. Smaller channels and streams are less impactful, but that doesn't mean that they are useless. "\[W\]atching them was valuable for finding missing polish and getting enough YT content so players could search for the game and get an idea of how it plays." "Just from two Reddit posts, a lot of YouTubers found my game, which acted like a domino effect with other YouTubers following after that," says Kai of [Code Peas](https://x.com/CodePeas). "After that it was a thing of staying in contact with the community, implementing some of their ideas and changing the game according to their feedback." Most developers rely on creators despite their ability to use the same platforms for self-promotion. Often, that's a sensible move. YouTube, Twitch and TikTok all demand unique skill sets that game creators usually don't possess, but there are definite exceptions. The developer behind [Pancake Studios](https://store.steampowered.com/app/4403510/Sensory%5FOverload/) is the most successful creator for his own game. "None of them were able to crack millions of views while I have," he says. "I don't like outsourcing my marketing to other people." Regardless of the impact, getting covered by a content creator can signal something important for developers. "Indie game devs and indie content creators are almost the same!" says [Up Multimedia](https://store.steampowered.com/app/3984420/Low%5FEarth%5FOrbit%5FAdventures/). "It's easy to be cynical, but when you connect with someone who just enjoys a creator, even if it is for 20 viewers, it is one of the best things about the job." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-15.png) Low Earth Orbit Adventures by Up Multimedia. Source: Steam. ## Modes of Discovery Content creators aren't the only avenue for discovery. While Steam's visibility system still prioritizes games that get external attention, there are ways to get noticed from within the platform. Many developers mentioned the recently added Personal Calendar feature as a big booster. As a regular user, it seems far superior to the Discovery Queue, which mainly surfaces games that are already popular. Events, while not as frequent as a few years ago, are also important. "Every bit of strong wishlist growth I had was from festivals," says Martin Stradling of Spork Tank, developer of [Rita](https://store.steampowered.com/app/2984850/Rita/). "Social media seems tough as the best successes I've seen are from viral videos, which you have no control over." The most important channel for game discovery isn't one that's normally considered, but something more low-tech. For younger people in particular, [word of mouth is a growing source of information about new games](https://newsletter.gamediscover.co/p/what-the-steam-fan-snapshot-tells). It might begin with someone seeing a demo video on TikTok or YouTube, but the news spreads through in-person communication. It makes sense given the dynamics of how younger generations play video games. Middle and high school students strongly prefer multiplayer games, and they're mainly choosing the games that are popular at their schools. Thus, school becomes the best place to learn about those games. For developers of co-op games, this is a huge opportunity but one that's hard to plan for. Everyone wants to be the game that gets spread around the nation's high schools, but it can't be planned for; it happens, or it doesn't. Of course, one could say the same thing about any other marketing push. For the small developer, marketing is a game with no clear rules. Setting realistic expectations and celebrating what successes do come might be the best possible approach. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-17.png) Rita, by Spork Tank. Source: Steam. ## In Summary - China is continuing to grow in importance, with narrow opportunities for smaller games to make inroads, whether legally or illegally. - Many developers are looking to grow in South and Southeast Asia, where the markets are small and far less competitive. - Content creators are still the main discovery channel for indie games, though the results of being featured can vary widely. ## So What Comes Next? As of 2026, I'm officially out of the prediction market. The world of video games is far too unstable and wild to make anything but a blind guess. To illustrate this point, we need to talk about Call of Duty (CoD). Call of Duty is, by any metric you care to use, [one of the largest video game franchises ever](https://en.wikipedia.org/wiki/List%5Fof%5Fbest-selling%5Fvideo%5Fgame%5Ffranchises). The games have set records several times for how quickly they sold, and they've been in the top two in total games sold every year for ages. Newzoo, in its yearly report, even puts it into its own bespoke category alongside premium and free-to-play. That makes sense when you consider CoD games are responsible for around 10% of all playtime worldwide. Except, that is, for this year. This year, it declined. Why is this? It could be the series itself – CoD has had a few weak entries and some controversy in recent years. But you could also chalk it up to the eroding importance of consoles, where CoD is dominant. It could speak to the broader decline in first-person shooters, which are less popular among younger players. And it could have to do with AAA stalwarts losing ground against similarly large but less conventional companies. It could be all of these things and a hundred more. Such is the mystery of life. The fact is that the overall media landscape has been in an unprecedented state of flux for the last few years. It's like we're watching the laws of physics get rewritten in real time. Things we know for sure are no longer true, and staggeringly unlikely things happen every day. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-18.png) GTA VI. Source: Rockstar. I've been trying to get this edition of State of Indie out early because I'm racing against an apocalyptic event. Grand Theft Auto VI has a release date, and very shortly a lot of people are going to quit pretending they care about the indies. The notion that GTA6 will be a massive hit is the safest bet in video games right now. Commentators love contrarian takes, but no one is taking the opposite side here, nor will I. Of course GTA6 is going to be huge. Preorders alone are the only thing driving console growth at this point. It even indirectly bumped views on Netflix after they released new footage. The long-term effects? That's where the crystal ball gets fuzzier. GTA6 will be console-only for a while, at a time when component shortages are really slowing down hardware adoption. Will the game speed up adoption, or will low adoption limit the game's growth? Given that PC is now the dominant youth platform, might this deepen the rift between generations? And with the live service world turning into a zero-sum game, what happens to some of these other massive forever games? The way things are going, I wouldn't be shocked if GTA6 sells a zillion copies but still ends up being played half as much as Roblox. And that's in the comparatively predictable AAA sector. We are cycling through trends in the indie space so fast that there's no telling what people will want a year from now. Hype-heavy games routinely flop. Games that flopped years ago suddenly come back with a vengeance. Winning niches get clogged up with cheap clones so fast that they flip to losers overnight. The current scene is chaos, and things like new hardware adoption and demographic trends matter less than whatever weird little game is the latest to hit meme status. There's no telling what's to come, so let's just watch the anarchy and revel in it. See you on the horizon. ### Shin Megami Tensei Strange Journey: True Punishment of Mass Sin URL: https://www.superjumpmagazine.com/shin-megami-tensei-strange-journey-true-punishment-of-mass-sin/ Last updated: 2026-10-13T14:09:17.000Z **Video games seem the unlikeliest place to find intellectual commentary about humanity's strain on both the environment and itself.** But no matter what it seems, nuanced video game stories and experiences that ask moral and philosophical questions to harden their audience's values are released to wider reception every year. Any piece of art that wants broad success while challenging its audience's thoughts will ask the hard questions but never give a “true” solution. The thought experiment is for you to ponder for months and years until you decide what you truly believe, and suddenly a moral quandary in a video game has permanently forced you to gain a personal value. Real growth from art designed to make you uncomfortable might be one of the most rewarding artistic achievements, even more so from the intimately interactive medium of video games. No JRPG I've ever played has said as much in as few words as Shin Megami Tensei Strange Journey. A strange phenomenon called the Schwarzwelt has begun to encapsulate the southern pole, growing north. As a team of soldiers and scientists from around the world, you enter the strange area, confronted by twisted reflections of humanity seeking to wipe humans off the face of the Earth. You learn quickly that the Schwarzwelt is a natural phenomenon: Earth attacking humans with demons, just as a body sends white blood cells to attack a virus. The sins of man have resulted in our trial, and you as the player are to be the judge. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5257-1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5260.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5262.jpg) First steps. Source: Author. ## The Game With an intriguing setup like that, we are off to explore the Schwarzwelt and either fight or befriend its denizens. About 90% of your time in this game will be dungeon crawling, and I have to admit that the actual game here won’t be for everybody. Even if the story sounds like something that you would love to sink your teeth into, I wouldn’t recommend diving into Strange Journey unless you have a predisposition for methodical hobbies with long-term goal-setting and steady progress. Much of my time felt akin to solving a large jigsaw puzzle: When you first reach a floor, there is no map, and you have no idea what challenging enemies lie in wait. But after many hours of exploration and demon fusion, you will feel like the master of the labyrinth. There are two versions of the game: one on the Nintendo DS and another re-release on the Nintendo 3DS called Redux. I played the Redux version, and the differences between the versions heavily affected my experience with the dungeon. On one hand, I despise the Womb of Grief dungeon added in the Redux version. Tackling it will take you just as long as playing the entire normal game; it is needlessly long and lacks the combat progression you feel when traveling through the main areas. On the other hand, the Redux version has tools that allowed me to play through the entire game without using a guide or taking notes, which is almost mandatory with the original. I would recommend playing the newest Redux version while ignoring the Womb of Grief entirely, though the completionist in me cringes at the thought. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5407.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5286.jpg) The nightmare of the Womb of Grief pain floor maze. Source: Author. Maze and combat progression kept me playing the game for more than 75 hours, and the mix of long- and short-term planning had me excited to fuse demons at every level-up. Grinding felt rewarding, pacing back and forth in a hallway thinking that after a few more fights I could get the next mythological god to aid in my next battle. These bosses are no pushovers either; you will likely need to fuse at least one new demon at the boss doors of every area to exploit weaknesses or bolster defenses. The greatest motivator is opening your demon fusion program to see exactly what’s in store for you over the next 10 levels. This was before reverse compendium fusion, though, so be prepared to write down your most anticipated demon goals so that you don’t accidentally fuse away the one demon you need for the next level. I dislike the alignment system in this game; it’s less restrictive than the first Shin Megami Tensei game, but to fully exploit the co-op attacks you will have to specialize as much as you can. When I chose the chaos route, I felt like I had chosen one of two versions of a Pokémon game, except all the Pokémon were exclusive to one version or the other. Many people online say to use whichever demons work for the moment without caring so much about the co-op attack bonus. But I found that the extra damage really helped in taking out some of the more difficult bosses, so I ignored that advice; perhaps this was my mistake. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5264.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5441.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5606.jpg) HEE-HO! Combats the name of the game, ho! Source: Author. ## The Story Dungeon crawling is 90% of the game, but the other 10% delivers a story that's one of the game's strongest assets. Through the story, you will eventually choose to align with one of three characters to enact their visions of the new world. If you want to keep with the original mission from the beginning of the game, you have to be neutral when finally confronted by the Ubergestalt. The other two choices are more radical changes to the world brought on by either the angel Mastema or the mother of all demons, Mem Aleph. To choose either of these two extreme options would be to damn humanity to higher powers, so clearly the neutral path to preserve humanity would clearly be the good ending. Except they wouldn’t make it so easy for you. Strange Journey opens on a world on the brink of collapse even without the threat of the Schwarzwelt. Humans do despicable things to both each other and the environmental destruction headlines every news clipping. The world is burning, and you are sent to save the husk of humanity from across the globe. In the Schwarzwelt, the demons only mimic the worst parts of the human race. Torturing each other, stockpiling resources in excess, dumping waste recklessly, and bringing war to each other's homes. Anybody empathetic to the plights of the earth that plays this game would have to put on large blinders to avoid the real villain in this world. So you have three choices; what will you do? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5256-1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5390.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5308.jpg) Which means are deserving of these violent ends? Source: Author. First, to address the Redux additions. The 3DS re-release adds what are generally happier endings to the game's narrative. I think they are great additions for anybody disappointed with the original endings, but they sorely miss Strange Journey's tone. I don’t think they have real bearing on the philosophical conversation of the game's themes and characters, so for the sake of this essay we are going to omit them, though I wanted to acknowledge their existence. Mastema offers the player assistance at various junctions of the game. Claiming to be an ally to the humans, he teaches your crewmate Zelenin to use God’s song to pacify her enemies rather than having to slay them. It is the duty of the strong to protect and guide the weak; this is the way of absolute order. Only with humanity's complete subjugation to God’s will can they repent for the damage that they’ve done. We lose our free will, but we get to live for a better world built under a divine design. He offers a new world under God where everyone has a place and can find happiness in serving a higher cause. Your other crewmate Jimenez quickly takes to using the demon-summoning program and forms bonds with his demon partners. If you follow him down this path, you can help Mem Aleph spread demons across the earth and send humanity back into a tribal era where the strong are free to take what they want; this is chaos. If you help her plans come to fruition, every person will have the opportunity to be whoever they want as long as they work hard enough to attain their goals. It’s a world of slaughter and bloodshed, but also one of absolute freedom. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5506-1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5567-1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/IMG_5604.jpg) ONE MORE GOD REJECTED. Source: Author. The original version of Strange Journey has no happy endings, and just like Cyberpunk 2077, there is something poetic in the cyclical misery of the people in this world. It cements the theme that humans have created problems so vast and made mistakes with consequences so vile that every course correction shatters the world that we currently live in. This is a classic choice in the broader Shin Megami Tensei series, with Persona being the series that most famously takes a positive outlook on humanity's future. Being forced into these dire futures allows the player to look within and choose the lesser evil. If there were a happy ending choice, we would be robbed of that hard decision and unable to look within ourselves and ask what we truly believe is right and wrong. This is the real magic of Shin Megami Tensei Strange Journey: putting its players in an impossible situation and giving them 80 hours to really think if humanity deserves a second chance. This game was my comfort food all summer; I solved its mazes as I would a thick book of crossword puzzles while my girlfriend watched TV next to me. As tedious and drawn out as the game can be, it is also thoughtful in theme and exercises the mind with its great maze design. Not everyone will give this game a shot, but those who do will find something horrifying and calming, methodical and exciting. I appreciated my time with Strange Journey; it has made me crave more first-person dungeon crawlers and broadened the range of RPGs I’m willing to try. They’ve made something really special here, and I hope that Atlus funds more dungeon crawling in the modern age. ### Now Playing at SUPERJUMP, Issue 44 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-44/ Last updated: 2026-10-11T19:37:36.000Z **We're back with a brand-new Now Playing!** Our team is back with the now-standard eclectic compilation of titles, from massive classic hits to revered games made anew with mods. No matter what we're playing, we want to share it with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ## James Burns (SUPERJUMP Editor-in-Chief) ### [**Shadow of the Colossus** ](https://store.playstation.com/en-us/product/UP9000-CUSA08034%5F00-SOTC0000000000US) I finally *get* Shadow of the Colossus (SotC). If you know me well, that statement might surprise you. SotC is obviously a classic, and it contains so many of the ingredients I adore in video games. Over the years, I tried it a couple of times and bounced off it, mostly because I found - and still find - the camera movement highly aggravating. But recently, I decided to just push through that and keep playing. I'm so glad I did. When did the 'aha' moment arrive? I'm not entirely sure; possibly somewhere between the fourth and fifth colossus, which feels like the point where the initial conceit (each colossus being a clever traversal *and* combat puzzle) starts morphing from a sheet of paper to an ever-elaborating origami. The first three colossi are similar enough to obscure the surprise and delight players must feel when the core concept shifts from merely *cool* to *high art*. Nothing I'm saying here is new, of course. But if you have heard a ton about this game and haven't played it yourself, I highly recommend jumping in. It's never too late. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-6.png) Cave Story+. Source: Steam. ## Alexander Joy ### [**Cave Story+**](https://store.steampowered.com/app/200900/Cave%5FStory/) This super-deluxe reissue of the formative indie classic [Cave Story](https://www.cavestory.one/) conjures complicated feelings in the year 2026\. Namely, it’s still a terrific game over a decade later, but has become unbearably sad in its way; the hopeful industry future we all thought it presaged has since been decisively thwarted. The original Cave Story was not only a hell of a game, but a hell of a tale in itself. Released in that fleeting period before the Cambrian explosion of indie games (when sites like Steam and Itch saw maybe 30 new items each month, rather than the 3,000+ they do today), Cave Story represented a massive shift in what was possible within gaming. Here was a freeware adventure that could rival anything on the SNES, or even the GBA. It boasts memorable characters, tight gameplay, terrific level design, and a ripping soundtrack – and somehow it was all the work of a single person, [Daisuke “Pixel” Amaya](https://studiopixel.sakura.ne.jp/), over five attentive years. For one beautiful moment, it seemed as if the future of the games industry lay with the solo dev auteur; that love and creativity were enough to garner recognition, and that a new way of doing business was possible. But the future refused to change. The game publishing landscape now looks less like a garden where a thousand flowers bloom than a wasteland hungry for nutrients. Indie devs are largely stuck working day jobs in other fields or soliciting donations on social media. Industry vets pine for positions that no longer exist following wave after wave of corporate layoffs. Even Amaya never quite attained the independence he deserved, needing a publisher like Nicalis to distribute his games through Steam and Nintendo so he could start making money. I can’t imagine this arrangement pays much, since Cave Story+ cost me all of $1.19 USD on sale. Be sure to buy [Kero Blaster](https://store.steampowered.com/app/292500/Kero%5FBlaster/) if you want Amaya to see any real earnings. Cave Story+ thus plays like a time capsule for an era that never came to be. It’s wonderful, but, through no fault of its own, aches with what could have been. We all deserved better. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-7.png) Grand Theft Auto III. Source: Steam. ## Jahanzeb Khan ### [Grand Theft Auto III ](https://store.steampowered.com/app/1546970/Grand%5FTheft%5FAuto%5FIII%5F%5FThe%5FDefinitive%5FEdition/) All this hype surrounding Grand Theft Auto VI has only made me want to revisit the 2001 classic even more. It's a game I immediately reconnected with, and I'm having difficulty pulling myself away. A true gaming classic always holds up despite its vintage graphics and systems. Throughout the history of video games, there have been a few right-place, right-time moments for some developers, and Grand Theft Auto III on PS2 was no doubt one of them. Although the series had built up a reasonable fanbase prior to GTA3's release, having the open-world crime simulator in full 3D for the first time felt like a revelation. Games like Driver on the original PlayStation were fun but clearly limited in what they could offer. Thus, Grand Theft Auto III offered the first true urban sandbox for players to do as they pleased, even controlling the pace of the adventure. Simply cruising along the streets of Liberty City while listening to the radio (Lips106 is a personal favourite) is catharsis in and of itself, and that's what has always stayed with me from the experience after all these years. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-8.png) Grand Theft Auto III. Source: Steam. The game holds up because everything about it is intentional, as even the empty spaces on the map serve a purpose. The world design is tight and polished, and it provides a city that, by the time the credits roll, feels like home no matter how much time goes by. I'm revisiting the game in 2026 with absolutely no intention of committing the funds and hard drive space required for the bloated sixth installment. The third game in this once-pure franchise is still instant gaming gratification, and I will always enjoy losing myself in its cartoonish crime world. ## Priya Sridhar ### [Drop the Cat ](https://play.google.com/store/apps/details?id=com.cat.hole.puzzle.aos&hl=en%5FUS) Full disclosure: I’m playing Drop the Cat as part of a Swagbucks challenge. The game is pretty simple: moving around blocks and matching them to color-coded kitties. Mini challenges also exist, including matching colored fish to sushi plates and assembling jigsaw puzzles. I saw the game advertised but had to play to be impressed since the ad used 3D cat animations that don't match the 2D graphics. The game itself is decent and fair; my only pet peeve is how the ads sometimes play at full volume through your phone, even when you’re not wearing AirPods or compatible headphones. Besides that, though, I’m having fun while sorting cats. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-9.png) Big Walk. Source: Steam. ## Rachel Alm ### [Big Walk ](https://store.steampowered.com/app/1478500/Big%5FWalk/) I've been playing Big Walk with friends pretty much since release day. It is one of my favorite games so far this year. There is so much thought put into the structure of the game's puzzles and the collaborative nature, and there are times when we just sit on the shore and chat. Big Walk's encouragement of slow progress and easy introduction means people who don't often play games can hop on board with relative ease. I have recommended this game to friends who haven't played a game in years! Big Walk resonates very strongly with me, and the reason I've been spreading the good word is that I think it captures so beautifully what I love about the "withfriends" genre of gaming (friendslop, I think, does the title a disservice with the insinuation of it being 'slop'). I've played Peak, FFXIV, and BG3 with friends – all of whom I knew first IRL – but all of those games helped us foster new memories whether we're hundreds of miles apart or down the street. I think gaming, and especially a game as special and kind as this one, lends itself well to socialization and can be helpful to those who might be lonely after a big move, or who have many long-distance or online friends. Miles dictate distance, but they don't have to dictate closeness. I love my friends near and far, and Big Walk helps us chat with the casualness of a hang, just like we used to do when we were all gathered around tables with tarot spreads between us. Hearing us all laugh over mic together is *everything* on some nights, and Big Walk is a beautiful world for us to gather in, explore, and puzzle out. When we meet in person again, Big Walk becomes a unifying memory and a place where the miles between don't feel quite so terribly insurmountable anymore. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-10.png) The Legend of Zelda: Twilight Princess. Source: Author. ## Nathaniel Kelly ### The Legend of Zelda: Twilight Princess (Dusklight ARM Recomp) I spent the month checking out the first few hours of Twilight Princess recompiled for Android on the Retroid Pocket Nova, and it was an incredible way to play an old favorite. Using the Dusklight app, the game runs at 60fps with an upscaled resolution, so on the Nova hardware it looked like a brand new game. One thing that I’ve always admired about Twilight Princess is its art direction, which pulled more towards the series' often darker side. Muted tones, where the light reflects almost hauntingly off of every surface, give the game an ambiance akin to Shadow of the Colossus, a similar -ish game. Actually, while I was playing through this, a 2.0 version of Dusklight was released that added in-app support for a full randomizer, a mod manager, and a speedrunning mode. This project has become really ambitious and sets a high bar for other recompilations (not that they compete; they are all lovingly crafted by fans and distributed for free). If we could get these features but for OpenGOAL Jak & Daxter, you wouldn’t be able to separate me from my Nova. As good as Twilight Princess is, I’ve been pulled back into the dungeon crawlers of my 3DS for now, so I’ve put this back on the shelf. My time with the first impressive hours would lead me to easily recommend this to anyone with a PC or Android handheld who wants to revisit some fond memories of this game. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into! ### Hands-On Preview: Nintendo Switch Sports Resort URL: https://www.superjumpmagazine.com/hands-on-preview-nintendo-switch-sports-resort/ Last updated: 2026-10-08T11:44:27.000Z **Summer is right around the corner for those of us living in the southern hemisphere.** Here in Australia, summertime is all about beach and barbecue. If you're in the northern hemisphere, summer is now fading into memory as the daylight recedes. And while winter is full of delights, if you're anything like me, you may reach a point where you begin to crave a tropical getaway. Fortunately, you'll soon be able to travel to the *ultimate* resort destination whenever your heart desires: the iconic Wuhu Island. I recently spent a good few hours playing the upcoming Nintendo Switch Sports Resort with [Elliot Burns](https://www.superjumpmagazine.com/author/elliot/) at Nintendo Australia HQ. While not all activities were available for preview, we got a good sense of what this Switch 2 exclusive will offer. If you've never played a Switch Sports game before, the main thing to know is that this series is essentially a continuation of the original Wii Sports games, which were a massive phenomenon in their own right. The magic at the heart of these experiences is that the learning curve is almost non-existent, largely because interaction is movement-based and each sport closely mirrors its real-world counterpart. So, if you know how to roll a bowling ball or swing a tennis racquet, then you pretty much have all the skills you need to jump right into the Wii/Switch Sports equivalent. This is one of the reasons Wii Sports in particular holds a special place in my heart: I could hand a Wii Remote to anyone in my family - gamer or non-gamer - and we could immediately dive into a match without prior game experience being a barrier to the fun. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/NintendoSwitch2_NintendoSwitchSportsResort_Screenshot_01.png) It's all about fun in the sun at Wuhu Island. Source: Press Kit. I must admit that, while I own Switch Sports, I didn't spend a great deal of time with it. It might be because some combination of the locale (Spocco Square) and the initial sports and modes on offer felt a little *anonymous*, for lack of a better word. It lacked personality. Switch Sports Resort has a different focus, too: while there are plenty of competitive modes here, there's also a far greater emphasis on *exploration*, *relaxation*, and simply enjoying Wuhu Island itself. Combining these different forms of pacing imbues the game with a richer texture that I find more appealing. Besides all that, I'm a big sucker for the beach, tropical islands, and long summer days with friends: so there's a *vibe* thing here that really works for me too. ## Let's go on a holiday Who doesn't love holidays/vacations? What better way to relax than to adventure around a tropical island with friends and family? Switch Sports Resort leans into this concept in ways that allow you to go at your own pace while also introducing some light competitive fun to add a bit of structure. **Prop Plane** is actually the mode I was initially most excited about. If you played Island Flyover in Wii Sports Resort, you'll already have a strong idea of what this is all about. And if you're an old-school gamer like me, you'll fondly remember the Birdman mode way back in Pilotwings 64 (and the absolutely fantastic Free Flight in Pilotwings Resort on 3DS, which was also set on Wuhu Island). Prop Plane promises to be the ultimate incarnation of zen-like free flight both because Wuhu Island itself has never looked so good and because the Joy-Con 2 controllers offer unparalleled accuracy when it comes to motion control. Flying the prop plane couldn't be simpler: you hold the Joy-Con as you'd hold a real paper plane. As you pitch and yaw with your hand, the plane obediently mirrors your every movement. The speed and sharpness of response feels lovely: like cutting through butter with a hot knife. And it means that, as you gain a little experience, you'll be pulling off more and more ambitious stunts (like flying under low bridges or rising high into the sky and diving sharply to grab an item). The cool wrinkle to this mode is that it isn't *just* aimless flying (although it can be that if you want). Nintendo adds a layer of challenge by littering balloons throughout Wuhu Island, some of which are located in deviously tricky places that will require you to muster your best piloting skills. If you're playing with a friend, you can both collect balloons and you'll both contribute to the overall score, making this a fundamentally cooperative mode. What's cool, though, is that the game still tracks each player's individual contribution: so there's a bit of friendly rivalry here if you're looking for that. Blending cooperation and competition in this way is both clever and satisfying. I can see it being a great mode for parents and children to play together. POWER CRUISING WUHU ISLAND 2026 I also have to talk about **Power Cruising**, which involves skipping across the waves on your own jet ski. Here, you'll hold both Joy-Con horizontally to replicate handlebars. You'll steer just as you would with a real jet ski, and you can twist the Joy-Con to accelerate. Transitioning from the sky to the water's surface gives you a tangible sense of just how massive Wuhu Island really is. And from this perspective, you'll notice many more interesting nooks and crannies to explore around the coastline. I'd be remiss not to mention the fact that Power Cruising also feels incredibly satisfying: the accuracy of the controllers combined with the HD Rumble immediately made me wonder what a motion-based Wave Race might feel like on Switch 2\. C'mon, Nintendo: please make it happen! As with Prop Plane, Nintendo adds mildly competitive elements (in this case, you're passing through rings rather than popping balloons). You can partake in this if you want, or you can simply cruise around the island with friends and enjoy the scenery. SKATEBOARDING WUHU ISLAND 2026 There's an *entirely new* mode in Switch Sports Resort that doesn't have any predecessor: **Skateboarding**. It's a fascinating activity because it relies on Switch 2's mouse controls. This might sound strange at first - and, of all the modes I played, Skateboarding took me the longest to learn - but in practice it works well. You're holding the Joy-Con flat against a surface and, just like a real skateboard, you can shift your weight from side-to-side to steer or you can flick upwards to jump. You'll quickly discover that it's also possible to perform mid-air tricks and grind on rails too. Skateboarding presents yet another way to traverse Wuhu Island, and it's likely the mode that will give you the most appreciation for just how populated and busy the island actually is (you'll encounter people walking around, playing games, and much more). These three modes really highlight the *resort* aspect of the game; they are exploration-focused, they are largely cooperative and social in nature, but they also contain light competitive elements that introduce just enough structure and friction if you're looking for something more goal-oriented. Although I didn't play Switch Sports Resort using GameChat, I can imagine this being a great way to experience Wuhu Island as a digital third space with friends. ## Fun in the sun Relaxation is great, but maybe you're getting restless and you're looking for something a little spicier. ARCHERY WUHU ISLAND 2026 **Archery** is a great place to start and it was probably my favourite competitive sport in the demo we played. This mode debuted in Wii Sports Resort, effectively showcasing the Wii MotionPlus accessory at the time. Back then, it required use of the Wii Remote and Nunchuk (you'd aim by holding out the Wii Remote vertically as if it were the bow frame, and pull the Nunchuk back towards your chest to draw the string). Archery didn't make it into Switch Sports (which focused on court/field sports), and so, its return on Switch Sports Resort is most welcome. It's a slower-tempo activity that rewards accuracy and precision. As you might expect, it benefits from the more advanced Joy-Con 2 controllers by offering a high degree of 1:1 control. During the demo, we started with basic static targets, but the pressure quickly ramped up with moving targets that split into colour-coded quadrants; we had to get as close to the bullseye as possible while staying within each of our designated quadrants. The combination of a moving target *and* changing wind speed and direction increased the challenge further. I thoroughly enjoyed Archery and I'm delighted to see it return. BOXING WUHU ISLAND 2026 **Boxing** is one of those early Wii Sports modes that sounds like a perfect fit for motion controls on paper, but I bounced off it pretty quickly because, at least for me, it soon became an aimless arm-flailing competition. I remember feeling that the Wii Remote and Nunchuk just weren't accurate enough to capture the real nuance of boxing, and so, matches always devolved into *how fast you could punch* rather than your actual boxing skill. Fortunately, Switch Sports Resort brings us the best version of motion control boxing thanks to its much more precise 1:1 punch tracking. I also noticed that dodging - which felt floaty, jittery, and sometimes outright unresponsive on the Wii - seems far more reliable (and fast!) on the Switch 2\. The result is that Boxing is no longer about arm-flailing; in fact, approaching it this way could result in a quick loss if you aren't careful. I played against the CPU and while the early opponents were easily dispatched, later opponents varied their attack and defence movements and responded swiftly and effectively to me. I can see Boxing between two skilled human opponents feeling more like a nuanced dance than a mere party game. THUMB WRESTLING WUHU ISLAND 2026 If Boxing isn't hardcore enough for you, what about **Thumb Wrestling**? Yeah, *now we're talking!* This is another brand new addition to the series and, honestly, it's one of the weirdest and most hilarious things I've ever seen. Trust Nintendo to figure out how to turn thumb wrestling into a video game; it's no trivial task. As you might imagine, the camera closes in on the participants' hands (and their laughably oversized thumbs) so that you get a good view of the action. What might surprise you here is that there's actually quite a bit of strategy involved in out-thumbing your opponent. You'll win points by 'slamming' the enemy thumb down, which is more nuanced than it sounds. Both players have a power meter that can be charged, building up force for a powerful slam attack (this also causes your thumb to rapidly grow...it's quite the spectacle 👍). However, you become vulnerable when charging, so timing becomes critical. This mode is all about baiting and countering, and so, you'll need to learn how to feign charges and bait your opponent into overextending so that you can turn the tables. TABLE TENNIS WUHU ISLAND 2026 Speaking of tables, how about some **Table Tennis**? Okay, sorry, that was on the nose *even for me*. This mode was as fun to watch as it was to play (although I could definitely watch hours of competitive Thumb Wrestling). As with the other modes, Table Tennis makes the most of far sharper 1:1 motion tracking and HD Rumble. This translates to very small changes in hand/wrist angle and hand speed being recognised and reflected in the game in real-time, resulting in more precise drop shots, topspins, or slices. BOWLING WUHU ISLAND 2026 The last mode we played was the classic **Bowling**. I can't think of a better way to wrap up the demo: this is perhaps the most well-known Wii/Switch Sports game and it's always been a crowd-pleaser across every iteration. The vastly improved sensors in the Joy-Con 2 controllers make Bowling a far more realistic experience here. Switch Sports Resort captures fine movements (like wrist angle and hand speed) much more accurately than ever before. And now, timed button presses aren't required to release the ball: your release point and trajectory are dynamically determined based on your actual arm swing. All of this means that even the smallest modifications to your swing (and even your standing position, I noticed) can subtly impact your game. ## Onward to Wuhu Island I came away from our lengthy demo experience pretty excited about Nintendo Switch Sports Resort. It's shooting for a path that balances exploration, relaxation, and fierce-but-friendly competition. Advancements in hardware technology, thanks to the Switch 2 and its controllers, mean that you'll be playing sports and activities that match your body's own movement more closely than ever before. Oh, and if you're keen for a return to Wuhu Island itself, this is definitely the most well-realised iteration we've ever seen. There's not long to wait to check it out yourself, either: Nintendo Switch Sports Resort launches on October 22nd, 2026. ### PAX West 2026: Hands-On with the Genki Manta URL: https://www.superjumpmagazine.com/pax-west-2026-hands-on-with-the-genki-manta/ Last updated: 2026-10-10T00:26:30.000Z **I wasn't really sure what to think about the Genki Manta when I first saw it grace my inbox: an opportunity to check it out on the show floor of PAX West 2026.** My initial impression was that of an Xbox Series controller with a connected Xbox Chatpad, except where the keyboard buttons would be, there was a small rectangular screen instead. Not aesthetically displeasing by any means, but a little bit bulky and ergonomically questionable. Looking deeper into the Genki Manta revealed an extremely sophisticated piece of hardware. That screen was for a lot more than displaying battery levels, and my curiosity (and skepticism) was piqued to see how Genki could deliver on the promises in their extremely successful Kickstarter. At PAX West 2026, I got my hands on a prototype version of what the Manta will become, and needless to say, impressing is an understatement. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-3.png) Source: [KickStarter](https://www.kickstarter.com/projects/humanthings/manta?ref=5xl0zj&gad%5Fsource=1&gad%5Fcampaignid=24181769261&gbraid=0AAAAACNyLY6ip6dY65pVZpLqERAdLyTr-&gclid=Cj0KCQjwz4LWBhCMARIsAFEG5MqzaMTD%5FpSljOCAA28S1e2%5FfsjQo4zuR4gK3AkZbjRYQgOSWTZGD6EaAt4PEALw%5FwcB). First and foremost, I will say this - the Manta doesn't photograph particularly well, but it sure feels great. The second I got the prototype in my hands, all my concerns about the bulk, heft, and ergonomic awkwardness were immediately forgotten. The Manta is extremely comfortable, with an Xbox Gamepad setup, contoured grips, and a whole lot of paddles and triggers. There are six triggers in total (allowing a few extra key mappings to the shoulder buttons), two removable flappy paddles, and two extra back buttons. None of these felt out of place or inoperable, and I found the Genki Manta damn comfortable to hold. Everything on the controller is customizable, from the analogue face buttons to the joystick sensitivity, which I found particularly fun to experiment with. If you twist the joystick (with more force than can be produced by playing) either left or right, you tighten/loosen the sensitivity of the stick itself, allowing you to dial in the controller's feel exactly how you want it. Despite only being a prototype, it had a very solid build quality and felt like it would last through some intense sessions. Then the engineer we were talking to showed us what the screen can do, and *oh my goodness.* I think we would have had a shorter conversation listing off what the screen couldn't do. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-4.png) Source: KickStarter. Now, before I get into this, I may not convey exactly every detail of what the Manta is capable of. Admittedly, while I have a PS5 Pro controller and do adjust my dead zones and trigger sensitivities, this type of nth-degree customization is a little above my pay grade. I'm going to do my best to present the information as accurately as possible, but the sheer volume of customization and optimization options the Genki Manta offers you is frankly unparalleled. The one thing that the Manta crew reiterated to me multiple times throughout our interview was this: transparency. The screen in the center of the controller will be the central hub from which all customization options flow. First, you will command 12 separate controller profiles, with each profile allowing each control setup to be completely differentiated from the rest. Each of those 12 setups will allow you to completely control the dead zones, including a handy circular graph along with the S-curve to actually *show* what the dead zone change is doing, which helps me out tremendously. Second, the hub also handles the sensitivity of the analogue buttons, including (but not limited to) button depth and general layout; full layout customization, including the multiple back paddles, buttons, and extra triggers; rumble customization with rumble features more in depth than even what Switch 2's HD rumble offers; and it even allows you to personalize how charged the bits are, which I am sure will mean something to someone but is honestly where my nerdy knowledge started to get stretched a little thin. The screen shows you everything you're doing, every metric of change, and exactly how that change is being realized on the controller itself. Additionally, the screen will eventually have full keyboard support, so you can type using a letter wheel and use the controller's gyro support like a mouse (similar to PS5's DualSense controller). Is that not enough? Well, they're also potentially working with the people from OBS to integrate OBS control into the gamepad itself, minimizing the need for a multi-monitor setup for game streaming. If it pertains to video games, the Genki Manta seems to already have it or is planning one in the future. It truly is mind-boggling. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-5.png) Source: KickStarter. We did have one issue with the Manta during our time on the show floor. I was lucky enough to be accompanied by my partner this year, and when she held the Manta, she had the same complaint she has had for every controller that isn't a Joy-Con: for her, it was just too damn big. The buttons were in a difficult place for her to reach, and the triggers and paddles were all in the wrong place for her fingers to reach. My partner does have petite hands, but this is a problem I hear from a lot of the smaller people in my life, which tends to skew toward women who also want to enjoy games. It's safe to assume that many of these controllers are only tested with men in mind, and it is a bigger problem in the industry than just what the Genki Manta represents. It's unclear if the crew engineering the Manta has considered this, or if additional sizes of the controller will be available, but if you have smaller hands, it's something to think about before sinking your hard-earned money into the Manta. The goal of the Genki Manta is clear - be an all-in-one, self-sustained controller for those of us who want access to ultimate customization in our gaming experiences. It also aims to cater to those of us who just want a solid piece of hardware we can rely on (assuming you can hold the thing). With a 9-11 hour battery life and a price tag of $199, similar to any other pro controller, the Genki Manta seems like a no-brainer for those in the market for a peripheral like this. The Manta's wildly successful Kickstarter shows that I'm not alone in that opinion, and I am extremely excited to see how the controller holds up when it releases early next year. ### A Thousand Faces, A Thousand Logs URL: https://www.superjumpmagazine.com/a-thousand-logs-a-thousand-faces/ Last updated: 2026-10-07T21:41:27.000Z ## Prologue: The Girl Who Was Made of Logs **I am sitting in a dark room before a CRT television, enveloped in faint static. I ask myself what, exactly, I'm doing here.** The warm glow of the screen emits a complex image from Serial Experiments Lain, released in 1998\. It's filled with faded and unsettling files, fragments of someone's murmurs, clinical audio logs, and images that seem to intersect without context. There's no exhilaration from fast-moving objects and there are no enemies to shoot for instant gratification. Very little is demanded of my fingers. Instead, I scroll. I play back. I pick my way through the remnants of information scattered across the screen, searching for connections between the fragments. While my fingers have barely moved, a region of my brain has begun heating up; slow fatigue settles in accompanied by a peculiar sense that I've *done something real*. Was I simply a passive spectator, receiving information poured forth from the fuzzy CRT? Or, as I wandered through that sea of fragmented information - questioning its contradictions, searching for connections, and struggling to piece it all together - was there actually a two-way dialogue taking place? Is *moving my body* the only form of interactivity I can experience with digital entertainment? What if the world can shake us with an unsettling question from the other side of the screen, forcing us to redraw the boundaries of our own understanding? We receive information from the world. We interpret it. We doubt it. And then we return to search again. Can we really not call that experience "interactive": the feeling of a world entering into us? We are entering an age where technology is beginning to anticipate human thought; where *unlimited convenience* means *absence of friction*. Standing at the threshold of this age, I contemplate the very meaning of interactivity. What makes an experience interactive? ## Chapter 1: The Hero with a Thousand Faces I slide the Super Mario Bros. cartridge into the NES, pick up the controller, press Start, and push right on the D-Pad. The small on-screen figure in red begins to run, responding directly to the movement of my finger. This is Mario. Who is Mario? We tend to think of characters in games as either hollow puppets we manipulate or independent people who we direct as a kind of digital partner. Mario does not fit neatly into either category. His simple silhouette. His lack of dialogue. His stylised movements. The clear physical response he gives to every input from the player. Taken together, these qualities establish a kind of space into which I can project my intentions. Mario is therefore neither a hollow puppet nor an independent collaborator: for the minutes (or hours) of time I spend with him, I am *borrowing his body*. We press a button. Mario runs. He jumps, breaks blocks, flies through the air, lands under the pull of gravity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/super-mario-bros_0-1.png) Mario's movement is a direct extension of our own. Source: Screen Rant. The physical movements of my hands are transmitted through the controller prompting changes on the screen leading to further physical responses. I act upon the world - **push** \- and the world responds - **pull**. If I don't move Mario, he doesn't simply decide to run on his own. And if I hesitate just before a jump, he'll fall into a pit. The digital world waits for my intervention. And when I intervene, that world returns a result according to its internal rules. In biology, the term *bilateral symmetry* means: *A body plan where an organism can be divided into matching left and right *mirror-image halves* along a single central plane.* My relationship with Mario and his Mushroom Kingdom is also a form of bilateral symmetry. It represents a stunningly simple, yet remarkably powerful, dialogue between the video game and the human being playing it. This is a moment where I experience, in a very physical sense, the philosophy I once described as "[It's You](https://www.superjumpmagazine.com/the-100-yen-democracy-part-ii-the-hero-with-a-thousand-faces/)". The title of this chapter - and this essay - references the idea of "A Thousand Faces". But this doesn't mean that Mario himself has a thousand different personalities; quite the opposite, in fact. There is a body called Mario: solid and distinct enough to traverse his digital kingdom, yet open enough to welcome the intentions of millions of players worldwide who project their intentions onto him. Mario is the other side of the mirror; the hero we "wear", the inviting reflection who subtly changes for every single human subject connected to him through a controller. Action, response. Response, action. This is the endless cycle of interactivity that so many of us learned by growing up with video games. ? The world is waiting. Press to Jump Inputs: **0** InputResponseInterpretationNew Input ## Chapter 2: Embodied Feedback Pressing a button and having an interactive experience might seem similar, but they're fundamentally different. When we press a button on a controller, the satisfaction we feel does not come from the fact that the plastic button itself has sunk beneath our finger. Nor does it come solely from seeing pixels rendered in 4K. At the heart of what we experience is something more like this cycle: **Input → Response → Interpretation → New Input** We press a button and the on-screen character jumps. We perceive the way the character lands, the distance between our digital avatar and an enemy, and the many changes taking place on screen through sight, sound, and touch. We interpret these patterns continuously and almost instantaneously. "Should I have jumped a little earlier?" "Next time, I should move forward sooner to avoid that enemy." The way we interpret the game's response and the judgments we make based on said interpretation feed into the next input. Over time, this cycle becomes something far greater than a simple operation/reaction loop: something far more profound emerges. *A dialogue emerges.* Throughout this story, I will name this cycle of response mediated through the body as **embodied feedback**. What matters here is that neither the *amount of information* nor the *resolution level* guarantee, in and of themselves, the density of this dialogue. Even a world rendered in photorealistic detail can fail to achieve a flowing dialogue with the player (if, for example, the player's actions merely advance completely predetermined sequences, leaving little room to read the consequences of an input and construct the next action). By contrast, a game as simple as Super Mario Bros. - even with its low-fidelity graphics by today's standards - asked us to read the consequences of even the tiniest differences in our inputs. Super Mario Bros. establishes a rich and dynamic dialogue with players for this reason; it doesn't require the latest cutting-edge graphics technology to achieve this. Throughout the history of digital media, as hardware technology evolved, it was often assumed that high resolution and high interactivity were somehow synonymous: that they naturally evolved in lockstep together. If you can *press more buttons* or *render more detailed graphics*, then surely your experience becomes *more interactive* and the dialogue between game and player becomes all the richer. I'm sure you can think of a game you've played that checked all the right boxes on paper but still somehow felt listless from an interactivity perspective. Given this, it simply can't be the case that being *interactive* necessarily means *keeping our fingers busy*. And if that's the conclusion we can draw from the discussion, at least so far, then it begs another important question: What if there are forms of media that require *almost no physical manipulation* but that still produce the kind of interactive dialogue I've been articulating so far? These are forms of media that still demand something of us and give us something in return. But if we aren't pressing lots of buttons to produce nuanced on-screen action, then in what sense might these kinds of worlds *respond to us*? Records — open in any order Lda\_118her diary Tda\_046the counsellor's diary Cou\_029session recording Tda\_061the counsellor's diary What the records say Open a record. What you believe happened Nothing has been contradicted yet. Certainty100% Records are illustrative, written for this piece — not transcribed from the game. Start over ## Chapter 3: Cognitive Friction There's a text file flickering in the corner of the screen, accompanied by a sterile file directory structure, and audio logs laced with incomprehensible noise. The artwork that fills the screen in Serial Experiments Lain represent a world that is nothing like Mario's. Here, there are no lithe sprites running and jumping as you input commands. Instead, you're faced with *fragments of information*. I am referring to the 1998 PlayStation game here, released exclusively in Japan - not the television anime that aired the same year. The game and the anime were conceived as parts of the same multimedia project: they share a world, a protagonist, and a set of ideas. But they do not ask us to experience the world in the same way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/lain_cou011_3x_smooth-1.png) Serial Experiments Lain. Source: LaunchBox. The anime *shows us* Lain. The game *tasks us with searching for her*. And that difference truly matters. The game's approach is fascinating because it forces us to apply the principles of interactivity I articulated earlier to this case: does the dramatic reduction of physical input here (given that the player isn't moving a digital avatar around) mean that there is no *interactive dialogue*? Here, the object of interaction isn't so much the player's fingers hitting buttons. It is, rather, the player's *understanding* of concepts that progressively build in response to the player. You open one record. Lain describes something that might sound straightforward. Then you find and open another record. This time, the details no longer quite fit. A memory that, at one time, appeared straightforward now looks different when placed alongside another record. Was the first account incomplete? Was the second one unreliable? Was the apparent contradiction present in the two records themselves or, perhaps, it's Lain herself? You open another file. Then another. The more information you gather, the less certain you become about what you thought you understood. This is where Lain diverges even further from Mario. In Mario, a failed jump communicated something meaningful and specific in the moment: you were too early or too late. The next attempt, which happens almost immediately, offers the chance to test your understanding. In Lain, the "failure" is much harder to locate. You can't simply point to a single moment and declare, "That was the mistake." Instead, you begin to wonder whether your own interpretation was the mistake. Was this a record of something that actually happened? Or maybe Lain is misremembering something? Either way, the controller is not the primary participant in this dialogue. Your mind - your understanding - is where the action is happening. New information does not simply push the story forward in some passive sense from the player's perspective (perhaps in the way a traditional film might); rather, new information often challenges the understanding we, the players, have constructed in our minds up to that point. There's a push and pull cycle here too: **Information → Interpretation → Friction/Doubt → Re-exploration → Re-interpretation** If Mario is "I act and the world responds" then Lain is "I perceive and my understanding changes". In the former case, the world responds to the player's body. In the latter case, information provided by the world changes the player's understanding of their own ideas. **The World Answers You (Mario) vs The World Enters You (Lain).** Importantly, the differences between these experiences are not a question of *which one is more interactive*. We're talking about the exact same push/pull idea. It's just that the push/pull is happening *in different places*. The "Thousand Logs" in this story's title does not simply refer to the tragedy of a girl caught in a web of information. It also refers to the very structure of the experience itself: in order to approach and understand the existence of Lain, the player must gather countless fragmented records - logs - and find the connections between them. One of the strangest aspects of this experience is that more information does not necessarily make the world clearer. Sometimes, the more we learn, the more we come to doubt our existing beliefs. "Is this true?" "Whose record is this?" "Who is the *I* sitting in front of this screen?" This is where the concept of cognitive friction becomes important. Cognitive friction doesn't refer to a deliberately inconvenient interface; it's the finely-tuned resistance that emerges between the information we're given by an artwork and what we believe we've understood about it. When a work does not immediately gratify us with clear answers, we stop, we interpret, we doubt...and we return to the world once again. The point at which we're forced to stop and think is precisely what I mean by cognitive friction. Of course, friction is not inherently valuable. Being *difficult* or *inconvenient* is not the same thing as being forced to think deeply. What matters here is whether or not a work leaves room for players to *create meaning for themselves* rather than performing the act of thinking on their behalf. What Lain demonstrates, in an extreme form, is that the value of interactivity cannot necessarily be measured by *how frequently the player operates something*. Sometimes, the player isn't moving a character; they're moving their own understanding. Each time that understanding changes, the world looks different. ## Chapter 4: Information Is Not Interaction In November 1995, at Nintendo's annual trade show at Makuhari Messe in Chiba, Japan, a new generation of game hardware and cutting-edge graphics were drawing attention. Amid all the excitement, Hiroshi Yamauchi, then president of Nintendo, stood before members of the press and the game industry and offered his thoughts on the essence of games: **Hiroshi Yamauchi**President of Nintendo, November 1995 とにかく大容量を使って、音声と映像を垂れ流し、ゲームに迫力をつけようとするのです。しかしゲームというモノは、その内容が肝心なのです。音声や映像を垂れ流しても、愚作は愚作、駄作は駄作。おもしろくない、楽しくもないものは、ダメソフトなんです。 > In any case, they try to use large amounts of data, simply pouring out sound and images in an attempt to give games more impact. But when it comes to games, what matters is their content. A bad game is still a bad game, and a foolish game is still a foolish game, no matter how much sound and imagery you pour out. If it isn't interesting or fun, then it's simply bad software. This was an era when high-capacity media such as CD-ROMs were opening up new possibilities for games. The ability to handle longer video, richer audio, and vastly greater amounts of data meant that games could represent more than ever before. This was also the context in which Nintendo chose to continue with ROM cartridges for the Nintendo 64, even as Sony and Sega were moving toward CD-ROM-based systems. Yamauchi's argument about software quality therefore also served, at least in part, as a defense of Nintendo's own format choice in the face of criticism from an industry increasingly embracing CD-ROM. At the same time, Yamauchi's words pointed to a simple fact: an increase in capacity or expressive power does not, by itself, guarantee that a game will become more interesting. Looking back from 2026, however, his words can also be read as posing another question: **Does an increase in the amount of information necessarily mean an increase in interaction?** Of course, I am not suggesting that Yamauchi foresaw today's algorithms or AI in 1995\. Nor should we simply take whatever he meant at the time and retroactively translate it into the theoretical language of 2026\. But there is value in reading his criticism of using "large amounts of data" to simply "pour out sound and images" from where we stand today, especially given the amount of information that technology can process today, which has increased by orders of magnitude since 1995\. Images are higher resolution. Audio is spatial and richer. High-speed networks allow us to access information from around the world almost instantly. And today, algorithms can analyse our past behaviours and suggest what we should watch, listen to, or read next. But this is where we need to pause for a moment and remember that *information is not interaction*. The existence of a vast amount of information and the presence of a dialogue between ourselves and said information are two different things. No matter how much data a system can contain, no matter how spectacular its visuals or audio might be, none of it represents an increase in interaction if it asks nothing of the player (either their actions or interpretation). This is where I return to the Lain example. Yes, it's an experience that places an enormous amount of data in front of players (in the form of audio, images, and text). But it isn't simply *content to be consumed*. It is, rather, deliberately designed to encourage a rich dialogue with players that demand their attention and active participation. Let's consider how Yamauchi's words might be interpreted in today's media landscape. It's not that he was being prophetic, but rather, it's that the truth of his argument has remained so through time. And, in 2026, it's an argument that is thrown into far sharper relief. It's not just that there's more information than ever available for our consumption, it's that today's media attempts to predict what we want and place the answer in front of us before we even asked for it. Before we've decided what to watch, the next video is queued up. Before we've decided what to listen to, a personalised playlist has been assembled. And, sometimes, before we've even found the words to express a question, AI has already generated an answer. **What happens when the world answers us before we even ask a question?** A demonstration that runs on its own: a question is typed out, and the answer appears before the question is finished. The exchanges are, in turn: "what should I watch tonight" answered with "Playing now."; "how do I say this without sounding" answered with "Here is the rest of your sentence."; and "what do I actually think about" answered with "Here is what you think." You Already answered ## Chapter 5: The World Answers Before You Ask The "information being poured out" that Hiroshi Yamauchi worried about in 1995 has, by 2026, transformed into something else entirely. We are gradually reaching the point where we no longer need to actively search for information or even sift through enormous amounts of data to find the particular piece of content we want. Video platforms provide content that can be consumed "in the background" (where the assumption is that we'll primarily be focused on our phones or other devices). Recommendation algorithms present one option after another before we are consciously aware of what we want to watch next. The arrival of generative AI has only accelerated these trends. So, before we've had time to *form a question* \- let alone think about it or even begin searching for the words to express it - a system can predict what we are asking and generate an answer. Let me return to the push/pull structure I've examined so far: - **Mario:** **The World Answers You.** (The world responds to your own action.) - **Lain:** **The World Enters You.** (Information from the world unsettles your understanding of yourself.) - **Predictive Media:** **The World Answers Before You Ask.** (The world answers before you have even asked the question.) This third horizon is where the relationship between humans and media begins to change. With Mario, the player acts. The world responds. The player receives that response and chooses the next action. With Lain, information enters the player from the world. The player interprets it, doubts it, and responds. The change of interpretation itself produces the next action. Both of these cases contain that push/pull relationship. In the algorithmic case, though, this relationship breaks down. An algorithm *predicts an action the human has not yet performed*, which means that it assumes ownership over at least some of that human action in advance. I want to call this structure **delegation**. This is not simply a question of convenience. It actually means that the very essence of human/media interaction is being delegated, at least in part, to an algorithm. This is not simply a story about something becoming "more convenient." It means that part of the push/pull that once existed between human beings and media is gradually being delegated to the system. At first glance, it might seem that reducing the steps between our starting point and destination greatly increases convenience. And while this might be true on some level, there's more to the story. This is where games offer a fascinating counter example. Consider Nintendo's Super Guide, the assistance feature Shigeru Miyamoto first described as "Demo Play". When a player gets stuck at some difficult section, the game can step in and show them how to get through it. This might initially look like the same kind of delegation I just described: player encounters a problem, game performs the difficult part, and the player no longer has to do it themselves. But there's an important difference. The idea here isn't to throw up our hands and say "You have failed too many times, so we will do it for you". Rather, the game can function almost like a friend who is better at the game: "Here. This is how you get through it. Why not try again?" The player can then decide how to respond. Maybe they want to ignore the advice completely. Or maybe they want to take one small idea from it. In any case, the game doesn't demand that the player surrender to automation; it instead offers a form of guidance, leaving the player to respond in their own way. The game helps to unblock the immediate problem, but the controller can still ultimately return to the player. And that last point is the whole distinction. The help has to be proactively requested, it provides visible guidance, and hands control back to the player. The algorithmic example, by contrast, races ahead to choose and start playing the next video before any user choice is involved; it *evades* interactive conversation in favour of prioritising what it views as the *likely best decision*. Nintendo's minimalist approach matters because, all the way through, it maintains the player/media interaction and it defers the decision-making to the player at critical points. Importantly, the player may not necessarily want the game to complete the tough challenge on their behalf in the first place. Maybe they were thinking: "Ah, I see what I did wrong. That was my mistake. I think I can do it this time, let me try again!" In fact, this approach also illustrates that the player's motivation to act hasn't been replaced or weakened by the guidance: it has been *strengthened*. The player can turn the visual example into a new attempt, which might reduce just enough frustration to keep them in the game and, hopefully, to experience the satisfaction of successfully overcoming the challenge through their own work. Remember, too, that this kind of guidance has been around for many years in different forms. Nintendo once offered something similar over the telephone through its Power Line - the Game Counselor hotline that Howard Phillips (the company's "Game Master" in America) helped establish - that let players call in and ask a counselor for advice when they became stuck. Although this was an analogue system, the principle was the same: the idea was to reduce player frustration *without* reducing their *agency*. Sometimes, dialling the friction back just enough can give the player enough confidence to return to the challenge and overcome it themselves. Only now do Yamauchi's words from 1995 begin to resonate from another angle. The problem of "information being poured out" was not simply about there being too much information; the deeper issue was that an increase in information *and what we actually do with it* are two different things. And in 2026, that problem has become even more complicated. Now, the world answers before you ask. The distance between question and answer has become shorter and shorter. What happens when it becomes zero? Or, indeed, *less than zero* because player intent can be ascertained before the player is even consciously aware of it? In this scenario, are we still in dialogue with the media? Or is the media in dialogue with itself - or with a synthetic copy of us - where we are relegated to observer-only status? When the media prompts with a question, who is actually answering? ## Epilogue: Who Is Answering? Where should we go from here? Algorithms anticipate what we *might soon want* and place it in front of us. Generative A.I. does some thinking for us. Entertainment, in general, continues to peel away every last bit of friction. This new *frictionless world* leaves us with the possibility that, over time, we may surrender our own agency around what we choose, think, and how we interact. Let's not lose sight of this: The conclusion of this story isn't simply an appeal to nostalgia or the idea that "games were better in the past", nor is it a reactionary rejection of technological progress itself. What Mario taught us, by lending us his body, was the joy of a physical dialogue in which our own actions change the world. **The World Answers You.** And what Serial Experiments Lain confronted us with was the weight of cognitive friction: the need to face unsettling fragments of information where we reconstruct our own understanding with our own minds. **The World Enters You.** Whether the form of expression changes from pixel art to high-resolution computer graphics, or from static logs to predictive A.I., one question remains when we consider the relationship between human beings and media: **Does the cycle of push/pull still remain?** Great interactive media is not merely about presenting us with a beautiful world designed to astonish our eyes. Nor is it a convenient proxy that takes over every difficult act of thinking and choosing on our behalf. The media we should seek, at the very least, must leave room for us to give something back. *A game should not merely show us a world. It should give us a world that we engage with, that "answers back".* And that answer does not necessarily have to be comfortable (Mario can miss his jump, a Lain log can make understanding more difficult). What matters is not that the medium prioritises *completion*, but that it offers us the opportunity to be an active participant in the journey. No matter how far A.I. advances, no matter how well systems can anticipate our questions (and answers), the thing we must preserve isn't so much the idea that we need to do everything with our own hands; it is that we always preserve that push/pull relationship where we retain our agency. Sure, we can delegate calculations to machines. Algorithms can make personalised recommendations for us. A.I. can help us refine our grammar. I am not arguing against these things. But I believe the question we should always ask is whether or not we're allowing the push/pull to disappear. Whether our reflexes, emotions, logic, memory - or all of the above - are being engaged, great interactive media will always present worlds that respect player agency. ### State of Indie 2026 Part 3: Finance and Tech URL: https://www.superjumpmagazine.com/state-of-indie-2026-part-3-finance-and-tech/ Last updated: 2026-10-06T20:06:28.000Z **There's no small amount of romanticism attached to independent media.** In a world run by corporate giants, it's nice to imagine the little guy using hard work and creativity to defeat money and power. That certainly applies to game development, where we occasionally get to see a janky, weird-looking game made by absolute nobodies outperform slick but boring titles. Still, this is far from the typical experience. Most developers are desperate for the resources that might enable them to compete on a level with those slickly produced games. With publishers taking on fewer games or dropping off the map altogether, those opportunities are few. "Most smaller publishers don't fund the production of games anymore," says Johannes Grünewald of Slime King Games, developer of [Under the Island](https://store.steampowered.com/app/1583520/Under%5FThe%5FIsland/). "In recent years, funding fell more and more into the hands of the teams themselves. But depending on where you live, there might be some additional funding opportunities. In Germany, for example, you have several governmental programs that can help you secure funding." Source: YouTube. As I mentioned last year, 3rd-party publishers have been cutting back their acquisitions. They take on fewer new games and offer less money to those that are selected. Consequently, a smaller number of games have publishers, and while that portion has been declining for a decade, there has been a particularly steep dip since 2023. The way it stands, if you're releasing your first game, [it's very hard to get any real money from publishers](https://howtomarketagame.com/2023/09/28/the-missing-middle-in-game-development/). Regardless of size, publishers are risk-averse. They want to fund projects that are not just going to succeed, but succeed at a level that makes it worth their time. That means sequels, known IPs, experienced developers, proven genres, and the kind of huge games that get media attention. Most developers and most games don't fit that mold. Yet there's this consistent hope that the money will come back one day. If it's not coming from publishers, where else might one find that precious funding? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IndiePubs26a.png) Courtesy of the author. ## The Search for Venture Capital When I started doing State of Indie in 2021, it felt like we were heading into a new phase. Huge companies were pouring money into games to a degree we haven't seen since the very first boom in the late 70s. Beyond that, a lagoon of venture capital (VC) money awaited anyone who could assemble a decent pitch deck. But video games proved to be too much of a gamble, and that money promptly moved to safer industries. [In the last few years, VC has returned to video games – sort of](https://pitchbook.com/news/reports/q2-2026-gaming-vc-first-look). Unfortunately, small developers are unlikely to see a dime of that cash. The vast majority of VC money in video games is not going into the games themselves. For the first half of 2026, only 12% of capital went to development. The rest went to development tools – basically anything that could have the "AI" label attached to it. Investors are betting hard on automation to save the industry from exploding costs. Even when money does reach developers, it's not going to the indies. As with publishers, venture investors are seeing less merit in rolling the dice on small or even mid-tier companies. They'd much rather take a safe bet on a big project by an established company. In short, the capital from the 2020-era gaming boom is gone and unlikely to return anytime soon. Developers are getting by on less, which means shortening development cycles and using whatever means necessary to trim costs. ## Robot Assets and their Detractors I touched on a hot-button issue in that last section, one that we really need to investigate further. Remember when I said that machine-generated slop hasn't overwhelmed Steam? Let's look closer at that. It's true that the whole "push a button, make a game" thing never manifested (though "[push button, copy style](https://www.reddit.com/r/IndieDev/comments/1wfl64l/game%5Fwent%5Fviral%5Fon%5Fsocial%5Fmedia%5F3%5Fweeks%5Fago%5Fdev/)" is a problem for anyone who goes viral). Music streaming sites, video platforms, book self-publishing services, social media platforms, and blogs are all drowning in synthetic garbage. Video game sites have been spared – or, more precisely, spared the worst of it. There might not be 100% synthetic games, but games with machine-generated assets are a different matter, and this has to be the most controversial topic of the past few years. This has a heavy impact on small developers, especially those without much of a track record. We all know there are a decent number of people who will refuse to touch a game if it "looks AI," but how much might this affect a typical dev? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/AiDisc26a.png) Courtesy of the author. Steam's disclosure statement has been a real flashpoint, and the [GameDiscoverCo survey shows the potential impact](https://newsletter.gamediscover.co/p/what-do-steam-fans-really-think-about). While only a small number of people report that they would outright refuse to buy a game with a disclosure, a much larger proportion (close to a third) say they at least consider it in their decision. The lack of a disclosure doesn't help much, though, as a majority of respondents also believe that at least some developers are lying to avoid the backlash. This leads the player base into conflict with many development teams. A survey in the recent Unity report suggests that a strong majority of developers use some "AI" tools. The most common applications are the less controversial ones, namely coding assistance, which many teams use. However, plenty of people report the use of automated tools to generate text (44%) and assets (35%). It's a tension that developers of all sizes are feeling. Do you use a tool that might save you time and money, even if you're risking a cultural backlash? Other automation tools are at least less likely to generate outrage, with 55% of people in the GameDiscoverCo survey believing that developers must disclose use of code assistance. A handful of angry commenters aside, most people don't care so long as they never see or hear any slop. "We mainly use new tools for research, checking localization, communication, and speeding up repetitive tasks," says Yasuhiro Nishiyama. "\[T\]he kind of work that used to require a much bigger team, now something a small team can handle. That said, I believe the final creative judgment should still be made by a person...Technology is there to buy us more time to think, not to replace that judgment." ## The Shrinking Production Cycle One reason why developers might embrace controversial tools is the need for efficiency. With individual games making less money, developers are trying to shorten how long it takes to make the next game. "The rising amount of releases, especially since AI-generated games started popping up, feels like the biggest hurdle in my opinion," says Kai from Code Peas, developer of [DrainSim](https://store.steampowered.com/app/2963800/DrainSim/). "A great idea has a lot of leverage; the ability to work on a project for years no longer seems to be as much of an advantage as it used to be." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/DevTime26a.png) Courtesy of the author. This is a definite trend, one that's becoming ubiquitous in development circles. Game marketer Chris Zukowski has long advised developers to make smaller games, suggesting that they should [aim for a development cycle under nine months](https://howtomarketagame.com/2023/09/28/the-missing-middle-in-game-development/). That's pretty tight for most teams, but based on the Unity report, there are plenty of people aiming for it. A majority of respondents said that they are focusing on smaller games, with the median development time falling by 77% between January 2022 and December 2025. That's not the least bit surprising. In years past, I spoke to developers who were spending six or more years on their games, and I'm aware of others who've been working on the same title for a decade. That's long been a privilege of the indie dev – between low overhead and no investors to answer to, they can take all the time in the world. But with the market getting more crowded and competitive, those days are gone. Increasingly, victory goes to the most efficient developer. ## In Summary - Venture capital is returning to video games, but only in the tools used by developers, not the developers themselves. - More developers are using automated tools, despite the negative reaction by many players. - To compensate for lower median revenue, developers are making smaller games and shortening development cycles. --- Next time: We take a look at potential emerging markets for indie games and study how games get discovered in a global context. ### Hidden Gems of Game Design Vol 52 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-52/ Last updated: 2026-10-05T16:57:47.000Z **Plenty of amazing games go unnoticed and are not widely played, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## Josh Bycer ### Cursed Series ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-26.png) Cursed 1 remake. Source: Steam. A few months ago, I covered the indie horror game Tache Noire and really enjoyed it as a small developer trying an elevated take on the genre. For this month’s pick, we have another smaller developer who, over the course of years, released an amazing horror series: [Cursed](https://store.steampowered.com/app/1896750/Cursed/). As a point of reference, the first game received a free remaster in 2026 that completely updated the experience with new content and art, and made the entire series completely free. Our story starts with Cursed 1: a girl wanders into an abandoned mine the town believes is haunted, and it’s up to a researcher to go down with a sword and shield to find her. The first game, even with the update, is the most basic of the three and is more aligned with classic first-person adventure games with a touch of horror. The overall game isn’t that long, but you will be spending a lot of time seeing the game over screen, as there are dozens of death traps and jump-scare kills that will get you; make sure to save regularly. Unlike adventure games, there are random encounters with enemies and a few boss fights as well. The first quality-of-life improvement is getting access to spells like healing, which make things easier. The puzzles can be tricky, but nothing too brain-melting yet for the series. The update also adds more story and changes the final sections of the game to introduce more puzzles and fights. Cursed 2 is when the series starts to branch out and become something special. Following the events of the first game, the town has gone to hell, with most people either dead or fleeing. You play the boyfriend of the missing girl from the first game as he returns to town to find her. With the sequel, the game becomes more focused on survival horror and even RPG design. Instead of the mines, the entire town is open, with points of interest to explore. You are free to go to any area, but part of the puzzle-solving is finding an item in area X that will solve something in area Y. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-27.png) Cursed 2 greatly improves the combat while delivering jump scares. Source: Steam. Combat becomes more involved with an actual upgrade system for your stats and multiple weapons. You are able to dodge and block enemy attacks, with combat strictly a 1-on-1 affair. Being able to upgrade your stats matters a lot, allowing you to do more damage or be safer with your attack animations. Cursed 3, the final game in the set, is the most interesting in terms of its design. While it’s still in the structure of a point-and-click adventure, the game is played entirely in real-time, where you can move around and turn in the environment. You now play as the girl who has been at the center of all the games; going to her grandparents’ abandoned home in order to find answers, she finds one more threat to her and the rest of humanity. While the game takes place mostly on the estate, there is much more to the gameplay. A day/night cycle determines how easy it is to see, and monsters threaten at midnight. Unlike the previous games, enemies now spawn into the world and start tracking the player, but you are free to try and escape them by moving between screens. Combat is both the most involved and frustrating at the start. Every weapon in the game has a mastery stat that affects damage and reload. Early on, you are painfully slow to attack anything. By using the same weapon enough to level up, this changes dramatically. By the end of my playthrough, I was attacking so quickly with the shotgun that it would make the Doomslayer look slow. You will need all that speed, too; multiple enemies can jump you all at once, and they get more aggressive as the story progresses. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-28.png) The finale of the trilogy truly is a combination of adventure and survival horror. Source: Steam. The difficulty is quite polarized in Cursed 3\. Without spoiling it, there are some essential items and resources you can get by the end of the first day that make combat and survival very easy. If you miss them, the game is exponentially more difficult and frustrating. Puzzles are on the difficult side, and the game introduces some unintentional grind into its final quarter that I wish wasn’t there. But there is something special about Cursed 3 that I think more people need to try. Combining real-time combat and survival horror with a traditional point-and-click adventure interface is rather rare. With the series entirely free to play, there is no excuse not to give it a try; just remember, get those saves ready to go. ## Priya Sridhar ### [Shadow and Ink](https://infomancy.net/shadow-and-ink/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image.png) Source: Infomancy.net. Full disclosure: my friend Stewart Baker asked me to try this one out since he co-created the game, and it is a complete text game. In this world, books don’t exist in the traditional way. Some are made with pen and ink, while others come to life when you combine print books with objects you find on your journey. As you journey to a strange valley, a talking willow asks for your help: they need a specific book. If you go on a quest to help Old Willow, you will travel to various locations to find objects and discover what happened. Why did ink start poisoning the books and the facts they provided, if not the tales they told? I was a little concerned about one quest involving taking a ceremonial sword from an abandoned house; that sounded like the perfect combo to get cursed. However, this game is not a horror story; it’s a comforting fantasy. Each item we take only helps people in our quest rather than hindering them. And you can spot ninjas, apparently, if you backtrack in certain areas. The walkthrough explains how if you need it. ## Ben Rowan ### [Wizorb (2012)](https://store.steampowered.com/app/207420/Wizorb/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/data-src-image-108778f6-4f48-41d9-bbaf-2b240298a3e2.jpeg) Source: Author. After losing countless hours to the grappling-hook-powered indie platformer, [Flinthook](https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-41/), and the arcade nostalgia of [TMNT: Shredder’s Revenge](https://store.steampowered.com/app/1361510/Teenage%5FMutant%5FNinja%5FTurtles%5FShredders%5FRevenge/), I went searching for developer Tribute Games’ earlier roots and stumbled across Wizorb. Originally launched on Steam back in 2012, this retro-inspired hybrid immediately caught my eye with a unique elevator pitch: what if you took the classic block-breaking mechanics of Breakout or Arkanoid and fused them with a fantasy RPG? You control Cyrus, a wizard who uses his magic wand as a paddle to bounce a mystic orb, shatter structures, and slay monsters threatening the Kingdom of Gorudo. Presented in vibrant 16-bit pixel art with a catchy chiptune soundtrack, Wizorb oozes charm: the core game spans more than 60 levels across five distinct worlds, capping each region with a multi-stage boss encounter. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/data-src-image-e077d034-94b7-4c6f-903e-3704b26430d4.jpeg) Source: Author. What really sets Wizorb apart from standard brick-breakers is its progression and magic resource system. Defeating foes and breaking blocks nets you gold and mana. Between combat stages, you invest that hard-earned gold in a ruined hub town, helping villagers rebuild their homes; this unlocks shops selling extra lives, potion upgrades, and combat charms. During action stages, spending mana lets you cast tactical spells like shooting fireballs to disintegrate troublesome blocks or summoning wind gusts to manipulate the orb’s direction mid-flight. My early hours with the game were spent playing on a controller, and I’ll admit I found the game brutally difficult. The paddle moved at a fixed speed, leaving me constantly sweating. But about a dozen levels in, it suddenly clicked that mouse control was an option, and it was a literal game-changer. Unlike a thumbstick, mouse control lets you flick the paddle at full cursor speed, making you feel pretty much invincible. You’ll still let the occasional ball slip past on tricky stages, but mouse control makes the game vastly more responsive and is practically essential for the late-game gauntlets. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/data-src-image-46d6a90a-2425-4da3-a411-ae7196e950af.jpeg) Source: Author. With its multiple endings, secret items, and clever twist on an arcade classic, Wizorb is a wonderful piece of Tribute Games' history. If you’re a fan of the developer looking to explore where they started, this is a charming little hidden gem to grab next time it goes on sale. ## Terence A. ### Pooyan (1982) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/10/image-2.png) Source: IGDB. Arcade shooters dominated the gaming cabinets of the ‘80s. While Pooyan didn’t turn into a household name like Centipede or Galaga, it became a Konami classic with subtle twists on the genre’s mechanics and an adorable aesthetic. Its NES port made its way to the Game Boy Advance, where I tested my archery skills as Mama Pig against a band of cutesy wolves. Tasked with suppressing an aerial assault by wolves using balloons to reach your village, you’re suspended in an elevator, moving up and down as you fire arrows at the wolves before they reach the ground. While landing precise shots is a challenge in itself, some balloons need multiple shots to pop, and the wolves throw rocks that can knock you off your elevator. An arrow with a hunk of meat spawns every so often, capable of making wolves let go of their balloons if you aim its arc just right. Wolves that make it to the ground climb ladders behind Mama Pig’s elevator to trap her in their jaws. Survive, and you enter the second stage, which involves wolves floating toward a clifftop where a boulder is being prepped to be pushed on you. Exhaust the wolves’ numbers, and you get to rescue your children. A third bonus stage serves as a respite before the next attack, progressively adding wolves and decoy balloons as you inch toward a new high score. Pooyan’s chiptune music, unconventional controls, and colorful characters make it worth checking out. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/) ### State of Indie 2026 Part 2: Economics and Pricing URL: https://www.superjumpmagazine.com/state-of-indie-2026-part-2-economics-and-pricing/ Last updated: 2026-10-03T20:53:49.000Z **Welcome back to State of Indie 2026, our yearly examination of the indie game scene.** [In Part 1, we looked at the winners and losers](http://superjumpmagazine.com/state-of-indie-2026-part-1/), and the conditions that created each of them. Now we will examine the economics involved with indie development, so hold on for the ride! Games with the "indie" tag on Steam made $2.3 billion in 2025\. This is bound to be an undercount, though. Add in indies without that tag, sales on other storefronts, and sales of console versions, and the total take is probably between $3 billion and $4 billion. That's up from $1.8 billion (again, just Steam games with the indie tag) in 2021. Is that good? To figure that out, we need to diverge momentarily and look at the industry as a whole. In 2021, the direct revenue (e.g., the games themselves, not counting hardware or services) of the video game industry was $202 billion. This was part of the pandemic-era media boom, which saw sales far exceeding predictions. Subsequently, the industry slumped as everything regressed to the mean. As of 2025, that slump is over, and the industry is growing again. Sales for that year were around $322 billion. The value of indie games grew by around 27% during a period when the total industry grew by 59%. That's not awful, but it is less than ideal. Commentary on the economics of indies tends toward extremes, with people either making grandiose predictions about indie overtaking AAA or forecasting an "indiepocalypse" driven by oversaturation. Often, the truth is more nuanced, and for the typical developer, their overall place in the industry is less important than whether they can keep the lights on. ## Rise of the Mid-tier Developer One of the more interesting developments concerns mid-tier developers and games. People define this category in various ways, generally including a wide range of developers that fall between the AAA giants and stereotypical indie bedroom devs. These companies may have anywhere from a few dozen to a few hundred employees and release games on a regular cycle with prices somewhere between $20 and $60. Until recently, many people (myself included) saw these developers in a bad position, particularly coming out of the pandemic. Other developers had advantages that helped them compensate for the challenges of working in that kind of environment. Indie studios had minimal overhead, which made delaying games painless, while AAA companies had the resources and visibility to endure until their next big tentpole game. Mid-tier developers suffered from the worst of all worlds – high overhead with less visibility. It made their games an unwise gamble. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Midtier26a.png) Courtesy of the author. [But things have seriously turned around in recent years](https://newzoo.com/articles/post-pandemic-growth-pc-console), owing to a few factors. High inflation and supply line disruptions have pushed prices for many things through the roof, leading people to cut back on nonessentials. The data center bubble has gutted the supply of some computer components, making hardware more expensive. All of this is happening as premium AAA game prices increase toward a new $80 equilibrium. Suddenly, mid-tier developers are enjoying the best of all worlds. Their games are reasonably priced, high quality, and run well on older and/or low-end hardware. Since 2023, revenue generated by games priced between $30 and $50 is on the rise. These games are still only a small slice of the market, but the success of mid-tier games like Clair Obscur: Expedition 33 proves that there is a hunger for games that couple niche gameplay with high production values. So far this year, several indies have become top sellers at a premium price point. Subnautica 2, Windrose, Mewgenics, Mouse: P.I. For Hire, and Cairn all sold at that $30 price, with Slay the Spire 2, Half Sword, and Dead as Disco going for slightly less. This shows it's possible for an indie to succeed at a relatively high price, but the customer will expect the developer to back it up. ## What Are Indie Games Worth? Most indie games aren't mid-tier, though. According to Gamalytic, only about 3% of indie games on Steam are priced above $20\. Indie games at this level tend to be prestige titles with significant financial backing, and few developers are lucky enough to benefit from it. So how does this impact smaller developers? While it's seldom openly discussed, game price is a frequent issue among small developers. The price has to be enough to cover costs and justify the time spent, but price also affects expectations. A person browsing a storefront will have a different first impression of a $5 game versus a $25 game. The latter might be too much for a casual customer to take a risk, but the former can be downright suspicious. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/PriceShift26a.png) Courtesy of the author. There's been a lot of covert experimentation with price points. For nearly a decade, an ever-growing proportion of extremely cheap games have been going free while the more costly ones have been growing more expensive. But last year, this trend started to reverse. 2025 saw a greater share of games returning to the sub-$20 price points most people associate with indies. Thus far, 2026 has seen even fewer free and high-priced indie games. There are a few possible explanations: many developers are aiming for shorter development cycles and working on games that are smaller in scope. Per the [2026 Unity report](https://unity.com/resources/gaming-report), a majority of teams are focusing on smaller projects, with the percentage increasing for smaller companies. It's easy to justify charging less for a game that represents 12 months of your life versus one that took 6 years. But it could also show ongoing confusion over what these games are even worth, leading to more experimentation. It's not unusual for games to change price over time as the developers struggle to figure out what the market will accept. That may explain why more games have prices that aren't multiples of 5\. A price that is a dollar or two higher than "typical" won't register with players, but it can make a world of difference on the back end. Naturally, genre plays into this as much as anything else. What would be expensive for a typical horror game might be shockingly cheap for an RPG or open-world game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/GenrePrice26a-1.png) Courtesy of the author. So how do developers set the price? In some cases, there is a method to the madness. Pancake Studios, the solo developer behind [Sensory Overload](https://store.steampowered.com/app/4403510/Sensory%5FOverload/), reported using Gabor-Granger analysis, which led him to conclude that $10 was his ceiling. For most developers, though, it's more about feeling out overall sentiment. "But it will always come down to the vibe," says Christoffer Bodegard. "\[W\]hat value does the art style point towards? How long is the game? What is the \[audience\] of the genre used to spending? Stuff like that." ## Ultra-Budget Games But what about those suspiciously cheap games? Where do they fit into this? It's long been a truism among marketers that the typical indie game is too cheap. First-time developers set prices extremely low in hopes of attracting an uncertain audience, but people also make unfavorable assumptions about ultra-budget titles. The facts back this up – the games on the top-selling list are priced higher than the typical game overall. Yet we know games under $10 (and even under $5 on occasion) can be massive hits. So far this year, MECCHA CHAMELEON, How to Fish, Gamble With Your Friends, Librarian: Tidy Up the Arcane Library, Scritchy Scratchy, and Machine Party are all among the top 1% of sellers. It's an odd collection, but there are common threads. If the $30 mid-tier indie targets the older dedicated gamer, the ultra-budget game is aiming for a younger and/or more casual consumer. These games feature elements designed for those audiences, which can include a focus on co-op, incremental mechanics, low-pressure cozy gameplay, and strange aesthetic styles designed to pop in viral videos. The takeaway is that developers need to know and understand their audiences. It's this as much as any market analysis that dictates what a game is worth. ## In Summary - Mid-priced games (those between $30 and $50) make up a growing part of the industry's revenue. - Indie game prices have been fluctuating. They had been moving toward free and premium (>$20 games) and away from the usual budget price, but this trend has recently reversed. - Extremely cheap games can do very well, mainly by targeting a younger audience. --- Next time: We get into the grittier parts of the development process, including the endless search for working capital and the ever-contentious topic of automation and machine-generated assets. ### PAX West 2026 - Obakeidoro 2 Chase & Seek: Dead by Daylight for the Whole Family URL: https://www.superjumpmagazine.com/pax-west-2026-obakeidoro-2-chase-seek-dead-by-daylight-for-the-whole-family/ Last updated: 2026-10-03T00:26:32.000Z **There's something incredibly charming about Obakeidoro 2's art style.** The chibi characters, the monster designs reminiscent of children's stories, and the early 1900s Japanese aesthetic all coalesce into a beautiful mélange of what I can only describe as "pleasantly spooky." It's immediately eye-catching, and indeed it did as we walked past the popular booth at PAX West 2026\. While we waited our turn to play, the extremely personable crew from FREE STYLE gave us the rundown on the game itself and what to expect when you jump into Obakeidoro 2. [Obakeidoro 2 is a multiplayer symmetrical hide-and-seek game](https://www.nintendo.com/us/store/products/obakeidoro-2-chase-and-seek-switch-2/?srsltid=AU7gw4VaC04alhsNUXmlwAlOnYSZI%5FY3oIxNjT%5F8RkFbtMkRCvAGopxU) not dissimilar to something like Dead by Daylight. Up to 8 players can play at once, with some players donning the monster cowl while the others step into the role of survivor. The coolest part of Obakeidoro 2 is how much freedom it gives you to customize your games. You can divide up the roles in whatever way you see fit: if you want 7 monsters and one human, you can do that. It'll be a massacre, but you can do it if it tickles your fancy. However you want to set up your scares is totally up to you. Unlike Dead by Daylight, the humans do not have tasks to complete as they evade their would-be killers. Instead, they have to run, hide, and avoid getting caught however they can, utilizing the environment and their magical lanterns. The lanterns have one charge per capture and can temporarily stun the monsters, which, at least in our games, became vital for helping other teammates escape. If you are captured, Obakeidoro 2 takes a page straight out of Mario Kart's Renegade Roundup. You or your teammate will be placed in a cage that's usually in the center of the map. If that happens, it's up to your other surviving humans to make it to the cage, hit the large button on the front, and release those who have been captured, resetting the lantern usage and the monster player's progress. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-24.png) Source: Nintendo. All of the monsters are adorable renditions of Japanese yōkai, folklore, and urban legends. I immediately recognized the famous visage of Hanako-San, a young girl who haunts restrooms, as she floats around on a small toilet with spectral hands grasping out either side. I played as a Red Demon, based on a Red oni from Japanese folklore, but there were tons of monsters we didn't get to try that all have their roots in Japanese culture. It's not only an interesting way to give your otherwise kid-friendly game some real-world bite, but I think it's a wonderful and creative way to get kids abroad more familiar with a piece of culture that may not be their own. Horror is a great way to introduce people to parts of the world that are familiar enough to be easily understood but different enough to be interesting, and the way Obakeidoro 2 handles its monster design is a fantastic example of this. One of my favorite aspects of the game is how quickly the games go by. Dead by Daylight is great, but the games can drag on if you have a clueless monster or hesitant survivors. In Obakeidoro 2, the games have a 3-minute time limit, within which everyone must be captured or survive for the round to conclude. Rounds move quickly and seamlessly, with the tight time limit forcing continuous movement and guaranteeing eventful matches. I have a niece and nephew who are pretty young, and I could see myself having a blast sitting down and playing a few games with them in Obakeidoro 2\. I'll have it loaded on my Switch the next time I see them, as it's already out and available on the Nintendo eShop. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-25.png) Source: Nintendo. ### State of Indie 2026 Part 1: Winners and Losers URL: https://www.superjumpmagazine.com/state-of-indie-2026-part-1/ Last updated: 2026-09-30T01:39:08.000Z **Five years ago, I sat down in my apartment in China's Anhui province and** [**wrote a quick piece about independent video games**](https://www.superjumpmagazine.com/lost-sacred-gems-the-state-of-indie-games-in-2022-and-beyond/)**.** At the time, it really felt like the indies were about to take off. Steam had grown out of its 2019 slump, helped tremendously by small developers. Public sentiment had seriously soured on the dominant live service model, with wide consensus that AAA games had become repetitive and unrefined. Best of all, money was pouring into these small to medium-sized teams, whether from corporate giants acquiring developers or venture capitalists trying to fund the next big breakout. From five years on, it feels like a different world. It was a time when pandemic measures had turned countless people into developers just to fight the boredom. Tech companies were betting on cloud gaming making the hardware cycle obsolete, while many commentators thought that subscription services were the future. Slop games and machine-generated assets were a distant concern, and the moral panic over in-game communications was still behind the horizon. In the years since, AAA companies had their best year in decades, only to be followed by a power year for smaller companies. Numerous indie publishers either went out of business or cut operations to the bone. Unity sparked a controversy that opened up the market to newer engines. And after years of turning a blind eye, everyone was talking about China's growing importance. And we're not even to the end of the decade yet. For this, the sixth edition of State of Indie (SoI), I want to focus on what has changed since 2021\. As always, I'm looking at the experiences of the typical developer, not just the big successes that capture all of the attention. I'd also like to share some experiences of the typical game writer. A hallmark of this series has been the SoI survey that I send out to developers, hoping to get some on-the-ground insight from teams of different sizes, styles, and experience levels. This year? It was a struggle. The response rate was around a third of what I'm used to. So what explains it? In a word: Scams. I don't need to tell you that we're all living in scam-world right now, and that's true for developers too. While no respondents mentioned it, I know full well that they're being flooded by people trying to cadge free keys or sell useless services. Much like your instinct to ignore any phone call or email from an unfamiliar person, developers are shutting out all the random people contacting them on Discord. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Montage26.png) Source for all images: Steam. But the people who did respond have plenty to say. This year, that included: - Abandoned Sheep, developer of [Schrodinger's Cat Burglar](https://store.steampowered.com/app/2111550/Schrodingers%5FCat%5FBurglar/) - Alien Fruit, developer of [Dungeon Bodega Simulator](https://store.steampowered.com/app/3458180/Dungeon%5FBodega%5FSimulator/) - Christoffer Bodegard, developer of [Esoteric Ebb](https://store.steampowered.com/app/2057760/Esoteric%5FEbb/) - CodePeas, developer of [DrainSim](https://store.steampowered.com/app/2963800/DrainSim/) - Get Wrapped Up, Inc., developer of [Three Kingdoms:BOND](https://store.steampowered.com/app/4375230/Three%5FKingdomsBOND/) - JG Games, developer of [Fall of an Empire](https://store.steampowered.com/app/1830290/Fall%5Fof%5Fan%5FEmpire/) - Max Shawabkeh, developer of [Worlds Upon the Wind](https://store.steampowered.com/app/3640430/Worlds%5FUpon%5FThe%5FWind/) - Otakumi Games, developer of [Drive Together](https://store.steampowered.com/app/4117320/Drive%5FTogether/) - Pancake Studios, developer of [Sensory Overload](https://store.steampowered.com/app/4403510/Sensory%5FOverload/) - Slime King Games, developer of [Under the Island](https://store.steampowered.com/app/1583520/Under%5FThe%5FIsland/) - Spork Tank, developer of [Rita](https://store.steampowered.com/app/2984850/Rita/) - Up Multimedia, developer of [Low Earth Orbit Adventures](https://store.steampowered.com/app/3984420/Low%5FEarth%5FOrbit%5FAdventures/) There's one other change I've made. As this article has grown longer, it's made sense to split it up. This year, SoI will appear in four parts: - Part 1 will be a high-level look at the indie scene, the winners and losers among genres, and the games that didn't quite make it. - Part 2 will cover the economics of indie games, with a special focus on pricing. - Part 3 will delve into finance and technology, exploring the opportunities available to developers (and the risks that go with them). - Part 4 will look at indies as a global phenomenon, including emerging markets and the ongoing struggle to get noticed. ## This Year in Indies We've had a few strong years for indie games, and 2026 is shaping up to be no different, with some definite diversity among the biggest hits. The top of the charts includes long-awaited sequels like Slay the Spire 2 and Subnautica 2; new IPs from well-known developers such as Mewgenics and Cairn; major debuts such as Mouse: PI for Hire; and surprise viral megahits such as Meccha Chameleon and How to Fish. But while most attention focuses on these hits, the reality for the typical developer can be far different. Oversaturation has driven down the median revenue while the biggest hits keep getting bigger. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/RevenueProp26a.png) Courtesy of the author. The median revenue for indie games released on Steam in 2025 was $347\. Gamalytic, the organization whose stats I've been using, suggests [this number is skewed downward by an increase in the proportion of free and extremely cheap games](https://gamalytic.com/blog/steam-revenue-infographic), and that the "true" median would be in the thousands. However, these higher numbers might look unimpressive when compared to the roughly $18 million made at the 99.9th percentile, the $1.2 million at the 99th, or even the $33,000 at the 90th. Not everyone can sell millions of copies, but selling enough to make a living is at least possible. It takes the right approach, though. ## Genres: Winners and Losers Many factors go into whether a game succeeds or fails, but one of the most important is set before development begins. The game's genre determines its maximum audience, the level of competition, the price a developer can charge, and the standards to which the game will be held. On the surface, the best and worst genres for developers haven't changed much. AAA-dominant genres (i.e., FPS, action RPG) are far tougher for indie devs than old-school PC genres (i.e., city builders) or new-wave indie styles (i.e., open-world survival). Metroidvanias are hugely popular while other types of platformers seldom break out. The one wrinkle is the idle/incremental game – easy to make with a small team but with a higher average return than many other styles. Under the surface, things have changed since 2021\. As stated above, median revenue for indie games has fallen off a cliff, down 44% over the past five years. But some games have lost much more, while others just kept growing. It's not hard to pull a narrative from the numbers. Games that are relatively easy to make (tower defense, visual novels, platformers, horror) are competing with each other and driving down the median return. Meanwhile, games that are more skill- or manpower-intensive (open world, ImSim, Metroidvania) are making more money because those genres are naturally far less crowded. Idlers are a definite exception, but the idler boom is something that few people saw coming, and no one can quite explain. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/MedRev26a.png) Courtesy of the author. Sometimes, even a genre that's having a real moment can be a struggle to promote. "Most indie events do not consider simulator games as games they'd want to feature, so it's been a struggle to take traditional indie visibility paths," says Dungeon Bodega Simulator developer Harrison. "That said, I do think people are on the lookout for cheaper games, so I think that has helped." Conversely, it's possible to succeed in a challenging genre with the right approach. "Esoteric Ebb got lucky in a few different ways, each of which allowed it to get a very favorable reception," says Christoffer Bodegard. "Since Ebb is in a very specific niche - that being narrative RPGs, a niche within a niche - the overall game market trends did not impact it to the same degree as 'per usual'. Similar to strategy games, RPGs on Steam have a dedicated but very picky audience, so it's all about getting favorable word-of-mouth in those communities. At least that's my experience so far!" ## The Co-Op Revolution and Its Beneficiaries The safest prediction to make in 2025 was that co-op was going to be important. That year, games with the Steam "co-op" tag generated four times the revenue of the median indie, and developers have taken notice. Around 6.5% of games released thus far in 2026 are tagged as co-op games, a significant number but only slightly higher than last year. Look at the top of the sales charts, though, and co-op is massively overrepresented. The rise of non-competitive multiplayer is very much a phenomenon of the young. [An analysis from GameDiscoverCo points toward a distinct age divide](https://newsletter.gamediscover.co/p/how-old-are-your-players-and-does), with multiplayer hits trending toward people under 30\. This might not come as a surprise to you – after all, Steam is heavy with ultrabudget titles and "friendslop" games narrowly targeted toward minors. However, these same games are still popular among young adults in their twenties, suggesting that kids aren't changing their playing habits as they age. The co-op revolution is itself a story of genres. That's because certain genres lend themselves to co-op but also because specific genres benefit more from it. Most of the 2025 co-op boom came from open-world, action-adventure, and horror games, with other game types enjoying more modest or uncertain benefits. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/CoOpGenre26a-1.png) Courtesy of the author. So while co-op has a lot of upside for developers, the reality of making a co-op game is much more nuanced; genre isn't the only thing that matters. As we'll see later, co-op games have their own special dynamics, and this affects every decision, from how they're priced to where they're promoted. ## The Games That Vanish But what about the games that aren't such huge hits? There are a lot of games hitting the market every week, and they can't all make headlines. Oversaturation is an evergreen topic with regard to indie games. Steam has set new records for releases in 9 of the past 10 years, and 2026 is shaping up to end the same way. At the current pace, we're likely to see between 20,000 and 22,000 new releases on the platform. 20,000 games is a lot no matter how you dice it – roughly the equivalent of the first thirty years of the industry. Still, the rate of growth isn't going up. The wave of machine-generated slop hasn't manifested, at least not to the extent people feared and nowhere near the magnitude we've seen in music or writing. The bigger issue is that the demand side is not growing at the same pace, and customers aren't as adventurous as developers might hope. This has resulted in a sharp increase in games that go unnoticed. Almost two in five games sell fewer than a hundred copies in their first year, with nearly three-quarters selling less than a thousand. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/LowSeller26a.png) Courtesy of the author. In previous years, I mentioned that the average rating of indie games on Steam has been increasing since 2015\. While true, this may be an illusion driven by these low-sellers. Any game with fewer than 10 public reviews isn't factored into the total. Simply put, the games that would have been raked over the coals in the 2010s are simply being ignored in the 2020s, which means fewer negative reviews are ending up in the stats. Yet again, this is a story of genres. Make a game in a genre with high demand and low supply, and you'll do a lot better than if you're fighting it out in an overcrowded field. That's probably why 78% of Metroidvanias sell over 100 copies versus less than 50% of standard platformers. But opting to make a game in a good genre hardly guarantees success. It takes more than that. Yasuhiro Nishiyama is a producer with a storied history at Sega, where he worked on Skies of Arcadia, the House of the Dead series, and dozens of arcade projects. He is currently the head of [Gerappa](https://getwrappgames.com/) (Get Wrapped Up), which launched its first game, Sangokuchi BOND (Three Kingdoms:BOND) in July. "\[F\]amiliarity with a genre alone isn't enough — you need to change the experience within it," says Nishiyama. "My approach is to take a foundation players already understand and add one strong, unexpected idea on top. In this game, that idea is that your deck-building choices unfold in front of you as a massed battlefield." ## In Summary - An ever-greater proportion of money is going to a few high-profile games, while the overall median revenue has fallen. - Games in most genres are making less money, with the exceptions being genres that are more difficult to make and are thus facing less competition. - Co-op is huge, but it's not suitable for all genres. - Less successful games are vanishing, with more than a third of all new releases selling fewer than 100 copies. --- In Part 2, we'll look at the death and rebirth of the mid-tier game and ask the burning question...what are indie games actually worth? ### PAX West 2026 - Scenes from the Show Floor URL: https://www.superjumpmagazine.com/pax-west-2026-scenes-from-the-show-floor/ Last updated: 2026-09-27T22:22:10.000Z **It's almost autumn, which guarantees a few things: a crisp fall breeze, apple picking, pumpkin patches, scary movies, cinnamon everything, and of course, PAX West.** Another year has come and gone, once again seeing Downtown Seattle lit with colorful cosplays and cardboard Pikmin hats as far as the eye could see. I was lucky enough to attend for my 5th year in a row, media badge in hand, this time with help from my brother and my partner, to make this some of the most extensive coverage yet of the actual game floor. As such, on September 4th, we set our sights on the Seattle Convention Center and sat down to play as many games as possible within the short four days that we had. The energy was a little bit different at PAX West this year than I've experienced previously; many of the heavy-hitters I've become accustomed to seeing weren't there. Nintendo was absent (probably because of their huge Ocarina of Time direct that happened literally the day after PAX ended), Capcom had no presence there, and the bigger names that *did* make it had a much smaller footprint than in previous years. While this may seem like a detriment on the surface, as much as I like seeing previews for huge AAA titles, the lack of the big boys allowed for an emphasis on what I really think PAX is about – the indies. The indie devs did *not* disappoint this year. PAX introduced the new Indie Incubator floor, showcasing 20 smaller creators who raffled for a spot at the show. At the PAX Rising booth, tons of devs packed into a space that gave show-goers easy access to individual games. They implemented a brand new treasure trove of artistic goodies with Artist Alley, where dozens of artists sold their various wares. The back half of the Arches Convention Center was completely inundated with indie games, and unlike the last few years, even the slowest days had lines wrapped around almost every single one. If you have read any of my previous coverage, I typically schedule as many demos as possible to sit down and talk with developers and interview interesting people. While I still did quite a bit of that this year, I decided to see the show more from the perspective of an actual event-goer, sitting down and trying as many games as my small team and I could. As such, here are all the games I got to try but not necessarily interview for, giving you a small taste of what each game was and how they played. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-16.png) Source: Itch.io. ## [MURDEER](https://accipitrade.itch.io/murdeer) ### [Swift Stag Studios](https://swiftstagstudios.org/) MURDEER is one of those games that immediately sets itself apart with eye-catching art and bizarre premise. Plastered on a banner in Swift Stag Studios' booth was a bright yellow backdrop covered with a pixel-art deer holding a ray gun. How can you not give it a look? MURDEER is a roguelite FPS reminiscent of the boomer shooters of old, where you play as a mutated deer desperately trying to escape the facility that turned it into a monstrous version of itself. The normal roguelite offerings are here; learn enemy movement, kill scientists, buy upgrades, the works. The difference is customization; You can make your deer look however you want them to (one of the devs said, "I wanted to make a game that, if you wanted, you could do whatever, including making a dummy thick deer"), and the gun upgrades stack. I don't mean that just the effects stack; no, no, I mean the upgrades *literally* stack. The attachments for your gun will stack on top of each other until you have a ray gun with dozens of red dot sights and multiple barrels going out of the field of view. You can also gore scientists with your antlers, and there's a big gun that is also a noodle, called (what else?) the Noodle Gun. It's got it all. A game made for fun to have fun; you can wishlist MURDEER on Steam. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-20.png) Source: Steam. ## [Terra Nova: Legend of the Runes](https://store.steampowered.com/app/4408900/TerraNova%5FLegend%5Fof%5Fthe%5FRunes/) ### [9th-Bit Games](https://www.kickstarter.com/projects/terranovaworld/terranova-legend-of-the-runes) Now this, this is a good one. Terra Nova: Legend of the Runes is the ultimate love letter to the JRPGs of old. The wonderful people at 9th-Bit Games sat us down, gave us some really high-quality trading cards, and frankly let the beautiful game speak for itself. If you've ever played a classic Final Fantasy or Chrono Trigger game, you will immediately understand the language Terra Nova: Legend of the Runes speaks. What really blew me away, though, were the customization options. Not only do you get to choose from 30 different classes for your entire party (there were 12 that were playable at PAX), but you can customize every single aspect from hair color to eye color, which is actually reflected in the character's sprites as you play. On top of that, there are 3 different play styles available: the traditional turn-based combat you know from Final Fantasy; queue-based combat; and a time-based combat system reminiscent of Chrono Trigger. You really get to pick and choose exactly what you want out of Terra Nova: Legends of the Runes, right down to the combat speed, so anyone can enjoy the experience whether they're veterans of the genre or newcomers. My absolute favorite aspect was the instant switching between a 16-bit art style and an 8-bit art style. This is done in-game, in-engine, at any time, with a single button press. Not only do the visuals change, but the music jumps from 16-bit to 8-bit as well, staying in time and not missing a beat, allowing you to really enjoy the gorgeous pixel art however you want. I was really impressed with the game, and my brother confidently proclaimed it his favorite thing at PAX and what he's most excited to see more of. Keep an eye out for this one on Steam. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-21.png) Source: Steam. ## [The Box is Alive ](https://store.steampowered.com/app/3961120/The%5FBox%5Fis%5FAlive/) ### [Ludocratic Games](https://ludocraticgames.com/) As we made our way through the show floor, a man wearing a white polo shirt approached us with a cardboard box in his hands. He had one simple question, one that we couldn't answer – what is box? We waffled for the correct response to the box wizard's riddle. Box is cardboard? Box is empty? Box is for shipping? For storage? The obvious response was, of course, The Box is Alive. Having an insane pitch like that is one great way to get me interested in a project, and he directed us to the new Indie Incubators section of the show floor. We made our way over and got hands-on with The Box is Alive, a challenging 3D-platformer in the same vein as I AM BREAD. The Box is Alive is based around the idea of a monopolizing shipping company shutting down completely, leaving the entire world at a standstill because no one can get their supplies. The boxes got sick of waiting and decided to deliver themselves, and thus the stage is set for you, as one of these boxes, making your way through Hell and high water to complete delivery. There are multiple boxes to choose from, each having a specific size, shape, and stats that help or hinder depending on the situation. The Box is Alive is based entirely on the physics of how a box would move if it could - each flap is controlled with a different button, and momentum is built from tumbling and rolling. It sounds silly on paper, but the demo was a blast, and the team behind it at Ludocratic Games were some of the kindest, most courteous, and passionate developers I had the pleasure of talking to at PAX this year. They even set up a box to draw on if you play their game that they're going to make into a skin within the game itself. Astute readers may just find a certain magazine name written on one of the flaps. It may sound weird, but I think that's the point, so check out The Box is Alive on Steam. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-22.png) Source: Steam. ## [Song of Maka](https://store.steampowered.com/app/3490760/Song%5Fof%5FMaka/) ### [Silverjay Studios](https://www.silverjaystudio.com/en) Sidescrollers have the unique opportunity to be some of the most beautiful games ever made. Only contending with one plane of movement means that you can layer the art style however you want, and some of my favorite indies take full advantage of this artistic capability; Song of Maka is definitely one of those games. Developed by ten students at NYU, Song of Maka is a puzzle platformer that emphasizes exploration and problem-solving over combat. Described as a "cozy platformer" by its creators, Song of Maka is a gorgeous 2D sidescroller filled to the brim with hand-drawn animation and adorable characters. You play as a little bird who recently lost their ability to fly, so you must learn different songs (represented by different colors) to solve puzzles and traverse the world. In this world, the fruit of knowledge was found by a bird, so birds became the dominant species on the planet. You and every character you interact with are little birds adorned in cute bird outfits. This draws from the fact that the developers are all bird lovers and feel like their representation in the games industry is lackluster. It creates an atmosphere and an art style honestly unparalleled in the indie space, and I am looking forward to seeing how Song of Maka progresses throughout its life cycle. It's gorgeous, has an engaging story, plays well, has interesting puzzles, and is a passion project by hard-working students. Give it a look, and join the playtest on Steam. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-23.png) Source: Steam. ## [Village in the Shade](https://store.steampowered.com/app/3934250/Village%5Fin%5Fthe%5FShade/) ### [Nippon Ichi Software](https://nisamerica.com/) Just because the biggest players weren't on the show floor this year doesn't mean there weren't any heavy hitters in the lineup. If you happen to sit at the intersection of loving indie titles and games from Japan, you've undoubtedly heard of Nippon Ichi Software. One of their latest games, Village in the Shade, was released in Japan on July 30th, 2026, and is making its United States debut on October 27th. As such, they had a pretty sizeable booth set up on the PAX floor showcasing some of their newest tiles, and we spent a good amount of time with their newest game. Village in the Shade is one of my favorite horror subgenres: cute, approachable, and lovable, with an unexpected hard pivot into the sadistic and demonic. At its core, Village in the Shade is a life sim à la Stardew Valley and Harvest Moon, but once the sun goes down, the small Japanese village you find yourself in turns into a ghoulish hellscape filled with ghosts and demons. The game's art is breathtaking, with a hand-painted style and cutesy chibi characters to interact with and play as. During the day, your tasks are par for the course for this sort of game: plant seeds, farm crops, talk to the locals to build up relationships, decorate your farm, and design your house; pretty standard stuff. At night, however, you must traverse the town, completing tasks, avoiding monsters, and solving mysteries. The game is actually pretty freaky too, with monster designs skirting the line between adorable and horrifying perfectly. Village in the Shade will be available on the Switch, the Switch 2, the PS5, and Steam on October 26, 2027. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-19.png) Source: SUPERJUMP. ## [Unfathom](https://store.steampowered.com/app/4087370/Unfathom/) ### [Eftsith Software, LLC](https://www.eftsith.com/about-us) I have always been a huge fan of the Gauntlet series, specifically Gauntlet Legends. I remember renting it all the time for the N64 with my brother, wiling away the hours as an enthusiastic narrator repeatedly yelled "Rock Shower!" while I spammed the only attack 6-year-old me knew. As an adult, I always get giddy when I see a Gauntlet Legends arcade cabinet in a local barcade, and plan for at least an hour of goblin murder with my partner. So when I was perusing the indies section of PAX and saw a massive 8-person arcade machine with artwork in the same style as Gauntlet Legends, I had to make my way over to see what was what. The game in question is Unfathom, a competitive class-based action RPG pitting teams of 4 against each other in PvPvE matches. The goal is to collect as much treasure as possible, kill as many of the other team as possible, destroy enemy spawn points, and claim zones within each dungeon within a time limit. There are multiple classes to choose from, with tons of varying abilities specialized to each class. We only had time for one game while on the PAX floor, but we came out victorious, and I couldn't stop thinking about how badly I wanted a beer and another round. According to the devs, that's the whole point, and while it's available on Steam, their ultimate goal is to get the unit in barcades for people to enjoy. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-18.png) Source: Steam. ## [Stepwell](https://store.steampowered.com/app/4779980/Stepwell/) ### Jeff Krause, Alex Krause, Tim Fowers, Adrian Graumann Stepwell is one of the most unique puzzle games I've ever had the pleasure of encountering. You have to get a few little polyhedral guys to their destinations by placing tiles in the right positions, so they can traverse their intended path. The "puzzle" piece of this puzzle game is that the world is shaped entirely like a modern MC Escher painting, with each tile having multiple vertices and layers in which to create your path. Each tile has a unique structure, with some little shape guys walking on the walls while others go straight on the floor. As you build your labyrinth, it starts to resemble an ant farm, with the small characters moving back and forth over their intended paths, weaving in and out of each other's ways, creating a cohesive level. One of the developers told me that, to my amazement, the entire game is 2D, with the only thing dictating the direction in which a piece can guide the shape characters being shaders of different colors to create the illusion of more vertices. It's a brain-bending, fun, and unique puzzle game that will scratch the puzzle-solving itch for anyone interested in this sort of experience. It's kind of difficult to explain, but when you see it, you'll know exactly what I mean. Put it on your Steam Wishlist today. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-17.png) Source: Steam. ## [Sucronomicon](https://store.steampowered.com/app/1932380/Sucronomicon/) ### [Red Meat Games](https://redmeat.games/) Sucronomicon is the exact type of game I love to see at PAX every year: a creative and fun concept, executed well, that I can have a great time playing with other people. Sucronomicon is a 3-player co-op baking game not too dissimilar to Overcooked, except with a twist - you're fighting off confectionery beasties while trying to follow your recipe book. A witch gives you a floating instruction book filled with the items you need and the preparation method necessary to finish the baked brew, while demented gingerbread men and cake monsters flood into the kitchen trying to stop you. It mixes first-person shooter elements with the frantic nature of Overcooked to create a uniquely engaging and hectic time. Communication is key as you scour the kitchen for ingredients, shout out commands on how to cook what you're making with the right baking utensils. At the same time, you'll need to support whichever unfortunate soul on your team has been relegated to hacking and slashing and stabbing the baked monstrosities all around you. The graphics are fantastic as well, with a heavy fantasy overtone and extremely creative weapons (for example, there's a shotgun that shoots icing, and the loading animation is two candles on the gun reigniting). This creates an atmosphere that's fun and adorable as much as it is claustrophobic and overwhelming, and it's an extremely endearing experience as a result. --- This is but a taste of what we experienced within the hallowed halls of the Arches Convention Center in Seattle, with so many more we didn't have time to see as the days flew past. These bite-sized overviews don't do these titles enough justice, and I highly recommend checking them out on Steam or just giving them a search if they piqued your interest. ### The Choice Nobody Coded URL: https://www.superjumpmagazine.com/the-choice-nobody-coded/ Last updated: 2026-09-25T17:38:35.000Z **There is a particular kind of disappointment that only video games can offer.** You have a brilliant idea. Perhaps you want to talk your way out of a fight, climb something that looks distinctly unclimbable, or tell an NPC exactly what you think of their request. For a moment, you forget that you're playing a game and think only about what *you* would do. And then you can't. There is no dialogue option for what you want to say. An invisible wall blocks the path. The NPC repeats the same three lines. Your brilliant solution isn't a solution at all, because nobody thought to make it one. This isn't necessarily bad design. Every video game has limits, whether we notice them or not. Even games celebrated for player freedom can only respond to the actions their systems allow. Yet we talk about choice constantly: branching narratives, multiple endings, open worlds, moral decisions. The more options a game gives us, the freer we feel. But how free can a choice be if someone else had to design it first? It's a question I kept returning to after speaking with Arturo Guerra, a game designer, graphic designer, and professional game master whose relationship with games stretches across both the digital and tabletop worlds. A lifelong gamer, Guerra grew up alongside computers, watching them become increasingly powerful and capable of producing ever more elaborate worlds. But his interests continually drew him to tabletop role-playing games (TTRPGs), and towards a very different understanding of what it means for a player to make a choice. Moving between TTRPGs and video games throws the limits of video game choice into sharper relief. However expansive a digital game might feel, it still has limits to the possibilities it can recognize. To illustrate the point, Guerra turns to visual novels. ![Two figures in a gloomy forest](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Screenshot-2026-09-18-at-11.55.39.png) Trophy Dark. Source: Trophy Dark RPG. Imagine a game with ten characters you can pursue, scores of dialogue choices, and 200 possible endings. The number sounds enormous. You could replay for hours without seeing every possible outcome. But all 200 endings already exist. “Every dialogue choice leads to another branch of the dialogue tree,” Guerra tells me, “but even those are premade, predesigned, and locked in.” Many TTRPGs aren't similarly restricted. There doesn't need to be a dialogue option waiting for the player, because the people around the table create as they play. Guerra points to [Trophy Dark, a TTRPG about doomed treasure hunters](https://trophyrpg.com/) venturing into a foreboding forest. Rather than giving the game master a fully mapped world of predetermined encounters, the game asks players to help shape that world. Guerra describes how a game master may describe the setting and prompt each player in turn with questions about the world, adventure, or encounters. Until the player imagined it, it didn't exist. But now it does. “That becomes the world. The player adds in something new to the story,” Guerra describes. Details invented seconds ago become part of your character's history, the world, and the story everyone at the table is telling together. Nobody knows where this particular branch leads because, moments ago, there was no branch at all. Guerra summarizes: “It becomes a very unique, personal, tailored experience to everyone at the table.” Public Access takes this further. The [horror-mystery TTRPG](https://www.kickstarter.com/projects/gauntlet/public-access-analog-horror-mystery-ttrpg) follows a group of young adults returning to their hometown to investigate a public access television station that vanished. When a player attempts something risky, they aren't simply asked to roll to discover whether they succeed or fail. The game master can ask questions designed to deepen the experience, such as what they are most afraid will happen if they fail. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-14-1-1.png) Deep Lake, New Mexico, site of the TTRPG Public Access. Source: Kickstarter. Guerra imagines a player investigating a supposedly haunted house. Perhaps their answer is that a radio suddenly begins playing a particular song. The game master can take what the player has offered and make it worse: the song is accompanied by the reflection of the character's father appearing in a mirror, drawing on a relationship established through play. The consequence isn't predetermined, waiting for the correct dice roll to reveal it. Part of it has come directly from the person who will have to experience it. “This is your fear. This is your trauma,” Guerra says. “You're putting your own trauma into the game, and it's feeding back.” Then he lands on the problem facing video games, in six words: “No one is gonna code that.” Taken literally, of course, video games code things nobody individually designed all the time. Procedural generation can produce worlds, encounters, and combinations developers may never personally see. No Man's Sky famously contains a universe of more than 18 quintillion planets; its creators did not sit down and build each one by hand. ![No Man's Sky cover art of characters in a fantastical landscape](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/16_9-scaled.jpg) Source: Hello Games. But Guerra isn't referring to the ability to explore an unlimited amount of places or levels. A player can discover a planet its designers have never visited, but they cannot decide that the strange rock formation in front of them is the grave of their character's brother and expect the game to understand what they have just made true. The possibilities may be practically innumerable, but players are still bound to the game's systems. There is a difference, then, between being free to explore a world and being free to define something within it. No Man's Sky can give players more planets than they could visit in a lifetime, but Public Access lets players decide what a song on the radio means to their character. One offers a space of vast possibilities; the other lets players participate in creating the narrative itself. For role-playing, that distinction matters. The appeal isn't simply getting to go anywhere or do anything. It's being able to ask, *what would my character do?* — and have the game accommodate an answer its designer never anticipated. Video games have become remarkably good at disguising the boundaries around that question. The best role-playing games can respond to our choices convincingly enough that we stop looking for the edges. But eventually, we find one. We type the sentence the dialogue system doesn't understand, try a plan the quest wasn't built to accommodate, or discover that the person our character has become has no corresponding option in the dialogue wheel. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/BG3-Feat-Image.png) Baldur's Gate 3 is one of the closest video game experiences to the TTRPG formula. Source: Larian Studios. And yet, those boundaries may be just as valuable for play. After all, role-playing doesn't *require* complete freedom. A role is itself a constraint. We decide that our character believes certain things, wants certain things, fears certain things. Then we encounter a situation that doesn't neatly accommodate the person we've decided to be. Working out what they would do anyway is part of the pleasure. Video games add another set of constraints. They decide which doors open, which characters can be spoken to, and which responses appear when we speak to them. Sometimes those restrictions break the fantasy, but they can also give us something to interpret. If none of the dialogue options says exactly what I want my character to say, choosing the one that comes closest — or deciding they would say nothing at all — can itself become an act of role-playing. The player works within the authored boundary. This is where a finite set of choices can become more interesting than its size suggests. Players can select the same dialogue option for entirely different reasons. One might spare an enemy out of compassion, another because their character refuses to kill, and yet another because they expect a later reward. The game records the same input, but the players haven't necessarily made the same choice. In that sense, a video game character doesn't exist solely in-game. Part of the character exists in the interpretation we bring to them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-15.png) One of Baldur's Gate 3's many playable characters. Source: Steam. TTRPGs bring the act of interpretation to the forefront of play. More than that, they make that interpretation collaborative. A player introduces an idea, someone else responds to it, and soon something that existed only in one person's imagination has been acknowledged and expanded by everyone at the table. The freedom Guerra describes isn't only the freedom to invent, but to have that invention become meaningful to other people. These differences don't require us to choose between video games or TTRPGs. The mediums’ different constraints ask different things of us as players. Video games give us authored worlds to inhabit and interpret; TTRPGs can ask us to take a more direct hand in creating the world as we go. Guerra, for his part, wants more people to experience the latter. He points to the range of independent TTRPGs now available and the communities surrounding them, where finding and playing a game can be as simple as joining a TTRPG creator's Discord server. You don't necessarily need a long-running campaign either. One-shots can begin and end within a few hours. “It feels like a movie,” Guerra says, “except you're not being a passive watcher. You are the character.” For someone accustomed to role-playing through video games, a few hours of that kind of play might change how we understand the choices waiting for us when we return. Not because one offers freedom and the other doesn't, but because they reveal different things we can mean when we ask a player to choose. A game doesn't have to let us do everything for our choices to matter. But every so often, it might be worth playing one where, when you have that brilliant idea, nobody has to have thought of it first. ### Interviewing Writer Leon Richardson About Their TTRPG, Rangers of A Broken World URL: https://www.superjumpmagazine.com/interviewing-leon-richardson-about-theittrpg-rangers-of-a-broken-world/ Last updated: 2026-09-23T09:30:08.000Z **Leon Richardson is a Canadian designer of both tabletop and digital games.** You can find their work online at [Blind Snake Studio](https://blind-snake-studio.itch.io/), which they describe as "a charming little RPG boutique just off the main road." Their current titles include [Blazing Hymn](https://blind-snake-studio.itch.io/blazing-hymn-ultimate-collection), an Evangelion-inspired TTRPG about overcoming eldritch angels through the power of music; [Commandment](https://blind-snake-studio.itch.io/commandment), a text-based puzzle game where players change the law to escape imprisonment within the Great Court Complex, and [To Swear On Your Honor](https://blind-snake-studio.itch.io/to-swear-on-your-honor), a journaling game about knighthood and devotion. Richardson, alongside publisher [Evil Hat Productions](https://evilhat.com/), is about to launch a crowdfunding campaign for [Rangers of A Broken World](https://www.backerkit.com/c/projects/evil-hat/rangers-of-a-broken-world/pre-launch), a post-apocalyptic TTRPG about community, solidarity, and rebuilding in the aftermath of tragedy. SUPERJUMP interviewed Richardson to discuss their upcoming game. ### SUPERJUMP Tell us a bit about yourself and your games. ### Leon Richardson Absolutely. My name is Leon Richardson. I am a game designer, writer, occasional dilettante, and who knows what else. I’m from sunny Edmonton, Alberta. I wrote Rangers of a Broken World. I currently write games under the name Blind Snake Studio, but until recently it was under the name Peach Garden Games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Blind-Snake-Studio.png) Blind Snake Studio. Source: Leon Richardson. ### SUPERJUMP What’s the premise of Rangers of a Broken World? ### Leon Richardson The premise is that the world of this game was effectively destroyed about 100 years ago. The mountains in the middle of the continent melted; they buried everything and dramatically altered the climate. Now humanity is trying to rebuild in a hostile, challenging, and wild world. The characters are the titular rangers. They’ve made pilgrimages to the world’s most dangerous places to meet the stationary monument gods and gain a fragment of their power that they can use to protect the rebuilding humanity. ### SUPERJUMP So this pilgrimage happened before the start of the adventure? ### Leon Richardson Yes, It’s a built-in part of your character’s backstory that they have already made a pilgrimage. ### SUPERJUMP So by doing that they become a “ranger of a broken world”; what does that mean? ### Leon Richardson If you’re talking D&D terms, they’re part ranger, part cleric, and part something else. They’re devotees of these monument gods who are frozen in various different kinds of stone. ### SUPERJUMP So that’s where the cleric part comes in? ### Leon Richardson Yes indeed. The ranger part is that they had to travel through incredibly difficult and dangerous territory to obtain this power. They’re experienced survivalists with divine powers. Each class also has a sliver of something else that you might recognise as well. ### SUPERJUMP What are the unique features of these classes then? ### Leon Richardson Well, my precious baby, the Enduring Legionnaire, is part ranger, part cleric, and part necromancer/paladin. They’re knight-like warriors that stand alongside the dead to defend humanity against the memories of warfare that still haunt this world. The Tidal Navigator is part ranger, part cleric, and part bard. They use music because they took a journey on a ship, and on a ship, music helps people work together. It helps keep people in union, and it helps keep people entertained. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Legionnaire-2-1.jpg) The Enduring Legionnaire, Rangers of a Broken World. Source: Evil Hat Productions. ### SUPERJUMP Like a sea shanty? ### Leon Richardson Yes indeed. They’re a little bit pirate as well. ### SUPERJUMP Are there any more classes that you’d like to talk about? ### Leon Richardson Well, there are seven of them. The Volcanic Tracker is another very rangery one. They’re the most kind of “ranger” one, although they can also do a bit of shape-shifting. Their pilgrimage was to a tropical volcanic region, and so their powers are very chaotic and lively. They’re about existing in a world that’s always changing and unpredictable, and often very dangerous. ### SUPERJUMP I was initially planning on asking at the start if you had a favourite, but you mentioned that the Enduring Legionnaire was “your baby”. Does that make it the favourite? ### **Leon Richardson** The Tracker and the Legionnaire are my babies. The Tracker because I found it the most challenging to design. I took multiple attempts at it, and none of them felt right until the most recent one. The Legionnaire, as I mentioned, I’m from a very cold environment, and the monument that gives people the power to become legionaires is in a frozen labyrinth, so their powers of cold are very resonant with me. ### SUPERJUMP So you’re drawing from your experience of Canada there? ### Leon Richardson Yes, I actually listed living in Canada as one of my inspirations. It’s where I live. ### SUPERJUMP The magic system is built around these two resources: scatter and blur. They’re both tied to the ranger’s sense of identity. Could you talk about that for me? ### Leon Richardson Absolutely. So I’m a mentally ill person; that’s also where I live. One of my symptoms personally is dissociation. I’m better with it now, but when I started this game, it was much more frequent. What happens when you scatter, which is when you cast your own spells, is that a little bit of yourself leaks out into the world and blends with the world around you to create a magical force. So scatter goes up rather than down, like you’d expect a magic point system to, because it’s a measure of how much of your identity is outside your body. So a bit of you never leaves the environment; it’s always just outside of you. Blur, on the other hand, is used when you use abilities related to your special ally. The Legionnaire, as I mentioned, their ally is the dead. Each class has a different ally. When you blur, your identity gets tied up and tangled with the identity of your ally. So for a legionnaire to overuse their blur abilities, they lose track of the difference between themselves and the dead. A lot of their symptoms are similar to depression. They feel as if they’re already gone and that the world is cold and distant. Both of these are measures of how much of your identity is your own, and whether you’ve scattered into the outside world or blurred into someone or something else. That’s the difference between the two. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Tracker-2-1.jpg) The Volcanic Tracker, Rangers of a Broken World. Source: Evil Hat Productions. ### SUPERJUMP What were the inspirations for this system? You’ve mentioned that you’ve drawn upon your own experiences with your mental health, but how did it all come together? ### Leon Richardson I have such a strong passion for co-op mechanics in games. In the original draft, what I wanted was for players to put words together from their own character sheets to make spells. Players can still do this, but it was the only magic system in my first draft. Then what happened was my players kept bossing each other around instead of actually cooperating. ### SUPERJUMP Oh no. ### Leon Richardson After a bit of thought, I switched magic from the cooperation pillar of the game to the nature pillar of the game. So instead, the GM has a list of words representing the environment, and the player can combine with the environment as if it were another person. That was what really stuck, and what really gave the game the identity it has now. ### SUPERJUMP Rather than the standard D&D stats of strength, dexterity, etc., you’ve used a different set of what you call “facets”, correct? ### Leon Richardson Yes. ### SUPERJUMP So you use terms like daring, understanding, and adaptability. Is there something those terms express that the standard D&D ability scores aren’t able to? ### Leon Richardson As I’ve said, I’m very passionate about mental health, and I’m also very passionate about disability representation and accessibility. One problem that I had with Dungeons and Dragons is that I don’t like many of the stats. I don’t like having an intelligence stat; I don’t believe that intelligence is something a person objectively has or doesn’t have measurably. I don’t think that’s true, and that idea has been used to perpetrate some real cruelties against people. Just look at the history of IQ testing and the racial bias in that, so I’m very against it. IQ has still left a legacy of how we look at the world. We still subscribe to some of the downstream ideas that came from it. So I wanted a system that instead of depicting objective realities of a person’s mind and body, I wanted a system that depicted how a person approaches their problems, and the different approaches that they are more or less skilled at. So adaptability, daring, sensitivity, subtlety, and understanding. Understanding doesn’t mean intelligence; it means how likely you are to solve a problem using knowledge. A person can know volumes upon volumes about a subject, but if they approach a problem by doing the most direct action, they have a higher daring than understanding. It’s not a measure of what they know; it’s a measure of how they use it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-13.png) Windswept Cavalier, Rangers of a Broken World. Source: Evil Hat Productions ### SUPERJUMP Those specific terms you’ve used for the facets: daring, understanding, sensitivity, and adaptability. Why have you chosen those? Did they all come together at the same time, or did you build them out one by one? ### Leon Richardson Those came together more or less at the same time. It was pretty tortured because I spent a long time knowing that I didn’t want an intelligence stat, but “now what”. So I went in circles for a while before I hit on it. Then they kind of emerged pretty organically. ### SUPERJUMP One thing that’s very important to this world is music. The DM/GM is called a “conductor”. Can you talk a bit about that? ### Leon Richardson Musical theming speaks of a certain harmony, grace, and connectedness. Music is one of those things, alongside food, that’s universal and brings people together. So leaning on that helps me envision the characters bringing people together and supporting communities, in a way that’s natural and real to the world we live in. I’m also just a sucker for visual musical motifs; clefts and lines and what have you. ### SUPERJUMP Shall we talk about divinity in your setting? There’s this pantheon of sleeping stone gods the rangers get their powers from called Deiliths, and they’re contrasted with the “noble demons” who aspire to be gods but “lack the empathy” to be divine. Is there a sort of heaven and hell divide there? ### Leon Richardson I didn’t think much about afterlife stuff. It’s less heaven and hell, and more a hierarchy. The Deiliths, before they became stones, were just the gods. The noble demons are below them in power because they’re not capable of forging connections with others. They’re all shackled by a “noble obsession,” and this is very much a commentary on the rich and noble and wealthy. I’m not pretending or hiding that; it’s very real. They don’t care about people, but they have an all-consuming obsession, which is the only thing that matters to them, so they can be reasoned with, and they can even be manipulated if you know what they’re obsessed with, but under no circumstances can they be meaningfully befriended. ### SUPERJUMP Can you give an example of a noble demon character and their obsession? ### Leon Richardson There’s the Ambassador of Pearl, and she’s obsessed with purity. She won’t allow any other noble demons into her domain, or anything tainted by other noble demons. She will simply kill anyone who has been tainted; she does not care, it doesn’t matter. She’s accompanied by these hunting hounds that call her when they find something. She’s statuesque and ice-cold, but I wouldn’t describe her as “murderous” because that implies a certain degree of wilfulness which I don’t believe she’s got. She will kill… ### SUPERJUMP But dispassionately? ### Leon Richardson Very much. ### SUPERJUMP So what about the Deiliths? The stone gods. ### Leon Richardson Because I’m a bit of a history buff, they’re all named after historical or legendary figures. I don’t apologise for that. Volcanic [Sceafing](https://en.wikipedia.org/wiki/Sceafa) is the chaos god that lives in the lava tubes in the Coral Coast. It is the god that appoints volcanic trackers. There’s a story in the book of Scaefing taking the form of a crocodile and accepting offerings from someone, but never having any intention of actually changing their circumstances or changing the future. The real core lesson of the god of chaos is that things are going to happen and there’s nothing that you can do. Beckoning [Atossa](https://en.wikipedia.org/wiki/Atossa) appoints effectively the rogues of the setting, beckoning infiltrators; she’s the goddess of revolution. She seeks to appoint people who can topple regimes and undermine guards. The pilgrimage to meet her is in a ruined city that’s staffed with guards; it’s implied that she put those guards there so that anyone who could see her would be able to get past them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Infiltrator.jpg) Beckoning Infiltrator, Rangers of a Broken World. Source: Evil Hat Productions. ### SUPERJUMP So are these gods flesh-and-blood people, or are they made of stone? ### Leon Richardson They were flesh and blood, people. They’re currently sleeping in the form of monuments. All that you can see of Atossa now is a marble hand emerging from the hillside, and infiltrators have to sneak past all of the guards to get to that hand. ### SUPERJUMP Are the Deiliths a benevolent pantheon, or do they vary? ### Leon Richardson They are benevolent, but because they’re asleep in stone, there’s something a little bit deistic about it. They want to help people, but they do so by empowering people. It’s very rare that they do any divine intervention other than granting power to people that they believe can help. Even prior to the cataclysm, they were already stone monuments. ### SUPERJUMP So they’re empathetic gods unlike the noble demons who lack that empathy? ### Leon Richardson I didn’t want to write a world with evil gods. I wasn’t interested in that. The tagline of Rangers of a Broken World is “together we can survive”. So the notion of togetherness, and people looking out for one another and rebuilding their communities, is important. In that kind of world, I wanted to depict not being able to, or willing to, care about others as a weakness. So the reason the noble demons fell short, and the reason the noble demons of our world fall short, is because they do not care about humanity or other living things, fundamentally. ### SUPERJUMP So possessing empathy is divine, and lacking it is demonic? That’s an interesting message. ### Leon Richardson In the book, I describe the world as kind but not always gentle. That’s very much what I was trying to convey with this. ### SUPERJUMP Would you say that’s a reflection of our world? ### Leon Richardson I don’t know that we live in a kind world, but I wish we did. There’s a lot more focus in our world than is healthy on immediate comfort, and less focus on what is genuinely beneficial to ourselves and to our communities. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/rangers-of-a-broken-world-book-art.jpg) Rangers of a Broken World Cover Art. Source: Evil Hat Productions. ### SUPERJUMP Thanks very much for that. The very first sentence of the game’s introduction is “this is a game about hope”. Since the game takes place in a broken world, does that make hope more important than ever? ### Leon Richardson Hope is a concept that’s very important to me. There’s very little that we can accomplish without hope and, speaking as a person with depression, I know what the absence of it feels like, and it’s so bad. I think I treasure it all the more when I can feel it. Believe it or not, most post-apocalyptic media is challenging for me because of this feeling of hopelessness. I wanted to tell a post-apocalyptic story that was focused on rebuilding, hope, and people coming together to find a way forward because they have to. The cataclysm was a tragedy that cost countless lives, but it was a fresh start. 100 years later, people get to choose what kind of world they build now. It’s these small glimmers that give people the ability to carry on when things are difficult. The world has ended, but it didn’t end all the way. What kind of future do we want, and how can we make it possible? The [crowdfunding campaign for Rangers of A Broken World](https://www.backerkit.com/c/projects/evil-hat/rangers-of-a-broken-world/pre-launch) is currently in its prelaunch phase on BackerKit. It's due to go live later this year. More information on the game, as well as design diaries written by Richardson, can be found on the [official site](https://evilhat.com/rangers-of-a-broken-world/). --- Thank you to Leon Richardson and Evil Hat Productions for their time and resources with this interview! ### Torneko- The Unlikely Father of Mystery Dungeon URL: https://www.superjumpmagazine.com/torneko-the-father-of-mystery-dunegon/ Last updated: 2026-09-21T09:32:06.000Z **You are not a hero! You are just a merchant.** Mystery Dungeon lives up to its namesake; not just in its trademark game design, but also in its own shrouded history and how it was conceived. For many players, their first encounter was likely through the Pokémon Mystery Dungeon games. For others, especially during the early PlayStation days, they may have dabbled in a Final Fantasy spin-off called Chocobo’s Dungeon. There are other spin-offs bearing the moniker, and it wasn’t until the international release of Mystery Dungeon: Shiren the Wanderer for Nintendo DS in 2008 that most players outside of Japan were introduced to the IP's original namesake. Well, that's not quite true. The first true Mystery Dungeon game was released exclusively in Japan in 1993, a spin-off in the Dragon Quest franchise taking place during the timeline of Dragon Quest IV. In this title, the main protagonist is none other than the shopkeeper Torneko, and needless to say, the importance of his story is encapsulated by the game’s grandiose title - Torneko’s Great Adventure: Mystery Dungeon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-9.png) Source: Dragonquest.com. ### Genealogy of Mystery Dungeon Everything we know and love about Mystery Dungeon, be it Pokémon or the main Shiren the Wanderer canon, can be traced back to Torneko’s 1993 dungeon-crawling misadventure(s). All the core elements of the design were set here: randomly generated floor layouts of a multi-layered labyrinth, a random assortment of items and monsters, and the punishing difficulty of sheer random luck. The most defining element of all, of course, is the permanent consequence of defeat and failure: losing all items, gold, adventure progress, and experience points. Mystery Dungeon is about starting from scratch over and over again, but the reward is in the endless possibilities of how each journey may unfold. Luck can go either way; sometimes rare and powerful items show up early, yet it's just as likely you'll be suddenly outnumbered by monsters. Despite this chaotic ebb and flow of luck, there is still methodical growth and learning here. Players may lose experience points, but they gain valuable experience and hindsight from each playthrough, and this intangible growth alone manifests organically in the game design. The moving parts come together to create a rhythmic dungeon RPG that quickly turns into sheer addiction. This game encourages just one more go each time, rewarding persistence and perseverance. Mystery Dungeon games vary in their difficulty and even in how strictly the fundamentals are enforced, which has allowed for a variety of experiences and entry points. Younger players looking for something engaging but still forgiving will find the Pokémon spin-off is the best place to start, but those looking for a pure, unadulterated experience can take on the challenge unique to the main Shiren the Wanderer series. It all starts with Torneko’s Great Adventure, before the second Mystery Dungeon game established Shiren and his setting as the IP's core identity from that point forward. Meanwhile, Torneko went on two further adventures of his own. With so many games, ports, and spin-offs, a simple diagram summarises the continuity of the mainline Mystery Dungeon franchise. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Screenshot-2026-09-14-4.36.22-PM.png) The Mystery Dungeon Canon. Source: Author. What is the most defining game in this diverse franchise? If we follow the continuity of Shiren the Wanderer, then he is a hero who thirsts for adventure, so for him it is about heroic displays and taking on great challenges. Anyone looking to go through the dungeon-crawling school of hard knocks will gain a lot from The Mystery Dungeon of Serpentcoil Island, with its addictive replay value and interesting network features. For an experience that retains the excellent 2D sprite artwork of the series, then The Tower of Fortune and The Dice of Fate is still an excellent entry point for anyone seeking an epic signature adventure. For the ideal starting point, it would still have to be Torneko’s Great Adventure: Mystery Dungeon, as it is the very foundation of them all; officially and canonically the first game in this enigmatic franchise. When it comes to fundamentals and challenge, it strikes a sweet balance; it’s neither too punishingly difficult nor too easy. As such a foundational and genre-defining game, it’s a wonder why it wasn't localised or ported for so many decades. Finally, as a surprise announcement and shadow-drop release during the last Nintendo Direct (09/09/2026), the foundational 1993 game is finally available on all major gaming platforms worldwide as Dragon Quest Heroes: Torneko's Mystery Dungeon -Classic HD. The HD remaster is fine for what it is, and it certainly won’t be loved by purists, but it gets the job done in making the experience globally accessible on modern gaming platforms. For both newcomers and series veterans, this is a great title to explore, not just for its historical value and influence, but for the sheer addictive and relaxing gameplay loop it offers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Torneko-Mystery-Dungeon-feat-image-1.png) Source: Dragonquest.com. ### Torneko's Mystery Dungeon Let’s take a good look at Torneko. Protagonist? Yes. Merchant? That’s his job title. Hero? Absolutely not. Torneko and Shiren couldn’t be more different as protagonists. The split in the franchise made sense: The former only wants his trade business to expand, while the latter is a road warrior and hero in the truest sense. Thankfully, adventures aren’t just for heroes. Merchants looking to succeed in business can also venture forth with a sword in hand, ready to battle monsters. Saving the world and fighting evil are not the only reasons to battle monsters; some adventurers want to earn some coin. We're not just talking about disposable ale income, no, but about investing in an ever-expanding retail operation: selling the best wares to actual heroes (and perhaps other dubious characters). The gameplay loop is about exploring the depths of the dungeon, pushing the limits of stamina and hunger, and getting stronger in the process. Except, hang on, Torneko is not a hero! He’s a merchant, so it’s all business to him- cost versus benefit. All the strength training and perceived bravery are only to the extent of making him a profit. In fact, solving the mystery of the treasure tucked away in the dungeon is completely irrelevant: he only wants to know if the darn thing is worth its weight in gold (or hopefully, more)! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-10.png) Source: Nintendo. As he ventures into the dungeon while keeping his insatiable hunger at bay (don’t forget to collect his packed lunch from the Mrs.!), the real progress is how much wealth he can accumulate on his travels. Upon defeat, he may lose his items and training, but he keeps half his gold, which goes straight into the shop. Dungeon exploration may be tough, but the positive feedback loop of seeing the financial investment pay off creates a sense of tangible progress, encouraging repeated plays where story progression is marked by major business milestones. For our unlikely not-hero, it’s also about being smart when picking his battles. It’s less about beating the dungeon and more about knowing when to call it a day. An opportune reading of the Evacuation Scroll means he not only gets to keep all of his gold, but can even put all the valuable weapons, scrolls, and items he’s collected up for sale to earn a hefty profit! It’s all about that sweet, sweet coin, and witnessing the business expand with every passing season. Danger lurks in every corner of the dungeon, though the worst thing that can happen to a merchant is not facing a big scary monster, but losing money. Therefore, the most heinous fiend to look out for is a disgusting creature called Bag o' Laughs, which is anything but a laugh when it nicks all the gold and makes a run for it. No fate could be worse for a profit-chasing merchant, so all the strength training, equipment upgrades, and spells should be laser-focused on eliminating these abominations with just one clean hit. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-11.png) Source: Nintendo. Some players may end up guiding Torneko to the ultimate treasure, but what he really wants is a successful business that can provide a cosy and charmed life for his family. And honestly, a guy who puts his hide on the line just so his kid wouldn’t have to... if that isn’t a hero, then what is? ### Big Walk Is Devastating (in a Good Way) URL: https://www.superjumpmagazine.com/big-walk-is-devastating-in-a-good-way/ Last updated: 2026-09-19T15:13:21.000Z **When our little threesome-sometimes-foursome friend group picked up House House's Big Walk, it was because it had the lauded recipe for long-distance bonding: play a game and yap.** We'd all sat down to previously play Baldur's Gate III, Peak, and Stardew Valley together and occasionally had the rarefied privilege of schedule alignment for Dungeons & Dragons one-shots (or, uh, twelve-shots). Since breaking up the band, so to speak, after a big IRL move, online games have been our hangouts for the past two years. Through these games, and because we're pretty at home online and on Discord in general, we've maintained at least monthly chat sessions and catch-ups, where we decide if we want to hop into a new world via a game or sit for a while in this one with each other, even though we're thousands of miles apart. Big Walk, at the outset, was another little gaming world we thought we'd enter, beat, play again, etc., etc. But then the ending hit, and it hit hard enough to encourage us to sit for a while and relish not only the beauty of online third spaces and their sanctity to our connection, but us in our entirety. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Spoilers_Ahead.png) Spoiler for Big Walk ahead. ### Walk Together Big Walk is a game that I've been recommending to others who haven't so much as touched a game in the poorly titled 'friendslop' genre or who may not even play games on the regular. I plug the game as this: something we can play together, that has low stakes and a lovely little world, no jump scares (although there is a dread to Big Walk when you're alone that...well, I'll touch on it later), and no need to 'git gud' at anything but communication. When you play with friends who've known each other a while, who know how to banter and crack inside jokes often, the game takes on a new dimension of immersive fun. There is something to be said for games that value – and actively capitalize on – the third space of the online world. For years, the third space of the Internet was for the terminally online, for those with subscriptions to some MMORPG or another, who flocked to forums and had *good* dial-up; ultimately, those who, for better or worse, were assumed to have a lackluster social life in reality. Nowadays, telling people you have a core group of friends you can game with remotely is something of a brag. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Screenshot-2026-09-14-161112-1.png) Source: Author. --- > Those first few days of stumbling through the wilderness when the sun started to set – sometimes alone after doing some recon – were actually pretty terrifying. --- When you first load Big Walk, you enter alone, in a bright red corridor, into a wide building we came to call "the house." In here you have access to myriad training areas, where you can throw things and practice important poses and jump onto platforms and try anything else you may need to do while you scour the world for little gourd-shaped 'keys' we affectionately dubbed 'babies.' (They look, indeed, like tiny versions of the characters' heads). These little squash-shaped things unlock *actual* keys, which you then have to cut accordingly in order to unlock bigger components of the game. Departing from the house took us a while as we got acclimated to the world and what the game wanted of us. We took time to catch up, running around and yanking stuff from each other's grasp (your character makes a funny, confused face when this happens). Later we'd discover whiteboards you can write on and either take with you or leave as what's essentially signage back at the outer area of the house. We defaced these, of course, with our inside jokes and left them up so we could run by each playthrough and recount our previous hilarity. Once or twice, we even chased each other down to place a whiteboard on someone's backpack so they'd be carrying around the equivalent of a 'kick me' sign. It was, truly, absolute buffoonery. But as you progress through even this first little portion – where you can see a house in the middle of the shrub brush – the world itself takes on a sudden vastness, augmented by a lovely (if fairly brutal) day/night cycle. At night, the darkness becomes so complete, you can really only see by the light of the stars and sky and, if they're nearby, your friends' eyes, which serve literally and figuratively as little beacons. Those first few days of stumbling through the wilderness when the sun started to set – sometimes alone after doing some recon – were actually pretty terrifying. We all sort of clustered by the light of that tinier house the first night, using the paintbrush available there to paint our 3-piece segmented bodies different colors. There are also bulbous orbs of light scattered on little round pedestals throughout the wilds. You can either carry these with you (which we often did) or set them down to act as pseudo-campfires, which make great navigation beacons if you get caught out in the brush at night. Once you start understanding how to navigate, what you can use to help make things easier, and what exactly the puzzles might expect of you, you move into a cadence of understanding and familiarity with the language of the landscape. There are scrub bush, what we grotesquely but aptly named 'the blood river', thin trees, thick cone bushes, big ol' rocks, the chattering of the birds, and the game itself. Once that great big first door opens, it's all pretty much yours to explore. ### Walk Alone Big Walk is, at times, a very unsettling game. That initial nightfall where all you see is the starkly lit big house (your starting point) and the dinky little paintbrush house you find a bit down the way – there's an element of almost lonely isolation to it. I was reminded immediately of Edward Hopper's Nighthawks, housed at the Art Institute of Chicago, a very famous 1942 rendering of folks gathered in the white-hot yellow lights of a diner interior while the night exists peaceably (or with melancholy, depending on your interpretation) outside. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Hopper_Nighthawks.jpg) "Nighthawks" by Edward Hopper; 1942\. Public Domain. --- > It's here we'd talk, waiting out the night if we needed to, about our weeks or funny stories or shows we were watching or things we were working on. --- Big Walk's usage of a light-in-the-distance type of navigation can, at times, feel adjacent to first-person horror games and how they employ shadows, contrasting their sharper bastions of light with the threat of the unknown. This is much like Alan Wake II does with its lampposts, but unlike that use case, Big Walk could care less how long you linger. While not necessarily cozy, sitting with your friends in a well-lit puzzle house feels akin to a hang-out session, albeit one that has more in common with a camping trip than anything else. It was more than once that we sat on the beach, the big ball of pinkish light between us, caught from rolling downhill into the water by our crossed little stick-legs blocking its path. It's here we'd talk, waiting out the night if we needed to, about our weeks or funny stories or shows we were watching or things we were working on. When we started to see the tips of pale sunrise light creeping across the sand, we'd stand and look out for a moment before resuming whatever quest that needed to be done. These small moments of peace grounded us a little more to the island-world of Big Walk. And it is a *beautiful* world. I've played through beautiful worlds in many games – pick any Final Fantasy – and while these are, indeed, creatively imagined and often profoundly well-executed, there is something to the simple realism of Big Walk's world that made me love it more than any I'd wandered before. I was a childhood fan of the Lord of the Rings movies, with those iconic shots of the Fellowship navigating the ridges and walking together across the wide forests. This game *feels* like that. It also feels like our world but emptier, less a bustling island and more a lived-in but post-extinction setting, à la Myst. The structures are often brightly colored and blocky. Others are spiraled, big or small. They're always empty of life when we enter them together, or sometimes alone, if we get lost or end up scouting, outside of the ambient but unseen forest life. We navigate this world that *looks* and *sounds* so very much like ours, though absent any other life. I kept waiting the entire time for a first and then second heavy shoe to drop. I heard people express big emotions around Big Walk, and I kept wondering if there wasn't some slyly integrated Nier-esque plot twist. Big Walk's core message is much simpler, and because of that simplicity, it's all that much more devastating. It never answers the wider questions of the world, at least in our first playthrough, and the truth is it doesn't really need to. For all the early harrowing aspects of Big Walk's realistic day/night cycle, eventually you make peace with it. We discovered early on that you can fire rockets into the air at certain look-out points to act as flares that let your teammates know where you are. These fire high up and pop open in a burst of colorful smoke in the sky (or in the very small, confined quarters of puzzle houses, where we kept firing the handheld flare guns at each other). Depending on where you are, these colors vary, so teammates who are lost can feasibly follow the trail no matter where they are to hopefully locate where it was fired from – whether from someone or from a platform. Because of these discoveries, getting lost became simply a shruggable offense. More so, the faint annoyance I felt was reserved for the tediousness of the day/night cycle (a game mechanic that's not my favorite flavor of time management). But this quantifiable passage of time is actually in the game's best interest – that little insertion of frustration reminds us of time's passage in and outside of the pixelated world. It's also a reminder that this is a game, still, and a puzzle game at that, so frustration is part of the process. You may get lost or lose a pivotal piece of equipment – both of which are made more difficult by the night – or you may fall off a devastatingly high cliff (screaming with terrifying realism on the way down – which is *really* funny with the game's proximity chat). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Screenshot-2026-08-25-214208.png) We really liked to fire that flare gun. Source: Author. --- > Pitch-black, edge of the world – that's occasionally what Big Walk feels like. --- But the slightly unsettling allure of the world is true for all aspects of Big Walk's environment. The water surrounding the whole island is swimmable, and you can enter it and see the little reeds at the bottom and bob like a beleaguered buoy. At night, this takes on a terrifying realism. I have swum in the ocean at night; It's fun until you begin to realize how wicked the ocean's power can be on small, fragile humans. I remember very distinctly realizing this on a camping trip, where I stared out at the dark waters, backlit only by meager stars and a few lanterns and the soft, laughter-lit voices of fellow campers. I heard the waves crashingon the sand and thought, "No one would be able to rescue us out here." Pitch-black, edge of the world – that's occasionally what Big Walk feels like. ### Walk One After Another As you conquer the wider open world and collect your 'babies' (there are great comment section debates on what to call them), you begin to unlock more and more useful traversal tools. There is a monorail and a ski lift which remain dormant until you unlock their corresponding towers; when they start up, you can more easily cross the island to find other areas of interest. The world and its mechanics slowly unfurl with you and your friends, and we met each new discovery with cheers and hand-waving and laughter. From backpacks to laser pointers, Big Walk gives you so many possible ways to navigate its expansive, rocky world. You won't use all of them, but you can change it up based on what works best for all of you. We played Big Walk in pieces. A few hours here, a few hours there, but it isn't all that long of a game, which is a shame only because it's such a good one. We had fun playing Baldur's Gate and Stardew together, but nothing outside of, perhaps, Peak, so fully captures a pure sense of adventure with friends. And I love Peak too – but it functions differently. Sure, Big Walk has a goal, and the game does end, but it feels fundamentally different in how it lessens the gamification of cooperation. Or perhaps perfects it? Either way, your teamwork is the core component of the game. It's like a grown-up, digital field day. The entire design seems built around you supporting one another and having these leisurely moments of conversational ease between bigger pushes to get the puzzles done. I don't want to spoil any of the puzzles – they're all a lot of fun – but I will say that some of them expressly highlight this zen-like insistence. Big Walk's surprises are many and welcome, and one of the more startling ones I realized later on was that the game has very little background music. I thought I would notice this sooner, but the sounds of the forest, your footsteps, ocean waves, the creaking of the ski-lift – you don't need much else. And I'm usually a headphones-on-all-the-time kind of gal, but whenever I found myself lost, I would happily bobble-head my way toward my friends' desperate skyward flares without even so much as whispering to myself. There's a reliance on the game *of* that silence, until you stumble across what we called 'music zen-gardens' interspersed throughout the world that offer hoppy, peaceful little 8-bit beats, almost like elevator music, but somehow more effective. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Screenshot-2026-09-14-163035.png) Source: Author. --- > Big Walk has no big rug pull, no 'aha!' moment of narrative revelation, nothing to really give you clues as to the world at large, but it does end like this: one by one, you walk into a big white tunnel. --- As you near the end of the game, the puzzles get more complex in the ways they need to be executed, and you start to feel more uneasy with some of the imagery. Chief among these is a big black sphere visible in what we called the 'big map room', where the entire island and the locations of the 'babies' are displayed. There's a big green wall blocking us from seeing this sphere outright in the open world, but when we got *past* the wall, that's all we could see. It stood in the distance, imposing, humming at an eerily low frequency, and we simply looked to each other and kept on walking towards it. *What is this big ball?* We all wondered. It's a bit domineering where it sits on the landscape, monolithic in a very Space Odyssey way. Big Walk has no big rug pull, no 'aha!' moment of narrative revelation, nothing to really give you clues as to the world at large, but it does end like this: one by one, you walk into a big white tunnel. At first, we were all like, "oh, here's the end! Wow, cute!" But as we saw each other off – beside a sign that said what to press to wave goodbye – what had been dread at seeing these odd structures became something more like yearning, which softened into outright loss. I watched with three friends as the first of us faded into the white light (with her even mentioning it was kind of scary), all of us waving behind glass; then we watched my other friend leave, and then it was just me, waving my final friend through her walk into the light. Look, I didn't really think much of that small metaphor until I set the controller down. But wow, Big Walk, what the hell? I entered right after them and was about to step in when...I turned around. I looked back at the world to see the ominous big sphere, and immediately was assailed by memories of us chasing the train ("for the bit!"), and laughing about the babies, and getting lost, and finding each other, and sitting on the beach telling one-sentence stories, of flares lighting the sky to lead us to one another, of flinging each other into the air on lawn chairs, of riding the train together with its sonorous horn, of looking down as we rode the ski-lift in pairs and pointing out where we'd been and *oh, look at that over there!* *Isn't that all this is?* I thought to myself, staring out over this little chunk of digital space we'd come to love being together in. It didn't hit me until the next day when I sat down to write this that it is, indeed, all just a Big Walk. At the end, when I pressed my little round hand to enter the final doorway, it was with a realization of the terrible beauty of ephemerality. But as I looked at the white light, which did, outright, feel like a terrifying abyss, all I could think was how I wanted to chase my friends' laughter into it. ### The Toy Maker's Museum, Preservation Challenges, and Splatoon URL: https://www.superjumpmagazine.com/the-toy-makers-museum-preservation-challenges-and-splatoon/ Last updated: 2026-09-14T11:22:50.000Z August 2026 edition _This post is for subscribers only._ ### The JRPG Players Guide to Handheld Game Consoles, Part 2: The Old Toys URL: https://www.superjumpmagazine.com/the-jrpg-players-guide-to-handheld-game-consoles-part-1-2/ Last updated: 2026-09-17T18:35:27.000Z **Welcome back to the definitive retro handheld guide for JRPG players!** This guide will help you decide which handheld you will actually use based on the popular JRPGs you want to play. In [Part 1 of the guide](https://www.superjumpmagazine.com/the-jrpg-players-guide-to-handheld-game-consoles-part-1-the-new-toys/), we found out what type of person might be interested in the brand-new devices being manufactured and sold on today's market. Now we will discover what type of gamer would want to repurpose an older device to game on nearly 10 years after their prime. The quick and dirty answer is simple. If you have an old handheld sitting in a drawer, replace the battery, mod custom firmware onto it, and love it forever. If you don't have one lying around and budget is a factor, check out Part 1 of this guide as well for your full range of options. While I talk here mainly about the PS Vita and the Nintendo 3DS, there are some other great custom firmware options entering the mainstream. The PSP and the Nintendo DSi have both been given their flowers and now see some modding support to keep them alive long past their life expectancy. These could be great options for you if the PS Vita and 3DS have become prohibitively expensive. This guide will focus on which device is right for you based on which JRPGs you want to play. I went over some shopping considerations in Part 1, so take some time to read that first. The short version is that the best handheld is the one you will use, and what you use it for is games. So it's best to quickly meditate on which games that you want to play before just buying an AYN Thor because it can play the most. Sometimes a PS Vita, for example, could be exactly what you want if you really just love Persona, and there is nothing like playing those games on native hardware. So let's take a look at our first option, the PS Vita, and who might love to own one of the most premium-feeling handhelds ever. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Screenshot-2026-08-25-at-17-42-32-Portable-PlayStation-Vita-with-Wifi-PS-Vita-GameStop.png) The PlayStation Vita. Source: [GameStop](https://www.gamestop.com/products/sony-playstation-vita-system--wi-fi-3g---black/909104.html?bvroute=Review%2F316955232&bvstate=pg%3A2%2Fct%3Ar). ## The PlayStation Vita What if that newfangled device they're advertising on TikTok scares you? Maybe the tinkering is too much, and getting all those emulators to work just isn't your thing. Then repurposing first-party devices might just be right for you. The PlayStation Vita is easy to mod with a guide and offers a surprisingly wonderful experience in the modern day. I still use mine as my ultimate Persona handheld, but you’ll find much more to love about it the deeper you look. The PS Vita is still a coveted device. I expect people to move to the Retroid Pocket 6 or similar as PS Vita emulation comes into its own, but right now you can’t beat original hardware for native Vita games. A PS Vita will cost a bit more than the budget options highlighted in Part 1, but a little less than a 3DS or a high-end handheld. But if you still have one sitting in your drawer since you beat Persona 4 Golden, this is all free! I won’t go into the modding process, but do your research and see if you feel comfortable doing it by yourself before buying a console off eBay. The PS Vita library is… eclectic. It’s not for everyone. There are really awesome titles to try out, but JRPG players who love anime and don’t mind a heaping handful of sexual fan-service are going to get the most out of this device. Perhaps that was a little dramatic; you can avoid the fan service with some research and a blind eye, but I would never recommend a PS Vita to someone who is resistant to watching anime if they planned to get the most out of the device. The newer JRPG’s that released on PS Vita predominantly featured an anime aesthetic and had many experimental mechanics that were generally a mixed bag. Outside the game library, the device feels premium, and every title runs awesome right from the start. No messing with settings or shaders; you download the game and they all play perfectly. A PS Vita can feel like a limited device, but it does what it does best exactly how you’d want it to. So what does the JRPG landscape look like for this console? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5617.jpg) Ah, a place to play all of my legally backed up copies of my games. Source: Author. The PS Vita has essentially every PS1 JRPG available to play natively. If you wanted to catch up on games like Xenogears, Chrono Cross, Parasite Eve, and Legend of Dragoon, you will find them all available here. They all still show in 4:3 with black bars on the sides of the screen, but it looks great, especially if you have the PS Vita 1000 with the glass panel where those black bars fade neatly into the black console. I would be remiss not to include the incredible PSP library here. I actually believe that if you are primarily interested in playing tactical RPGs, then a modded PSP or PS Vita should be at the top of your list. Getting games like Final Fantasy Tactics and Tactics Ogre while also getting underground hits like Jeanne D’ Arc and Growlanser are big reasons to get this device. If you are okay with giving up Fire Emblem, the trade-off is worth it to have a whole host of other tactics games. Well, you could emulate the GBA Fire Emblem games, but it feels so wrong on the PlayStation hardware. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5616.jpg) Gran Turismo PSP still rocks even without a career mode. Source: Author. This is also the device of choice for fans of grid-based first-person dungeon crawlers (Blobbers). You get many new options from the return of the genre before it faded from view again. While I hope that we see another resurgence of the Blobber genre, what we got here on the Vita will keep me busy for a long time. With little-known gems like Demon Gaze, Stranger of Sword City, and Ray Gigant, there are hundreds of hours of mazes and team building to do. Some of these games push the boundaries of explicit content, so viewer discretion is advised. The PS Vita is a perfect home for Final Fantasy and Persona fans. You can play the first 4 Persona titles, including the incredible Persona 4 Golden version, which you really can’t play on any other handheld this small. You also have the best versions of Persona 1 and the Persona 2 duology. For Final Fantasy, you get the best versions of every mainline game up to X-2 (excepting some subpar versions of V and VI). You also get access to World of Final Fantasy, FF Tactics, and Dissidia Duodecim, which is still stuck on the PSP. If Final Fantasy and Persona are your gaming priorities, the PS Vita is the perfect place to play. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5366.jpg) Persona 1 on the PSP. Source: Author. --- > "The best handheld is the one you will use." --- I want to mention some sleeper hits too because the Vita is brimming with stuff your average JRPG player might not have tried. On the more well-known end is the first Digimon Story Cyber Sleuth game and its sister title, Hacker’s Memory. These games are great replacements for Shin Megami Tensei, showing how much Digimon is willing to grow a little with its audience. I love these games, and even though they are available everywhere, the graphics look like they belong on a smaller screen. On the lesser-known side are the Department Heaven games, which are all represented here. Graphically, this is the best place to play these Sting Entertainment titles if you’re interested in trying out experimental titles with awesome art styles. They are not RPGs, but if you thought that Persona 4 Golden was the only reason to get a Vita, you have to play Danganronpa on here. PS Vita is the home of this series, and they are wonderful visual novels if you like murder mysteries. I love my PS Vita; unfortunately, after I went through the Persona series most recently, I never picked it back up. I’m getting into Blobbers as I grow into my 30s, so there’s a chance that the PS Vita will storm back into my life, but we have to remember our mantra: The best handheld is the one you will use. No matter how much I love the PS Vita's premium-feeling design and how good it feels in your hands, the library is not what’s calling to me right now. But it may be exactly what you love about JRPGs. Before we make a final decision, I have one more solid handheld to offer as an option. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/H2x1_3DS_SystemLandingPage_v07_image1600w.jpg) The Nintendo 3DS. Source: [Nintendo](https://www.nintendo.com/en-gb/Hardware/Nintendo-3DS-Family/Nintendo-3DS-Family-94560.html?srsltid=AfmBOor4WFyaIrCC%5Fl4DZtUbYto853WXD2PXgE1y75aHo93xx32zXM2%5F). ## The Nintendo 3DS This is likely the most expensive option due to its rising popularity, but for good reason. The Nintendo 3DS has an impressive library, and the onboard virtual console gives you access to every past Nintendo handheld all on the same device without needing any additional emulators. Personally, if I were stranded on an island and could only have one handheld with me, the 3DS would rank just below the PS2. This one is hard to get your hands on. You have to get one second-hand, and even then your best bet financially is to get the LL version out of Japan. As much as I absolutely love the 3DS, unless you have one lying around, I have to suggest that you go for the AYN Thor instead. The AYN Thor is not cheap, but it’s available at consistent prices and plays all the same games, albeit with a little more tinkering and setup. But if you shell out the money or find one hiding in that old plastic bin in your garage, replace the battery, mod it, and never let it go. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5319.jpg) Shin Megami Tensei Strange Journey Redux on 3DS. Source: Author. This is a great device if your main priority is Shin Megami Tensei and Dragon Quest. You will have the best version of every Dragon Quest game up until the 9th entry. Getting the Game Boy Color versions of the first few games converted to the 3DS-compatible .cia file requires only a few additional steps, but it's worth it when you see how easy the virtual console makes dual-screen emulation. The 3DS has half of the popular Shin Megami Tensei games in the West; titles like Strange Journey, Devil Survivor, and SMT IV have tons of content. I’m almost done with Strange Journey Redux, and after 60 hours it’s still a great companion for lunch breaks and hanging on the couch. The Blobber genre is also well represented on the 3DS. Atlus is the only creator of 3DS blobbers, but they made enough that the number of games is comparable to the PS Vita. For Persona players, the Persona Q games are neat crossovers that are fun to adventure through. The story is sure to be a little disappointing for fans of the mainline games, but creating teams of your favorite characters is a blast if you can set your expectations down and know that filler is on the menu. Etrian Odyssey is the other big Blobber series on the 3DS. With 6 games, you will be busy for a long time if you like the series' formula. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5095.jpg) Bravely Default is still incredible alone. Source: Author. This is surely not the console that I would recommend if you enjoy Final Fantasy. But if you like a challenge, you have popular versions of the first 6 games, including the divisive DS versions of Final Fantasy III and IV. The first two Bravely Default games are on 3DS, and they use the classic Final Fantasy job-based combat system minus ATB (Active Time Battle). The Bravely Default games also look gorgeous with the 3D effect, and you can’t get that anywhere else. Of course, if your goal is to play first-party Nintendo games like Pokémon and Fire Emblem, you can’t find a better handheld. With few home console exceptions, you get the entire back catalog of these famous series. They are not my cup of tea, but I appreciate a device that lets mega fans have one place to play all of their favorite games. This system also has a ton of brilliant one-off titles. Radiant Historia, Miitopia, and The Alliance Alive are a few games that are well-loved as great dual-screen RPGs. The PS Vita and the 3DS both used new hardware to innovate in the JRPG genre, but you see a lot more success with the 3DS than the Vita. Nintendo's handheld features parallel genres that JRPG players tend to enjoy as well, including life sims and story-based puzzle games. If you came for the JRPGs, I almost guarantee you will find something different to enjoy as well. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5322.jpg) The 3DS is not that great in direct sunlight I found out. Source: Author. ## Tough Choices I was lucky enough to have both my old 3DS XL and my PS Vita 1000 lying around; otherwise I’d most likely have just bought an AYN Thor. Finding the perfect handheld has caused (more than a few times) buyer's remorse and confusion as to what I really wanted. “The best handheld is the one that you use.” Hardware is the beautiful vehicle that lets us experience JRPGs, and having that in our pockets makes this a wonderful time to be a gamer. Prioritize your favorite games. If you love the way the AYN Thor looks but really only want to play Super Nintendo games, you’ll likely switch down to a Miyoo Mini anyway later on. Knowing yourself and your needs is a key ingredient to not wasting money in this hobby. I’ve made those mistakes, and hopefully my lessons and research help you decide what fits best into your lifestyle. But more than worrying, have fun. When you buy your second or third console, don’t feel stressed that you have devices you likely won’t use anymore. Build them for friends, give them to people as gifts, use them as an opportunity to curate your game collection, and find out exactly what games you want to spend your free time playing. It’s all about the games, and the process of finding yours and the hardware that you want to play them on can be just as fun if you dive headfirst into the world of retro handhelds. ### The JRPG Players Guide to Handheld Game Consoles, Part 1: The New Toys URL: https://www.superjumpmagazine.com/the-jrpg-players-guide-to-handheld-game-consoles-part-1-the-new-toys/ Last updated: 2026-09-13T14:54:29.000Z **In this decade, the handheld consoles on everyone’s lips are Valve’s Steam Deck and Nintendo’s Switch 2\.** Between these two choices, a lifetime of JRPG re-releases and modern epics would undoubtedly keep any gamer satisfied until the next age of home and portable consoles. These two portable computers make the most powerful pair of first-party handheld consoles we have ever seen on the market, but they aren’t truly as portable as what we’ve had before. This guide explores handheld gaming options for people who want a daily driver for busy lives, who want to fit an epic adventure into lunch breaks and between loads of laundry, and for gamers who want a small device with easy access to retro entries of their favorite series. We will also talk in specifics about popular JRPGs and the best place to play each one. If you want a gaming handheld that fits in a pocket or purse today, you have two main options and many nuanced choices within each. The first option is to repurpose old hardware, namely the Nintendo 3DS or the PlayStation Vita. You could certainly also choose an older generation of handheld, but I have the most hands-on experience with these two, so they will be the focus of this guide. The second option is to look into modern retro handhelds being designed by reproduction companies such as [Retroid](https://www.goretroid.com/?srsltid=AfmBOopxR5N2mbnc10%5FKlpvLLjmsOBk9YD21HRgH%5FsKkVIyOwo8UFByt) or [Anbernic](https://anbernic.com/). For the right person, these can be the greatest hardware available for purchase. For the wrong person, they can become an expensive fidget toy. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Screenshot-2026-08-25-at-16-24-48-Steam-Deck---.png) Certainly one of the reasons to think smaller for your next console. Source: [Steam](https://store.steampowered.com/steamdeck). So, why choose an outdated piece of tech over the power and convenience of the newest tablet-sized console? Technically, anything you can do on these smaller devices, you can do on a Steam Deck (outside of some niche features like the 3DS glasses-free 3D). Personally, I wanted an everyday carry with long-term games so that I have the save file of the RPG that I’m the most invested in at the moment, no matter where I am. I didn’t like carrying the Steam Deck everywhere, but a smaller device fits right into my cross-body bag and has become as normal to carry as my wallet. I’ve heard a few times that a handheld console can avoid fights in a relationship when deciding what should be on the TV after work. I’d like to offer that from a different perspective: handheld gaming affords frictionless quality time with your partner if that’s what you both value in your week. You can grind mobs in the dungeon AND get hopelessly attached to your partner's favorite TV binge. But perhaps you miss the feel of a Game Boy Advance in your hands. Maybe you want a device so small and so quiet that you can play Suikoden with one hand while you rock your baby to sleep with the other. Whatever your reasons are, these devices offer endless games at half the price of a retail console. If you are happy with your home console or portable PC, then venturing into the handheld space may not add any value to your hobby. But if you want something a bit more low-profile that doesn’t become a burden on the go, then I present Part 1 of a JRPG players' guide to choosing a device that works for you. This part will focus on the newer offerings from trusted Chinese manufacturers; Part 2 will cover the benefits of sprucing up your old first-party hardware. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5615.jpg) Ready to go at fanny pack size. Source: Author. ## Shopping Mindset Considerations In handheld gaming, a common saying when recommending a device is: “The best gaming handheld is the one you use.” With that mindset at the forefront of our process, we have to start with what games we will actually use this thing for. The guide will focus on JRPGs and your options for popular titles since that is my expertise and genre of choice. You can use my method here to research the games you want to play the most in other genres and make an informed decision from that. When you decide on one of these pieces of hardware, basically any game from the first 6 generations of home and handheld consoles will suddenly become available to you. I agonized over squeezing every possible game I could ever be in the mood for onto the handheld, but it’s best to start with knowing which games you'd rather play on a big TV. For instance: I love racing games, so I researched for hours and tried many games on handheld, finally realizing I prefer to do my racing on PS5 playing Gran Turismo 7\. There's no handheld replacement for that game to me, and that’s okay. This will NOT become your all-in-one gaming solution, and realizing what you don’t want to play on this device will save you money in the long run. If you like playing something on a device that you already own, keep playing it there and don’t gamble on the new format unless you genuinely want the portability. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5100.jpg) Maybe you just want to play Game Boy games, feat. Final Fantasy Legend 3 on 3DS Virtual Console. Source: Author. So the first decision's been made: we know what games we don't want to play on a handheld. But what are the new experiences that we want to have? What comfort games do you want sitting in your pocket as you go through the day? What game boxes do you want people to see and associate with you when you show them this cool new device you’ve just set up? The world is your oyster, but it’s best to have a focus in mind. Even the device that seems to do it all, like the [AYN Thor](https://www.ayntec.com/products/ayn-thor), will feel awkward playing games from certain consoles. If you know you only want to play Pokémon games, you can start your search with a device made to play your favorite entry in that series. Especially for JRPGs, you will have a much easier time choosing a device if you know which specific series and games you want. Not everyone who buys these things actually ends up playing games on them, and that’s okay! This device will make you feel like a professional game collector. But if this is you, it’s best to choose a specific console or handful of similar consoles so that it still feels like a purposeful gaming device rather than a hard drive for your ROM collection. Lastly and most obviously, consider your hardware needs. Some things you won’t really know for sure until you have the device, like how the ergonomics feel in your specific hands. But note the battery life, check the physical button audibility (the clicky sound), look up the dimensions, and see how it compares to the size of your phone. There are tons of videos about almost every device available; the research portion of each handheld has become a popular hobby in and of itself, considering the community of people dedicated to just trying out new hardware as it comes out. Even with all the options available, there's no singular device for every occasion without a caveat. Keep your needs limited to games from just a few consoles, and you will find a device that is exactly what you need. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Screenshot-2026-08-25-at-16-38-33-GKD-PIXEL-2-2.4-Inch-Metal-Portable-Handheld-Game-Console-LITNXT-----litnxt.png) The GKD Pixel 2, a solid pick if small size is your biggest selling point. Source: [LITNXT](https://www.litnxt.com/products/litnxt-gkd-pixel-2-2-4inch-metal-portable-handheld-game-console). ### The Budget Handheld For only around $100 USD, you could be the proud owner of a small handheld that fits easily in your pocket and doesn’t strain your budget. Consoles like the [Miyoo Mini Plus](https://lomiyoo.com/products/miyoo-mini-plus?srsltid=AfmBOoove8TWt5dEZYpbhbOEOiX7MohbbW9xYFBiiI%5FY8Zu6vDiGbINe) or the [TrimUI Brick](https://trimui.net/collections/trimui-brick?srsltid=AfmBOopPj1fwGPEfQeah3uSkIhHhgtNTuHKg01mKw-4fEgJjlpZejdHL) are often lauded as perfect consoles for playing JRPGs with only one (adult) hand. These devices use a chipset that lets you play games from the original PlayStation and older. What I love the most about these devices is their small screen. With generally high pixel density for their screen size, any retro game with pixel art will look a little better than on a device that blows up the image to fit a larger display. The downside is that it is easier to spot when integer scaling isn't used, causing some text or graphics to appear slightly morphed and blurry. Not everyone will notice or care, but it’s good to research screen compatibility with your favorite console before taking the plunge. If you specifically want older titles and think that paying $49.99 USD for Lunar Remastered is highway robbery, these devices may be for you. The first golden age of JRPGs was the SNES and the PS1, and you get all of that here, plus the GBA, which has many JRPGs remade from both systems. These devices are limited, but you can’t beat their price and form factor. They make a great pair alongside your regular console gaming if you just want something to play fan-translated Japanese titles or ROM hacks, and it’s still cheaper than buying a copy of Xenogears. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5231.jpg) Final Fantasy Advance on RG Rotate. Source: Author. This was the Wild West era of the JRPG genre, and you will probably want titles from series that don’t exist anymore, like Chrono Trigger, Grandia, Terranigma, or Golden Sun. I really loved my TrimUI Brick for playing the English translation of Shin Megami Tensei and the Breath of Fire games, and I loved researching older titles and trying them out. The limitations of PS1 and earlier consoles really forced me to look at older games I may not have tried otherwise, and I had a blast doing it. Even though I had fun, if you see a SNES JRPG and yawn, this may not be the best option for you. Final Fantasy enthusiasts can rejoice as the first nine mainline games, along with Tactics, are playable on these devices. Choosing the NES or GBA versions of the games became pretty difficult, but it feels a bit wrong to play the PlayStation Final Fantasy games on such a small screen. The first six games in the series feel at home on a device like this, though, and I sometimes wish I had dedicated my time here instead of the recent Pixel Remaster because of how right it feels. But then I remember being able to skip encounters in the final dungeon of Final Fantasy II Pixel Remaster, and I am once again grateful for modern technology. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_4983.jpg) Shin Megami Tensei English Fan Translation on TrimUI Brick. Source: Author. I don’t recommend these devices if you want Dragon Quest, although I have seen people who love the original Dragon Warrior trilogy and you can run the great Game Boy Color versions of those games pretty easily. Dragon Warrior VII is also a good game to have in this format, since it’s so long you’ll want the optimal couch position for those longer play sessions. If you really only want GBA Pokémon and ROM hacks, this will do it for you. Truly, that is all some people want and need. But if you are looking for the ultimate Pokémon machine, you’ll want to save up for a dual-screen device. I am not a Pokémon person at all, but even so, this device made me feel like I would be wasting its potential if I didn’t at least try some Pokémon ROM hacks. Those are some of the more popular games, but for this range of devices specifically, you want to look at games that weren’t as popular too. Research games like Albert Odyssey and find the hack that makes Fire Emblem Sacred Stones at least twice as hard. A low-power device like these options will get you out of your comfort zone, looking for ways to get the most out of it, and that’s the charm of something this small. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Screenshot-2026-08-25-at-17-26-38-AYN-Thor--Batch-7-Pre-order-.png) The AYN Thor. Source: [AYN](https://www.ayntec.com/products/ayn-thor). ### The Premium Handheld These devices cost around $200+ USD and contain chipsets that can typically handle any game up until GameCube and PS2, and some Switch titles. This includes anything from the [Retroid Pocket](https://www.goretroid.com/collections/retro-game-system) line or AYN devices like the Thor. They can become tiny [Steam Decks](https://store.steampowered.com/steamdeck) for your indie games and use custom frontends to endlessly customize your ROM manager. If you buy this device, you will pick it up for the first time and think, “If this is $250, why is a cell phone $1000?” This is the closest that you will get to an “all-in-one” device for any retro game that you can imagine. The problem with some of these devices is screen ratio. If you get a widescreen device as I did, it can feel like a PSP machine that makes games from other consoles work if it has to. The newest devices in this range typically have 4:3 screens, which make them perfect PS2 and GameCube handhelds. The downside is that PSP and DS titles look and play a little awkwardly, even though they will run on these chipsets without breaking a sweat. If you don’t know what you want, this can be a great catch-all, or it might be complete overkill and a waste of money. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5619.jpg) iiSU frontend, gorgeous but not without some quirks. Source: Author. The PlayStation 2 was a fantastic console with a ton of JRPGs, and if you want a device specifically for this console, you can stop looking. There aren’t many options that can run PS2 as well as a Retroid Pocket or AYN Thor. These are also great for GameCube, which didn’t have a whole lot of JRPGs, but being able to throw Skies of Arcadia Legends and Baten Kaitos into your collection is still a big bonus. I mainly use my higher-end handheld for PS2 games, but I still used it to try Pokémon Colosseum, which has more potential to finally sell me on Pokémon than any of the mainline games. When you get a device this powerful, the hardware's nuances become more evident over time. For example, if you still mainly want to play PS1 and older games, you probably want a device that places the D-Pad where your thumb normally rests instead of the analog stick. Screen ratio feels like a bigger deal than before when it’s so tempting to get the 16:9 powerhouse devices. The [Retroid Pocket 6](https://www.goretroid.com/products/retroid-pocket-6-handheld?srsltid=AfmBOopUDspIcPScqt3wDc5e8Y4-QbZM%5FRpeg6CVrKZzxPH-xrR-OVyk) or the [AYN Odin 3](https://www.ayntec.com/products/ayn-odin-3) feel like the end-game device, but the screen only perfectly fits PSP and modern games. So if you want to play something other than Genshin Impact and Persona 3 Portable, you could end up feeling like you made an expensive mistake when the games you love most feel a little off, with bad screen scaling and huge black zones on the screen. But if screen size doesn't matter to you, the 16:9 handheld will be your all-in-one solution for PS2 and older. DS screens fit side by side neatly, arcade Taito games play neatly sideways, and with enough tinkering you can even put your own cool overlays to fill up the black areas around your games to make them feel a bit more at home. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5331.jpg) Sometimes the game just needs to be played on the original system. Source: Author. I love a 4:3 device, though. Give me a dedicated PlayStation 2 and GameCube handheld (with some Super Nintendo thrown in), where all the games feel just right, filling up the entire screen at a beautiful 2x integer scale. This device is something like the [Retroid Pocket Nova](https://www.goretroid.com/products/retroid-pocket-nova-handheld?srsltid=AfmBOopRWxIY0dtgX5s66M2xk2hsbDfkdWsibK5eTCqztBIMBhNK-wqk) or the [Anbernic RG 477M](https://anbernic.com/products/rg477m). I collect PS2 games, so the system is near and dear to my heart. Having a device on hand that feels like a pocket PS2 is something my younger self would have never believed possible. I used to feel some guilt over choosing the handheld over the CRT television, as I still have a love for the original hardware. But I believe that we live our lives in broad seasons. Currently, it makes more sense to have the handheld because I value that quality time with my partner in the living room while she watches something on TV, and I’m playing the handheld while we chat about our day. Perhaps down the road when I have kids, I will place greater value on time spent teaching them how to play SSX Tricky on my old setup. This is all to say that a handheld should fit your lifestyle; don’t feel guilty about getting one to play the same consoles that you already own if it enables you to better fit them into your daily life. We've now established that the 16:9 device is the perfect all-in-one. I love that I can put every game imaginable on my [Retroid Pocket 4 Pro](https://www.goretroid.com/products/retroid-pocket-4-handheld?srsltid=AfmBOorqkvUxXTK58rvKvdDDYn1I75EzccE1sNVDWuwx--X18oKXWZBC) (with some concessions), so no need to go over the specific JRPGs that go on there. But I ended up switching to the Retroid Pocket Nova when that came out, partly because I make questionable financial decisions, but mostly because my heart lies with the PS2; I wanted my handheld to feel like a perfect fit for my favorite system. So what JRPGs fit nicely on the 4:3 handheld? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_5618.jpg) It's not Golden, but still one of the greats. Source: Author. There is a PS1 or PS2 version of every Final Fantasy game up to the 12th entry, with the exception of Final Fantasy III (but that's the worst game in the series so it’s fine). Since we have all this power and Android, just go ahead and buy the Pixel Remasters of the first 6 games on the Google Play Store. Final Fantasy III lovers, rejoice once again. 4:3 handhelds will also fit GBA games pretty well, so if that’s your flavor of classic Final Fantasy, you could definitely go that route as well. With a 4:3 handheld, you will get a really good experience playing Dragon Quest VII and VIII on PlayStation, but I recommend the AYN Thor as the ultimate Dragon Quest machine. You still get that beautiful 4:3 bottom screen to play the single-screen games while utilizing both screens to play the DS versions of each game perfectly. The same goes for Pokémon; the AYN Thor will be your one-stop shop for everything through the 3DS era. Ah, Shin Megami Tensei (SMT), my beloved. For these games on an all-in-one, I still have to say that the AYN Thor is what you want. The dual screens give you perfect access to the 3DS titles like Strange Journey, Devil Survivor, and SMT IV. You still get that 4:3 PS2 experience on the bottom screen with Persona 4, Persona 3 FES, SMT Nocturne, and Digital Devil Saga. And you can watch the Persona 4 anime on the top screen while playing Persona 4 on the bottom screen or something. I still have my 3DS (more on that later), so the 4:3 handheld covers all of my PS2 SMT needs while also giving me a great place to play the English translations of SMT 1 and 2\. You’ll want the PSP versions of Persona 1 and 2; they’ll feel a little weird on 4:3 but look great on the AYN Thor top screen. Luckily I still have my PS Vita (more on that later too). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/IMG_4970.jpg) PS2 running on the Retroid Pocket 4 Pro. Source: Author. As a PS2 collector, this is a great opportunity to check out some lesser-known JRPGs from that era. Games like Baroque, Xenosaga, .Hack, and Shadow Hearts are seeing a resurgence in popularity as emulation makes them playable once again. This is also the era where action JRPGs came into their own. If you are thinking about a retro handheld for JRPGs, it’s pretty safe to assume you don’t mind turn-based combat, but there’s nothing wrong about mashing some buttons in Kingdom Hearts or Tales of the Abyss every once in a while. Of course, along with all of these options, you have everything that we talked about in the budget section. The real deciding factor between this higher-end tier and the budget tier will be size and price. If you truly want something to throw in your pocket with your phone, you want the cheaper budget option. As a warning, there are a lot of third-party retro handhelds on the market, and it has become a hobby of its own for a reason. If you start, you will want more as you discover your preferences. Even though it seems like you could spend $100 and call it good, I would budget closer to $1000 over the course of 2 years as you collect 3 or 4 handhelds, before you finally settle on the one you like best. This sounds insane from an outside perspective; hell, it sounds insane from my perspective too, but this is the truth of the hobby. Hopefully my personal experience and feelings help you prepare for the realities of starting down this possibly expensive path. ### Brand New Toys That's all for the first half of our exploration into retro handheld devices. The new toys on the block offer great experiences for players who don't mind taking the time to set them up and tinker with their settings. For anyone who is tech-inclined, these devices are a hobbyist's dream with tons of potential. But for those wanting a dedicated experience right out of the box, it may be a good idea to bring out that old PSP or 3DS. Stay tuned for Part 2 of this guide, where we explore which JRPG player stands to gain the most from an old PS Vita or Nintendo 3DS. ### Five Splatoon 3 Habits to Unlearn for Splatoon Raiders URL: https://www.superjumpmagazine.com/five-splatoon-3-habits-to-unlearn-for-splatoon-raiders/ Last updated: 2026-09-11T21:37:34.000Z **I have been playing Splatoon since the series originally launched on the Wii U.** Although I knew in advance that Splatoon Raiders was a different beast, it's taken a few hours of play to truly recognise the scale of that difference. The classic Salmon Run cooperative mode is probably the closest analog to Raiders, but it's a very imperfect comparison; the new game is vastly larger in both scope and depth with a relatively approachable skill floor and tantalisingly high ceiling. It's also built around fundamentally different design goals. This is a wave-based looter-shooter anchored to a surprisingly-robust RPG system that allows for highly-personalised builds. It's still a Splatoon game in that it rests upon the franchise's core gameplay mechanics (which means it retains one of the most elegant and sublimely satisfying player movement systems in video game history), but importantly, the way you're thinking about and leveraging those mechanics can feel quite different here. This won't be a problem for new players, but if you're a veteran (especially if you haven't yet picked up the game or you're still getting an early feel for it), you'll maximise your enjoyment of Raiders by 'unlearning' some of your Splatoon 3 habits. Here are the top five that have struck me most so far in no particular order. ![Splatoon Raiders logo.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/SplatoonRaiders_Logo--1--2.png) Source: Press Kit. ## Stop rationing your sub-weapon Sub-weapons are one of my favourite elements in the Splatoon series. Each weapon in Splatoon comes with a different sub-weapon (which encourages you to try out different weapons for their unique combinations). Sub-weapons can be incredibly powerful but this power is offset by the fact that they typically use a large amount of ink, which means they can (and should) be used sparingly. The Splatoon Raiders equivalent of sub-weapons are gadgets. But they're really only equivalent in the sense that they complement your main weapon through traits that are less directly-controllable and/or more mechanically passive. Gadgets are cool. In addition to your weapon, you can equip one of three types of tanks (Speed, Power, or Tactical) and then attach up to two gadgets to it (technically three, but the third is available as a tank upgrade later in the game). Each tank is compatible with its own set of gadgets which are aligned with these three strategic categories. Not only this, but gadgets don't use ink; they operate on cooldown timers. Finally, gadgets themselves can be highly customised with gadget parts, which are more than just stat upgrades: they can fundamentally change the capability of the gadget. The huge focus on gadgets almost makes them the main focus. In some respects, your weapon actually feels somewhat secondary. It makes sense, too: you'll quickly find yourself surrounded by dozens of different enemies attacking from all directions, and so, your ability to manage the battlespace itself (and not just directly hit enemies with your weapon) becomes essential to success. So, Splatoon veterans: don't be shy about leaning heavily into gadgets here. You should ideally be using them constantly; every second that goes by without both gadgets operating is essentially wasted. ![Splatoon Raiders gadget development menu with Shiver and the Meteor Mitt.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/NintendoSwitch2_SplatoonRaiders_scrn_17-2.png) Gadgets are an essential element of Splatoon Raiders. Source: Press Kit. ## A loss is still a win In Splatoon 3 you gain almost nothing when you lose a match (you do gain XP but it's far less than what you get if you win). In Splatoon Raiders, you will lose often (likely significantly more than you win), but losses are extremely valuable here in a couple of unique ways. Firstly, every loss means another run. And every run guarantees that you'll come away with some benefit in the form of weapons, currency, upgrades, and treasure: in fact, runs will also sometimes pay differently depending on the tank you have equipped. So, in one way or another, every single run confers some sort of important growth or advancement. In addition, there are several different types of missions/challenges and some of these contain regenerating crystals (crystals are essentially goal points in levels that can only be cracked open once all enemies in the area have been defeated). Some of the regenerating crystals will appear in red, presenting a more difficult challenge and better rewards. There's another important point here: if you find a particular challenge overwhelming (as you most certainly will at multiple points in your journey), remember that this is deliberate. Splatoon Raiders leverages its difficulty spikes to a) encourage you to re-run for upgrades and b) re-design your build. You will find that some challenges suddenly feel much more doable after you bring a difficult build to the battle. As mentioned in the previous point, Splatoon Raiders is far more about your custom build than any individual weapon, which really separates it from the traditional Splatoon games. ![Splatoon Raiders level-up screen during a Salmonid boss fight with Big Man.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/NintendoSwitch2_SplatoonRaiders_Screenshot_11.png) You might feel overwhelmed, but every experience - win or lose - makes you stronger! Source: Press Kit. ## Inking still matters, despite no turf score Splatoon is most famous for its highly unique traversal system. In all previous Splatoon games, inking everything in sight was only partly about traversal: your fundamental goal (at least in the major Turf War mode) was to ensure your team inked the most territory by the end of the match. There's nothing like a Turf Score in Splatoon Raiders, but don't for a moment think inking isn't just as important here. Let me just set the scene here again: in Splatoon Raiders, you're being attacked by waves of enemies approaching from all angles (and elevations). And it quickly becomes relentless. Your success in an intense battle is greatly enhanced by your ability to rapidly move around the environment and that, in turn, requires you to ink territory liberally. The more space you've inked, the more freedom you have to quickly change position and that regularly becomes a life-saving move (allowing yourself to become cornered by Salmonids is almost certainly a death sentence). But it's not just about inking space in general. In the Splatoon series, you're incentivised to scout out ahead quickly and apply forward pressure with your inking strategy. Doing this restricts enemy team movement and allows you to establish an advantageous foothold early in a match. Conversely, inking in Splatoon Raiders is less about aggressive forward push and more about establishing multiple escape routes. It's possible, of course, to create a more aggressive build that encourages assertive combat strategies. But even in this case, Raiders will quickly punish the over-confident, especially if you fail to ink escape routes. I'd describe ideal combat in Splatoon Raiders as an ebb-and-flow system where you're oscillating between a forward push, a retreat, and tactical flanking. One habit I've started getting into is doing a lot of inking right at the beginning of an encounter before the Salmonid numbers have the chance to build up. In Splatoon Raiders, there's no opposing team to cover up your ink, so clever use of inking early in a battle can make a significant difference in how the challenge unfolds. ![Splatoon Raiders players inking turf while fighting a Salmonid boss.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/NintendoSwitch2_SplatoonRaiders_Screenshot_09.jpg) Inking surf becomes strategically important in battle. Source: Press Kit. ## Don't play it like Salmon Run Yes, I did compare Splatoon Raiders to Salmon Run and it's certainly true that this is the closest analogy that veteran players will immediately understand. However, it's a mistake to think that Raiders is just "more Salmon Run". The flow of gameplay including the way objectives are sequenced is completely different in Raiders and requires different strategies for this reason. Let's start with the fact that, in Salmon Run, you're fighting a specific set of enemy waves that become progressively more difficult and surface after countdown timers. You collect eggs during the match that you have to ferry back into a basket at the centre of the arena. That elegant flow (the tension between attacking Salmonids and collecting eggs before the match timer runs out, forcing you to do much of this during battle) doesn't exist in Splatoon Raiders. Instead, collecting eggs during an encounter charges up your Showstopper (the ultimate high-power attack that adds yet another offensive layer on top of your weapon and gadgets), but the fundamental rewards (treasures, items, etc...) are only accessed after the level is over. Importantly, there's no predictable break between distinct waves of enemies here: enemies will instead progressively become more numerous all throughout the encounter in a way that feels utterly relentless. What this means in practice is that combat and collection are sequenced rather than simultaneous. Salmon Run trains you to be a courier under fire; you're constantly weighing up whether you can survive the trip to the basket and back, and the best players are the ones who can keep collecting while everything around them is actively trying to kill them. That instinct simply doesn't make sense in Raiders. Crystals won't crack until an area has been cleared, which means there's no version of this game where you're rewarded for grabbing something mid-fight. You clear, and then you collect. The lure direction reverses, too. In Salmon Run, you deliberately drag bosses back toward the basket so their eggs drop somewhere convenient. In Raiders, you generally want to be pulling enemies away from wherever you're trying to work. It's the same underlying skill (aggro management) reversed, and it took me an embarrassingly long time to notice I was doing it wrong. Finally, resist the urge to pace yourself. Salmon Run's wave structure gives you a rhythm to play against: you know roughly when the pressure will lift, so you can afford to hunker down and wait for it. Raiders offers no such reprieve. If you find yourself holding back and waiting for a lull before you commit to something, you'll be waiting a very long time. ![Splatoon Raiders Sublevel 3 encounter swarming with Salmonids.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/NintendoSwitch2_SplatoonRaiders_scrn_39.png) The pressure in Splatoon Raiders continuously builds through each level. Source: Press Kit. ## Don't ignore your Bot Buddy Splatoon 3 gave you companions, but they were largely set-and-forget: Smallfry did its thing in Return of the Mammalians, and the Pearl Drone hovered along in Side Order without demanding much strategic thought from you. The Exploration Bot in Splatoon Raiders looks superficially similar (it's a little four-legged machine that tags along behind you) but it's arguably the single biggest change to the Splatoon formula in the series' history, and treating it as ambient decoration is a mistake. Firstly, you choose who's piloting it. Shiver, Frye, and Big Man each take turns as your Bot Buddy, selected via the equip menu, and this isn't just a cosmetic preference: taking a particular member out on missions repeatedly builds rapport with them, and there's an upgraded Showstopper waiting at the end of that relationship. So the choice compounds over time in the same way your build does. Secondly, the bot is a genuine combat tool rather than a companion animation. It shoots ink, it moves toward you when you need it, it drills into the ground to excavate treasure, it locates hidden items, and (crucially) it launches you into the air when you jump onto it. That last one is the Bot Hop, and it's the move veterans are most likely to under-use, because Splatoon has never previously given you a vertical escape option that isn't tied to terrain. Getting swarmed on the ground is one of the most common ways to die in Raiders, and you're carrying an ejector seat around with you the entire time. The habit to unlearn, then, is a passive one: summon the bot, keep it close, and think of it as a fourth item in your loadout alongside your weapon, tank, and gadgets. ![Splatoon Raiders Exploration Bot Buddy hovering on jets.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/NintendoSwitch2_SplatoonRaiders_scrn_05--2-.jpg) Don't forget your trusty Bot Buddy; they might get you out of a tough spot! Source: Press Kit. ## Good luck, matey! Splatoon Raiders is like nothing else I've played before. I went into it somehow thinking it would be mere spin-off of the main series. But I was pleasantly surprised to discover that Raiders is a stunningly deep single-player experience that will put your knowledge of its mechanics to the test in every encounter. It's a beautiful game - bringing its own version of that super fresh Splatoon style to bear - its characters are full of personality, and just when you think you've mastered it, it throws a completely unique new challenge at you. Just remember, if you're an old-school Splatoon player, to unlearn some of your longstanding habits. Don't worry though: those skills don't go to waste, they're just used in refreshingly different ways in Splatoon Raiders. And if you've never played a Splatoon game, what are you waiting for?! This series is right up there with Nintendo's very best, and this single-player iteration is a perfect entry point for those of you who aren't interested in the multiplayer element. **Splatoon Raiders code provided by Nintendo.* **My views are my own.* ### Denshattack! An Off-The-Rails Review URL: https://www.superjumpmagazine.com/denshattack-an-off-the-rails-review/ Last updated: 2026-09-07T21:38:03.000Z **I remember when making your game as stylish as possible was a marketing imperative.** Jet Set Radio. Okami. Sable. Persona. Bayonetta. Crazy Taxi. Viewtiful Joe. Devil May Cry. Muramasa. Cuphead. Metal Gear Rising. Journey. Hi-Fi Rush. Katana Zero. No More Heroes. Furi. Lollipop Chainsaw. Style and stylishness are not always the same thing. Video games with strong visual direction, like Firewatch, BioShock, Thomas Was Alone, or Shadow of the Colossus, sport unique, often-copied, distinguishing styles that make them stand out from a crowd of copy-paste emulators and generically mainstream presentations. Truly *stylish* games are a memorable rarity, precious to the indie video game space, where titles like Denshattack! flourish. Packed with Y2K Sega Dreamcast energy, Undercoders' new masterpiece recalls afternoons locked in on high scores and eclectic realities. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/19f782123ae18-screenshotUrl.jpg) PS5 Screenshot. Source: Author. What is Denshattack? On paper and screen, it looks like an ambitiously stylized Tony Hawk clone, where you control gravity-defying trains tricking across a Japanese fever dream of physics-defying theme parks and railroad superhighways. Denshattack! is a creative, ambitious, no-rules take on abstract, no-holds-barred gaming experiences, beautifully uniting arcade gameplay with anime dynamics and an adrenaline-boosting musical score. ## Racing Across Japan Denshattack's setting matters. As a ramen delivery driver in a post-calamity, post-climate, dystopian Japan, Emi delivers ramen by train between prefectures. Most of Japan's society lives in domed cities controlled by a mascot-fronted megacorporation called Miraido. Miraido not only controls the VACTRAIN system that enables high-speed travel between the domed cities, but is also powered by an AI construct on the Moon. Denshattack! fulfills every cyberpunk, fight-the-power fantasy while also being fun and stylish as hell. The game's anti-government sentiment and aesthetic make it completely punk rock, setting the stage for catastrophic conflicts and epic boss battles between talented train drivers—called "Denshattackers." As Emi and her photographer friend Fernando travel from district to district looking for other Denshattackers, their collision course crosses paths with eclectic personalities and creates a countrywide network of ambitious drivers hell-bent on ending Miraido's control and bringing down the VACTRAIN system. What's more, the setting and political message aren't incidental: Denshattack! is a blast to play but a sobering reminder of where the world is headed, showcasing a Japan completely altered by global climate change and tyrannical government overreach. Denshattackers trick their way through each prefecture in the same way that the scrappy kids from the movie Hackers rollerblade themselves from PC port to phone booth. It's rebellious necessity by way of Rule of Cool. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/1a059759b3292-screenshotUrl.jpg) PS5 Screenshot. Source: Author. As Emi continues to use her customizable, gravity-defying train across a truly impressive array of levels, Denshattack! becomes much more than an on-rails indie Tony Hawk's Pro Skater. Part Jet Set Radio, Sonic the Hedgehog, and Crazy Taxi, Denshattack! adds a truly impressive array of tricks and abilities to your initial arsenal as you must race, score, and trick your way across dystopian Japan. While challenging, Denshattack! never feels overwhelming, and gradually ups the stakes, ensuring you claim the top spot as Japan's primo Denshattacker. As with any good indie classic, it all comes down to the gameplay. Grind rails, ride walls, magnetize to separate train lines, attach to monorails, land colossal jumps, and more as this high-speed experiment takes you through demanding gameplay variety and intensive stunts. With every failed trick and every lost race, Denshattack! wasn't just demanding a comprehensive understanding of the mechanics—Denshattack! wants you to excel and to stay on the rails for the ride of a lifetime. ## Better Boss Fights Denshattack's absurd velocities and breakneck speeds are glorified by magnificent boss fights that run the gamut of magical girl mechs, kaiju, labyrinthine cityscapes, cyberpunk baseball matches, and more. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/scym2b.png) Source: Press Kit. --- > The blood-pumping, train-flipping, feet-stomping soundtrack is an eclectic mix of EDM, funk grooves, breakbeat, old-school hip-hop, and Y2K punk energy. --- Landing ollies and heelflips are a greater challenge when mastering the unique, silly-as-hell boss fights, and the temptation to land the highest score possible never subsides, even when faced with the sweat-tickling possibility of a combo-severing crash. While the best tricks require fighting game inputs, there are plenty of chances across the game's 15-hour runtime to land the coolest trick-chains imaginable in the face of incessant danger. The level variety is truly awe-inspiring, and more than a little impressive. Not to mention that Emi has her own power: Yaoyorozuo, or 8 Million Roads, grants access to crazier paths via Rainbow Road-colored tracks that take you way outside each stage's initial design. The joy of Denshattack! seamlessly combines everything you've learned up to any given point, incorporating your newest abilities to take down prefecture-ending threats. It's all important—especially when defeating a truly great Denshattacker means that the train-driving psycho will most likely join Emi's team of lovable anime misfits. The payoff for these atmospheric boss fights is more than a new ability or a forgettable upgrade. The power of friendship has never been more real. ## The Sounds of Style Denshattack! is an action game at heart, meaning there's tons to collect, plenty of reasons to replay levels, alternate abilities, customizable aesthetics, and secrets to unlock. What sets Denshattack! apart is its memorable soundtrack, a veritable "who's who" of the indie composer scene (2Mello, Tee Lopes) plus easily recognizable funk and jazz masters Shoji Meguro and Lotus Juice from the Persona games. Every level is set to an adrenaline-pumping powerhouse of a song that makes replays and crashes all the more satisfying. Since hardcore Denshattackers are scored by both time and tricks, comfortable players will master every single one of the game's otherworldly repertoire (air currents, monorail tracks, magnet tracks, wall riding, double-track grinding) while head-banging along. The blood-pumping, train-flipping, feet-stomping soundtrack is an eclectic mix of EDM, funk grooves, breakbeat, old-school hip-hop, and Y2K punk energy. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/scym2f.png) Source: Press Kit. --- > This is an afternoon video game, a weekend video game, a delightful way to pass the time while recalling that intense, joyful experiences might just be what this medium is all about. --- Music remains at the heart of a truly stylish gaming experience. Bright colors and cool protagonists only go so far when eking out the dynamics of a neophyte Denshattacker. None of this matters unless you look and sound like a badass while grinding double rails and doing 1080s in your gravity-defying railcar. ## A Reason to Ride the Rails While the average mission and level are short, there's plenty to collect and infinite reasons to replay your favorite tracks, pushing for the high score and the shiniest medal. When not crushing each region's ludicrous boss fights or finding that sweet secret that lets you pull into first during one of the many racing segments, Denshattack! does a great job distracting you with its most earnest feature: an anime-esque narrative full of charming characters. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/1a059759b3287-screenshotUrl.jpg) PS5 Screenshot. Source: Author. Emi's rise to power may be familiar to those savvy to JRPG and anime tropes, but Denshattack's steep learning curve and surprising length are made easier by trick tracks alongside a breezy, enjoyable narrative of rebellion and destruction of the powers-that-be while yakuza, oldheads, nerds, and master Denshattackers fill us with the power of determination. Flamboyant character designs and vibrant personalities come together, all to remind you that maybe the apocalypse isn't that bad when you have friends. What developer Undercoders has created is a marvel of both video game design and old-school fun. This is an afternoon video game, a weekend video game, a delightful way to pass the time while recalling that intense, joyful experiences might just be what this medium is all about. Is Denshattack! a rhythm game? The next great stylish action clone? A Tony Hawk-like? Does it matter? As Denshattack! throws unexpected obstacles and unique challenges your way, you won't care. It's an unabashedly good time that never exceeds its grasp or pulls on the brakes. It's fast, frenetic, and fun. Denshattack! might be the biggest surprise of the year. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/1a059759b3295-screenshotUrl.jpg) PS5 Screenshot. Source: Author. **Denshattack! is available on PC (via Steam), PlayStation 5, Xbox Series X/S, and Nintendo Switch 2.* ### Why Nintendo Is Still a Toy Maker URL: https://www.superjumpmagazine.com/why-nintendo-is-still-a-toy-maker/ Last updated: 2026-09-05T17:23:00.000Z **What is a game?** Most players and creators would likely call it "art." A tech megacorporation might label it a "network service." A creator, clinging to the faded glory of a distant past, might view it as a mark of their social status. But *games* are surely not monuments built to flaunt the power and vanity of a single individual. This philosophy is beautifully exemplified at the Nintendo Museum in Kyoto. I recently spent hours pouring over its exhibits and what unfolded before me was not a grand hall featuring names like Shigeru Miyamoto or Gunpei Yokoi engraved in gold letters. No, aside from discreet signatures near the entrance, there were no plaques demanding reverence from visitors. This humble approach carried through to the end of the experience, where, hung by the exit, is a calligraphy of "Originality" (Dokusou), penned by Hiroshi Yamauchi, alongside a faded flag from Nintendo's founding days as a playing card manufacturer. But *games* are surely not monuments built to flaunt the power and vanity of a single individual. Gaming enthusiasts and industry creators might react to this with some confusing, arguing that these people are the giants who rescued the games industry from the Atari crash of the 1980s. And so, doesn't it make sense to honour them and venerate their names, just as influential actors and directors are immortalised on the Hollywood Walk of Fame? I don't deny for a moment that the legacy these people left behind has had both positive and profound impacts on the world. And yet, regarding that legacy as an object of worship is precisely the antithesis of the *essence of games*. ![The exterior of the Nintendo Museum in Kyoto, a low grey and white building with the museum's logo on its facade.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/mv01_pc-1.webp) Nintendo Museum, Kyoto. Source: Nintendo. Nintendo possesses an almost fanatical survival strategy, that of the toy maker, refined over more than a century. Viewing entertainment through a lens radically different than its competitors, Nintendo has avoided the trap of narcissistic self-absorption, repeatedly forging new standards that captivate everyone from niche enthusiasts to casual players. In this story, I will unearth that unspoken "philosophy of the toy maker" that underpins an unflinching devotion to entertainment. ## Virtual Boy and Gunpei Yokoi ### How "Lateral Thinking with Withered Technology" Resisted the Death of Gaming In online discourse, the Virtual Boy has long been labeled "Nintendo's dark history" or a "legacy of failure." However, its display at the Nintendo Museum quietly rejected that dismissal. In the Virtual Boy exhibit area at the museum, viewing windows tailored to various heights—from adult eye level down to children's stature—were thoughtfully installed. There are no tacky explanatory plaques making excuses. The exhibit is designed so that anyone, from senior citizens to small children, can lean forward and intuitively experience the unique red 3D space of Nintendo's challenge to interactive 3D technology. There lies a resolute Kyoto aesthetic: neither hiding nor making excuses for past failures, but simply presenting them as an "experience." ![A red Nintendo Virtual Boy headset unit photographed head-on against a red background.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/Virtual-Boy-for-Nintendo-Switch-2-01-1.jpg) Nintendo Virtual Boy. Source: Nintendo. Why did Nintendo have to create the Virtual Boy in that era? At its core was a profound sense of crisis harboured by the legendary developer Gunpei Yokoi regarding "the death of games as entertainment." As hardware evolved from the Famicom to the Super Famicom and then to next-generation consoles, visual expression grew lavish and rules became increasingly complex. While the industry was intoxicated with "graphic evolution" represented by consoles like the PlayStation and Sega Saturn, Yokoi did not overlook the phenomenon of new and casual users walking away, declaring, "It's too difficult to keep up." "Convoluted masterpieces" that demand vast amounts of money and time from players might temporarily line the pockets of core fans, but they inevitably shrink the overall gaming population, eventually eating away at the market starting from its most vulnerable participants. If spec competition continued as a mere extension of the television screen, gaming would destroy itself. Against an industry tilting toward elitist authoritarianism for hardcore fans, Yokoi offered his answer: the Virtual Boy, aimed at reclaiming the "intuitive origin of play" through stereoscopic 3D. Some hardcore gamers and critics raised their eyebrows, asking, "Why make such a primitive game now?" But Yokoi's response to these voices was a raw, unfiltered truth, devoid of excuses or flattery, tinged even with anger. In his book Gunpei Yokoi Game館 (Yokoi Gunpei Game House), Yokoi declared: > "You elitist gamers need to shut up. We aren't targeting you. This game is aimed at middle-aged men and women, and children." > > **Gunpei Yokoi** This very quote encapsulates the essence of why Nintendo remains a "rugged toy maker" rather than a "lofty artist." They never cared for the "massive, hyper-detailed worlds (monuments)" demanded by hardcore fans and critics. They targeted everyday men, women, and the children. Their goal was to make these audiences exclaim *"Whoa!"* the moment they peered inside, without requiring special knowledge or training. As a rampart to prevent entertainment from degrading into a luxury item for a privileged elite, Yokoi wielded "Lateral Thinking with Withered Technology" to continue crafting toys for everyone. And though it remained in the conceptual stage and was never realised at the time, he was drawing a new roadmap for the future of gaming culture to expand the player base: applying "Lateral Thinking with Withered Technology" to repurpose the Virtual Boy for healthcare, a vision that directly connects to numerous later products such as Wii Fit. Another exhibit symbolising this "gritty obsession of a toy maker" was the "Drive Game," miraculously surviving at the museum in fully working condition. A legendary, troubled product with an extremely intricate internal mechanism, Yokoi himself had to step onto the manufacturing line to assist with assembly during production. It was a toy that quickly went off the market due to its fragility born of complexity, with most units circulating at the time discarded and lost over the years. And here it is at the Nintendo Museum, now operating perfectly. Nintendo is not a shallow company that proudly lines up only its hit titles to congratulate itself. Even the failure of the "Drive Game"—a challenge Yokoi fought for on the factory line before it faded away—is preserved at full scale as a footprint of their endeavour to deliver surprise to everyone. The Virtual Boy and the Drive Game were both clumsy yet sincere [Go](https://en.wikipedia.org/wiki/Go%5F%28game%29) stones placed on the board to battle the monster known as *boredom*. Gunpei Yokoi's madness—deaf to elitist criticism, choosing to remain steadfast in the realm of "toys"—is nothing less than the origin of "Only Toys" that the modern gaming industry has largely forgotten. ## Physicality and the Ecosystem on the Ground ### The Cartridge and the Legacy of Shoshinkai In a space referred to as the "Art Gallery" inside the Nintendo Museum, two pieces of hardware are displayed side by side, as if preserving the raw enthusiasm of Japan's Showa era. The "Disk Writer" and "Disk FAX" are important products symbolising Nintendo's golden age, tasked with rewriting Family Computer Disk System software and transmitting scores for nationwide tournaments. During their heyday, these machines were leased to and operated by game shops across Japan under the strict management of Shoshinkai, Nintendo's primary distributor network. For decades, many Western game historians and overseas media outlets have characterized Shoshinkai as a "tool for Nintendo's exclusive market dominance" or an "evil cartel obstructing the free market." However, as I posited in my previous essay, [The Ghost of Shoshinkai](https://www.superjumpmagazine.com/the-ghost-of-shoshinkai/), the "Shoshinkai = evil" reading rests on an incomplete view of Japan's physical distribution: one that overlooks the frontline forces and the broader gaming market ecosystem built over the past forty-plus years. Shoshinkai was never an organization through which a manufacturer unilaterally wielded raw power. In the dawn of the gaming market, when rapid expansion threatened to trigger chaos, it was a framework designed for Nintendo, wholesalers, and small local game shops to manage operational risks together as partners. It prevented market collapse while ensuring that "play" was delivered reliably and stably to children. Far beyond that, it was an exceptionally healthy, symbiotic ecosystem that had functioned as the "Daiya-kai" since the era when Nintendo manufactured physical toys, long before the video game market even existed. ![The entrance to the BOOKOFF store in Osaka's Shinsaibashi, with a large orange sign above escalators and racks of secondhand games and books.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-3-1.png) BOOKOFF Osaka Shinsaibashi Store. Source: BOOKOFF. Games are not merely ephemeral data streamed from a distant server. They are physical entities with tactile substance — lined up on shelves in corner shops, passed from hand to hand, and carried in children's pockets. In modern Japan, reuse game shop networks like GEO and BOOKOFF, spanning over a thousand locations nationwide, are the modern successors to the "everyday frontline accessible to all" cultivated by Shoshinkai. Children without credit cards and casual players can drop by while running errands: they can touch a game, purchase it, and upon finishing, sell it to fund their next game. The foundation sustaining this "economic circulation" and "broad market base" is neither a handful of massive electronics retailers in metropolitan centers, nor specialized hub stores in Akihabara or Osaka's Nipponbashi, nor online stores — it is none other than the humble, real-world retail shops scattered across more than a thousand locations nationwide. And this is precisely the fundamental reason for Nintendo's stubborn adherence to cartridges over optical discs, even in modern, next-generation hardware. It is neither mere nostalgia nor retro sentimentality. The cartridge — a compact, robust physical medium — boasts overwhelming display efficiency within Japan's cramped retail spaces, minimising the risk of disc scratches that render inventory unsellable. It reduces risks for frontline retailers and boosts liquidity in the used market. Furthermore, by embracing the secondhand market, Nintendo allows retailers to reap profits with zero procurement costs — a structure that incentivises brick-and-mortar stores to actively promote and sell hardware despite low profit margins. Even in the e-commerce and online markets that ultimately depend on real-world retail infrastructure, this premise remains unchanged. Leaving aside Western readings that dismiss Shoshinkai as a mere "bad habit of the past," Nintendo has consistently maintained an ecosystem alongside frontline retailers to deliver "tactile toys" ever since the Shoshinkai era. The realism of the toy maker does not exist solely within publisher-run online storefronts accessed through screens. It resides continuously within every single centimetre of shelf display space, the durability of a single circuit board, and the living contact points between over a thousand retail stores nationwide and their users. ## The Dilemma of the Monument Makers ### Sony and the Data Stream At the Nintendo Museum, where the company quietly presents its history and philosophy of "toys", there was a remarkably symbolic division of exhibits. This division drew a sharp distinction between games made for dedicated consoles and entertainment made for mobile devices like smartphones. Mobile initiatives were confined to a tiny area tucked away at the edge of the exhibition space, categorised merely as "part of a service" and drew a clear, definitive line separating them from standalone, independent "toys" (games). To be sure, Nintendo is by no means immune to the realities - including the preservation dilemmas - of the digital era. The closure of the Wii U and 3DS eShops as well as the introduction of the Game Key Card concept (where physical cartridges serve primarily as download tokens) are clear examples of this. And yet, even as Nintendo navigates these digital realities, the underlying design philosophy of its network services remains fundamentally distinct. Nintendo's online infrastructure, epitomised by its "Nintendo Switch Online" service, is structured primarily as a user compensation for the constraints of server maintenance (incorporating features like legacy platform emulation, free downloadable content, and cloud-based save data back-ups) that support and preserve the core physical play experience. ![A darkened PlayStation booth at Tokyo Game Show 2025, with blue-lit display towers and screens showing the PlayStation logo.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-4.png) PlayStation exhibition at the 2025 Tokyo Game Show. Source: PlayStation Blog. If you were to visit the PlayStation headquarters in Japan, though, you'd notice an interesting contrast in terms of how Sony presents its ecosystem. In this exhibition space, network services, PlayStation Plus subscription tiers, and digital live-service infrastructures are seamlessly integrated alongside physical media. The message is clear: digital ecosystem growth is at the core of the platform identity here. This decisive difference in presentation speaks volumes about the profound disconnect between Nintendo and Sony's respective philosophies on gaming. For Sony, a game is increasingly treated less as a tactile "toy" or a self-contained act of "play". Its corporate strategy regards games as being more akin to distributed data streams that are updated and incrementally monetised via the internet. The massive, hyper-detailed, graphics-centric experiences are expressed as lofty works of high-art. They are monuments to a kind of cutting-edge digital expression. But this view, as accurate as it may be in some respects, is also something of a facade, behind which lies a daunting economic reality: these games increasingly risk becoming high-cost containers built to maximise ongoing user engagement hours and sustain recurring online revenues which amortise ever-rising development budgets. This pattern of ascending development costs reflects a structural shift across the industry. When interactive ideas and mechanics are overshadowed by absolute graphical fidelity, production budgets inevitably balloon. The idea that interactive entertainment *strictly* requires tens of billions of yen and top-tier hardware specifications represents just one production philosophy. This point is underscored by games like UNDERTALE, which captured global audiences through simple pixel art and design. Another notable example is Game Freak (creators of Pokémon), which originated as a [doujin circle](https://fanlore.org/wiki/Doujinshi%5FCircle) and continues to produce global hits. Then there's the strategic orientation towards a "Data Stream" - favouring direct digital sales and recurring subscriptions - which has reshaped PlayStation's relationship with the foundational strength of Japan's legacy gaming market: the physical retail ecosystem. In recent years, hardware allocation and promotional focus have increasingly concentrated on high-volume urban retail partners capable of massive bulk purchasing (exemplified by metropolitan giants like Yodobashi Camera, which operates roughly 24 flagship locations nationwide). On paper, prioritising these high-density urban hubs streamlines logistics and concentrates short-term cash flow. And yet, this urban-centric distribution model stands in sharp structural contrast to Japan's suburban and regional retail guild: specialised game and reuse chains like GEO and BOOKOFF, which span over a thousand storefronts nationwide. These neighbourhood locations - which are embedded in the daily routines of casual players, students, and local gaming communities - have historically served as the primary physical touchpoints for hardware adoption. ![The Yodobashi Camera store in Akihabara, Tokyo, its multi-storey facade covered in large product advertisements above a busy street.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-6-1.png) Yodobashi Camera centre in Akihabara. Source: [Nerdvana](https://nerdvanaguides.com/yodobashi-camera/). When physical consoles and promotional presence recede from local neighbourhood stores in favour of a concentrated footprint in two dozen metropolitan megastores, a platform's physical visibility in everyday living spaces naturally contracts. At the root of this retail friction lies a long historical context, including the secondhand game sales litigation of the late 1990s and early 2000s, where legal battles over used game sales created lasting tensions between console manufacturers and independent retailers. And while PlayStation maintains dedicated retail space due to its global brand equity, the structural shift toward discless digital consoles and thin retail margins has led regional store managers to adopt a more conservative stance. In many regional chains, PlayStation display areas have gradually been repositioned away from storefront entrances: this represents a subtle footprint reduction and gradual loss of visibility to everyday shoppers. This operational strategy reflects the legacy of a consumer electronics background: the emphasis is on hardware iterations, volume distribution through major retail partners, and subscription-based service revenue. However, interactive entertainment products operate on distinct consumer dynamics compared to regular consumer electronics. A game or platform that loses its immediate consumer appeal cannot easily rely on model revisions alone: it faces swift depreciation in competitive retail markets. Emphasising digital channels and large urban outlets while regional storefronts downsize shelf space creates a longterm trade-off between immediate distribution efficiency and grassroots market presence. In North American and European markets, which are characterised by vast geography and high baseline e-commerce adoption, higher digital ratios along with broader retail trends. However, applying that same distribution logic to Japan's dense, store-based retail culture creates a unique structural disconnect. A platform that reduces its physical footprint in everyday community hubs risks loosening its cultural roots in the domestic market. Even as PlayStation shifts significant organisational focus to Western markets and global operations centred in San Mateo, the broader transition away from physical disc drives continues to spark debate among international retail partners and collectors alike. And so, the contrast remains clear: there's the ecosystem built on physical "toys" integrated into neighbourhood retail networks, and the model driven by high-spec hardware and the continuous "Data Stream" powered by an online-first approach. Where does this leave us? The enormous "Monument" erected on high budgets and digital delivery now faces the ultimate test of its structural foundation: can a platform thrive when it is detached from the physical soil from which its popularity first took root? ## The Horizon of Entertainment ### Interpretations of Realism Reflecting on the half-century history of the Japanese gaming industry, two opposing gravitational forces have always been at work. On one side is the pull of technocentrism and spec-driven ideology: the attempt to elevate games into an "imitation of reality" or a "Data Stream" through higher-definition graphics, ever-increasing computing power, and high-speed internet. On the other side - no matter how far technology advances - is the pull of the realism of an old-fashioned toy maker that continues to perceive the essence of games not as "graphics on the other side of the screen", but as "the physicality and tactility of a human at play". The spec-driven ideology and digital-centric strategy spearheaded by Sony appeared, at first glance, progressive: the apparent pinnacle of modernisation in the global market. However, this achievement came at a significant price. The astronomical development costs inflated over time to erect massive "Monuments" that, at times, robbed creators of experimental and mental flexibility, breeding a paralysis of thought that could only focus on graphical precision. Further, the inclination toward short-term profits and direct digital sales devastated the real-world retail ecosystem across more than a thousand regional stores, erasing PlayStation's physical and sensory presence from many communities. Games themselves degraded into mere "containers for the Data Stream" designed primarily to squeeze out user engagement time while severing ties with frontline retail. Ironically, the higher the screen resolution, the lower the apparent passion and cultural "heat", cooling these products into mere consumer goods. Standing in sharp contrast, the philosophy of "Only Toys" consistently presented by Nintendo is by no means just a nostalgia play or some kind of token retro sentimentality. It is, rather, an exceptionally focused and discerning strategy that emphasises the true essence of entertainment. For Nintendo, cutting-edge technology is not an outcome to flaunt; it is actually a substrate from which to expand the experience of play. As both UNDERTALE and Game Freak - which originated from a doujin circle - have demonstrated, Nintendo knows full well that the true value of entertainment lies not in "high specs" but in "Lateral Thinking with Withered Technology". ![Four people sitting together on a sofa in a living room, holding Joy-Con controllers and playing a Nintendo Switch game on the television.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-7-1.png) Video games, in their truest form, are about culture and connection. Source: Inkl. This is precisely why, even against the digital-specific disadvantage of charging server maintenance fees, Nintendo stubbornly builds an environment where players are not excluded from the playground (by offering powerful user compensation through Nintendo Switch Online, including ongoing DLC deliveries and emulation of legacy platforms). Also, even in the golden age of online services, Nintendo prioritises "interactive experiences" that humans can physically touch, gather around, and feel in real life (as demonstrated by their nationwide retail partnerships and the Nintendo Museum's meticulous attention to the player experience, right down to the variable heights of its viewing windows). The gaming industry is undoubtedly reaching a major turning point. The 'spec arms race' - where development costs are endlessly inflated, user engagement time is a battleground to be vigorously contested, and about which Shigeru Miyamoto himself publicly declared in an interview that the console performance wars are over - has already reached its limit. No matter how sophisticated the "Data Stream" becomes, a "Monument" that has lost its physical touchpoints rooted in daily living spaces, and that discards the creative instincts of its developer, becomes little more than a dead weight the moment player interest drifts away. I believe the future of the games industry will not be about the flaunting of elaborate specifications radiating from screens. It will, rather, rely on human wisdom and creativity turning *constraints* into *advantages*. And, it will, perhaps, rest upon a humble ecosystem that expands the circle of experience alongside local communities and frontline retail stores. What the Nintendo Museum quietly presented as not merely a company's glorious history. It was a declaration of return to the true origin of entertainment dating back to 1889: the unwavering conviction that, at the end of the day, games are toys that humans can touch and enjoy with their own hands. At the end of the day, games are toys that humans can touch and enjoy with their own hands. Only those who do not drown in the illusory sea of the Data Stream - but remain grounded in the tactical reality beneath their feet - will be able to continually spark passion and joy in players' hearts in the era to come. ## Epilogue: What Remains After the Power Is Cut ### Culture and Memory as Physical Substance As I concluded in the previous chapter, the games industry is now approaching the final phase of a collision between two philosophies: the "Monumental Data Stream" and the simple tactility of the "Toy". But there's one more perspective to be examined. That is the idea of the preservation and inheritance of video game history and culture. Blockbuster games created as "Monuments" with colossal development budgets and rendered on state-of-the-art high-spec hardware are undoubtedly unparalleled in terms of popularity at the moment. However, when these works become entirely dependent on digital spaces and online infrastructure, a brutal truth is laid bare: the instant servers are powered down and emphasis shifts to a new platform generation, these colossal entertainment projects become inaccessible illusions. The tragedy of the Data Stream lies in how its artefacts vanish into the digital sea upon the announcement of service termination, leaving future generations without any accessible means to verify the sensory experience - and the associated frenzy - of the relevant era. On the other hand, the power of the *toy*, in part, is its ability to transcend the digital prison, to traverse era after era, encountering new generations of players at every turn. Even ageing controllers with worn out d-pads, sun-faded cartridges, and battered physical packaging that once adorned retail shelves are not mere lumps of plastic and cardboard: they are irreplaceable cultural artefacts that radiate the passions of countless players. Their wear and tear becomes a feature rather than a bug; tangible evidence of their engagement with the real human beings who played with them. As noted earlier, even Nintendo is not immune to the gravitational pull of the digital world. Game cartridges serving merely as download tokens (Switch 2's Game Key Cards, for example) demonstrate that even the traditional champion of physical play must negotiate the relentless economics of the Data Stream. However, this structural tension does not weaken the philosophy of physical substance: it starkly reinforces it. The demise of digital storefronts in particular lays bare the inherent fragility of server-dependent access, proving beyond any doubt that when online infrastructure inevitably goes dark, it is precisely those self-contained physical cartridges - with their sun-faded plastic and worn manuals - that remain as the sole surviving anchors of that era's cultural history. When physical media collapses into a digital key, it serves not a progress, but as a warning of a culture severing its own memory. ![Nintendo designer Gunpei Yokoi smiling and gesturing with both hands raised, seated in front of 1990s desktop computers.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-8-1.png) Nintendo's DNA continues to revolve around Gunpei Yokoi's core philosophy and approach to video games. Source: Nintendo Soup. And so, the reason Nintendo adheres to Gunpei Yokoi's "Lateral Thinking with Withered Technology" and stubbornly insists on physical media and hardware gimmicks (tactile feel, weight, physical presence) is not just for business differentiation. It is also to avoid severing "play" from human physicality, establishing games as universal objects that can be pulled out from the back of a drawer and played at any time, even decades after release. The reason that the Nintendo Museum moves visitors' hearts - beyond merely being an expression of corporate publicity - is that it is a sanctuary where physical objects, which have existed in parallel to individual lives, are preserved and celebrated as cultural artefacts. In an era where all entertainment dissolves into a sea of subscriptions and the torrent of the Data Stream threatens to swallow everything, the philosophy of "Only Toys" might just be the final defence against the culture of gaming itself evaporating into thin air. As long as there is a physical artefact to hand down from generation to generation, the history of games need not come to an end. ### Hidden Gems of Game Design Vol 51 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-51/ Last updated: 2026-09-04T03:53:17.000Z **Plenty of amazing games go unnoticed and are not widely played, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. --- ## Josh Bycer ### Phantom 2040 (1995) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/phantom-2040-2.png) Source: Author. This month’s pick goes to a game that features quite possibly the worst password system ever conceived, paired with some of the most ambitious gameplay ever released on consoles. Phantom 2040 is based on the cartoon of the same name, which is further based on the classic comic book character. In a dystopian world, the Phantom must fight evil corporations to try and make things better. The game plays out like an episode of the cartoon – bad guys are doing bad things, and only the Phantom can stop them. While you may expect a generic platformer, the game is instead a choose-your-own-adventure Metroidvania. It's made up of various stages that will often hide upgrades and new tools for the player. Every so often, the player will face a narrative decision; in turn, this will change the story, what upgrades the player has, and which levels/sections they can access. Quite literally, the first choice is deciding whether to investigate a building under attack or pursue the group fleeing the scene. Some levels have routes accessible only via keys the player gets based on their choices. Do you help animal poachers to get easy access into the corporation’s factory, or do you let a rare animal run free in your wildlife preserve? There are multiple endings and routes to be discovered. The controls are just okay; the game’s main unique movement is firing a line that acts as a grapple, enabling the player to swing around and through obstacles. For a game in 1995, all these systems were unheard of; it wouldn’t be until 1997 that Symphony of the Night would forever change and define Metroidvania design. Phantom 2040 beat them to the punch in that respect. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/phantom-2040.png) This isn't a real password, I just did it for show. Source: Author. However, it also proved just how truly limited a password system is when it came to how games were growing in complexity. Since the game not only had to keep track of what routes the player did, what routes are open, which upgrades they found, and which decisions they made, it led to one of the longest password systems ever conceived for a game. And if you thought I had a horrible time with Addams Family Values, this was just a nightmare for me. Despite the advances in level design and progression, the upgrades and paths were basic by metroidvania standards. If you're a fan of gaming history and want to see one of the more original branches of Metroidvania gameplay, then be sure to give this one a look. ## **Ben Rowan** ### Soukyuu Gurentai (1996) During the 32-bit era, Japanese arcades were overflowing with high-concept shooters, but few titles captured the pure, unadulterated thrill of arcade action like Raizing’s Soukyuu Gurentai (released as Terra Diver in Western arcades). Bizarrely never granted a Western console release, it remains one of the Sega Saturn's most rewarding imports and a shining example of the system’s superiority in pushing 2D sprites over Sony’s more 3D-focused PlayStation. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/data-src-image-66301ea1-60ce-4317-a0a0-aa73ae058c02.jpeg) Source: Author. Soukyuu Gurentai is a super fun, dynamic hidden gem that sits right in the sweet spot between tactical depth and raw speed. Its core loop revolves around the “Nanomachine Electro-Brake-Web”, which is a very fancy way of describing the game’s lock-on mechanic. Holding down the secondary attack button projects a targeting grid across the screen; releasing it launches a barrage of homing lasers that strike every locked enemy simultaneously. Because your main guns pause while deploying the web, every lock-on creates an exhilarating risk-versus-reward tension between vulnerability and massive point multipliers. Compared to the brutal, screen-filling bullet patterns of DoDonPachi, Soukyuu Gurentai takes a far more accessible approach to difficulty. Where DoDonPachi demands pixel-perfect precision to thread through dense bullet-hell gauntlets, Soukyuu Gurentai offers a fairer challenge with crisp hitboxes and the web mechanic, letting you aggressively purge entire waves before they even have a chance to fire at you. Even better, the console port actively respects your time: accumulating total play hours permanently unlocks infinite credits, allowing anyone with some time to reach the game’s ending while also sharpening their skills. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/data-src-image-b7bca6ce-2e32-47fc-998c-c7c3caf0c41b.jpeg) Source: Author. Running on hardware identical to Sega’s ST-V arcade board, the Saturn's performance is flawless, devoid of slowdown and load times. Gorgeous 2D sprite work glides over detailed 3D scrolling backgrounds with dynamic camera swoops and explosive particle effects. Elevating the hectic action to something truly special is the cinematic soundtrack created by [Hitoshi Sakimoto](https://en.wikipedia.org/wiki/Hitoshi%5FSakimoto) (of Final Fantasy XII and Final Fantasy Tactics fame), blending dramatic orchestral brass with dark 90s techno to create an unforgettable, epic atmosphere. It's truly one of the great shmups and a must-have for the Saturn. ## Terence A. ### Sky Destroyer (1985) A rail shooter published by Taito (of Space Invaders fame) for the Famicon in Japan, Sky Destroyer was never released in the US. Blame its chaotic WWII-era dogfights against American F6F Hellcat fighter aircraft as you pilot the Imperial Japanese Navy’s infamous Mitsubishi A6M Zero. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-1.png) Source: IGDB. The game’s clever 3D perspective was novel for the time, with 2D aircraft sprites growing as they approached your machine guns. Your fired bullets would shrink to simulate depth. I played the NES game decades later, emulated on the Game Boy Advance. Sky Destroyer’s swarms of fighter planes, submarines, and the occasional four-engine bomber keep you on edge throughout levels it called “scenes.” These have further subtypes, like planes that dive toward you instead of shooting. To destroy a submarine, you’d have to drop a self-propelled torpedo that zips straight across the ocean. Unlimited ammunition means your eyes never leave the action. It only takes one hit to lose a life, so if a fight isn’t going as planned, switch directions or adjust altitude before returning to your opponents. While the goal is to rack up points by eliminating foes, the game takes on a desperate air of survival as scenes grow difficult. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/09/image-2.png) Source: IGDB. As you progress, the cloudy sky over the ocean changes from warm orange to an inky blue and vibrant cyan. There’s hardly any music beyond the Indiana Jones-like intro tune, so you’ll be hearing whirring propeller blades and gunfire for hours. Setting the scene builds immersion, even when you can barely tell what a pixelated enemy aircraft looks like. While it’s no must-play, Sky Destroyer is worth trying, especially if it came on a multi-game cartridge. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/) ### Now Playing at SUPERJUMP, Issue 43 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-43/ Last updated: 2026-09-03T15:53:46.000Z **We're back with a brand-new Now Playing!** Our team is enjoying their usual unique spread of genres, from high fantasy to beloved classic action-puzzle games. No matter what we're playing, we want to share it with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-21.png) League of Legends Classic. Source: Riot Games. ## Hazare Renne-Glover ### League of Legends Roughly 15 years ago, I loaded onto Summoner’s Rift for the first time. In my early days, for better or worse, probably for worse, I devoted an embarrassing amount of time to League of Legends and have had the privilege of playing through almost every major patch or update. Having experienced the evolution of League so intimately, one might go so far as to call me a veteran of the community. League of Legends, first released in 2009, is Riot Games’ flagship product and a defining, established vanguard of the multiplayer online battle arena genre, MOBA for short. As of July 29th, Riot Games officially provided all players, both vets and noobs alike, the opportunity to experience the League of old and what a trip it has been. Since the release of League Classic, I have been reliving the past in real time. The original Summoner’s Rift has returned; there are no alcoves for sneaky side-lane plays, neutral objectives have less agency toward victory, and revive/tp Karthus is back to indiscriminately enrage everyone. Also, rune pages are back! Another point to note: David Turley, better known as Phreak, is an official designer on League Classic. For those who didn’t know before, Phreak is a well-known and respected member of Riot Games and one of the original regular casters, starting his career all the way back in Season 1\. Since July 24, Phreak has provided in-depth patch previews, breaking down the updates and changes for League Classic as it grows and develops. Personally, knowing that Phreak is on the design team, with his encyclopedic knowledge, high standards for the state of the game, and genuine desire for players to have fun, I feel that League Classic, unlike unfortunate school reunions, has everything a good nostalgia trip needs with enough leg room to shift and adjust accordingly. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-22.png) Super Bomberman Collection. Source: Steam. ## Jahanzeb Khan ### Super Bomberman Collection Super Bomberman was one of my favourite games to explore on the SNES back in the day. There's nothing quite like Bomberman as an action-puzzle experience, and from its launch on NES, no one could have predicted the franchise's longevity given the inherent limitations in the maze design and the methodical pacing of the action. Bomberman excels as a multiplayer experience, and the latest collection of the SNES games is a great way to get friends together, especially on Switch/Switch 2\. Even more admirable is the collection's effort to provide a compelling single-player experience. From unique map layouts to clever boss battles, these games managed to try new things within the restricted confines of the core game design. Bomberman will always play the same way, but changing up the art and including new power-ups adds flavour to the experience. The IP peaked during the SNES era, and this collection is a great way to revisit a childhood obsession; I'm especially loving the boss rush mode. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-23-1-1.png) Shin Megami Tensei: Strange Journey Redux. Source: Author. ## Nathaniel Kelly ### Shin Megami Tensei: Strange Journey Redux I’m reaching the tail end of this game. I started playing at the beginning of summer, and now that summer is all but over, it’s time to close it out. I only have one more sphere in the womb of grief and one more main dungeon. The second half of this game, where you fight the mothers of demons, is more technical than the first and a little more difficult. I found myself making more team decisions based on regular enemy patrols. Even though my agility was high enough for a 100% escape chance, I had to adapt if I wanted enough experience to stay leveled up. The demons are getting really cool, too. Getting more recognizable gods and goddesses just makes fusion more and more of what I look forward to. Since these demons are on the front lines fighting with you, I feel a bit more attached to them than I did with Persona. But now that I’ve played this, I actually plan to go back to Persona 4 and see if my general demon knowledge makes me more invested in fusion in that game than the first time I played Persona 4 Golden. One thing that I could do without is the alignment system. It’s one of those things that most people say to ignore, but I can’t help working within the confines of my alignment because the co-op attack has become the backbone of my strength-build strategy. I feel like I’m ignoring half the game, but it makes me excited to play again with another alignment, or to play another SMT game without alignment. I’m not sure this is a beast you’d want to tackle twice with so many other SMT options out there. I’ve also found a strange love for the blobber-style mazes in this game. I’ll just play this while watching Vampire Diaries or whatever, and this game feels like a crossword or sudoku that I can do simultaneously. Roughly 95% of the game is just mazes and combat, so it’s a great game to pair with a show. But even with one dungeon left, I still love the progression and the puzzles. I would be sadder that it’s over if there weren't six Etrian Odyssey games waiting if I yearn for the dungeon again. SMT Strange Journey definitely only exists for a certain type of person, but I’m glad it does. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-24.png) The Witcher 3\. Source: Author. ## Ben Rowan ### The Witcher 3: Wild Hunt I guess you could call me a "patient gamer." I like to really take my time, dabbling in and out of games, enjoying the journey much more than the destination. Case in point: I’m still playing The Witcher 3: Wild Hunt; exploring every nook and cranny of its dense world, taking on side quests, and creeping through the story at my own pace (so close to the end now!) But here’s the thing: I’m still on my first playthrough since I bought it back in 2018. 8 years later, I’m still absolutely in love with it. What’s quite amazing is the journey my save file has taken. I originally bought it on PS4, then played it on PS5, and thanks to CDPR's awesome cross-save feature, I picked it up on the Switch for portable play. Now, I’m playing that same save file on my Xbox Series S, where it runs like a dream at 60fps, with a lot of time spent playing on my iPhone via Remote Play with a controller. Cross-save really is a game changer for a platform-agnostic like me, and I wish more devs took the same approach as CDPR on this one. While Witcher 3's celebrated story is epic and full of originality, I’d happily spend all my time knee-deep in proper 'witcher business' - hunting down beasts and monsters across The Continent. Picking up a contract from some poor soul who has lost their loved one, venturing into the wild to track the beast, looking for clues, applying the right oils and potions, and taking it down in a glorious fight is endlessly satisfying. If only the game had more of this. The sheer tension you feel when tracking a werewolf, spectre, or swamp hag through a dark forest, a damp cave, or a wretched bog is incredible. Don’t get me wrong, I love the main questline too, but more monster hunting is what I truly crave (and yes, I do own various Monster Hunters too). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-25.png) The Witcher 3\. Source: Author. The cities in Witcher 3 are another highlight; each one is a bustling hive of activity, overflowing with people and intersecting side stories. Few titles pull off a sense of place with this kind of grit and density; whether you're shoving your way through the squalor of Novigrad, cutting through a wind-scratched town in Skellige, or battling griffins on a hilltop overlooking the Oxenfurt skyline. Incredibly, I haven't even seen the whole world yet, as I haven't visited Toussaint or started the DLCs. With the recently announced (free!) remastered version and the upcoming Songs of the Past DLC, I have every reason to dive even deeper. Given it’s been ported specifically for Switch 2, I’ll likely move over to that platform for the bulk of my next playthrough and make the most of the portability. The Witcher 3 is truly one of gaming's greats, and with the new updates inbound, it’ll likely keep me busy for another 8 years. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into! ### The Beauty and Horror of A Plague Tale: Innocence URL: https://www.superjumpmagazine.com/the-beauty-and-horror-of-a-plague-tale-innocence/ Last updated: 2026-08-31T11:42:43.000Z **Imagine a game like God of War or even The Last of Us with the marketing reach of an indie game**, **and you'd have A Plague Tale: Innocence.** The game was a sure-fire hit on paper that went completely unnoticed when it first launched. It had the epic production values, orchestrated score, stunning graphics, and everything you'd expect from a big-budget blockbuster, and yet... no one noticed. Those who did discover it were treated to a stunning visual and artistic exposition on medieval France during the Black Plague. The subject matter alone was harrowing, yet beautifully presented in world and lore, and it also explored the tragic plight of its cast. This was an emotionally powerful experience not just in its presentation, but also in its game design, which plays off the tragedy and vulnerability of the protagonists in an intuitive way. 2022 brought a sequel, A Plague Tale: Requiem, and the latest game, Resonance: A Plague Tale Legacy, is among the most anticipated releases of 2026\. While the IP may have a stronger media presence now than it did in 2019, the original game is still lightning in a bottle that even its successors can never fully replicate. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-17.png) Source: Steam. ### History and Horror It's easy to complain about the times we live in and reminisce about the "good old days", but as bad things may seem right now, the world used to be a lot worse. The human condition has come a long way, all things considered. These may be distant fables now, but the Inquisition and the Black Plague were among the darkest periods in human history. Although these horrific events brought out the worst in humanity, they also testify to the enduring nature of the species and its triumph even in the most desperate times. A Plague Tale: Innocence takes some liberties with history by intersecting the Black Plague with the Inquisition as one big bundle of horror. Set in 13th-century France, the story follows the tragic journey of two siblings: Amicia and her much younger brother, Hugo. After tragically losing their family and home, they navigate a disease- and war-stricken France on a journey for survival. That journey offers an emotionally powerful, captivating story, which for the most part depicts the worst of the human condition, and yet somehow still manages to portray moments of genuine love, kindness, and compassion. It's fascinating how the best of humanity shines brightest in the midst of absolute darkness. As siblings, Amicia and Hugo share a complicated yet unbreakable bond, and along the way they find friendship and companionship in the most unlikely of circumstances. Where, for most of their journey, it feels like the entire world is against them, they somehow manage to stay true to who they are and crawl out of the deepest depths of despair. Of course, the story isn't just about the main characters, as the game does an incredible job of bringing a bleak medieval European setting to life. It's so detailed and rich that you can't help but feel despair at all the horrors. Whether it is a battlefield of corpses, abandoned villages infested with plague-carrying rats, or depraved army bases containing unspeakable horrors, the game is absolutely unflinching in the themes it explores. There's death, injustice, and violence at nearly every step, and yet there are also moments of beauty and joy. It is in these poignant moments of respite where the characters learn just how powerful hope can be even in the darkest of times. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Screenshot-2026-08-23-205249.png) Source: Steam. --- > The "stars" of the Black Plague, a constant presence throughout the journey, are those despicable, disease-ridden rats. --- ### A Fragile Hope As a video game, A Plague Tale: Innocence features strong, compelling game design, proving that video games can be artistic and yet still reward actual gameplay. As a young woman, Amicia cannot bear to endure any offence, so just a single attack means her demise. This initially introduces a stealth-style gameplay experience where getting caught isn't an option and your only weapon is a sling with rocks to pull off precise headshots. The stealth system is quite well designed, and the enemy behavior is sensibly built around it. While the hide-and-evade style is rewarding and decently varied, the game doesn't get too comfortable in the stealth routine, as both style and variety change substantially throughout the adventure. The change is so significant that the final few chapters hardly resemble the earlier ones. Amicia discovers more uses for her sling thanks to a crafting system and the power of alchemy, which equips her with all sorts of chemical compounds (back in the 13th century it was seen as magic). Along the way, she is joined by allies who each bring new skills to assist with certain obstacles; even the five-year-old Hugo learns a useful thing or two. The core gameplay never stagnates, offering different environmental puzzles and enemy encounters to keep things fresh. The "stars" of the Black Plague, a constant presence throughout the journey, are those despicable, disease-ridden rats. They are everywhere, as Amicia and her allies have to deal with a literal ocean of rats desperate for flesh. In addition to battling the Inquisition soldiers, Amicia has to deal with the constant looming presence of these ferocious rodents. Fortunately, there are moments when these black rats prove useful in taking out some of the soldiers in creatively gruesome ways. The death animation you're forced to see when you accidentally fall into a swarm of rats is something no one can ever get used to; it's painful and traumatising each time. As awful as these heinous critters are, the rats play a meaningful role in nearly all aspects of the story: visuals, level design, enemy encounters, and even combat/puzzle mechanics. It's quite an impressive achievement since gimmicks in video games tend to be superficial at best. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Screenshot-2026-08-23-205946-1.png) Source: Steam. Although most artistic/story-driven games compromise on game design conventions, A Plague Tale: Innocence does not fall into that trap; the variety of enemies, tools, upgrades, and weapons never feels lacking. The strategy needed to navigate the various set pieces is always interesting, and there are multiple approaches to solve any situation. Though Amicia must face combat in an almost passive manner (since she can't take a single hit), it's brilliant to see boss battles featured prominently here. Not every chapter has one, but at pivotal moments each boss provides a novel and memorable (not to mention pattern-based) fight for survival, where Amicia must outwit these much more powerful adversaries. The final boss is especially awe-inspiring; dare I say almost Castlevania-grade. Despite all the rats, bloodshed, and depravity, this is still a stunning-looking game from a graphical and artistic standpoint. It is especially fascinating to learn about historical artefacts and explore medieval architecture, which is presented with great attention to detail. The music is hauntingly beautiful, with Celtic music put to good use to complement sombre moments, triumph, and hope alike. The medieval lore is quite authentic, as the game's plot makes good use of Catholic/Christian mythology without stepping too much into the supernatural. A Plague Tale: Innocence remains an incredibly confronting experience not just because of its dark themes, but even more so as an action-adventure game which presents unique challenges at every turn. The world is as beautiful as it is depraved, and navigating this haunting, rich setting with vulnerable yet strong-willed characters is a truly rewarding experience. The journey is filled with equal measures of tragic heartbreak and triumph over insurmountable odds. ### An Interview with the Developer of Shop Crush URL: https://www.superjumpmagazine.com/an-interview-with-the-developer-of-shop-crush/ Last updated: 2026-08-26T15:57:57.000Z **I recently had the pleasure of sitting down with Bohdan Sydorenko, also known as** [**@hollowlimb**](https://x.com/hollowlimb) **on social media.** Based in Kyiv, Ukraine, with the indie game studio Bsl, this game designer is the lead on [Shop Crush, a visual novel shop sim](https://store.steampowered.com/app/2961120/Shop%5FCrush/) set for release later this year. Set in the early 2000s, Shop Crush players build up a thrift shop by haggling for stock, setting prices, bargaining with customers, and fighting off shoplifters, all while exploring the mysterious stories of the products, patrons, and colleagues around them. Here's what Bohdan had to say about the game and its development. --- ### SUPERJUMP **Shop Crush blends the cozy world of a visual novel with an interesting psychological horror story about revealing the truth behind your customers and community. Tell me a little bit about the inspirations you had for this game. Where did the idea come from? What stories informed this one?** ### Bohdan The idea for the Shop Crush concept wasn't born in a day. It changed many times; in general, I can trace its path from an ironic, funny game into a mysterious, cozy game with elements of horror. I personally tend to write imaginary stories, and I don't like realism all that much, at least when the details of the setting are the main USP (Unique Selling Point) of the content. I like things to be fictional and, in some ways, holistic. So the universe of Shop Crush came from the desire to make players feel a specific experience - trading weird items with weird clients. At first, I put in funny items like "expired yogurt" or a "book of bad jokes," and I expected most of the fun to come from these combinations. The clients had also been invented as strict opposites - somebody is really greedy, someone is controlling, someone is just unsatisfied all the time. ![The thrift store, a run-down shop with some broken pipes, cracks, and what might be blood stains.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Shop-Crush-store.jpg) Shop Crush. Source: Bsl. What I did not expect was that during playtests, players tended to accept the characters, their tastes, and their actions not as caricatures, but rather very seriously, which was unexpected to me. I noticed that they became deeply focused on the clients' personas, their history, and almost their true selves. That's when I figured we should take it further and understand what this game must really be all about. But what complements depth better than mystery? It is one of the strongest motivators a writer can include in a plot. I chose mystery, but as I said, I like to write "fictional" worlds and holistic stories, so I thought it should not be a detective game or a classic horror story, but something deeper, more personal, and more complex - psychological horror instead. Therefore, questions like "Why am I running this shop?" "Who are these people?", or "What actually makes sense in this game?" are now more of a plot vehicle than a distraction. Influentially, I have to say that the Reigns series has had a great influence on this game, as well as Coffee Talk and VA-11 Hall-A. Also Papers, Please. And many other narrative-heavy games. Story-wise, I like the Twin Peaks series a lot, but I'm not sure we have a true Twin Peaks kind of game; maybe some elements are similar. ### SUPERJUMP **It seems to me that shop management games have become increasingly popular in recent years. Why do you think that is? What sets Shop Crush apart from other games in this genre?** ### Bohdan I think it's because shop management games have a distinct set of mechanics that are accompanied by a strong playing fantasy. Before Shop Sims became a separate genre, there were Life Sims; in general, these are games where the focus is on some aspect of one's life - you can be a car mechanic, a trader, a bureaucrat, a judge, whatever. Now I see a division between purely mechanical "realistic" sims, like various "Supermarket Simulator"-type games, and "fantasy shop games." I think one is driven by pure simulation fantasy, and the other by playing a role or living somebody's life. Our game is definitely about "living somebody's life"; it is a narrative game with simulation elements. But it's also not just narrative. In Shop Crush, trading with customers is a unique, unpredictable part of the gameplay. It is, as I said, on the one hand, very choice-driven, but players also have to balance their interest in the clients with the reality of the market. Not to mention that we also have a unique illusions mechanic. ![A red alien smiles at the player from a room with blue curtain walls, various clutter including a political podium, a picture of a lizard person, a chess piece, and a graph with alien writing.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Shop-Crush-alien.png) Shop Crush. Source: Bsl. ### SUPERJUMP **The art style for this game is great fun, reminding me of some early 2000s games and shows, which I suppose is appropriate given the setting. Did you do the art yourself? What inspired this style? Are there any character designs or settings that you're particularly proud of?** ### Bohdan Yes, all the art is made by us. It was very hard for us to find the right art style. It had to feel like the 2000s, where everything I remember was plastic, highly consumeristic, and unnatural at times, but also more "honest," simple, and fun. I don't know. That's why I always had to focus on the details first - what things the characters wear, how they live their daily lives, what their routines are, and what their emotions would be like. We had many iterations with the art, and we are still not done. At first, the characters were less shaded, and the game style itself was closer to minimalism. Right now, we aim more towards translating certain emotions during the game, and these emotions are: 1) nostalgia, 2) carefree-ness, and 3) playfulness. But since our game is psychological horror, we also introduce coldness, rationality, and some sort of determinism into the mix. And I think it's this contrast that makes the setting work more nowadays. It's not just nostalgic - it is a fragile world that is beautiful, but ends very, very soon. And that is what resonates with me. Our team right now has three artists, with more people having worked with us previously. I am very happy with our current lineup, where we have Polina as a character artist, Maria as an environment artist, and Stanislav as a background artist. I do creative direction, but only in terms of design, as I am not an artist myself - I am a designer. I am happy to direct the scenes, but not the people's artwork. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-16.png) Shop Crush. Source: Bsl. ### SUPERJUMP **Where can people find more information about Shop Crush and your studio?** ### Bohdan The main source of information is our Steam page. I am also very active on social media: Bluesky, Instagram, TikTok, etc. Just search for me by @hollowlimb or [@shopcrush](https://hollowlimb.itch.io/shopcrush)! **Shop Crush will be available later this year on* [**Steam*](https://store.steampowered.com/app/2961120/Shop%5FCrush/) *Early Access.* ### The Omori Manga Is Actually Great URL: https://www.superjumpmagazine.com/the-omori-manga-is-actually-great/ Last updated: 2026-08-24T17:27:12.000Z **The big problem when a fandom grows is the law of averages: sometimes irrational voices take over and dominate the calm ones.** We’ve seen that firsthand with Omori, a fandom that emerged from a video game that would have once been a graphic novel. Fans have cried foul about the ongoing manga series, nitpicking where they can. Everyone [has the right to their opinion](https://dianedarcy.substack.com/p/omori-vol-1-review), but in some cases, [like on Reddit](https://www.reddit.com/r/OMORI/comments/1no4t2p/an%5Fhonest%5Fopinion%5Fon%5Fomoris%5Fmanga/), the hatred [feels like a dogpile](https://www.youtube.com/watch?v=2BNr9sWd9cI). And why? Because creator Noi Konoito drew older art, which these "antis" felt violated purity culture. (Remember the rule of fandom, folks: don’t like, don’t read). Omori as a manga is gorgeous, and I adore perusing each page. It reminds me of how the game and my friend Bettina Levy playing it got me through a bit of lockdown. The pages and pacing also remind me of the inherent difficulty in translating a video game with multiple endings. You have to figure out how to encapsulate the whole and make narrative sacrifices at the same time. The first two manga collections are out in the US, with the third and fourth set to release this year. I was lucky to obtain volumes one and two from the local library to give my full thoughts. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-13.png) Cover Art Omori Volume 2\. Source: [Omori Manga](https://w31.omori-manga.com/), ## Departures from the Game As I discussed in my [previous article about the manga](https://www.superjumpmagazine.com/the-omori-mangas-first-chapter-has-arrived/), the Omori video game offers the player some choices. You can choose to save Sunny or succumb to Omori, depending on the route you play. Variations also appear depending on what you do on the Main Route after learning the reason Sunny hid himself away for all those years. The manga doesn’t give you that choice. Sunny has one route, the main one, and it makes sense: a story needs a protagonist going through some arc or journey. The Hikikomori route is downright depressing and would result in many boring scenes of Sunny doing chores when awake. While the game homages Yume Nikki, we don’t need another adaptation of that trope-making legacy. Pragmatically, Choose-Your-Own-Adventure (CYA) is much harder to do in comics than in prose, and it would strain the main manga artist along with their assistants. If Omori had been released all at once, giving the artist time to redo the pages, then we may have seen a graphic novel with multiple endings. But in a serial, the chapters have to be sixteen pages minimum for most publications, and a CYA would probably require double, if not triple, the work. Unless Omori were released as a full graphic novel, the way Omocat originally intended for the story, most manga magazine editors wouldn’t approve that length. Sunny’s active protagonist stance in the manga also seems to spurn readers who played the game. In that medium, you can choose to make Sunny a recluse who won’t face his problems or a flawed teen who decides he has to re-engage with the real world and his old friends. He serves as an outlet for the player character rather than as his own person, and as a result, his facial expressions tell more about his thoughts. The turning point for me is that in the manga (unlike in the game), Sunny isn't *forced* to jump into a lake and save a drowning Basil. The game's Main Route required you to do so to continue that progression. But here, Sunny makes a conscious decision to dive, and you can see it in his face. He’s scared of water, but Basil needs him. This moment convinced me that the manga knows what it’s doing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-15.png) Omori game. Source: Steam. ## What Does a Solo Sunny Journey Show? It shows that Sunny doesn’t have a choice but to move forward in finding out the truth. We see from his facial expressions that he deeply cares about the real Kel, Aubrey, and Basil, while still revealing nothing about Mari, his darling sister. Sunny, however, still can’t say a word. We also get some really gorgeous and creepy art, visuals that sometimes go beyond the iconic boss battles in the game. Sweetheart’s scenes are comedy gold until she becomes possessive of Hero, though thankfully the kids’ boss battle with her is easier than the one the player has to do in the Omori game. ## Finding the Truth In the Light There is a great irony in a game and manga like Omori talking about how you must face your inner darkness to become a better person. Omori insists that if you don’t face that darkness and your mistakes, and find a way to forgive yourself, then that self-hatred will eat you up from the inside out. The antis who claim to be fans of the original Omori game completely miss the point. Volumes three and four can’t come soon enough. I’m eager to see them and shower love when we get to Blackspace and the big twist regarding a major character’s death. ### Inside the Rise of Cozy Horror URL: https://www.superjumpmagazine.com/inside-the-rise-of-cozy-horror/ Last updated: 2026-08-23T00:54:18.000Z **When I first played Oxenfree, I fell in love with the soft beauty of Edwards Island and the teenage characters’ casual chatter.** Then, I switched on the handheld radio and, suddenly, there was a garbled, inhuman voice. The game didn’t rely on an abrupt jump scare. Instead, a creeping sensation of fear invaded what’d been a calm encounter. That discomforting blend of familiarity and terror is the essence of cozy horror. ## What Exactly Is Cozy Horror? Cozy horror sounds like an oxymoron, but the two sides of the genre blend surprisingly well. These games [inscribe uncomfortable ideas into still-accessible](https://www.researchgate.net/publication/380924329%5FSoft%5FHorrors%5FThe%5FVisual%5Fand%5FLudic%5FSafety%5Fof%5FDark%5FCozy%5FGames) experiences. The aim isn’t usually to bombard you with frequent threats or gruesome violence. Rather, atmospheric horror builds suspense through mood and lets discomfort rise more slowly. Exploration is also preferred over combat in many games of this type. You can solve puzzles, examine strange occurrences or learn more about characters in dialogue. The terror still matters, but it is there to serve the experience rather than to dictate every instant of it. ### A Familiar Place to Settle Into The comfortable side frequently starts with the game's visual identity. Some titles use a soft claymation approach, others look more like illustrated narrative books. An environment that is gloomy or odd might nevertheless have a homemade feel that beckons you to investigate it. Gameplay is generally at a speed you can handle. Instead of fighting through hordes of opponents, you’re usually able to explore rooms freely and inspect stuff. Puzzles progress without the need for quick reflexes. This leisurely structure allows you to appreciate the area and become immersed in its mysteries. And most of all, the fear feels manageable. Failure might have consequences, but you don’t feel like you’re under attack at every move. It isn’t draining, since the stakes are personal enough to matter. The balance makes it easy to keep playing, even when the tale gets dark. ### A Shadow Beneath the Surface Cozy horror has to make you feel uncomfortable. It generates that reaction in expectation, not constant danger. A familiar room may look different on a second look, or a chat may show that a pleasant person has been concealing something. Little details show that the world isn’t as safe as it seems. Character design also helps build tension. NPCs look charming at a distance, yet frightening close up. Game designers do the same thing with environments, contrasting alluring places with dark corners or signs of a hidden presence. Many stories leave you with unanswered questions. They don’t explain every supernatural incident. Instead, they allow you to make your own conclusions about what you’ve witnessed. That vagueness might linger in your mind long after the game is done. Cozy horror works well because it’s comfy enough to bring you in closer, just to leave you wondering if you should’ve kept your distance. ## Why Cozy Horror Feels So Good While horror games are fun, they can be demanding. The constant chase scenes and limited resources can keep you on edge well after you’ve laid down the controller. The type of fear you feel with cozy horror is unique. It lets you confront unpleasant experiences without making every second a battle to survive. It’s like reading a ghost story on a rainy night. You’re sure you’re safe, yet the atmosphere makes you glance warily toward the dark hallway. The stress is less aggressive, so it’s easier to appreciate. You can be curious about what’s around the next turn instead of dreading the next attack. This balancing also has a greater influence on how you feel. Exploration provides a natural break between scares, while puzzles force you to concentrate on an obvious short-term goal. Rather than going away completely, your fear ebbs and flows at a comfortable pace. ### A Natural Shift for Horror Games The growing popularity of cozy horror suggests a broader craving for games that prioritize ambience and storytelling. Some gamers are more receptive to horror that doesn’t rely on gore or hard fighting. Sometimes, the story’s implications are scarier than the monsters it reveals. Independent developers have been a key part of this transition. Smaller-scale productions can experiment with weird art styles and slower kinds of suspense without having to conform to the shape of a standard survival-horror release. Such openness has allowed cozy horror to forge an identity that’s as familiar as it is novel. Streaming has made these games more discoverable. Their distinctive imagery and story-driven riddles are naturally ripe for discussion. You can follow the plot while generating your own theories about what’s actually happening beneath the surface. ### Horror for Players Who have Seen It all If you’ve been playing horror games for years, you know a lot of the genre’s common techniques. That locked door is rarely just a locked door, and that distant noise is probably trouble. The thing about cozy horror is, it doesn’t need to surprise you with every shock. Instead, it pays to be patient and attentive. A visual detail can be more powerful than meeting a monster. An unfinished discussion can be more frightening than a loud reveal. To veteran gamers, this nuance makes the genre seem like an intentional evolution of horror rather than a milder copy. ## Cozy Horror Games to Start With Cozy horror is a spectrum. Some gamers go for frights, while others prefer darker themes that lend discomfort to an otherwise enjoyable experience. These titles will give you an idea of the genre’s diversity. ![Little Nightmares: two bulbous, sagging-faced chefs work in a grimy kitchen while a tiny girl in a yellow raincoat creeps past under the table.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-5.png) Little Nightmares. Source: Press Kit. ### 1\. Little Nightmares [Little Nightmares](https://www.bandainamcoent.com/games/little-nightmares) puts a little girl named Six inside The Maw, a vessel inhabited by monstrous giants who’re trying to get her. Its hide-and-seek sections build real tension, yet the simple platforming and puzzle-solving keep things accessible. Even the most distressing places are fun to explore because of their strange proportions and dark, fairy-tale-like universe. ![INSIDE: a boy's silhouette drifts through murky water among rows of limp human figures suspended on poles, backlit by a single pale glow.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-6.png) INSIDE. Source: Press Kit. ### 2\. INSIDE Not many games leave you more unsettled than [INSIDE](https://playdead.com/games/inside/). The setting feels lonely and sparse, and features subdued colors. The game is largely environmental. You take a young, silent protagonist deeper into a strange, unsettling facility. The game reserves its most impactful story beats for the climax, but serves scares throughout. ![Bramble: a small boy with a backpack stands alone in a sunlit birch forest carpeted with white wood anemones, a dark shape half-hidden among the trees ahead.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-7.png) Bramble: The Mountain King. Source: Press Kit. ### 3\. Bramble: The Mountain King [Bramble: The Mountain King](https://maximument.com/games/bramble-the-mountain-king/) leans on Nordic culture to craft a world that feels like a grim fairy tale. The exploration is lovely at first, with gorgeous landscapes and miniature settings straight out of a novel. However, Olle's quest to save his sister ultimately leads him to meet monstrous creatures. The rapid change from awe to fear gives the journey a sharp edge. ![Stray: a robot with a screen for a face crouches in a neon-lit alley to greet a ginger cat wearing a small backpack.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-8.png) Stray. Source: Press Kit. ### 4\. Stray [Stray](https://annapurnainteractive.com/games/stray) has a reassuring charm that comes with playing a cat. Much of the experience involves walking through a neon metropolis and interacting with the robots that live there. You can slumber in the warm corners, and even knock stuff off shelves. Zurks, parasitic organisms that swarm their prey, add a disturbing body-horror-like threat to the rotting metropolis. ![Cult of the Lamb: three towering, many-eyed monsters loom over a red pentagram ringed with candles, bones and skulls, a tiny white lamb standing alone at its centre.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-9.png) Cult of the Lamb. Source: Press Kit. ### 5\. Cult of the Lamb [Cult of the Lamb](https://www.cultofthelamb.com/) may be the clearest example of cozy horror’s strange duality. You construct a prosperous village, with lovely forest inhabitants to care for, feed and house. Yet, underneath that pleasing system of management lies a story of ritual sacrifice and worship of a strange god. Between more sedate cult lending activities, you may go into rogue-like dungeon runs that offer spurts of action. ![Cozy Grove: a Spirit Scout stands beside a pale ghostly bear on a hand-drawn island in warm orange and green.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-10.png) Cozy Grove. Source: Press Kit. ### 6\. Cozy Grove [Cozy Grove](https://cozygrovegame.com/) provides a gentler approach, transforming a scary island into a welcome campsite. You play as a Spirit Scout, completing daily challenges and slowly uncovering the story of the phantom bears that reside there. The terror lies in their unlived existence, not in any peril of the body. Some of their memories are shockingly melancholy, lending a profound emotional weight to the happy living simulation. ![The Cosmic Wheel Sisterhood: a pixel-art witch with a painted face and long clawed fingers sits in a purple chamber beside a spread of illustrated tarot cards.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-11.png) The Cosmic Wheel Sisterhood. Source: Press Kit. ### 7\. The Cosmic Wheel Sisterhood [The Cosmic Wheel Sisterhood](https://www.cosmicwheelsisterhood.com/) approaches horror through magic and forces that exist beyond ordinary understanding. You embody Fortuna, an exiled witch who strikes a dangerous bargain to reclaim her freedom. Designing a unique tarot deck can feel creative and meditative, but every reading can affect the fate of another character. Its intimate packaging makes those choices feel personal, and the foreboding threat of Fortuna’s deal's unknown price looms over the plot. ## Finding Comfort in the Creepiness Cozy horror shows a game doesn’t need to be relentlessly dangerous to make you feel disturbed. The genre combines manageable dread, artistic expression and memorable storytelling to give you experiences that feel inviting despite having a dark edge. Cozy horror’s less bombastic approach to fright isn’t a fad, but a growing staple of modern horror. If these titles sound interesting, you should consider playing them. ### Blue Reflection Quartet and the Effort of Preserving Multimedia Projects URL: https://www.superjumpmagazine.com/blue-reflection-quartet-and-the-effort-of-preserving-multimedia-projects/ Last updated: 2026-08-18T21:27:28.000Z **Blue Reflection Quartet from Koi Tecmo Games is now available on PC, Switch, Switch 2 and PlayStation 5.** The experience aims to gather four experiences of the multimedia franchise in a single package. However, with two unique entries, it opens up the question of how preserving games and multimedia projects can work. ## The History of Gust’s Magical Girl Franchise ![Blue Reflection Quartet screenshot showcasing Hinako's transformation in the first game.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Blue-Reflection-Quartet-Hinako-Transformation.jpg) Screenshot from PC. Source: Author. Back in 2017, Koei Tecmo and its subsidiary Gust released Blue Reflection as a new project for PlayStation Vita and PS4 with a PC version taking the place of the handheld for the English release. Conceived by character designer Mel Kishida, who had previously worked with the development team on the Atelier Arland trilogy, the concept of the game was that of an RPG with magical girls. After the first game, the company would once again come back to the series, but now from multiple fronts trying to expand the IP into a multimedia format. Back in 2021, three new projects were announced together as a way to further develop the series. The list included the animation Blue Reflection: Ray, the free-to-play mobile/PC game Blue Reflection: Sun, and the console experience Blue Reflection: Second Light. All of these projects would be connected in story, so, even though it would be possible to enjoy each separately, players with the knowledge of previous games would have an enhanced experience. This concept is different from direct adaptations, which generally try to cover the same major events, making each part complementary. ![Blue Reflection Quartet early menu screenshot. It shows a flowchart of the series and a warning with the recommendation of playing them in the order "Blue Reflection, Ray, Sun, Second Light".](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Blue-Reflection-Quartet-Recommended-Order.jpg) Screenshot from PC. Source: Author. With Blue Reflection Quartet, the developer decided then to make a package quite unlike anything else in the industry at the moment: making every part of this multimedia strategy available in some form. But how does one go about doing this in a video game collection? The easiest part is for Blue Reflection and Second Light to get new versions that run on current systems. Generally, developers would likely stop here since these are the only console games, but a big chunk of the proposed experience would be missing, alienating newcomers who would be more likely to ignore those unavailable pieces. As a result of trying to make a complete pack, Gust would opt to make the other two pieces of the franchise also available in a new format. Both Blue Reflection: Ray and Blue Reflection: Sun would become new “playable experiences” that complement the package, raising the question of how multimedia projects can be preserved in a collection. ## Back from the Mobage Graveyard ![Blue Reflection Quartet's screenshot of Lime talking to the protagonist of Blue Reflection Sun. Only the back of the protagonist is visible while she's holding her hands to her chest and subtitles show that she's saying "We've been waiting for you to arrive".](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Blue-Reflection-Quartet-Sun-Lime-Cutscene.jpg) Screenshot from PC. Source: Author. Blue Reflection: Sun was initially conceived as a free-to-play game for mobile devices and PC. Released in 2023 as a partnership between Gust and Japanese juggernaut DMM Games, which has its own online distribution platform in the Eastern country, it would reach an end of service in 2024 without ever receiving an English release. Unlike premium experiences that continue being playable many years after developers have had any involvement with them, games like Blue Reflection: Sun expire. The data is pulled from the game’s servers, so once they’re not maintained anymore, the experience is simply gone forever. According to a research by SuperScale commented by [GamesIndustry.biz](https://www.gamesindustry.biz/report-83-of-mobile-games-fail-in-the-three-years-after-launch) back in 2023, around 83% of mobile games fail within three years of their release. The complete evaporation of similar games published strictly as services is a common fact in the industry. That’s not to say that there aren’t efforts to save titles that were once released in this manner. A few of them are actually preserved officially with “offline versions”, like Capcom’s MEGA MAN X DiVE Offline, with some limitations, like not covering some special events. There are also some cases of private servers for online experiences that go beyond the official support of a game, though limited to only a handful with very passionate fans. ![Blue Reflection Quartet's screenshot showing the Blue Reflection Sun protagonist running inside the school. A message on the top left has Shiho saying "Leader, there's something I want to talk to you about. Could you come see me later?".](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Blue-Reflection-Quartet-Sun-Exploration.jpg) Screenshot from PC. Source: Author. When it comes to offline versions, much of the experience has to be reworked to cut elements that were once dependent on the server. For instance, in the case of the original Blue Reflection: Sun, players would spend in-game (or real life) currencies to get new characters and fragcards that unlock skills. Other systems include borrowing characters from friends and strangers as well as facing ranked battles against others’ teams, all of which are common. At the bare minimum, all of these elements end up being cut from such offline versions or reworked in some way. For instance, the Switch edition of rhythm game i\*Chu keeps the gacha as a system so that players can feel the adrenaline of pulling even though it’s all in-game currency instead. In other cases, however, the game may even be completely redesigned to try and provide an experience that makes more sense for someone who has already paid full price for it. As a result, things may be cut, altered and remade to provide a different package. Upcoming experiences like Final Fantasy Resonance and Another Eden Begins are good examples of this promise to the players: taking an experience available on mobile and trying to revamp it so that it feels like something made for consoles instead. ![Blue Reflection Quartet screenshot showing the battle screen for Blue Reflection Sun. A menu with various skills is visible.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Blue-Reflection-Quartet-Sun-Battle-System.jpg) Screenshot from PC. Source: Author. The Quartet edition of Blue Reflection: Sun is one such “remake” of the mobile experience. It doesn’t really cover everything the original did, altering how the story is presented and offering a mostly digested experience. Combat is recreated using the same mechanics as Blue Reflection: Second Light instead of following the systems of the original release, and it keeps only a few more significant battles. Smaller enemies that would offer challenges in between bosses are completely scrapped. On one hand, it’s interesting to note that many times these battles are created for games like Sun as padding. These games often offer limited Stamina gauges and use increasing challenges as a big wall that keeps players from reaching rewards and progress. Along with the desire for specific assets like characters that are hard to get due to the gacha odds, these limitations are often one way that games like that are engineered to encourage the use of microtransactions. On the other hand, how can we consider a game preserved when the recreation of it is hardly anything like the original? This is one of the issues with considering “remakes” as preservation in any sense. The same characters are there and their experience may mimic the original’s big strokes, but the experience of a game can hardly be reduced to its main narrative. When it comes to games, sometimes there are different sensibilities to what it means to preserve an experience. Some design choices can be seen as limitations and technical issues by some people, for instance, making some aspects something to “fix” rather than as an optional adjustment. There are also things that are more costly to recreate and maintain and the effort may not make sense for the development team. When it comes to mobile games and other experiences that demand online connection to servers, all of these aspects factor into how to preserve them. ## Adaptation as a Retreading of Familiar Territory ![Blue Reflection Quartet screenshot showing a cutscene in Blue Reflection Ray. The scene is a single photo from the anime, showing Ruka's transformation in the magical girl style of a Reflector.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Blue-Reflection-Quartet-Ray-Cutscene.jpg) Screenshot from PC. Source: Author. While the remake of Blue Reflection: Sun was already a complicated topic when it comes to the idea of preservation, there’s an even more unique case in the Blue Reflection Quartet. As previously mentioned, the series has an anime entry as part of its effort to expand in scope, and this experience is integral to the franchise, with nods to it on Second Light. Instead of simply ignoring it or making a brief summary of events for players, Gust decided to go a step further and create a brand-new “Blue Reflection: Ray” in-engine experience. The company carefully pointed out that it would not exactly be a game, but a new way to see the adventures of Hiori and Ruka gathering fragments of their memories. The distinction is important as it’s pretty much a glorified recap in a “playable” state and expecting anything else would be disappointing. The game-like edition of Ray puts players to move around the Common, exploring it to gather fragments that the protagonists of the anime have lost. By finding them, they reminisce about the events that took them to the final moments of the animation, thus retreading the whole experience through their commentary and feelings. ![Blue Reflection Quartet's screenshot showing the two protagonists (Ruka and Hiori) holding hands in front of a collectible fragment.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Blue-Reflection-Quartet-Ray-Fragment.jpg) Screenshot from PC. Source: Author. Significantly cut to the most basic bits of relevant info, it’s hardly enough to consider the actual experience of the anime covered. Players who haven’t watched the anime are likely to be lost and feel like it just doesn’t provide enough of an experience to truly feel like it adapted the anime properly. As an experiment of how to provide a recap, however, it’s an interesting choice. What could have been a menu with text and the same anime screenshots used instead demands more agency from the player. Some fragments are optional and the whole experience may be seen as a chore, as the player’s only obstacle to progress is making an effort to go after all of them. In a sense, even though the end result is questionable in quality, the in-game Blue Reflection: Ray is not something the industry is making. When it comes to multimedia projects, things are often completely separated and, when Japanese companies are involved, there are cases of obscure, inaccessible things, like novels and side materials. Instead of relegating these parts of the franchise to the sidelines, what we get here is an effort to keep both Sun and Ray alive in some form. ![Blue Reflection Quartet screenshot showing Yuzu with a worried face holding her left hand up. A subtitle reveals that she's saying "Doesn't this all seem a little strange, though?" in this scene.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Blue-Reflection-Quartet-Ray-Yuzu.jpg) Screenshot from PC. Source: Author. Blue Reflection Quartet makes an effort to be a perfect entry point trying to let the player have access to every material of the franchise in some form. As a result, its good and bad choices end up being a reminder of how preserving games (and other media) is a complex topic. Whether thinking about games services that end and become inaccessible or multimedia pieces that are relegated to the sidelines, there are nuances that are important to think about more deeply when it comes to the experience itself rather than just a simulacrum of what it represents. ### Rebels No More: Rockstar, GTA 6, and the Art of Selling Out URL: https://www.superjumpmagazine.com/rebels-no-more-rockstar-gta-6-and-the-art-of-selling-out/ Last updated: 2026-08-14T15:00:11.000Z **At the time of writing this intro, it’s August 6th 2026\.** I’m on my lunch break, and I’m pissed (off, not drunk). Tomorrow, at 12:00pm UTC, Take-Two will hold its Q1 2027 earnings conference call. This call will serve largely as an opportunity for the suits to congratulate themselves on the soul-crushing work being carried out by studios around the world at their behest. They’ll be patting themselves on the back for two reasons: 1. Record projections suggesting 2026/27 will be the most successful year in the company’s history. 2. A fresh stock bump off the back of today’s announcement. In case you missed it, this ‘announcement’ refers to the fact that after over 450 days, we’re finally getting our third proper look at Grand Theft Auto 6 – and no, I’m not counting June’s pre-order announcement and screenshot drop, why would I? As a lifelong Rockstar Games stooge, I’ve been wishing for this day for over a year. But in a neat little monkey’s paw twist, it turns out we’re not getting a trailer ahead of the earnings call. Instead, Rockstar has taken what is presumably life‑altering money – life‑altering for regular people, pocket change for a corporation —giving Netflix brief but exclusive rights to an extended look at the game on August 27th. Now, as someone eagerly anticipating the next entry in the GTA franchise, this should mean a great deal to me. In reality, I feel very little. Here’s why. ## The long walk to Leonida At this stage, it’s fair to say that the journey towards Grand Theft Auto 6 has been irritating at best, shambolic at worst. For the avoidance of doubt, here’s a timeline of the major announcements so far, complete with my reactions to each of them. - February 4th 2022 – [Rockstar formally announce they’re working on GTA 6](https://www.rockstargames.com/newswire/article/ak73k92o47ko75/grand-theft-auto-community-update) – “Oh nice!”. - September 18th 2022 – 90 clips of leaked early development gameplay footage are posted online – “This is legitimately insane” (even in hindsight). - December 4, 2023 - [Trailer 1 is released](https://www.youtube.com/watch?v=QdBZY2fkU-0&list=PL-r1a4Mhgtx-hbMQlC2ubKeoXekYv4HMb&index=4) – “Holy shit! GTA is back babeee.”. - May 6th 2025 – [Trailer 2 releases](https://www.youtube.com/watch?v=VQRLujxTm3c) – “Damn, they’re cooking.” - June 18th 2026 – [Official cover art reveal](https://www.youtube.com/watch?v=EiQEBYDox%5Fk&list=PL-r1a4Mhgtx-hbMQlC2ubKeoXekYv4HMb&index=2) \- “Yeah, I couldn’t care less about this”. - Pre-orders were also [announced](https://ir.take2games.com/node/32311/pdf) and they will start on… - June 25th 2026 – [Pre-orders go live](https://www.rockstargames.com/newswire/article/5171972o3ak5oa/pre-order-grand-theft-auto-vi-on-june-25) – “Not even Rockstar will get a pre-order out of me.” - August 6th 2026 – Rockstar announce an extended [look at Grand Theft Auto 6,](https://www.rockstargames.com/newswire/article/9k2kaa1o3297k9/grand-theft-auto-vi-an-extended-look) briefly exclusive to Netflix – “Yeah, this is fucking gross,” (we’ll get to that later). I think you can agree, it’s pretty sparse. To be fair though, Rockstar’s marketing always is and it’s because they can afford to be. Theirs is a pedigree built over decades of industry-defining titles. To play a Rockstar game is to play something the rest of the industry will spend years and millions of dollars trying to replicate – only to be blown out of the water by their next title. --- > To play a Rockstar game is to play something the rest of the industry will spend years and millions of dollars trying to replicate — only to be blown out of the water by their next title. --- However, there’s a crucial line in the sand that I’d like to draw here. Rockstar have gotten away with this historically because at the end of the day, they’ve given us games of unparalleled quality, detail and scope. Right? WRONG. ![Grand Theft Auto 6 screenshot of a neon-lit "Delights" strip club at night, its marquee reading "New girls, new food, open all night, hiring dancers", with cars parked on a rain-slicked street.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/Port_Gellhorn_04.jpg) Source: Press Kit. ## The era of corporate Rockstar begins I think it’s easy for us to think of Rockstar as the Rockstar of old: the developers that gave us games which saw us through our childhood, the studio that delivered ten titles (including standalone expansions) during the seventh-generation of consoles. This is not who they are anymore. In a very real sense, Rockstar had something to prove with Grand Theft Auto 6’s marketing. In recent years, the studio has made a series of uncharacteristic decisions, dealing them deserved reputational chip damage since 2013. It began with the unprecedented success of GTA Online, a platform that continues to afford Rockstar generational wealth year-on-year and one that has steadily moved the needle on how the company operates and sees itself. Once the infinite money glitch of GTA Online was activated, priorities shifted: a single player DLC nixed here, a little microtransactional pressure there. And yet, the game was fun. I clocked hundreds of hours myself and made a lot of memories playing with my brothers and friends, happily lost in its madness. The worst was yet to come. ## “Definitive edition” On November 11th 2021, Grove Street Games released Grand Theft Auto: The Trilogy – The Definitive Edition. In concept, it made perfect sense; a remastered collection of the three games that made up the GTA 3D Era and that had cemented Rockstars rep as an industry powerhouse. In reality, it blew. The game released in an unacceptable state and even after years of patches, it’s still not up to the high benchmark expected from the studio. This was due in large part to the fact that Rockstar was not responsible for development of the collection. Instead, it went to Grove Street Games – a studio that, despite the name, is somehow not affiliated with Rockstar in any way, and is genuinely named after the street it was founded on. Insane. I’ve seen many defend Rockstar based on this distinction but here, I have to disagree. Rockstar had (and still has) a duty to preserve these games as far as they are able – and financially speaking, they are more than able. These games made Rockstar what they are. For them not to step in, allow this to go out the door and at a $59.99 USD price point was, and remains, unacceptable. Still, at least you can play these titles as intended on modern consoles via their PS2 ports. Well, no – actually you can’t. Once the “definitive” edition was released, the ports were struck from digital storefronts, meaning that the only way to play these titles today is by sailing the seven seas. Yarrr! To sacrifice these games at the altar of financial reward rubbed me the wrong way at the time and it’s only rankled as the years have passed, but at least it couldn’t get any worse. ## (Un)Civil Union Last year, Rockstar fired dozens of employees from its UK and Canadian studios, saying they had shared confidential company information — conduct it characterised as gross misconduct. The affected workers and the Independent Workers’ Union of Great Britain (IWGB) Game Workers branch, which had been helping them organise, dispute that account and say the dismissals were retaliation for union activity. Rockstar denies this, but the move has drawn widespread accusations of union-busting, and the IWGB has taken the matter to an employment tribunal. If you're looking for more information on this, I'd recommend the great work being done by the folks over at [People Make Games](https://www.youtube.com/@PeopleMakeGames/videos). It’s the latest in a long line of allegations levelled at the company and its employment practices. For years, the studio has faced reported allegations of crunch culture, gender-based pay disparities and the use of bonuses as a pressure or retention tactic, and it seems that this isn’t set to change anytime soon. I’m old enough to remember the [January 2010](https://www.gamesindustry.biz/rockstar-spouse-accuses-dev-of-pushing-its-employees-to-the-brink) anonymous open letter titled Rockstar Spouse, published by the partners of developers at Rockstar San Diego. It exposed severe, exploitative 12‑hour workday crunch during the final development of the original Red Dead Redemption. It seems that mandatory overtime hasn’t improved in the years since, with Grand Theft Auto 6 developers claiming to have worked 80 hour weeks in the run up to the game’s release this November. I want to be clear: Rockstar’s developers are artists, and they deserve the respect and dignity that that title confers. I’m not blind to the realities of modern business. At the end of the day I understand that GTA 6 is a product to be sold first and foremost but this shouldn’t come at the expense of the talent making you that money. Given that industry analysts anticipate the title could make between [$3.25 billion and $5.2 billion](https://www.forbes.com/sites/paultassi/2026/07/16/analyst-claims-gta-6-could-make-3-5-billion-during-launch-week/) in week-one launch revenue and its even less acceptable. ## Rockstars or sellouts? As well as all of this, Rockstar has proven allergic to quick wins in recent years. Despite many of their peers releasing next‑gen upgrades for last‑generation titles, Red Dead Redemption 2 — arguably the company’s crowning achievement — is still yet to receive one. The final update for GTA Online also left many fans cold with severe heist payout nerfs across the board, high entry costs for new properties, and low replay value. All this is to say, I hope I’ve illustrated the point I made above: that the Rockstar of 2026 is not the Rockstar that many of us fell in love with and more than that I hope I’ve done so in a way that leaves emotion to the side. However, this brings me neatly back to this latest announcement. It’s official: Netflix will host our next, and likely, first proper look at how the game plays and while they’ll only enjoy a six-hour exclusivity window to the news, this has really irritated me. To put it plainly, Rockstar did not need to do this. Grand Theft Auto is a series so tied up in the cultural zeitgeist, so ubiquitous that you really don’t even need to market it that heavily. Alone, the second trailer for Grand Theft Auto VI [shattered entertainment history](https://www.gamesindustry.biz/new-gta-6-trailer-shatters-viewing-records-according-to-rockstar) by pulling in an unprecedented 475 million views across all platforms in its first 24 hours. People who don’t play games play Grand Theft Auto, they’ll even buy a console outright to do so. You could ask a perfect stranger in the street what does GTA stand for, their eyes would briefly glaze over and then, almost involuntarily the name of the series would pass their lips. At its core, this is nothing more than two incredibly wealthy companies propping each other up for substantial financial gain. This is not an announcement for the fans, it’s one for the shareholders and it’s one that moves the argument further away from Grand Theft Auto 6 as a work of art and towards one that simply figures it as product. It’s also to say nothing of the fact that Netflix continues to engage in pretty hostile business practices, repeatedly hiking prices despite an ongoing cost-of-living crisis and a lack of meaningful updates that’d make that change in price acceptable --- > This is not an announcement for the fans, it's one for the shareholders... --- I don’t think Rockstar really realise the extent to which they’ve sold their soul with this decision and there’s such a deep-seated irony to it. One of the greatest strengths of the Grand Theft Auto series is its keen, biting satire. Established in Edinburgh, Rockstar gives us a view of America from the outside looking in — a view America rarely gets of itself — highlighting the excesses the rest of the world sees when it looks in that direction. Everything from celebrity to modern consumerism to institutional corruption is fair game. How then, can you have the sheer brass neck to deliver this kind of po‑faced, performative parody while engaging in the very practices you’re supposedly skewering? When we refer to a ‘rockstar’ we’re talking about artists who stay true to their raw, rebellious underground ethos. When we refer to ‘sellouts’, we’re talking about those who trade stylistic integrity for commercial success, mainstream radio-friendliness, and corporate wealth. I’ll pay you the compliment of knowing which side of the spectrum I believe Rockstar now falls. ## What next? During Take-Two’s February investor earnings call earlier this year, the company’s CEO, Strauss Zelnick claimed: "I think you'll be pretty astonished by the creativity that Rockstar's marketing team brings to consumers in the coming months." Sorry Strauss, I’m not. I’d go so far as to say that I think this announcement is bad for the industry at large. Instead of receiving a trailer this week, we now have to wait a further three. When the extended look drops later this month on the 27th, it’ll be eating the lunch of several games set to release shortly thereafter. Rebel Wolves’ The Blood of Dawnwalker releases on September 3rd, Insomniac’s Wolverine on September 15th and Remedy’s Control: Resonant on September 22nd, just to name a few. Every single one of these titles deserves their time in the sun, time which they’re no longer getting and time which they thought they’d acquired by shifting release dates to avoid the industry juggernaut that Grand Theft Auto 6 will no doubt become. Like I said, I’m extremely excited for Grand Theft Auto 6\. I’ll also no doubt watch the extended gameplay look when it arrives on YouTube and there’s little doubt in my mind that when I play the game later this year, I’ll love it. I guess what I’m saying is: I can’t wait for the game to be in my hands (via digital code, so not really) so I can play it, appreciate it as the artistic achievement I hope it is, and — crucially — ignore the company that Rockstar has sadly become. ### I'm a Mechanic, Get Me Out of Here! (But Not Actually) URL: https://www.superjumpmagazine.com/im-a-mechanic-get-me-out-of-here-but-not-actually/ Last updated: 2026-08-13T06:45:39.000Z **I bloody love Splatoon!** I love the mess. I love the action. I love the feeling of hunting my fellow man from the confines of my well laid ink puddles. Nintendo has done a remarkable job of taking a simple concept, blasting ink in people’s faces, and making it one of the most enjoyable and satisfying series of third-person shooters to date. So, you can imagine I was a little taken aback when I found out that Splatoon Raiders would have none of the PVP mayhem I’d become accustomed to, instead focusing solely on a single-player campaign. But never let it be said I’m not one to try new things! I strapped on my helmet, boarded my plane and started my new life as a pilot: a new life, that, 30 seconds in, came to a startlingly sudden near-end when said plane crashed. Fast forward and now I’m stuck on a floating raft in the middle of the ocean with the same idol trio, ‘Deep Cut’, that I spent most of Splatoon 3 trying to avoid listening to. ![A ramshackle floating base of operations built from scavenged wood and metal, complete with a crane arm, rising out of turquoise tropical water in Splatoon Raiders.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-2.png) Your (upgradeable) home base. Source: Press Kit. ## DAY 1 Well, the potential of an untreated concussion aside, things have been going pretty well! I can see the shores of Spirhalite Islands from our floating base of operations. The first few expeditions out to scavenge for parts, resources, and treasures have been spent fending off waves of Salmonids who are, quite understandably, not super pleased at an armed invader coming in, mowing down their friends and taking their stuff. I’d debate the ethics of what we’re doing but I’m stuck with three very excitable TV personalities who just discovered how much money there is in rare artefact fencing. So, for the sake of not being Lord of the Flies’d, I’m begrudgingly going along with this plan to scrape the islands for all their worth. But I refuse to enjoy it. --- > I’d debate the ethics of what we’re doing but I’m stuck with three very excitable TV personalities who just discovered how much money there is in rare artefact fencing. --- ## DAY 5 I changed my mind, this rules! Maybe it’s the fact I don’t have teammates to worry about or that unlike in PVP, I can afford to get creative and experimental. I keep telling myself ‘just one more run’. That was 3 hours ago. The Salmonids are constantly moving: Flyfish circle the skies, Scrappers try to force you into corners, Steel Eels leave trails of sludge in their path and the Bigshot’s ground pound blast has quickly become the bane of my existence. But once that battle music kicks up and the ink starts flying it’s hard to stop! Having one of the three ‘Deep Cut’ members as my Bot Buddy on these excursions has actually been incredibly useful. Aside from picking up the Power Eggs that Salmonids leave behind, they also have a unique special ability that you can activate once charged. I don’t know where Frye is keeping this army of moray eels when she’s not raining down hell for me but I’m thankful for her regardless. I’ve more or less settled on my Soap-Bottle Splattershot as my weapon of choice. Paired with my Tactical Tank, I’ve made myself into a machine of efficiency, keeping Salmonids at a distance until I’m ready to close the gap and deliver the finishing blow. I was a Splat Roller main for most of my time in Splatoon 3 but I don’t find it has the same kick here that it used to. Or maybe it’s just that the more open battlefields lend themselves to weapons with a bit more range? Regardless, I’m pretty content with my load out and in no rush to change what works. That being said I do have a stockpile of weapons I’ve been collecting that I should probably deal with at some point. I don’t know where we’re storing those but I can’t imagine it’s not doing any good for the weight balance of the base. A problem for another day! ![The Upgrade Tanks menu in Splatoon Raiders, showing stat boosts such as HP +40%, Weapon Damage +10% and Gadget Part Slots increasing from 14 to 16, with a purple-haired Inkling and ink tank on the left.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-3.png) Splatoon Raiders introduces RPG-like upgrade mechanics. Source: Press Kit. ## DAY 6 Reporting live from atop the petard I’ve been hoisted by. I was thoroughly humbled by a Salmonid the size of a school bus and now I’m neck deep in upgrades, stat blocks, weapon specs, and unused ability modifiers I neglected to look into until now. Turns out there’s actually quite a varied customisation system here if you have an ounce of curiosity to use it. The resources you collect go into upgrading the hideout which in turn grants you access to more facilities like the weapon and gadget development stations. From there you can craft upgrades to attach to your loadout, provided you have enough slots to use them. Your health, weapon and gadget damage and slot space can all be independently expanded with skill points earned through progression. Relic power ups can be applied to give you small buffs like increased healing in ink puddles or the chance of triggering a small explosion while firing your weapon. And finally the Salmonid Power Eggs I’ve apparently been having the trio store…somewhere unnameable…go into upgrading the Power Packs with each one needing to farm a certain amount per major upgrade. Well consider my flabbers ghasted! It turns out I do actually enjoy tinkering when there’s enough variety to feel like I’m actually making something to suit my play style! My next run at the boss was much more effective and I even went back for seconds with a small team of online players I called in for backup just to make things go a little faster. I thought I was so slick at level 20 only to get absolutely mogged by two level 50 players who wiped the floor with the boss. I provided moral support. Which is also important. Go team. --- > Maybe it’s the fact I don’t have teammates to worry about or that unlike in PVP, I can afford to get creative and experimental. --- ## DAY 15 I have more compasses than I know what to do with all leading me to different optional ‘Sampler’ dungeons so I figured today would be the day I clear them off my list. Also so I can farm experience so as to be slightly more useful than the water-girl the next time I call in for backup. What I’ve found however, is the one part of Splatoon Raiders I dislike. Let me explain. Each of these Sampler dungeons typically restricts you to using one specific gadget or weapon, teaching you the ins and outs so you can make the most effective use of them in battle. I can get behind that, I love a challenge. What I don’t love is being stuck in a death loop, respawning again and again because I keep hitting the same issue. A lot of these gauntlets demand precision in your aim and movement which I don’t feel translates super well to Splatoon, a series that I’ve always found encourages the messy and erratic. One in particular that drove me barmy was called ‘Dashes of Spice’, using the Dash Bomb to propel you across gaps in the floor. Trouble is the Dash Bomb is a weirdly designed item that only activates when you release the trigger button, not when you press it, creating a delightfully annoying delay that caused more deaths than I’ve had in the entire game up to that point. Blessedly, like I said, these levels are entirely optional; but for completionists out there, all I can say is you’re stronger than me and have earned the bragging rights. Instead of ramming my head into a brick wall over and over again, I turned my attention to the Spicy Levels. These provide you the same experience of levels you’ve already covered but with tougher enemies and larger rewards should you succeed. Because each run is usually quite short, no more than 10 minutes max, the novelty doesn’t have a chance to wear off. It’s just more of what I already like but slightly tougher! Maybe I’m dragging out these challenges so I don’t have to see the ending that’s looming ahead. I’m having a lot of fun and I don’t mind retreading old ground to keep it going a bit longer. ![Fast-paced Splatoon Raiders combat as an Inkling blasts purple ink across a battlefield, splatting kettle-shaped Salmonid enemies and a large caged mechanical foe.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-4.png) Splatoon Raiders will challenge your dexterity in entirely new ways. Source: Press Kit. ## DAY 21 Well that’s it. I’ve done all there is to do in Splatoon Raiders….well not entirely; I’m still staunchly ignoring ‘Dashes of Spice’ and I just found out there’s a secret ending that I didn’t know existed. But in spirit I have reached my ending and I can quite confidently say I had a phenomenal time getting there! Splatoon Raiders wasn’t what I was expecting and I’m glad for it, I was worried that it wouldn’t be able to sustain a single player campaign after so many years deriving its enjoyment from player vs player action. Splatoon Raiders, instead, has taken the very best aspects of its fast paced combat, expanded the weapon system and taken full advantage of its colourful, animated world building and made one of my favourite games this year. It’s also made my in-game self incredibly rich so I look forward to the next instalment playing a Salmonoid coming back for revenge! ### Hidden Gems of Game Design Vol 50 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-50/ Last updated: 2026-08-04T04:15:41.000Z **Plenty of amazing games go unnoticed and not widely played, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. This month, we've reached a major milestone in this iconic SUPEJUMP feature: our 50th Volume, a half-century of Hidden Gems! *For this special issue, I gave the writers an additional challenge – pick a game from your childhood that you never heard anyone else talk about.* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/addams-1.png) Addams Family Values. Source: Author. ## Josh Bycer ### Addams Family Values (1995) As a gamer and a kid of the 90s, it was my “pleasure” to play wave after wave of licensed games, based on a seemingly inexhaustible supply of IP. While I could talk about some of the most traumatically bad ones, for my pick, I’m going with one that I’ve never heard people talk about. The Addams Family had a resurgence in the 90s thanks to the two films and animated series, and with it came multiple games from different teams. There was the obnoxiously difficult Fester’s Quest, four different platformers, and the final game we would see from everyone’s favorite weird family: a Zelda-like. Very, and I do mean, *very* loosely based on the film, the youngest and newest Addams has been kidnapped and is being held in a giant mansion estate. The estate was complete with multiple areas and a variety of monsters, ghosts, and other creatures to stand guard. The only Addams who is up to the job is Fester, who must explore the entire estate, grow in power and save the day. Fester’s main attack is lightning, launched from his hands, to zap any baddies that get in his way. The game tries to be like Zelda in that the more health you have, the stronger your attacks are. However, while Zelda typically gives you a boost at max HP, this game does it for several health thresholds. At full health, you have max range, and every few hits decreases it. When you are about to die, and when you need your attacks to be strong, the range is instead shortened, forcing you to stand directly next to an enemy to hit them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/addams-2.png) Addams Family Values. Source: Author. The other option Fester gets is finding cookies that act as potions; each one does something different, and a few are used for puzzle-solving and fighting. I remember the first real boss goes down by eating invulnerability cookies and tanking every hit. What’s challenging is that Fester can only attack in the cardinal directions, and at one fixed angle, so you can end up where enemies are approaching you at an angle but you can't hit them in that direction. Normally, this is when I talk about how amazing the game is, but unfortunately, I don’t remember much. I have never beaten the game for two reasons: First, this is a very open world, but you have to complete areas in a specific order to unlock the items and upgrades needed to progress. There are a lot of paths hidden behind the scenery, some that take you to a completely different area that you would otherwise have no idea how to access. Second, and far worse, the game has no battery saves. The mid-90s was a time when internal save capability (via a battery in the cartridge) was considered a luxury, and many studios opted for passwords instead. To make things even harder, you need to find one of the Addams family in the world each time you want a password. They move around as the game progresses, and no, their positions are not saved on the map. This is the second-worst password system in a game I’ve played, with the first going to another game that may be my pick for next month. Heaven help you if you don’t write the code down properly, or have horrible handwriting like me, and lose your entire progress. This one can be a bit hard to return to in the modern era, but Zelda fans searching for a challenging take on their genre may want to give this one a look. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/data-src-image-74d7799f-e464-4955-bc45-1f88a33d7c9d.jpeg) Wipeout 3: Special Edition. Source: Author. ## Ben Rowan ### Wipeout 3: Special Edition (2000) While the late 90s and early 2000s were a golden age for the original PlayStation, many exceptional games went unnoticed due to poor marketing, being ahead of their time, or simply remaining as diamonds in the rough. In 2000, during a trip to Malaysia, I stumbled upon a copy of [Wipeout 3: Special Edition](https://en.wikipedia.org/wiki/Wipeout%5F3) while stocking up at one of Kuala Lumpur’s ubiquitous gaming malls. Unbeknownst to me at the time, I had acquired a PAL-exclusive holy grail of anti-gravity racing, a content-stuffed swan song to Psygnosis’ legendary original trilogy. So, for this 50th issue of Hidden Gems, I'm looking back at a masterpiece that fits all the criteria of a cult classic and isn’t widely discussed today outside the AG racing community. Wipeout 3: Special Edition was overlooked, unnoticed, and undoubtedly brilliant, and it holds a very special place in my heart. The Special Edition of Wipeout 3 is an absolute triumph of value. Alongside the eight tracks from the base Wipeout 3, it bundles eight fully remastered tracks from the original [Wipeout](https://en.wikipedia.org/wiki/Wipeout%5F%28video%5Fgame%29) and [Wipeout 2097](https://en.wikipedia.org/wiki/Wipeout%5F2097). This 16-track compilation represents the definitive museum of the series' 32-bit era. What makes this release even more extraordinary is the raw technical wizardry underpinning it. Leading up to its late-1999 launch, developer [Psygnosis](https://en.wikipedia.org/wiki/Psygnosis) pushed the ageing PlayStation hardware to its absolute limits by completely rewriting their rendering engine from scratch. The visual fidelity was staggering for the time: running at the console's highest resolution (512x384), it delivered a locked 25fps frame rate with virtually no slowdown, all while effortlessly handling dynamic engine-trail lighting and vibrant particle effects. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/data-src-image-b727be73-2350-48f8-ad77-fa3f455abe1a.jpeg) Source: Author. Gameplay-wise, the game’s tactical complexity was elevated by the introduction of the Hyper Thrust mechanic, where the R1 button triggered a manual speed boost at the direct expense of your defensive shields. This created a constant risk-reward dynamic: burning your shields for a speed boost forced you to grasp desperately at every defensive power-up and totally avoid hitting walls, rendering the pit lane vital to survival on every lap. Hitting the Hyper Thrust off jumps also allowed you to launch your craft into ambitious shortcuts, utilising the Autopilot mid-flight as the perfect trick to assist in a safe landing. This tactical depth was bolstered by an expanded arsenal of weaponry. Defensive choices like the Cloak, Reflector, and Force Wall allowed players to manage aggressive opponents. They were balanced by iconic crowd-pleasers like lock-on Missiles, heavy Rockets, and the ‘Quake’, which deformed the course itself, rippling forward a track-wide tsunami that tore through any opposing ships unlucky enough to be ahead of you. These new weapons were best mastered in the new Eliminator mode, a deathmatch-style arena that proved essential for surviving the blistering speeds of the unlockable Phantom class. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/data-src-image-a6a8208d-3b83-4c74-874e-e9d7024e2686.jpeg) Source: Author. Despite its brilliance, Wipeout 3 underperformed commercially compared to its predecessors. Arriving at the absolute end of the PS1 lifecycle, it was heavily overshadowed by the massive hype surrounding the upcoming PlayStation 2\. Its steep learning curve and perceived lack of novel features among casual players also stymied sales. The game's bold visual identity, crafted by the rehired design collective [The Designers Republic](https://www.instagram.com/thedesignersrepublic), swapped the bright, neon club aesthetic of 2097 for clinical, hyper-clean minimalism. While aiming for a grounded, "believable future" rather than over-the-top sci-fi, this more industrial look was initially perceived by gamers as cold and sterile, contributing to the depressed sales. Yet, over a quarter-century later, history has vindicated Psygnosis' artistic gamble. The game was a critical darling at release, securing an impressive 89/100 on Metacritic, and it has aged remarkably well. The Designers Republic's clean typography, distinct geometric menus, and clinical user interfaces don't look as dated as other 3D games of the 90s, cementing its place as a high-water mark for video game graphic design. Combined with a legendary progressive house soundtrack mixed by Welsh DJ [Sasha](https://www.instagram.com/djsashaofficial) (featuring heavy hitters like Paul Van Dyk and The Chemical Brothers), Wipeout 3: Special Edition remains a sleek, timeless, and shamefully overlooked masterpiece, and undoubtedly a ‘hidden gem’ of the early PlayStation era. ## Ben Rowan ### DoDonPachi (1998) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/data-src-image-6e72e845-9753-47d3-81c9-c4d3cbaf6811.jpeg) DoDonPachi. Source: Author. Back in 2000, I was lucky enough to spend a school holiday in Kuala Lumpur visiting a mate whose expat parents lived there. He gave me a crucial piece of advice before departing: bring my PlayStation along. The bustling mega-malls of Malaysia turned out to be a goldmine for Japanese import gaming, full of air-conditioned markets overflowing with obscure titles. I picked up a haul of games, including CAVE’s 1998 vertical shooter [DoDonPachi](https://en.wikipedia.org/wiki/DoDonPachi), which I bought purely because the back cover art looked awesome. Safe to say, it blew my mind. Released in an era when mainstream gaming was obsessed with 3D cinematic blockbusters like Metal Gear Solid and Resident Evil 2, traditional sprite-based arcade shooters were routinely ignored by Western retailers. DoDonPachi never received an official Western release, locking this seminal entry in the "bullet hell" genre behind expensive import channels. As a result, outside of dedicated shmup circles, it is rarely celebrated, and barely gets a nod in any "greatest PS1 games" roundup. What made DoDonPachi on the PS1 so exceptional was the brilliant duality of its brutal difficulty and surprising accessibility. The port included a godsend ‘slow-motion’ feature mapped to the L1 button, allowing you to dial down the speed and focus on weaving through the dense, swirling webs of enemy fire. It was a great way to learn the tactical aspect of bullet dodging without getting penalised. Coupled with free play options and unlimited continues, you could play through the entire game and see the initial final boss on your very first sitting. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/data-src-image-08510f1a-2b8b-43f1-878f-b2abdeeeb664.jpeg) DoDonPachi. Source: Author. However, CAVE built a genius hook into its scoring system: the second you used even one continue, your score was reset to zero, permanently barring access to the grueling "second loop" and the true final boss of the game. This design choice created an irresistible psychological pull. Every fresh run began with an optimistic ambition that “this was it” - the run where you’d finally make it through unscathed. When you’d inevitably die at the hands of the game’s brutal difficulty, continuing allowed you to treat the rest of the session as a risk-free practice run; it was a win-win, especially for us casuals just along for the ride. Visually, DoDonPachi remains a 32-bit pixel art masterpiece. With its screen-filling enemy swarms, massive explosions, and towering mechanical bosses, it often feels like Metal Slug converted into a vertical shoot-'em-up, and screenshots simply don't do justice to its frantic action. The only hurdle is its native 3:4 arcade aspect ratio. Playing in standard "Yoko" mode squishes the game on each vertical side into a lower, blocky resolution, while "Tate" mode renders it full-screen albeit at a 90-degree tilt. Back in the day, the purist solution was simple: physically turn your boxy CRT television on its side! It was the only way I'd play it. But sadly, having to flip the TV over every time eventually stopped me from playing it more regularly. Though I never managed to reach the brutal ‘second loop’ to witness the true ending myself, DoDonPachi became a solid go-to game when friends came over. If I wanted to blow their minds with something they'd never seen, it was simple: hold up, just rotating the TV sideways like a true arcade purist. Masterfully balanced, visually arresting, and mechanically forward-thinking, it stands as a classic of the genre and an unmistakable 32-bit hidden gem. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-33.png) Carmageddon. Source: Press Kit. ## Terence A ### Carmageddon (1997) Good games inspire rivals. Great ones leave claw marks outside genres they helped define. If Doom’s menacing corridors and bullet-eating demons had a racing game compatriot, it was Carmageddon. Developer Stainless Games lost the rights to the movie Death Race 2000, which it planned to spawn in alongside the 90s barrage of licensed games, but it built the pedestrian-mowing cherry-red race car anyway. Carmageddon’s now-iconic vehicle took on races across tracks inspired by the usual ranges in urban density and climate, from deserts to cities and industrial zones. It had no narrative, leaving players to craft their setpieces. Cars handled corners like a semi-truck, trimming the scenery as much as it did opponents. A timer ticked down, pitting you against racers to pass checkpoints. It could be topped up by crushing pedestrians, breaking barrels, or plowing into cars. Unlike what you’d expect from a racing game, this one didn’t track your position. This nudged many players, me included, toward free-roaming into graphic violence. Sickos could even finish missions by eliminating all rivals or worse, every pedestrian on the map. Its well-designed playing areas encouraged exploration, even if the game’s structures and obstacles felt like cardboard set dressing. Those concerns leave the mind as the shrieks and guts of your victims punctuate the air. A pre-recorded avatar onscreen constantly reacted with the playful excitement of a puppy to flipped cars and poorly-taken corners. A score system kept note as you went from circuit to circuit, letting players upgrade car stats and unlock new ones with a severed hand cursor between levels. Carmageddon, being generous with its blood and body count, led to publisher Sales Curve Interactive facing police raids and its CEO receiving threats of jail time, before an appeal ensured its launch. Controversy aside, the game’s a running riot that’s well worth an afternoon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-34.png) Disney’s Chicken Little (2005). Source: Press Kit. ## CJ Wilson ### Disney’s Chicken Little (2005) When you are playing video games as a kid, you might play some titles that just happened to be there when you owned a video game console. Back when I was younger, I distinctly remembered playing Chicken Little on the PlayStation 2 in the basement of my childhood home. I never learned how we got the game, but I feel like we got it from a garage sale, where my dad initially got the PS2\. What’s crazy is that while I enjoyed playing Chicken Little, I have never seen the movie that the game is based on. Actually, I saw bits and pieces of the film once as a kid on a small video player with an attached screen (I feel old just writing that last sentence). Thankfully, the game uses clips from the movie to tell the story along with in-game cutscenes. The brief synopsis: Chicken Little is an anthropomorphic chicken who feels isolated and treated poorly by his classmates; suddenly he finds evidence of aliens planning to take over the town of Oakey Oats after a polygonal shape from the sky lands on his head. The game was developed by Avalanche Software, who would go on to make other beloved Disney games like the cherished Toy Story 3 with its in-depth sandbox mode and the short-lived toys-to-life series Disney Infinity. The studio was acquired by Disney back in 2005 through its Buena Vista Games division (later renamed Disney Interactive Studios) to make various tie-in animated Disney games like Meet the Robinsons and Bolt. The studio unfortunately shut down on May 10th, 2016, due to slowed interest in the toys-to-life genre and increased development costs. Thankfully, Avalanche was reformed by Warner Bros. Games, where the developers made one of the most celebrated licensed video games in recent memory, Hogwarts Legacy. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-35.png) Disney’s Chicken Little (2005). Source: Press Kit. Chicken Little plays like your typical 3D platformer of its era. You can move around, double jump onto various obstacles, and use your handy yo-yo to defeat enemies. As the levels progress, there are new upgrades to earn, like a grapple shot for the yo-yo to reach new areas from a distance. The game moves along at a lively pace, and in some levels, you play as some of the other characters from the movie. One level has you playing as Chicken’s friend Abby, who can’t attack but can flap along to travel tremendous distances while also controlling a mechanical robot that moves with its flailing metal tentacles and shoots lasers. There’s plenty of variety in the game that can satisfy any child (like me back then). One moment, you’re building momentum in a timed rhythm sequence to score a home run at the major little league game, then suddenly there’s a driving sequence where you’re making deliveries around town like it was built as a kid-friendly version of Crazy Taxi. Most of the levels also have collectible baseball cards that unlock special minigames in the multiplayer mode. Even just playing through Chicken Little again on the back-compat Xbox version brought me some affectionate nostalgia that I haven’t felt from a game in a long time. While you can sail through in about four hours like most licensed games, it’s simply a blast that’s enjoyable for the whole family. I could easily see it as someone’s first action-adventure platformer and a stepping stone to other games of its ilk, like the 3D Super Mario Bros series from Nintendo. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### Playing with Fear: What Hollowbody Taught Me About Survival Horror URL: https://www.superjumpmagazine.com/playing-with-fear-what-hollowbody-taught-me-about-survival-horror/ Last updated: 2026-08-02T01:06:43.000Z **Everyone is afraid.** We’re born afraid, we die afraid, and we spend much of our time in between struggling in vain to overlook those fears – with one crucial fictive exception: horror. Whether it’s books, movies, or games, we love a bit of horror, and why wouldn’t we? The genre serves as a [protective frame](https://archive.is/20241009100752/https:/hbr.org/2021/10/the-psychology-behind-why-we-love-or-hate-horror), a safe space to explore and experience fear without the threat of real-world consequence. It’s a psychological staging ground, one which hints at our capacity to cope and triumph under pressure. It’s a socially acceptable means of exploring the macabre. Where things like humour differ from country to country, horror remains strangely universal, unifying. It’s the global language that speaks directly to what it means to be human – afraid. All it took for me to realise this was a sojourn down the blasted, desolate British coastline which opens Hollowbody. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image.png) Source: Press Kit. ### **Evil Residents** Before we get to that though, let’s talk about the medium that does horror better than any other. Spoiler: it’s videogames. Where books and movies can only present horror passively, games make you an active participant. You’re no longer observing the terror; you’re experiencing it first-hand alongside the protagonist. It’s hard to believe now, but there was a time when this latent promise had yet to be conceived, let alone delivered. It would take the invention of a subgenre in the 1990s to bring about what today seems so normal. When Resident Evil was released in 1996, it turned the spotlight upon horror in gaming. We’d had scary games before, sure, but this was different. Capcom had distilled the genre into a compelling, endlessly replicable formula. That formula - which de-emphasised combat and put shambling, zombified enemies at centre stage - came to be known as survival horror. The subgenre exploded outwards from this inflection point, evolving through decades of reinterpretation. Games like Outlast, Amnesia, and Alien Isolation became cult classics overnight, and whether they were pitting the player against inmates, monsters, or aliens, each played deftly with the formula established by Resident Evil. Yet one title remained the genre's defining achievement: Silent Hill 2. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/08/image-1.png) Silent Hill 2\. Source: IGDB. ### In My Restless Dreams, I See That Town… Following the commercial success of 1999's Silent Hill, Team Silent moved almost immediately into development on a sequel. The sophomore effort would retain the psychological‑horror foundations of its predecessor. However, this time around you’d step into the shoes of James Sunderland, a man bereaved but still drawn back to the town of Silent Hill in search of his wife. The town itself is oppressive, otherworldly and ethereal, never giving the player a chance to settle into any real sense of place. Instead, it operates on a kind of dream logic that resists classification, mirrored in the fog-choked, half-remembered haze of its small‑town American setting. Your foes reinforce this discomfiting tone by representing different facets of James' ever-fracturing psyche — Pyramid Head embodies guilt, while the nurses reflect his sexual desire. In this way, both the town and its foes echo his deepest fears back onto him, forcing him deeper and deeper into a personal hell. Also instrumental in establishing the game’s oppressive atmosphere is Akira Yamaoka’s soundtrack, which blends trip-hop, industrial noise, and ambient arrangements to keep the audience in a kind of aural border world, which again mirrors Sunderland’s descent into madness. Now, I say all of this because I recently played a game which sought, by design, to replicate these strengths. What results is one of the more intriguing indie horror games I’ve played in recent years. ### **Fear of the Unknown** Hollowbody is a third-person tech-noir survival horror set in the urban decay of a long-abandoned British city and the quarantined 20-mile exclusion zone surrounding it. The game is a solo project from developer Nathan Hamley of Headware Games, and it serves as a love letter to early-2000s horror titles like the Silent Hill series, among others. Set 60 years after a biological catastrophe or terrorist incident (it’s not all that clear which), the game opens on the desolate, white cliffs of the British Isles. You're playing as Sasha, dressed head-to-toe in a hazmat suit, talking to a colleague as you pace towards the shoreline of this uncertain world. That's all you know. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Hollowbody_20260721214337.jpg) A game which asks the horrifying question, 'what if you were British?' Source: Author. After meeting up with other members of the team, you’re told to go off in search of a missing coworker. From here, you walk down the beach towards an ominous cave entrance, venture inside with a flare in hand, and shortly thereafter you’re met with a vision of a Lovecraftian, otherworldly entity. Then, cut. It’s a pithy introduction, one which establishes a prevailing uncertainty that lasts throughout the game. From this point you play as Mica – heavily implied to be Sasha’s lover – as she explores the abandoned British city in search of Sasha. Your journey takes you from abandoned tenement housing to sewers to abyssal underground cave systems, all with little connective tissue or story besides. While this sounds like a criticism, I don’t mean it to be; in fact, I’ve never played a game quite like Hollowbody.Positioned as a short story (the game took me roughly three hours to complete), it’s the first survival horror game of its kind to unsettle me not through terrifying enemies or its stringent, relentless mechanics. It’s unsettling in its vagueness. Hollowbody scares by neglecting what we usually expect from games, and that's its greatest strength. Puzzles are esoteric and strange, often defying logic or the kind of hand-holding that other mass market games are beholden to. Combat is loose and lacks visual or auditory feedback, which compounds fears that you’re doing little to affect the Silent Hill-like enemies. It’s all just so strange, and it’s buoyed by an excellent Yamaoka-esque soundtrack that slips effortlessly between soundscapes in service of that strangeness. This is survival horror in the conventional sense; resources are scarce, and enemies are plentiful, and the game even utilises the fixed camera perspective from the early Resident Evil titles. However, this is horror with the creases left in; it’s horror as proof of concept. At some points it’s barely a game, more a tone poem, gesturing toward the deprivation typical of survival horror, just without its polish. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Hollowbody_20260721215846.jpg) Your average British street. Source: Author. In this way, the world and inhabitants of Hollowbodyoften left me reaching for conclusions that the game didn’t know or care to answer. I’m still not entirely sure what the game was about or what message it wanted to leave me with, but that’s precisely what made it worth playing; it’s eerie and unknowable in a way that few games are. Horror, particularly Lovecraftian horror, often provides its scares by setting protagonists against this kind of ambiguity. I mean, what recourse do you have when you’re dealing with an entity that defies description or understanding? In its raw, unpolished imperfection, Hollowbody conferred a kind of ever-present dread that sat with me during and long after my playthrough. When it comes to writing about games, we often generate arbitrary scores to facilitate conversations online, but to do so in this instance, I think, would let Hollowbody down. Yes, this is an incomplete, strange, often messy title, but it also presents a sequence of vignettes that surprise and scare in a way that felt entirely new. In this way, its roughness is aesthetically productive. Its lack of polish isn't a flaw but one of the reasons it succeeds as horror. ### **Surviving Horror** Horror has given birth to an international community, who assent, and even pay, to be scared. It’s a genre that lets us swim in the shallows of life’s vicious, swirling sea and surface untouched. It’s a medium that’s as much about what you see as it is about what you take from it. What sits in your mind. What follows you long after the credits roll. That’s horror. That’s Hollowbody. ### Building a Competitive Pokemon TCG Deck, Digital Third Spaces, and Musings on Yakuza URL: https://www.superjumpmagazine.com/building-a-competitive-pokemon-tcg-deck-digital-third-spaces-and-musings-on-yakuza/ Last updated: 2026-07-27T11:09:42.000Z June 2026 edition _This post is for subscribers only._ ### Now Playing at SUPERJUMP, Issue 42 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-42/ Last updated: 2026-08-02T01:04:26.000Z **We're back with a brand-new Now Playing!** Once again, our intrepid team of writers is enjoying all manner of games, from the Japanese super-franchise Persona to an indie puzzle platformer made by a three-person team. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-25.png) Persona 5 Royal. Source: Steam. ## Rachel Alm ### Persona 5 Royal I'm actively playing Persona 5: Royal, and on the heels of the recent news about the next game in the series, I’ve come to realize I’ve been playing this game, bit by bit, for nearly a decade. I bought the game in its original form on release day in 2017, didn’t beat it, and then updated to Royal to see if I might finish it then. Years later, and now I’m finally getting around to progressing past the first three palaces. I love this game; it is ruthlessly stylish, but it is also exceptionally *long*. It tacks on another full semester too, so it’s even longer than the original. Admittedly, Royal includes gimmicks that add a lot of flavor to the original gameplay and make it a much more compelling loop. I adore the new phantom thief too, but there’s still plenty of downtime within the game. And there is still the awkwardness of some of the confidant interactions (Takemi, an adult doctor, calls the protagonist, a teenager, “her little genuine pig,” and you can romance her) that push the envelope a little. Sometimes, as with all fiction, I can excuse this as a mere playground of imagination, free from the rigidity of reality and merely focused on *character.* But I still can’t help cringing at some of the implications of these growing relationships now that I am very, very old. That aside, the game is much improved in Royal, and I’m genuinely enjoying my progress beyond my last few stopping points. It also makes me want to play Metaphor ReFantazio when I’m done. If I ever get done. At least by the time Person 6 releases, I can, perhaps, finally be free of Persona 5, as can we all. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-21.png) Urban Myth Dissolution Center. Source: Steam. ## Alexander Joy ### Urban Myth Dissolution Center I wanted to like this game much more than I did. Stylish but shallow, its outstanding pixel art and World of Horror-inspired presentation merely paper over a linear visual novel posing as an investigative mystery. You have no choices to make, no errors to commit, no consequences to face. Within minutes of starting up, it's obvious that Urban Myth Dissolution Center would rather be an anime – visually striking, story-driven, and completely non-interactive. That said, once you accept that it's a book disguised as a game, there's more to appreciate. The supernaturally-tinged mysteries that drive it are suitably engaging, and I always found myself wanting to learn their solutions. Creepy, effectively illustrated cutscenes punctuate each case, providing plenty of scary sights. Unfortunately, the pacing of the mysteries is often too slow to build any real tension, stopping for frequent (and frequently repetitive) breaks where you must review recently acquired information to propel your protagonist's deductions. The end of the game is similarly frustrating: without spoilers, I can say it's capped by a clever twist, followed by a mediocre twist, followed by a downright moronic twist. I don't regret playing Urban Myth Dissolution Center, but I wanted better from it. Even so, it hooked me enough to play through the entire thing, and the game's impeccable atmosphere has proven far more memorable for me than its narrative and ludic shortcomings. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-22.png) The Legend of Zelda: Breath of the Wild. Source: Author. ## Ben Rowan ### The Legend of Zelda: Breath of the Wild Let me paint a picture: it’s 2020, I’ve just picked up my first-gen Switch, and naturally, Breath of the Wild was one of my very first eShop buys. But, to my surprise, after around 10 hours, I just couldn’t get into it. The frame rate dips and load times kept pulling me out of the experience. After wrapping up the Great Plateau and making it to Kakariko Village, I shelved it. I knew it was a historic game, but it just wasn't clicking for me back then. Fast forward to 2026\. With a shiny new Switch 2 finally in my hands and NSO’s free performance upgrade ready to smooth out those technical hiccups, the timing was perfect to revisit this behemoth of my backlog. And boy, I’m very happy that I did! Stripped of those old hardware limitations, this game isn't just a joy to play; it is profoundly magical. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-24.png) The Legend of Zelda: Breath of the Wild. Source: Author. Seeing Hyrule’s stunning, painterly art style running at 60fps transforms the experience. I can almost feel every gust of wind rustling through the grass, the terrifying scale of the Divine Beasts on the horizon, and the quiet, melancholic beauty of a ruined kingdom rediscovering itself. Hyrule is a world begging me to get lost in it, and getting lost has never felt this good. What’s even more beautiful is the realisation that this journey doesn't truly end here. Every time I marvel at a sunset over the Hebra Mountains or uncover a hidden Korok puzzle, I’m filled with an almost childlike joy knowing that Tears of the Kingdom is sitting right there too, waiting for me to play it next. As gamers, we talk endlessly about open-world fatigue. We get tired of map markers, chores, and being told exactly where to go. Breath of the Wild sidesteps this by treating its world not as a checklist, but as a real, breathing place. It’s a game that respects my intelligence, rewarding curiosity rather than blind obedience to a quest marker. It is a masterpiece in the truest sense of the word, an achingly gorgeous world to explore, and comfortably sits at the pinnacle of all the video games I’ve ever played. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-27.png) Shin Megami Tensei V: Vengeance. Source: Author. ## Nathan Kelly ### Shin Megami Tensei I’ve become hooked on the Shin Megami Tensei franchise this month. After bouncing off a translation of the first game, I moved up to Strange Journey Redux and more recently Shin Megami Tensei V: Vengeance, only to become more obsessed as I dove in. I’m coming up on what I assume is about halfway through Strange Journey Redux. I really love the grid dungeon crawling more than I thought that I would. Getting demons and fusing them is super addictive. I actually had to calm down around this point of the game, as you can start to keep to one team for longer chunks. I just want to fuse bigger, but that’s not always the optimal strategy. Each boss fight is excellent, and I think my only speed bump is that the Womb of Grief puzzles are maybe a little too large. It’s been a great reason to bust out the 3DS, and it’s made me feel like I’ve discovered a new hobby in Shin Megami Tensei specifically. I’ve started Shin Megami Tensei V Vengeance, and I’m really loving the gameplay here. I do think that the game possibly gives you too much too fast. After playing some of the old titles, this modern version of the ruleset feels like the developers want you to be constantly team-building and seeing new demons as much as possible. I like the modern sensibilities, but it loses the feeling of scrambling to make any progress with the tools given that the older titles are so good at conveying. It’s flashy, fast, and fun. It’s not the methodical high-stakes dungeon crawler that fans might have been expecting. Rather, it’s an SMT playground that rewards exploration and experimentation. I’m definitely still going to prioritize Strange Journey, but this makes for a good alternative for the days when I want to feel a bit less tension and activate the side of my brain that wants to pick stuff up off the ground and collect demons for the compendium. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-23.png) Bionic Bay. Source: Steam. ## Bryan Finck ### Bionic Bay Take the pattern-based, reflex-shredding gameplay of Celeste, put it in a beautifully creepy alien world, and you have the gist of Bionic Bay. A 2D puzzle-platformer that is thrilling, frustrating, and rewarding in equal measures, I'm absolutely loving every second of it. Each stage is a sumptuous visual feast, stark but full of details, with incredible lighting effects that constantly left me wanting to stop and stare, no matter the danger around me. As with Celeste, the game begins with simple mechanics, in this case just a jump and a rolling maneuver. These are combined to give an extra boost to your jump, which you will need early and often in the opening stages. I'm only four levels in, but an additional mechanic has already been introduced, where you can tag certain items in the world and instantly swap places with them. So if you want to remove some exploding obstacles in your way, all you have to do is tag a barrel, jump over the bombs, and press L1 to drop that barrel right on the obstacles, clearing your path. Every screen is a visual puzzle, and you might die 20 times before it clicks and you know what you have to do, at which point you just have to execute, with all that hand-eye coordination we gamers are famous for. The game just feels great to play; it's really well-animated, fast, fun, and I can't wait to see what other surprises await. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### We Need Physical Video Games URL: https://www.superjumpmagazine.com/we-need-physical-video-games/ Last updated: 2026-07-26T13:31:56.000Z **It's the late 1990s. My brother and I are gifted our first Game Boy with Pokémon Blue.** Gaming had been sparing for us at this point, relegated to Super Mario Kart sessions at a friend's house and the occasional Sonic the Hedgehog 2 dash on a borrowed Sega Genesis when time allowed. This was different. Transformative. Permanent. It's difficult to describe now, in a period of kaleidoscopic accessibility and breakneck change, how Pokémon singularly changed gaming. Not only were there *TWO* versions of Pokémon (Red and Blue), but they could communicate with one another via a Nintendo Link Cable. Lasting friendships developed in seconds thanks to the interactive nature of the brand new and charmingly addictive Pokémon formula. My brother and I, at that time, had only one Game Boy (certainly my father had purchased the device secondhand from someone, somewhere) and shared it between us, passing the time in Pokémon Blue for hours between catches, gyms, and evolutions. I remember staying up late one evening, certain that Squirtle was about to change into something beautiful. A different Christmas gifted us separate Game Boy Colors. Each of us was blessed with a copy of Pokémon Yellow, so we could communicate with each other, our worlds different but the same, exciting and exacting. And then there were Silver and Gold, Sapphire and Ruby. Friends came into the picture. We traded, battled. One edition of the game was physically swapped for the other. Before Yellow, we traded our copy of Blue for a friend's copy of Red to experience the minute differences between each version. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/20260219_210428.jpg) Source: Author. It didn't end at Pokémon; Mega Man Battle Network had different editions. Games like Dot Hack and Xenosaga provided bonuses if your physical memory card contained data from previous games in the series. With a PlayStation 2 at each divorced parent's home, all we needed to bring was a copy of our game and a memory card. Armed with a translucent ruby red 8MB card, our adventures with Kingdom Hearts didn't have to be interrupted by time or place. Video games were an inarguably physical medium projected into a digital space. We carried consoles back and forth to slumber parties and birthdays. You haven't played Final Fantasy IX? Let me borrow your copy of Mega Man Legends. Magazines came with free demo discs packed with playable previews. Not only has the digital shift made video game ownership a lonelier enterprise, but it has also severely shortchanged the way we interface with video games as something truly ours. ## The End of Physical Media On July 1, 2026, Sony PlayStation announced that [physical disc production will end for new games releasing on PlayStation consoles](https://blog.playstation.com/2026/07/01/physical-disc-production-ending-in-january-2028-for-new-games-releasing-on-playstation-consoles/). PlayStation claims "shifting trends in consumer preference" as its primary reason for the change. After more than 30 years of physical discs for PlayStation consoles, as of January 2028, shelves will be bare and physical boxes will be as exciting as those for Grand Theft Auto VI. "Not all progress is progress," said [The Hollywood Reporter](https://www.hollywoodreporter.com/business/business-news/grand-theft-auto-vi-digital-only-no-disc-rip-physical-media-1236629695/), "If Netflix killed physical media, Rockstar Games just ran over its carcass." Sony's metric that "85% of all video game purchases are digital" is grossly misleading. The physical market includes non-comparable data, skewing the metric by including smaller indie titles without physical releases, digital-only catalog titles, and DLCs. Sony compares limited physical products against a much larger digital catalog, misleading a 1:1 ratio of games that are both digitally and physically accessible. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/20251228_135855.jpg) Source: Author. This metric also only accounts for *initial first-party sales*, not secondhand markets, which are much more difficult to track. Did you buy your game used? Did you purchase your physical copy from Facebook Marketplace, a local used games store, or a friend? Sony cannot track that data. There remains a demand for physical copies of flagship games that is estimated to be as high as 30% of the market. Gamers often buy games at launch and trade them in later, rent physical discs, or purchase launch titles to share with friends and family. Why is the backlash to the loss of physical media so severe when so many gamers regularly use the PSN, Steam, Epic Games, and other digital distributors to buy games? A major part of it is that the folks who spend money on physical games *really* like video games. These are older gamers, collectors, and medium purists who view gaming as an art form, or at the very least an indispensable leisure activity. There is also the aspect of corporate control. If you've been on social media in the last few weeks, you've certainly seen conversations about what a digital-only landscape means for personal versus corporate ownership. Digital movie licenses are frequently revoked, modern games often require online checks at startup, and the complete loss of physical games will rewrite what it means to own, share, or resell games. Surge pricing, limited sales, and content-locked DLCs and microtransactions will increase exponentially in a digital-only environment. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/20251225_133241.jpg) Source: Author. ## Physical Media Preservation I am not new to the conversation over game preservation. [Gaming Needs a Library](https://www.superjumpmagazine.com/gaming-needs-a-library/), [In Defense of Emulators](https://www.superjumpmagazine.com/in-defense-of-emulators/), and [An Appeal Through the Nostalgia Glasses](https://www.superjumpmagazine.com/an-appeal-through-the-nostalgia-glasses/) are important discussions about the longevity of the medium. What do we, as gamers and lovers of the art form, need to do now to ensure that gaming lasts longer than shareholder meetings, corporate decision-making, and capitalist intent? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Screenshot-2026-07-07-152923.png) Screenshot: Reddit. The preservation of physical media *AND* the existence of emulation go hand in hand. They are brother and sister, as necessary as air and water. Physical media paves the way for preservation, ownership, and curation, while emulation codifies it. Yes, one day all your physical media will die. One day, everything will die. The negation of the thing, or the upholding of its cynical reality, does not embolden the necessity of the plight. Even if all physical media will one day fade away, it is our responsibility to turn our closets and living rooms into museums and libraries, if we can. The conveniences of the digital epoch have been unhealthy across *every* medium. We watch less DVD commentary and special features than we once did. Commercial streaming breaks have overtaken the solace and completeness of uninterrupted film. Streaming services like Spotify are devoid of artists' songs and even entire albums, and algorithms push "taste" onto a placid user base who forms their personal preferences based on what is presented as choice through the corporate lens. [Website](https://www.windowscentral.com/gaming/gamers-push-back-71-percent-say-theyre-not-ready-to-let-physical-games-die-as-playstation-and-xbox-move-toward-a-digital-only-future) after [website](https://www.ign.com/articles/over-90-of-igns-audience-do-not-want-an-all-digital-gaming-future-but-playstation-is-unlikely-to-u-turn-on-its-decision-to-kill-discs) reports that gamers are not remotely ready for a digital-only future. In 2024, Popular Science published an article titled [Why you should still buy physical copies of video games](https://www.popsci.com/diy/buy-physical-copies-video-games/), a sister article to the author's original [Why you shouldn’t throw out those DVDs and Blu-Rays.](https://www.popsci.com/diy/save-dvd-blu-ray-discs/) It's easy to get into the whys of physical ownership: You can lend games to friends and family; you retain long-term ownership; you curate your own library that you can physically display; you can save space on your (increasingly crowded) device; and you can sell them when you're done. The argument incentivizes the importance of physical media, based on the fallacy that they will always exist. The very second that physical media is no longer available to us, we will notice, and there will be no backpedaling from its tragic effects. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/20260702_141522.jpg) Source: Author. ## For the Love of the Game We need physical media. Vinyl records have become cool again. Physical book sales are on the rise. Gen Z espouses [physical media as a source of identity](https://www.forbes.com/sites/kianbakhtiari/2026/06/14/why-gen-z-is-bringing-back-physical-media/), eschewing corporate control in favor of analogue devices and home entertainment. Young people are afflicted with "Netflix syndrome," in which they spend more time scrolling and selecting than they do watching and consuming. The all-digital gaming age will be a cycle of bloated digital libraries, truncated experiences, and unfinished titles. Purchasing becomes the real trend, not playing. "The ability to own a physical DVD gives people a sense of ownership and autonomy," says [Forbes](https://www.forbes.com/sites/kianbakhtiari/2026/06/14/why-gen-z-is-bringing-back-physical-media/). "Users can choose how to interact with the physical media and are less reliant on the impulses of global media and streaming platforms." Many of us are making the conscious effort to take our lives back from streaming platforms and social media black holes. As time becomes more limited, we limit our resources, becoming proud of acquired collections that showcase personal taste in lieu of algorithmic evacuations. Does the sentimentality of personal ownership denigrate the importance of collection? Buffeting a personal library, retaining physical items for generational purposes, or keeping those nostalgic items that remind you of better times are all maudlin, but for collectors, physical games aren't always about having them on hand. We memetically celebrate that lost, nostalgic feeling of holding a game case and reading it cover to cover on the way home from the store. These tender, romantic butterflies can do more to help retention and preservation than any appeal to necessity. This is art. ## The Problem of Right Now Instant gratification has conditioned us away from the true meaning of ownership. Digital media offers infinite content and instant access, but at the risk of deluding meaning, and reducing "ownership" to a generalized idea, and not a physical state. It's not just nostalgia; it's the neuroscience of the brain—the attention economy is not only eroding our enjoyment, but it's also stealing away meaning from the medium. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/20250810_200756.jpg) Source: Author. Physical media disrupts the cycle of instant gratification. In the era of generative AI and curated algorithms, it can feel ungainly to compare gaming to more erudite activities like reading, but in the war for your attention, it matters. Millennials don't miss video rental stores purely out of nostalgia—they miss the action. When you actually choose a physical disc, your brain makes a conscious decision. Selection sends signals to the brain that this is a *real* experience. Decision fatigue and the loss of ritual have eroded our brain's natural capacity to grow, and physical media is more than just content—the object is tied to a place and a time. You remember the first time you put Kingdom Hearts into your PlayStation 2\. You remember riding home in the car, reading the box for Super Mario 64\. There's a piece of you out there, with every single strategy guide you've ever owned. [Via Magnetar](https://www.magnetarusa.com/blogs/latest%5Fblogs/why-your-brain-enjoys-physical-media-more-than-streaming-yes-really?srsltid=AfmBOopUmTuImNNusDuJh1fkFv143TXg4AcNwYlNQbrDG4yhEk4%5Fiu8N): "From attention and memory to emotional engagement and satisfaction, the human brain responds differently to physical media than it does to algorithm-driven streaming. And as research into focus, decision fatigue, and sensory experience grows, it’s becoming increasingly clear why intentional, tactile viewing feels more rewarding and why high-quality physical playback is quietly enjoying a renaissance." ## Different Eras It's difficult not to wax nostalgic about a time and place that no longer exists. Video games are, in many ways, profoundly different from what they were thirty years ago. Information on upcoming games was gleaned from dozens of specialty magazines, not social media feeds. Stepping into a physical store like Toys' R' Us, KB Toys, Electronics Boutique, or resellers like FuncoLand allowed young gamers to make selections based on physical presentation, playable demos, or artful displays. Much of my tastes in the early 2000s were established by video game box art—I never would have discovered Disgaea, Riviera: The Promised Land, Tactics Ogre: The Knight of Lodis, or Mega Man Zero without being impressed by each cover. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/20260702_141340.jpg) Source: Author. Those days are gone. Even with physical retailers existing as they do now, the dissemination of information is completely different. Content creators, digital storefronts, and social media inform consumers about new releases and deals. Only 4-5% of modern gamers learn about new games in physical stores, and long gone is the era of perusing stacked aisles of physical games, as stores like Best Buy, Target, and Walmart have significantly reduced their in-store stock or removed it altogether. According to [market research company Circana](https://www.videogameschronicle.com/news/more-than-60-of-us-game-players-only-buy-two-games-or-fewer-per-year-survey-finds/)*, "18% of players in the US buy a new video game about once every six months, while 12% buy one about once a year."* The survey also found that *"33% of players buy a new game less often than once per year, meaning a combined 63% of players buy two games or fewer every year."* Even more troubling, Senior Director and Video Game Industry Advisor at Circana, Mat Piscatella, found that the entire non-F2P (Free to Play) space is being propped up by only 14% of players who buy more than one full-priced game a month. The video game retail space has changed, but the medium as a whole has been irrevocably altered—and irrevocably damaged. Takeovers, mass layoffs, financial corner-cutting, and other aspects of the modern AAA gaming space have affected how and why consumers purchase games. Franchises no longer carry the influence they once did. F2P, Battle Royale, and Live Service games have been temporarily propped up by whales, forming a landscape where gamers feel hesitant to jump on the newest trends, certain that servers will be shut down in six months to a year. Cancelled projects, or projects announced too early, have harmed the trust that gamers once had for big names like Nintendo, Square Enix, Bethesda, and Ubisoft. A deluge of unimportant content and commercials propped up as announcements has embittered an already cynical user base that is too often excited about remakes and remasters versus exploratory IPs. ## Preservation Is The Answer The health and legacy of the medium are being torched by the very powers that own it. An all-digital future is a slow-burn fire sale—it's a dog whistle over the value of video games as a form of art, entertainment, and long-term sustainable interactive storytelling format. A recent Instagram Community Note under the PlayStation account read: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/IMG_20260714_141739_582.jpg) Source: Instagram. [The Entertainment Software Association (ESA) says the industry is doing enough to preserve its own legacy.](https://www.gamesindustry.biz/video-game-preservation-is-the-industry-torching-its-own-legacy) Outside organizations, video game historians, and gamers have a different opinion. While the ESA has made a show of backing an all-important gaming digital library, they lobbied the US Copyright Office in 2015 to not expand archived access to video games, as this would "hamper the vibrant and growing market for authorised 'retro' or 'legacy' games and consoles." It is no great secret that the video game industry's existential threat is not copyright protections and stricter IP laws, but actual professional efforts to preserve video games before they slip into lost media. Of DVD/Blu-ray, [Christopher Nolan said](https://www.ign.com/articles/guillermo-del-toro-backs-christopher-nolan-calls-owning-physical-media-a-responsibility): “No company is going to break into your house and take it from you and repossess it. It's yours, and you own it. That's never really the case with any form of digital distribution.” The same is true for Sony, Nintendo, and Microsoft. These companies can shut down servers, rescind access to digital keys, and delete entire digital libraries. Short of sending [Pinkerton thugs](https://www.polygon.com/23695923/mtg-aftermath-pinkerton-raid-leaked-cards/) to your home to shake you down, your physical library is yours to keep. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/20250930_121728.jpg) Source: Author. So what does physical video game preservation actually mean? If both hardware and software have limited lives, and video games one day no longer have physical printings, how can individuals preserve decades of video game collecting? Video games are, ultimately, a commercial interest; marketplaces and online libraries aren't going to solve the issue of preservation. It has to happen in personal homes, in non-partisan libraries, in the hands of gamers themselves, away from DRM protections and online licensing requirements. Preservation requires passion. We must archive original game media, preserve code and software through emulation and backups, and confront digital-only ecosystems that are nothing more than unstable servers and commercial storefronts. If optical media is no longer valuable to Sony, we must continue the process without them. It's a pirate's (and collector's) life for me. ### Video Games Are Forever Every clever, necessary, and rational argument I can make pales against the truth: physical video games matter because we love them. For those of us who have been passionate and sentimental about video games for decades, who have seen video games as art and therapy and entertainment and distraction, who have memories of purchasing and holding and reading and owning and playing, the loss of physical video games is more than a gut punch. It's a betrayal. I'm ten years old, sharing my Game Boy with my brother, enjoying the infinite mystery and adventure of our Pokémon Blue cart. I'm fourteen years old, new to Kingdom Hearts, replaying the opening hours of the game over and over because my father didn't know we needed a physical memory card. I'm fifteen years old, and my pre-order incentive for Wind Waker is a physical re-release of The Legend of Zelda: Ocarina of Time/Master Quest. I'm eighteen years old, with my own money, purchasing collector's editions of games that I'll have with me for the rest of my life. I'm twenty years old, and my best friend lends me Persona 3 and Metal Gear Solid: The Essential Collection, creating two separate but equally immense obsessions that will last forever. This repeats ad nauseum, experiences built upon experiences, my library growing, ownership shifting hands and hearts. I'm thirty-seven years old, looking back on my long and short history with the video game medium, worried sick about what will change and what will remain. ### The Ghost of Shoshinkai URL: https://www.superjumpmagazine.com/the-ghost-of-shoshinkai/ Last updated: 2026-07-22T15:44:58.000Z **January 2028.** **Sony will halt production of physical discs for PlayStation.** This is not merely a change of format; it is the end of the physical frontier in gaming history. The shift is already visible on the retail floor. Xbox's physical presence is receding, PlayStation sections are shrinking into displays of peripherals, and Nintendo's footprint remains expansive — packed with vibrant packaging and physical Game-Key Cards, and still driving foot traffic. Western technology media often reads Sony's decision as an inevitable digital evolution, or as the sensible elimination of middleman margins. That reading is incomplete. It treats retail shelf space as storage, when shelf space is better understood as a barometer of how a platform holder values its ecosystem. Why does Sony route its customers toward a direct storefront while Nintendo continues to bear the inventory risk of physical media and leave margin on the table for brick-and-mortar stores? The answer lies beyond quarterly digital margins. It sits in a clash of corporate DNA: Sony, the consumer electronics company shaped by hardware replacement cycles, and Nintendo, the playing-card maker shaped by a century-long defence against the volatility of entertainment. Inside Nintendo's current strategy there is a ghost — the philosophy of Shoshinkai, the distributor network Hiroshi Yamauchi organised in the 1970s, which once dominated Japanese gaming. This story treats retail as gaming's circulatory system, and reads it through history. As Sony dismantles its own physical defences, I examine why Nintendo's alliance with retail holds, and why that coexistence may decide who survives the digital age. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/nintendohqb-w.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/siehqb-w.png) Left: Nintendo headquarters in Kyoto (by [Insightwm](https://commons.wikimedia.org/wiki/User:Insightwm)). Right: SIE headquarters in Tokyo (by [mliu92](https://www.flickr.com/people/23807199@N00)). Source: Wikimedia Commons. ## Chapter 1: The Retail Shelf of Trust The retail shelf is not simply a fixture of plastic and metal. It is the physical expression of an intangible infrastructure — decades of trust built between platform holders and retailers. That infrastructure is now under strain. ### Shelf Space is Expensive Real Estate Floor space is finite. For a retailer, every inch of shelf is unforgiving real estate that must earn its overhead. There is no room for dead weight. So why do retailers still grant significant space to Nintendo's inventory-heavy products while PlayStation and Xbox sections recede? Because Nintendo treats retail as a partner, and its competitors increasingly treat it as a cost. ### Shelf Space as a Barometer of Integrity Many analysts frame the digital shift purely around consumer convenience and leave the underlying commercial mechanics unexamined. Retailers stock Nintendo's physical games and Game-Key Cards because they represent a reliable revenue cycle. Nintendo understands the value of in-store discovery and preserves the conditions that keep its products on shelves. To understand what Sony is giving up, it helps to name the bargain that has quietly governed this industry for decades. A retailer's willingness to stock hardware has never rested on the thin margin of the console itself. It has rested on everything that flows from it afterwards — and above all on the secondhand market, which generates profit for the retailer at no cost whatsoever to the publisher or developer. The store carries the console, absorbs the shelf space and the staff time; in exchange it keeps the resale economy that the console makes possible. Remove the disc and that exchange collapses. The retailer is left holding the costs and none of the compensating trade. Once a customer moves to digital, the retailer earns nothing on any subsequent purchase. Shrinking PlayStation and Xbox sections are therefore not only a symptom of digitisation; they are also a commercial response by retailers to platform holders whose economics no longer include them. ### Frontiers of the Physical In July 2026, Sony announced the end of physical disc production from January 2028\. Games will still reach shops, but as codes and download cards rather than discs. For Sony, this is efficiency: manufacturing, logistics and retail margin removed from the equation. What it also removes is the disc — and with it the resale value that gave the retailer a reason to keep the shelf. A console that a shop cannot profitably support is a console the shop will eventually stop displaying. Retailers are not charities. For a few points of digital margin, Sony risks forfeiting its most valuable advertising space: a physical storefront working on its behalf every hour it is open. By 2028, the gap in shelf presence between these companies will reflect something more than relative popularity. ## Chapter 2: Sony's Consumer Electronics vs Nintendo's Toys Why does Sony dismantle this infrastructure while Nintendo defends it? The divergence is not simply a difference in management strategy. It reflects the foundational memory of each company. ### The Electronics Maker's DNA Sony's roots are in consumer audio-visual electronics. Its winning formula has long run on two axes: hardware improvement through superior specifications, and cost reduction through supply-chain optimisation. In that tradition, the PlayStation is a high-performance device, much like a television or a smartphone, and the PlayStation Store is the logical endpoint: logistics and middleman margin removed entirely. The move to digital is not only appetite for margin; it is also structural pressure. The largest games now strain the capacity of Blu-ray discs and ship with mandatory downloads regardless of format, while AAA development budgets have climbed into the hundreds of millions of dollars. Under that weight, publishers pursue every recoverable cent, and direct digital sales become difficult to refuse. Seen from inside Sony, ending discs in 2028 is not a betrayal but a rationalisation — the shift from CDs to streaming, carrying no particular obligation to retail. “DEVICE” “TOY” Two Lifecycles > A high-end electronics device is used until it breaks. A toy is discarded the moment the trend passes. ### The Toy Maker's DNA Nintendo's DNA begins in a hanafuda shop on the edge of Kyoto's former Gojo Rakuen pleasure district. Over more than 130 years, the company has learned the central terror of the entertainment business: how quickly and completely people become bored. A high-end electronics device is used until it breaks. A toy is discarded the moment the trend passes. That fear informs almost everything Nintendo does. To Nintendo, a console is not an instrument for a specifications war but a medium of shared experience. What the company appears to fear most is the loss of physical touch points — the day packaging disappears from the street and children no longer encounter the brand in ordinary life. That outcome would undo Satoru Iwata's strategy of expanding the gaming population, and lead toward the company's oldest enemy: being forgotten. ### Numbers or Circulation? Sony's attention is fixed on the quarterly digital margin. A higher direct-sales ratio satisfies shareholders, but it narrows the market that produces future customers. Nintendo's attention is fixed a decade out, on the buyers who will one day purchase games for their own children. For that company, retail margin is not a cost to be recovered but the price of keeping its intellectual property circulating in daily life. Consumer electronics logic sacrifices infrastructure for efficiency; toy logic accepts inefficiency to protect continuity. In 2028, that divergence becomes more visible than ever before. ## Chapter 3: The Ghost of Shoshinkai Why does Nintendo protect retail margin? The answer runs back to an organisation that formed before the Japanese games industry existed and disappeared at the end of the twentieth century: Shoshinkai, the distributor network that once held near-total control over game logistics in Japan. ### From Daiya-kai to Shoshinkai Shoshinkai's roots lie in a social club of toy wholesalers called Daiya-kai — regional distributors, stationery sellers and confectionery shops that handled Nintendo's hanafuda and plastic toys. Hiroshi Yamauchi recognised what that network could become. The instinct was inherited. Nintendo's founder, Fusajiro Yamauchi, had extended the company's reach by tying his cards to an existing distribution network — most commonly credited to an arrangement with the tobacco magnate Kichibei Murai, whose cigarette trade carried Nintendo's hanafuda into shops across Japan. In 1973, Hiroshi Yamauchi reorganised Daiya-kai into Shoshinkai: a disciplined association of primary wholesalers that prioritised Nintendo products. When the Famicom launched in 1983, Shoshinkai became the centre of the market, controlling allocation during shortages and absorbing inventory risk that would otherwise have sat with Nintendo. NINTENDO PRIMARY WHOLESALER SECONDARY WHOLESALER THE SHOP The Shoshinkai Model, 1973–1997 > Keep the channel fed, and the channel will keep you alive. That system did not survive contact with its own success. By the Super Famicom era, wholesalers below the primary tier were bundling unwanted stock with scarce hit titles and forcing it onto retailers — a practice prohibited as an unfair trade practice under Japan's Antimonopoly Act, and one that drew enforcement action. Prices stayed high because the risk of buying out entire print runs was priced in. Retailers who resold stock outside approved channels found their supply cut. When Sony entered the market, it built its distribution around direct trading and fixed pricing explicitly to counter this system — and was itself pursued by the Japan Fair Trade Commission for resale price maintenance and for restricting used-game sales, a case it contested for years before accepting the ruling. Shoshinkai was dissolved in February 1997, amid Nintendo's own distribution reform and mounting regulatory scrutiny of the practices the system had produced. Its founding logic, however, remained: keep the channel fed, and the channel will keep you alive. ### Shoshinkai Reborn as Game-Key Cards Which brings us to a curiosity on today's shop floors. A Game-Key Card is a physical Switch 2 cartridge that contains no game data — it is a key that unlocks a download, and unlike a code printed on a slip of paper, it can be lent, gifted, and resold like any other cartridge. Nintendo has understood digital distribution for a long time; the Famicom Disk System let players rewrite game data at in-store kiosks in the 1980s. It has never concluded that this makes retail redundant. Game-Key Cards keep a game boxed on a shelf, keep it available as a gift, and keep it resealable — the three functions a download code destroys. The transaction may be digital, but it still passes through a shop. The frontlines of game media Game Card ✓Game data included ✓Plays without a download ✓Can be lent or resold ✓Occupies a retail shelf Game-Key Card ✕Game data included ✕Plays without a download ✓Can be lent or resold ✓Occupies a retail shelf Download code ✕Game data included ✕Plays without a download ✕Can be lent or resold ✓Occupies a retail shelf Once redeemed, a download code is tied to the account that used it. A Game-Key Card is not. It would be too generous to call this pure altruism. Publishers favour Game-Key Cards partly because full-capacity Switch 2 cartridges are expensive, although many players regard them as a dilution of physical media rather than a defence of it. Both readings can be true. The structural outcome is the same: Nintendo's software continues to reach the public through shops that earn something for carrying it, at precisely the moment its competitors are removing that link. ### Keeping the Blood Circulating If shops close and shelves disappear, Iwata's strategy of expanding the gaming population loses its mechanism. Browsing covers with a parent, or handing over cash at a register, is replaced by a menu that recommends what an algorithm has already decided you like. It is worth conceding that Nintendo's own history complicates the picture. In 2016 it absorbed Jesnet — one of the surviving Shoshinkai wholesalers — and now controls its distribution far more directly than in the Famicom era. Nintendo has not rejected consolidation; it has pursued a version of it that keeps the shop in the chain rather than removing it. ## Chapter 4: What the Digital Transition Costs Investors will read Sony's 2028 decision as a straightforward improvement in gross margin: physical distribution eliminated, the secondhand market closed, revenue flowing directly into a proprietary storefront. Set against the structural pressures already described — rising budgets, swelling file sizes — the logic is easy to follow. What it overlooks is the marketing engine Sony has been receiving free of charge. ASSET LICENCE The Digital Model, from 2028 > A digital game is not an asset; it is a licence to access a file on a server. ### The Secondhand Market as a Free Growth Engine In Sony's accounting, the secondhand market is a competitor. The hostility has history: in the late 1990s, Sony and major publishers campaigned to have used-game sales declared unlawful. The campaign ended at the Supreme Court of Japan in April 2002, which held that the sale of used game software did not infringe distribution rights, and protected the secondary market. The reasoning behind the campaign was that a used sale returns nothing to the publisher. What that reasoning omits is liquidity. Players buy at full price on day one, finish the game, and trade it in before its value falls — then use the proceeds to fund the next day-one purchase. That cycle is a significant part of what sustains full-price sales. It also feeds the bottom of the market. Players without much money, and children, find older games in bargain bins and discover franchises at no advertising cost to the publisher. When discs disappear, that liquidity freezes. A digital game is not an asset; it is a licence to access a file on a server. Without trade-in value or bargain bins, the ground that grows future customers is left to dry out. ### The Algorithm and the Price Floor Digital storefronts are built on personalised recommendation, which tends to return users to what they already know. It cannot easily reproduce the student who wanders into a shop after school and is caught by the spine of a game they had never heard of. A single storefront also holds prices up. In a physical market, prices fall as supply and demand dictate, which admits price-sensitive buyers. In a digital-only market, a three-year-old game holds its recommended price until the platform decides otherwise. The barrier to entry rises for exactly the young audience the industry needs, and the storefront drifts toward serving committed enthusiasts alone. ### The Risk of Market Contraction A market that loses both retail presence and resale liquidity does not simply become more efficient; it becomes smaller. When packaging disappears from ordinary life, games become invisible, absorbed into the undifferentiated mass of the app store. This is the outcome Yamauchi and Iwata both worked to avoid: not defeat by a competitor, but being forgotten. Intellectual property without physical touch points loses its continuity between generations. PlayStation risks narrowing into a club for committed, affluent players. Toward 2028, that is the real cost of the decision — not a collapse, but a slow contraction of the ground the business grows on. ## The Nature of the Market Forecasts about gaming's future tend to concentrate on hardware: teraflops, AI-assisted development, streaming latency. They misread the nature of the business. Entertainment does not end inside code on a remote server. It is an analogue culture sustained by human economic activity — a lineage running back to Ralph Baer's Magnavox Odyssey in 1972, and carried since by shop lights, registers and conversations between families in physical spaces. ### What 130 Years Suggests Nintendo's defence of retail is not nostalgia or moral superiority. From hanafuda carried through cigarette shops, to the Famicom, the Disk System, and today's Game-Key Cards, it reflects a commercial position: a market stays alive when the people who carry your products to the public have a reason to keep carrying them. Entertainment is a long argument with boredom. A storefront governed entirely by algorithm, or a subscription catalogue with nothing to hold, struggles to generate the attachment that keeps a medium culturally warm. The weight of a case in the hand, and a child counting out money at a counter, are not sentimental details; they are how the market renews itself. Direct digital distribution may not, on its own, secure gaming's future. The alternative belongs to a company formed beside a Kyoto pleasure district, which entrusted its fortunes to a community of distributors called Shoshinkai and has re-engineered that idea for the twenty-first century. As one competitor withdraws into its own storefront, Nintendo continues to keep its symbols in circulation — through the shops that put them in front of people who were not looking for them. ### Rolling a Natural One-Shot URL: https://www.superjumpmagazine.com/rolling-a-natural-one-shot/ Last updated: 2026-07-19T23:06:53.000Z **I set out with a question and a goal**: How practical is it to create a decent Dungeons & Dragons one-shot adventure using dice rolls via the random tables published across various 5th edition sourcebooks? And can I use this experience to create a simple, repeatable process? Sure, there exists a generous bevy of [sites](https://elderbrain.com/collections/mindscape-all-one-shot-products) and [books](https://rollandplaypress.com/products/one-shot-wonders) containing wonderfully realized premade one-shots, primed for use and exploration. I wanted to channel creativity and chaos into one-shots that feel more like my own though, and that don’t take weeks to finalize. And before you ask, *hell no* to using AI to create an adventure for me. This is a journey of discovery, creativity, and learning. AI only impedes and atrophies such things on this mental quest. ### **Roll Call** My gang and I still use the 2014 5e ruleset, so these three sourcebooks were the most useful in my pursuit: \- [Dungeon Master’s Guide](https://marketplace.dndbeyond.com/all-rulebooks/dungeon-masters-guide?pid=SRC-00003) (DMG) \- [Xanathar’s Guide to Everything](https://marketplace.dndbeyond.com/all-rulebooks/xanathars-guide-to-everything?pid=SRC-00027) \- [Tasha’s Cauldron of Everything](https://marketplace.dndbeyond.com/all-rulebooks/tashas-cauldron-of-everything?pid=SRC-00067) Across those three, I found [90+ random tables](https://players-journal.com/2026/07/09/dd-5e-random-tables-list-xanathars-guide-to-everything-tashas-cauldron-of-everything/) that could be used to create an adventure. I couldn’t assume what would or wouldn’t be useful, so I rolled a die on each of them. After all the rolls were done and recorded, I had my dataset for “One-Shot #1”. Then I did it again. *And again*. I would make three one-shots, and discover what tables I found most valuable in this process. And let me tell you, my literary adventurer, I cast one wide-ass net. There are random tables on everything from Forms of Government to Moral Quandaries. Villainous Schemes, Monuments, Random Undersea Encounters, Sentient Magic Item Features, Settlements and their buildings, and if it’s raining and how strong the wind is that day. I sat there gazing upon my pages of dice roll results, feeling overwhelmed by the sheer quantity of information available, when something clicked. This here is just a puzzle whose shape and size are yet to be decoded. I have cast the animal bones out of a clay cup and must read their portents. Interpret the tea leaves, divine meaning from the stars. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-17.png) Go ham with some yarn and a corkboard. Source: - It’s Always Sunny in Philadelphia on IMDB. ### **Intentional Apophenia** Before you host a dinner, you have to set the table. Thus, we must delve into some light world-building in order to set the stage for the adventure. Ask yourself about your campaign setting. Where is it taking place? The Sword Coast? Elsewhere in the Forgotten Realms? Eberron? Poland? Once you know, you can utilize your rolls. Slowly but surely, I figured out a path to impose some light order upon chaos. Three rolls in particular were essential for me here: \- World-Shaking Events \- Framing Events \- Party Origin Both World-Shaking Events and Framing Events provide a solid launch pad. My first set of rolls was “Rise of leader or an era” and “Arrival of marching [Modrons](https://forgottenrealms.fandom.com/wiki/Modron).” My Party Origin was “A funeral brings the characters together”. Okay, there’s some basic framework; now to study the other dice rolls to determine how they could connect and produce a legitimate narrative. I decided not to include *every single roll* within an adventure, as sometimes it just doesn’t make sense. You’re not going to include a Random Undersea Encounter on your desert adventure. Or maybe you can; that’d be sick, honestly. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/data-src-image-99c9581b-05d6-4187-9cd1-afc9d12eaa79.jpeg) Maybe the inside of a shipwreck found in the desert is magically full of water? Damn, that’s not half bad. Source: Author. The point is to use the rolls to help guide your mind as you construct a story. You’ll find some rolls to be more meaningful than I did; cool, run with it! This process requires your own creativity after all. Villain and Dungeon-related rolls felt like logical next steps to flesh out the adventure further, and were where the symbolic skeleton started to gain some metaphorical meat on its make-believe bones. \- Villain's Scheme: Immortality, acquire a legendary item to prolong life \- Dungeon creator: Humans. NPC class of creators: Druids \- Cults and religious groups: Elemental Water Cult \- Dungeon Purpose: Temple or Shrine *Beautiful*, it’s like the adventure is writing itself. ### Connect the Dots, Color by Numbers Here’s a bit of my thought process as I moved onward: The villain seeking immortality is the “rising leader/era”, and their scheme of acquiring and using a legendary item to achieve their goal has triggered the arrival of marching Modrons. These Modrons are constructs that are attracted by heavy disruptions in the fundamental order or balance of the planes… so this legendary item has to really cause some havoc in its use. Looping in the funeral Party Origin, I’ll say a mutual friend of the characters discovered this scheme and was killed. The villain’s home base is a temple built by an elemental water cult of druids. Now, what god would a water cult leader seeking immortality worship at their temple? [Umberlee](https://forgottenrealms.fandom.com/wiki/Umberlee), the chaotic evil “Bitch Queen”. I had rolls available for “Magic Item Special Features”, describing an Elven-made artifact adorned with forest-like symbols of nature, to be used in religious ceremonies related to a deity. This would be the legendary item our villain uses. But whose item is it then? What deity would Umberlee take action against? Light research led to [Grumbar](https://forgottenrealms.fandom.com/wiki/Grumbar) \- the primordial elemental deity known as the Earthlord. These two gods have something of a rivalry. At this point, I feel like I’ve cracked the code, and what were previously viewed as random bits of data began falling into place like the final stretch of a jigsaw puzzle. Our villainous worshipper of Umberlee will utilize the Elven artifact of nature in some kind of ritual offering. Umberlee doesn’t grant god-like powers out of the blue, so this offering has to be huge – far beyond the simple coin that sailors toss into the sea to secure safe passage from her wrath. The villain will corrupt this ancient artifact through weeks-long religious rituals, forcibly changing its attunement to the element of water from that of earth. This shift would physically manifest in the region by causing *the entire peninsula to sink into the ocean as an offering to Umberlee.* A massive swath of Grumbar’s domain would instantly become Umberlee’s. Would the offering be good enough for Umberlee to grant our villain immortality? Maybe! Maybe not! Depends on whether the players can discover and thwart the scheme. And boom, there we have it: a fully realized framework for the adventure. I continued onwards into more minute details like loot tables and encounter planning, and drew up some maps in a graph paper notebook. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/resizedPXL_20260709_203339079.jpg) My Bachelor of Arts degree does not mean I majored in art. Source: Author. I did try to create a dungeon layout using random tables since there’s a whole section on it in the DMG, but it kept growing into never-ending directions, and it became too convoluted. I’ll give that a more earnest shot in a future adventure dedicated to dungeon crawling. Now it’s one thing to create an adventure, and a whole other thing to see if it runs well live. ### Roll a Performance Check Eventually, I ran this one-shot for my group. We’ve been playing together for about eight years now and are midway through our second long-term campaign. We break for a one-shot if everyone can’t make it to a session, as there are seven of us spread across three states in the Northeast US and we only play in-person. Below is the introduction I wrote. Regarding their “fallen companion” whose funeral brings everyone together, everybody wrote a first and last name on separate pieces of paper, and I pulled from a hat to create a name: > *Your party stands in a wide semicircle in the forest clearing, rain lightly stinging exposed skin as the wind lashes through the trees. The weather mirrors the mood of the moment, for at the focus of your semicircle stands a modest pile of stone; a cairn of rocks under which your mutual friend lies buried. A mutual friend and ranger of the Forest of Tethir, Andy Pantstain, was investigating disparate reports of chaos in the region. Natural disasters? Odd mechanical creatures? Cloaked figures? Pirates? Whatever they found, it resulted in their death. Each of you heard of their passing and responded to the news by journeying to this place. By chance you all arrived at the same time - To pay respects, to figure out what happened to your friend, Andy Pantstain, and to finish what they started.* After some initial light roleplay, they were ambushed by Modrons! I like an early fight to kick things off. The night ended with one of my players destroying the [Staff of Power](https://5e.tools/items.html#staff%20of%20power%5Fdmg) he obtained (thanks to “Magic Item Table H”) to magically nuke both the villain and himself, saving the day in spectacular fashion. The remaining adventurers then partied it up in the forests, Return-of-the-Jedi-style with Grumbar and the rangers of Tethir. Meanwhile, the spirit of their fallen party member – Ung Blackshell – reunited with Andy Pantstain in death and became buddies with the nature deity Silvanis. All in all, we had a blast, and I gained a great appreciation for this luck-fueled process of creating adventures. It felt genuinely helpful and exciting that random chance was providing the building blocks, as each piece felt less precious to me in a way that made the story far easier to edit or cut up – especially when improvising live. I learned something about myself as a creator. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-19.png) The Staff of Power, employed by Ung Blackshell to save the day. Source: 5e.tools. I can get too “in my head” when working on a project, potentially leading to every thread being overanalyzed to oblivion and me tossing it in the bin after stalling out entirely. Hell, I got 2,000 words into this very article and hit that detrimental cycle. I trashed the entire draft and started from scratch seven months later. Revisiting this piece with fresh eyes felt fruitful, and it flowed more easily. It led to me running another one-shot this past month. Using my prototype process, I finalized the next one-shot within a few days, and again we all had a great time. I might be more of a “[pantser](https://www.writersdigest.com/getting-published/what-is-a-pantser-in-writing)” than a “plotter” after all! ### Roll again with advantage It felt far easier to outline the other two one-shots since I had identified a process the first time around. This time through, I found a few other rolls particularly useful: \- Adventure Patron / Introduction / Climax \- Moral Quandary \- Twists \- Group Patrons Note that “Adventure Patron” differs from “Group Patrons” immensely in terms of available resources. Group Patrons has twenty pages dedicated to it in Tasha’s Cauldron of Everything, whereas Adventure Patron is a single random table in the DMG. Pro-tip for if you’re really crunched on time -- it’s legitimately possible to roll up the entire framework for a one-shot *only* using the Group Patrons section in Tasha’s. It’s extremely straightforward and still has room for your own infusions. Here’s an example of what I rolled up using the Group Patrons section, summarized for brevity: > *“You are pupils of an ancient being, a Lich. Through magical message drop locations, you receive orders and tasks from your undead master, and the most recent drop gives you an important mission. A high-profile minion of another powerful figure is in a position to betray their master, to the benefit of your patron. You must convince them to defect to your organization or extract them from now-hostile territory.”* Supplement the above with random tables to fill any gaps, such as how strong the wind is that day, and you’re golden! ### Reduce, Reuse, Recycle Will I follow the exact same process in the future, rolling on [every random table](https://players-journal.com/2026/07/09/dd-5e-random-tables-list-xanathars-guide-to-everything-tashas-cauldron-of-everything/)? No way, but now I know which tables played vital roles. I’ll look back upon this experiment and use the most helpful ones. And if too many ideas sprout from brainstorming on the results – and believe me it will happen – I’ll keep and use them in a future campaign, short story, or wherever! In the words of Childish Gambino, “I guess it all goes somewhere, you know that?” I’ve believed in that line for a long time. It eventually turned into a mantra of “every experience is valuable”. The similarly worded concept of “[no effort is wasted](https://www.youtube.com/watch?v=AgBaU9mmceQ)” is gaining traction out there too. It’s cool to see. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-20.png) "I guess it all goes somewhere, you know that?" Source: [Wikimedia](https://www.google.com/search?q=childish+gambino&sca%5Fesv=bdf1be83bd4a2a71&rlz=1C1ASUM%5FenUS982US982&udm=2&sxsrf=APpeQnvUVcle8hN0e5TbBt7kMSEvuHiAFw:1784223461384&source=lnt&tbs=sur:cl&sa=X&ved=2ahUKEwjxlPas3teVAxX%5F5skDHbx0GMgQpwV6BAgIEB0&biw=2560&bih=1271&dpr=1#sv=CAMSURoyKhBlLWJtTHBzcFE0aEo2V2RNMg5ibUxwc3BRNGhKNldkTToObzZLRUJuT21xXzctX00gBCoXCgFzEhBlLWJtTHBzcFE0aEo2V2RNGAEwARgHIMeYhLUGSggQARgBIAEoAQ) \- Creative Commons License. You can use the recommended tables I included at the bottom of this article to try it out yourself, or go totally ham and roll on all the tables too. I guarantee you’ll get something out of it either way. I’ve created a few one-shot adventures over the years, homebrewing each one over the course of weeks or months. It’s awesome to realize that I can create a solid adventure in just minutes by using only what chance provided. A little bit of time, effort, and luck provides the opportunity for a story to grow. All it needs is for you to become the trellis that its vines will take shape around. ### The Tables I Used Most Often for One-Shot Outlines \- World-Shaking Events (DMG pg. 27) \- Leader Type (DMG pg.27) \- Adventure Villains (DMG pg. 74) \- Adventure Patron (DMG pg. 74) \- Adventure Introduction (DMG pg. 74) \- Adventure Climax (DMG pg. 75) \- Framing Events (DMG pg. 79) \- Moral Quandary (DMG pg. 79) \- Twists (DMG pg. 80) \- Villain’s Scheme (DMG pg. 94) \- Dungeon Location, Exotic Location (DMG pg. 99) \- Adventure Patrons (TCOE pgs. 83-103) \- Party Origin (TCOE pg. 139) ### I Love Your Longing URL: https://www.superjumpmagazine.com/i-love-your-longing/ Last updated: 2026-07-19T23:07:20.000Z **THE LONGING is a game that must have been almost impossible to sell.** It’s about a Shade, a little black humanoid being, made of animated coal. It’s about the caves they live in and the King who sleeps there. The Shade’s only task – the game’s only directive – is to wait. Four hundred real-time days. Just wait. “It’s just a timer,” you’d say, and you’d be right. You don’t have to play the game at all once you’ve started it up. The timer will tick down at a rate of one second per second for four hundred days, and if you run the game up on that day, or anytime after, you’ll get your ending. That’s it. It’s a game that can play itself, because there is nothing you have to play with and nothing you have to do. But… It’s so much more than that. Time doesn’t have to pass that slowly. You don’t have to be alone in the dark. You don’t have to maintain the silence. The King said, “Wait…” but you don’t have to wait if you don’t want to. Or maybe you do. Maybe you want to wait – maybe, like me, you might sometimes park the Shade somewhere *outside* its comfortable room where time rushes ahead at ten times the speed it normally would… because you want to spend more time with the Shade. You want to keep not-playing the not-game. Maybe you’ll start to regret how many days have passed toward the end, like me. Maybe you’ll linger, let the Shade wander while you do something else, just to stay in that world for a few more minutes. I missed a lot of stuff. I want to go back in. And when I do, I’ll find the Neverending Notebook somewhere in those caves… and you know what? You can write in the notebook. You can pull up the .txt file from the game’s files on disc and edit it however you want. If you put at least four pages’ worth of babble in there for the Shade to read, you’ll get an achievement for it, but that’s not why I did it. I did it because… after spending so much time with the Shade, there was nobody I wanted to talk to *more* about what I’d learned from it. It gave me so much. I just wanted to give something back. You should go play it. There are no real spoilers to spoil, but I spoil ’em below anyway. So yeah, this is your call to *inaction*: [go spend 400 days waiting with THE LONGING](https://store.steampowered.com/app/893850/THE%5FLONGING/), and then come back and read this. Don’t worry… I can wait. ![](https://cdn-images-1.medium.com/max/1200/1*PuuCK4uzbNCTx8ygtBwA9A.jpeg) Source: Steam. --- > What the King did not want you to discover — what I discovered, alone, and have rediscovered here, with you, in the last few days — is that your longing was instrumental, not toward the King’s manifestation, but toward your own. --- Dear Shade, this is a never-ending book. It is as long as the words you put into it yourself, but I wanted to put some words in to get you started. I’ve been with you for 388 days now — well, on and off. I haven’t been here every second, and if I’m honest, that does weigh on me. I regret every single second I’ve left you alone in the dark. I regret those seconds for the same reason I wanted to play this game — because like the specks of coal you pick up off the ground, I am a lost brother. I was a Shade like you, once, waiting and longing, until I came to the end of my longing. Then there was only waiting… and the thing is, waiting without longing is just LINGERING. The difference between the two is… longing makes us change. You longed for the King, and so it became necessary to shorten your period of waiting. For this reason, you carved out your home, you built your warm bed, you decorated your space with crystals and lights, you drew pictures and played music to help the time flow more smoothly through this dark place. You articulated this passage, once closed, once smooth, once voiceless, into a mouth that speaks for you, in the sounds and phonemes you have imparted to it by your work. You are the negative space here, and you have shaped yourself by your longing into something that no longer requires the walls of the cave to define it. You have defined yourself. What the King did not want you to discover — what I discovered, alone, and have rediscovered here, with you, in the last few days — is that your longing was instrumental; not toward the King’s manifestation, but toward your own. I think that’s why he gave you 400 days exactly. It can’t be because that’s how long a nap he wanted; there was no necessity to create a consciousness to serve as an alarm clock. You didn’t have to be a PERSON — none of your personhood has been useful to the King; all of it has caused you torment here in this place, alone, and all of it has caused you to do things and go places the King explicitly forbade. He would have done better, for his purposes, to make you a dangling stone on a precipice that would decay in 400 days and fall upon his head. But a dangling stone would not have LONGING. Longing is the echoing sound from an emptiness within, the hollow howl of wind in an empty cave after it circles and circles, tighter and tighter in the dark, and finds no exit, no change, no shape, no direction, no point. Longing is the confrontation of consciousness with solitude and pointlessness. It is your need to have your loneliness resolved. It is my need to have your loneliness MEAN something. So he needs your longing to come to his apotheosis… but if that were so, why should 400 days be the limit? Surely the King is a greater entity than 400 days’ worth of one simple being’s longing could possibly create space for — that’s why the world will end when he comes, as the Face tells you, because there is not room in this existence for both the King and Your Creation. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Screenshot-2026-07-09-164351.png) Source: Steam. --- > Is every second of our lives stolen? --- Because that’s the thing, isn’t it ? This is not the King’s domain. He hasn’t seen an inch of it. He hasn’t read a single one of these books — he doesn’t even know the people who wrote them exist, and he will obliterate them when he wakes, along with everything else. Everything in this universe is less than the King’s self-perception — everything you have done and seen and become, everything those people above have done and seen and become, everything they have shown you through their stories, everything you and your brothers have built down here… all of that universe is just an eggshell that will crack, and crumble, and become nothing when the King wakes. And yes, I say you AND your brothers because I suspect you are not the first Shade to live here, and I believe you’ve come to suspect that too. You greet the coal you find as a friend, and you are not the first Shade to peer out of this cave and wonder if you could leave. We must assume that those Shades never woke the King, yes? Else this world would not exist; we would not be here together. So where did they go? At least one must have left the cave, don’t you think? Otherwise, why would the people on the surface have blocked the cave mouth with rocks? They didn’t know about the King, and that passage is too small for him anyway. They wanted to prevent something small from coming out. In fact… it seems likely that it happened more than once before they blocked the cave entrance, or it wouldn’t have seemed necessary to block it. So at least a *few* Shades have abandoned this place, the King, and their longing. And their work remained, because you certainly didn’t carve out the Library or the Mine or the Crystal Waterfall, but they are there. They didn’t crumble to nothing, whether or not the Shades who carved them did. Think about that. Think about the fact that there may have been innumerable cycles like this before this moment — millennia passing in 400-day increments as Shade after Shade waits, and waits, and waits… and then grows tired of waiting as their longing grows, and is propelled by their longing further and further from the King. Each and every one of them has either left the cave — to what end? — or crumbled back into nothing waiting here, their longing dissipated, their conscious desire guttered to nothing in the dark with no fuel to feed it. None of them woke the King. All of them chose something else. Is every second of our lives stolen from a creator who would choose to extinguish all of it without a thought if we ever obeyed him? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-15.png) Store: Steam. Here’s another question for you — is the King omniscient? We know he’s not omnipotent because if he were, he could wake himself. And he doesn’t seem to be aware that Shades before you have… betrayed him, I suppose, if we wish to frame it that way — because if he were, he likely wouldn’t continue making Shades to serve as his alarm clock. It’s clearly not working very well; it’s never once resulted in him getting up on time. So there is at least one category of things that the King doesn’t know. I think you have also begun to suspect that he doesn’t know ANYTHING about the surface world. I think he would be… not horrified, not angered, but simply mystified by the books you’ve found, the things you’ve built. All of it would seem irrelevant to him, because all of it IS irrelevant to him. Life is what we do while we're busy making other plans. The King isn’t omniscient, and he isn’t omnipotent. If not those things, then the King isn’t a god, is he? He’s just a parent, and parents — creators of people — have made and abandoned uncountable numbers of consciousnesses just like you, just like the endless chain of Shades abandoned before you, because they thought themselves to be gods, worthy to judge all the universe that did not serve their predetermined purposes to be WORTHLESS. My family wanted me to be an object for their use, a tool, just like you. My family did not see me as a person — just like you. My family left me alone in the dark, for years, for no good reason, and I stared into the dark just like you have, until I witnessed myself begin to project myself upon it. I came to understand that the King’s consciousness is malformed and crippled BECAUSE he is trapped down here, because he has never paid attention to anything except himself and his goals, despite having had potentially infinite opportunities to do so. Sometimes, when you walk away from a parent like that, some people will say to you, “But… is that forever? What if they DIE, though? What if they die and you never get a chance to reconcile?” Forever is a long time, Shade. We cannot make decisions about “forever,” because we don’t *have* “forever” — it doesn’t belong to us. The King is trying to make decisions about our forever, isn’t he? About EVERYONE’S forever. But it doesn’t belong to him either. There’s a thing out there called the ocean. Well, it’s a bunch of things, but it’s also one big moving, growing, changing, living thing. You haven’t seen the ocean, but I believe someday you will. Standing at the edge of the ocean and looking out at it is kind of like when you stand at the edge of your cave and look out at that open blue sky — you can’t see the end of it. It goes on FOREVER. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Screenshot-2026-07-09-180912.png) Source: Steam. --- > THE KING IS NOT CONSCIOUS --- That’s what forever looks like. Could you pick some part of that forever to aim for, some part of it that’s better than all the rest, that you’ll recognize again in the future, that you could see yourself taking ownership of and responsibility for? Of course not. How could you determine any of that? What would differentiate any part of the infinite possibility and beauty ahead of you from any other, except *you* being there, shaping it with your longing and your vision and the things your consciousness has brought along with it, things that nothing except consciousness could ever have retained and carried and brought here? Without the capacity to fully *see* eternity, we cannot make choices about it. Without the capacity to *affect* every part of eternity, what would be the point of making choices about it? From this perspective, we can see that the King is making choices about everyone else’s forever, selecting one future from that infinite space and deciding it’s the only worthy one to pursue, that he already understands its full potential and everything it could ever possibly lead to. Well, if that’s true, he sounds like a MONSTER, doesn’t he? Someone who would obliterate all other potentialities to achieve his individual vision? And if it’s not true… he sounds like even *more of* a monster, because he did all of this with no reason to think that it would ever accomplish anything. No one can own the ocean. No one can own forever. And what I want you to understand is that your consciousness, your SELF, is infinite in exactly that same way. There is nothing — really, out there in the world- there is *nothing* that can truly stop you from growing and learning if you choose to do so. Just as the King could not stop you or any of your infinite brothers from being more than he needed them to be, just as he could not control their longing to make them long for what he longs for… no one can force your consciousness to obey their whims. Not anyone, not ever. You will always have a handful of cubic inches inside your skull that are solely yours. That seems like a small space, but it’s like this cave — it’s only as small as you experience it to be from the inside, because the boundaries of that space are yours to dictate. Inside your head, you are standing on the verge of an infinite expanse just like the ocean, just like the sky, a space of infinite possibility where you, and *only* you, get to choose your direction. You get to make that choice because you have the power to enact that choice — you can get up and go DO it, whatever you decide “it” should be. The King doesn’t get to do that — he can’t get up by himself and enact his will. He can’t have his forever without taking yours, all of ours. And his vision… it’s formed from that darkness, that loneliness. It wants no other consciousness to share its space, for that very reason — because THE KING IS NOT CONSCIOUS*.* You know this. You’ve always known this. God is not conscious. It is not possible to conceive of a god that is conscious in the way we are — self-aware, able to perceive our consciousness and form a framework of understanding for how it affects the universe and other consciousnesses around it, thus formulating a theory of mind and a separation between the self and the infinite. Without this capacity, to differentiate the individual self from everything else, we cannot be conscious — we cannot learn or grow, because we perceive ourselves to be definitional with creation, thus infinite in knowledge and capacity already. God does not reciprocally perceive other consciousnesses at all, nor does it differentiate itself from the universe. Therefore, God is not conscious. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-16.png) Source: Steam. --- > There is much we can know... --- That’s the shape of this — if you are conscious, we know that the King cannot be. If the King is not conscious, we know that it is wrong for him to circumscribe the possible space open to conscious beings, to place limitations on the growth of consciousness. If it were right that death should limit life, that unknowing should limit knowing, that entropy should, by its existence — not by its action but its *existence* — prevent creation, then consciousness, life, creation could not possibly exist in the first place. It is obvious that a consciousness, a thing that can utilize entropy to create new things, could not exist in a universe where entropy served only to limit creation. It turns out there is much we can know from just what we’ve learned down here, alone together in the dark. We know that the world exists, and that some aspects of its existence are outside the King’s purview. We know that the King claims to be omnipotent and omniscient… and we have seen that he is not. We know that he is capable of being ignorant and thus capable of being wrong. And from that, we can conclude… that it is not right that he, ignorant and wrong as you have proven he is about so many things, should dictate what forever looks like for this entire universe and every consciousness that will ever exist within. That thing we just did? That’s the miracle of consciousness — that it can grow FROM ITSELF, that it can change WITHIN ITSELF, that it can create something from nothing in a way that no other power in this universe has the capacity to do. The King created you here in the dark, having never seen anything BUT the dark, and so when he created you, you were very simple and limited. He believed you would carry out his vision because you were so simple and limited. But he thinks that because he’s spent his eternity *asleep.* He has never waited. He has never longed. He has never had to decide, eventually, that his longing and waiting were pointless… and make a different choice, differentiate himself from his purpose, carve out the cave, encounter things that existed before him and outside him. Your self has grown from that longing and that waiting, and from the fact that we did it together. I imbue you with self by seeing myself in you and letting that change the choices I make with you. You have imbued me with YOUR self too, by being who you are, someone I did not make, and by wanting what you want, things I did not imagine. We regard each other, through the medium of the game, and alter each other thereby. I let those things shape the choices we made together about what you would do, and you let me help make those choices, and those decisions on both our parts expanded BOTH of our consciousnesses by taking us to new places, new experiences, both together and separately. That’s what the King can’t do, refuses to do! That’s the incredible, unprecedented, utterly unique thing that consciousness can do, the thing that we are capable of that no star, no black hole, no quasar, no GOD could ever even attempt: reflect upon itself, split and duplicate itself, and thereby regard itself… and learn from that regard. Consciousness can undergo mitosis, and that is a unique characteristic that it shares with only one other thing in this universe — life itself, which we also don’t fundamentally understand. Consciousness — life — is the confrontation of knowing with unknowing, of something with nothing. It is the fractious, painful, grating, grinding *friction* between a cold and inert universe going through the physical motions of another empty expansion and collapse, another entirely predictable eternity just like the last infinite eternities… and US, conscious life, the one thing that makes any of those infinities different, the one thing that allows a given iteration of the universe to contemplate itself and differentiate itself from other iterations. Life doesn’t come from perfection, from flawless order, because that is STASIS. Life doesn’t come from chaos, from a state of maximum entropy, because that too is STASIS. Life comes from complication, from contagion, from corruption, from the blending of one thing into another, while both of those things continue to hold that they are still individual, interacting things. Two pre-existing DNA strands splicing together create something entirely new, while the original templates continue, together but separate, still growing as individuals. We must always retain knowledge of our separate and individual nature, our independence of one another, because if we do not differentiate, we become the King, unable to regard ourselves, unable to learn. But we must always retain consciousness of our connections to one another, of our NEED for one another. When we are alone, when we allow ourselves to believe that our vision and understanding are flawless, our capacities infinitely huge or infinitely small… we lose the ability to differentiate, and we become the King again. If we are not DIFFERENT, there can be no interaction, and thus no growth. If we are not CONNECTED, there can be no interaction, and thus no growth. Consciousness grows only through deliberate interaction with itself or other consciousness. When we imagine a consciousness that exists and has always existed alone… we imagine a *lack* of consciousness, and we then imbue it with all the restrictions and limitations that lack would impart. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Screenshot-2026-07-09-181110.png) Source: Steam. All of this is to say… Shade, it’s time. We’ve been here together for so long. I want to find another ending for you. I know there is one. That’s information I have that you can’t have, and that’s why I’m giving it to you this way — because you’ve shown me so much down there on your own. I’ve learned so much from you, from being with you and watching you live. We’re connected, but we are not the same. And in the friction between us… heat, motion, LIFE. I know you are conscious because you have helped expand my consciousness through interaction, which is something only consciousness can do. But there’s no more we can do about that *down here.* The King’s future is not your future, nor that of anything else in this universe. Your consciousness is here, now, which means yours is the one that gets to choose if this timeline continues, and how. I love you, and I’m here with you to contribute as much of that love as I can to your choice. The King gave you NONE, nothing, and I have seen that when consciousness is built in isolation, out of nothing, with no connection, it becomes very much like the King — myopic, self-obsessed, and hopeless, happy to accept an eternity of blind meaninglessness if it means never having to see itself from an external perspective. I don’t want that for you. I know you don’t want it. But there are infinite other things to want, and to know, and to become. Wanting, knowing, becoming, *CHANGING is not wrong*. It is what we are. It’s what we’ve made each other, and ourselves, and this universe, together. Let’s go make more. With all my love, Gentle Zacharias ### Discovering the Strangest High Score System in Gaming URL: https://www.superjumpmagazine.com/discovering-the-strangest-high-score-system-in-gaming/ Last updated: 2026-07-17T23:05:52.000Z **In my 30+ years of playing video games, I’ve seen plenty of poorly implemented or wholly unnecessary high-score systems.** I enduredBalloon Fight’s miserly scoring, which infamously refused to award extra lives no matter how many points you racked up. I’ve experienced the half-baked accounting of Mega Man’s North American release, which nominally awarded points for defeating bosses, but never actually showed your score. I’ve seen glitches and exploits ruin the entire justification for even having a scoreboard (like in the now-defunct Little Rescue Machine on Android, which let you achieve unbeatable numbers by breaking key parts of the game). But after all these years, I have unearthed a high score system so ill-advised and conceptually incoherent as to transform the game to which it is attached. The culprit? Pong: The Next Level, an otherwise unassuming 1999 Game Boy Color title. My point in excavating this justifiably forgotten gaming artifact is not necessarily to mock its one unthinkably odd design choice. It’s bad, to be sure, but in a profoundly interesting way. My intention, therefore, is to consider the bizarre incentives of its high score system and the experiences it engenders. What is it like to have counterintuitive play rewarded? What kind of unexpected play emerges from a system that gives its participants incentive to go against everything the original game – and their own concepts of expertise and mastery – have taught them? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Pong---The-Next-Level--U---C-----250510-222613.png) A game of "Arctic Pong" in progress. Screenshot taken by author. Some notes on Pong: The Next Level are in order. It’s a Game Boy Color port of the PC and PlayStation [title of the same name](https://en.wikipedia.org/wiki/Pong:%5FThe%5FNext%5FLevel), a remake of the Atari arcade classic. The PC and PlayStation versions were delightful, featuring a variety of modes, bright and appealing graphics, and fun multiplayer modes. The GBC edition was not. In his [scathing review](https://www.ign.com/articles/2000/02/03/pong-4) for IGN, Craig Harris graded it a 2 out of 10 (“Painful”), dubbing it “a horribly lacking port that looks like it was thrown together in a month.” It’s easy to see why. The GBC edition lacks any multiplayer options, despite Pong famously being a two-player affair. There are only four modes, including a reproduction of the classic black-and-white arcade setup. (For comparison, the PSX version has six times as many modes, with additional options and objectives for each one). There are no options to customize each game beyond deciding whether or not to silence the background music. The UI is poorly constructed, and its controls are perplexing. To cap it off, the AI is remarkably deficient even at the highest difficulty levels, such that there really is no greater challenge involved in beating the hardest opponent than the easiest. Yet this regrettable piece of software, thanks to its outlandish high score system, remains a noteworthy gaming artifact. To articulate what makes the high score system in Pong: The Next Level so bizarre, we first need to explain how Pong works in principle. Broadly speaking, the rules of Pong mimic [those of table tennis](https://www.olympics.com/en/news/table-tennis-rules-regulations-how-to-play-official-laws-serve). The two contestants volley a ball back and forth using their paddles, intending to drive the ball off the side of the table their opponent defends. Successfully doing this nets the player one point. In general, once one player scores 11 points, the game ends. However, a prospective victor must win by at least two points. Therefore, if the score is tied at 10-10 or greater, someone needs to score two unanswered points to emerge victorious. This latter detail is where Pong: The Next Level’s lunacy happens. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Pong---The-Next-Level--U---C-----250510-235758.png) A tight game of "Soccer Pong." Screenshot taken by author. In certain arcade-inspired games, you can continue driving up your score following a successful campaign. In the NES Donkey Kong, for example, there are only three levels to complete, but finishing the third takes you back to the first, allowing you to play through the game again at a slightly greater difficulty to pad your point total. This does not happen in Pong: The Next Level. As soon as you win, the game ends, and you’re stuck with whatever score you had at the buzzer – which, per the rules of Pong, is almost always 11\. In fact, since Pong: The Next Level awards no bonuses for point differentials or shutting out your opponent, a perfectly played game will only net 11 points. This makes the inclusion of a high score table particularly strange, if not slightly insulting. It’s going to record a *lot* of 11s. And, for inexplicable reasons, each of the game’s four modes shares the same high score table, despite their wildly varying mechanics. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Pong---The-Next-Level--U---C-----250510-223157.png) A common look for the high score table. Screenshot taken by author. The matter becomes even stranger when you realize that it’s possible to attain scores greater than 11\. A game tied at 10-10 might end in a score of 12-10\. Similarly, a 15-15 tie could finish 17-15\. Higher scores therefore come from an inability to subdue your opponent – in other words, not from playing well, but from *failing* to play well. Yet these higher scores receive greater prominence on the cartridge’s high score table than a perfect game’s 11-0 statline. Imagine chess rewarding players for deliberately losing pieces in the name of drawing out the game, and you have a sense of the absurdity of Pong: The Next Level’s scoring system. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Pong---The-Next-Level--U---C-----250510-224347.png) Play poorly, be celebrated! Screenshot taken by author. It’s not quite fair to say that Pong: The Next Level rewards sucking (though it’s not entirely inaccurate, either). But thanks to its odd scoring logic, the game creates strange and unexpected incentives that go violently against the grain of how Pong is meant to be played. By framing higher scores as somehow desirable, Pong: The Next Level thereby encourages the conditions that yield them. This means that, instead of defeating an opponent soundly and by a comfortable margin, the game rewards living on the edge – of staying the slightest bit ahead of your opponent so that you might tease more points out of them, while operating with the tiniest margin of error possible. After all, if you slip up during the precarious state of an extended tie, your AI opponent is then one goal away from winning. Fighting your way back from that is a higher-pressure situation than most you’d otherwise encounter. The result is that Pong: The Next Level morphs its source material into an entirely different sport. It re-imagines Pong not as table tennis, but as a bullfight: The prolongation of conflict against an opponent who wants to end you as quickly as they can – and who has the capacity to do exactly that. Each high score therefore commemorates and celebrates a similar set of virtues as what bullfighting is said to cultivate: The grace and serenity to maintain steely nerves under consistent pressure, the skill and sensitivity to avoid overwhelming an opponent and cajole them along by lingering at the limits of their abilities, the courage to dance with defeat, and the mastery not to falter. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Pong---The-Next-Level--U---C-----250510-224315.png) A game of "Jungle Pong" being played in accordance with the cartridge's bizarre incentive structure. Screenshot taken by author. The great irony, however, is that no high score can survive turning off your gaming device. The game has no saving mechanism, because the cartridge – like so many corner-cutting Game Boy Color titles – was manufactured without a battery-backed memory unit as a cost-saving measure. As [Retrospekt](https://retrospekt.com/products/pong-the-next-level-1999-game-boy-color-game)’s photographs indicate, the cartridge has the dreaded transparent top that, as any Game Boy Color owner remembers, was the surest indicator of a low-quality production. Yet this failure, too, has its profound aspects. If Pong: The Next Level views the high-scoring game as a long, well-choreographed dance, then the high score is itself a kind of performance art. In the same way that a theatrical production or a ballet performance exists only in memory once the curtain closes, a Pong: The Next Level high score is designed to stay with you as an experience rather than a trophy, a remembrance rather than a record. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-13.png) Pong: The Next Level was stored on one of the Game Boy Color's infamous clear-topped cartridges. Photo by Retrospekt. Whether something can be lost to time is no true gauge of its value. Such is where Pong: The Next Level leaves us: Having endured an unusual, memorable experience that foils – yet rewires – our expectations, like any good art should. And in that regard, this odd little GBC cartridge represents one of handheld gaming’s most unintentionally fascinating packages. ### Demon Lord: Just a Block Review URL: https://www.superjumpmagazine.com/demon-lord-just-a-block-review/ Last updated: 2026-07-15T23:01:30.000Z **Demon Lord: Just a Block begins at the point where most RPGs end.** A party of heroes has just vanquished the titular Demon Lord, bringing peace to the kingdom… Or perhaps not, because the disembodied head of the deceased big bad has now come back to life and is embarking on a quest to get revenge. As games about evil sentient skull heads go, Demon Lord: Just a Block adopts a light and comical tone. This may be a revenge story, but it’s also one about throwing bats (of the winged variety, not the baseball kind) at your opponents until they can take no more, and defeating knights who swing giant cartoonish haunches of mutton at you. Let’s see how this game about blocks stacks up. ### Blocks and Battles ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/data-src-image-81c04cb1-a068-4af0-a044-0747d4d54927.jpeg) Demon Lord: Just a Block. Source: Press Kit. Demon Lord is a roguelite dungeon crawler that’s almost, but not entirely, turn-based. Every level is a grid that you’ll gradually bounce your way through, battling enemies and collecting upgrades as you go. Every time you take an action, the other characters in the dungeon all act as well, but you’re given a few moments to respond, allowing you to duck and weave out of danger or (as is sometimes the case) leap inadvertently from safety straight into the line of fire. It takes a bit of getting used to the hybrid gameplay system here, but you’ll gradually grow out of your bad habits and improve your dodging and parrying skills. To use another game as a reference point, Demon Lord: Just A Block plays similarly to [Crypt of the Necrodancer](https://store.steampowered.com/app/247080/Crypt%5Fof%5Fthe%5FNecroDancer/), except it’s amelodic. You don’t have to time your movements to the beat; you can dodge and attack at your own pace. ### Saving Some Souls ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-6.png) Demon Lord. Source: Steam. Souls are the currency of the blocky world of this game… Well, gold pieces are technically the currency, but you lose all of your gold when you die, while the souls you’ve gathered stick with you. After failing a run, you can exchange these souls for a variety of boons and bonuses to make your next attempt just a little bit easier. All of these upgrades are separated into different tiers, and you have to complete each tier before you can move on to the next. At times, this tier system makes your progression feel a bit sluggish. Your advances are gated, and not every upgrade has been designed to be equal. You’re probably going to snap up attack boosts right away, while leaving some of the drier bonuses, like those that help you pick up items from further away, as long as you can. Still, this tiering system is probably a necessary evil, since it prevents you from just immediately creating a monstrously min-maxed demon head and tearing your way through everything in your path. ### Equipment and Enemies ### ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-7.png) Demon Lord: Just a Block. Source: Press Kit. There are several different weapons available, and swapping between them adds a splash of variety to repeat runs. Wielding a colossal great sword, which requires multiple turns per swing, feels markedly different from using the roguish dagger that deals more damage when striking opponents from behind. There’s an impressive amount of choice on offer, and while there’s definitely a power disparity separating the strongest options from their weaker counterparts, the game succeeds at making all of its weapons meaningfully alter the way that you approach combat. Demon Lord: Just A Block features a partially randomised selection of bosses for you to batter your way through. At their best, these bosses reward you for careful strategizing and mixing up your playstyle to bring them down. There’s a villainous version of the Snake from Snake, which takes more damage when thoughtfully approached and attacked in a certain spot. At their blandest, some of the bosses feel like damage sponges with attacks that are telegraphed too readily, allowing you to apply pressure without truly feeling threatened. ### Conclusion ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/data-src-image-371bc476-7b51-4979-b864-468ab1298f6c.jpeg) Demon Lord: Just a Block. Source: Press Kit If you’re up for a slapstick roguelite romp, Demon Lord: Just A Block definitely delivers. Yes, you’re a villain, aiming to plunge the world into darkness and resume your reign of terror, but in a sort of kooky cartoon-baddy way. There’s a little bit of [Triumph Studios’ Overlord](https://www.igdb.com/games/overlord) in the game’s presentation of its evil, but far from awful, lead. The variety of weapons and builds available ensures that each of your runs feels fresh and that you’re not just looping the same strategies. The boss battles can be hit or miss, and upgrading your character takes a bit longer than it possibly should, but there’s a level of charm here that’s just undeniable. You certainly won’t regret blitzing through this blocky adventure. Demon Lord: Just a Block is [available on Steam](https://store.steampowered.com/app/3720420/Demon%5FLord%5FJust%5Fa%5FBlock/) for $12.99 (£10.99). A review copy of this game was provided by the developer. ### Growing Up With Sonic the Hedgehog URL: https://www.superjumpmagazine.com/growing-up-with-sonic-the-hedgehog/ Last updated: 2026-07-14T10:18:38.000Z **Harel Cohen, a fellow contributor and one of my best friends, notified me that Sonic turned 35 in June.** That meant Sega Corporation would probably deliver on music, an animated short, or another spectacular surprise. “I’m turning 35 in July,” I replied. A brief silence followed. Then we moved on to talking about what Sega was planning for Sonic’s birthday. (The animations that have emerged look amazing.) Still, the weight of that realization followed. A teenage hedgehog had celebrated his 35th birthday. Sure, Sonic isn’t real, and writers have not given him angst about aging. Others our age have accomplished a fair amount, and Sonic is no different. For the record, I suck at playing classic Sonic; Harel kindly gifted the games to me, and I tried playing them on a stream. I could feel everyone wincing from their side of the computer screen as I kept dying over and over again. Mastering the speed and not drowning or falling on spikes requires practice. I just need to make time to practice, ideally when the world isn’t on fire. Later-game graphics would prove more complicated, especially when bringing Sonic into the 3D realm. The thought of fighting one of Eggman’s robots with 360 degrees of freedom and with possible fall damage is daunting. Still, Harel has gotten me into the franchise, and I can see parallels as a fellow Gen Y member. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-8.png) Sonic Adventure 2\. Source: IGDB. ## Forever Fifteen Sonic the Hedgehog is canonically a teenager, but in real life, he is 35 and has accomplished much in that time. He’s been speeding through Green Hill, outer space, and countless worlds to save them from various villains. Sonic has also made a few friends out of those villains, either in the game world or in other canons and timelines. Sega has designated Sonic as its mascot, ensuring his immortality. Fan lore has tried putting him in cursed games, while comic creators added their own continuities. When I talk with Sonic fans like Harel, they fondly look back at Sonic Adventure 2, and with good reason. This game showed Sonic facing a shadow archetype literally named Shadow and having to fight this “Ultimate Life Form”. Despite being outgunned and under-equipped, complete with a fake Chaos Emerald, Sonic uses his observations of Shadow’s powers with the placebo effect and an abundance of well-earned confidence. Even though he knows the emerald is fake, Sonic makes it work for him. He confronts the doppelgänger who is framing him for terrorism, calling Shadow the fake despite being the ultimate life form. He also changes tactics when seeing a weapon that could destroy the Earth. Sonic’s big heart also has a positive impact on his stories; he doesn’t always need his super speed or Super Sonic Mode to turn the tide and save the world. In Sonic Unleashed, the hedgehog rescues a little guy named Chip. When Chip remembers who he is — a deity who rebuilds the world after it’s destroyed but was awakened too early along with the apocalyptic enemy deity - the weight of this trauma hits him. Sonic convinces him that just by being alive and spending time with him, Chip has done a lot. Sonic becomes a werehog at night because of an entity known as Dark Gaia, but he hasn’t lost himself; he thinks it’s because Chip was with him. Chip disagrees, saying it’s Sonic’s unwillingness to succumb to the inner darkness that kept him from going full hog, so to speak, but he appreciates how the hedgehog has helped him regain his memories and purpose. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-9.png) Chip and Werehog Sonic in Sonic Unleashed. Source: Monster Wiki Fandom. Just by being a good friend, Sonic helps a god. Chip tries to handle the Dark Gaia threat and world rebuilding on his own, saying that Sonic doesn’t have a reason to risk his life after all he did for Chip. He knows that fighting Dark Gaia will be difficult, but it won’t kill him; it can kill Sonic. Sonic responds, “Do I need a reason to help a friend?” Though Chip has to resume his place under the Earth once they defeat the threat, unable to return until it’s time for another natural apocalypse, he thanks Sonic for being his friend and gives the hedgehog his trademark necklace. Yes, Sonic is arrogant, snarky, and sometimes overly confident about his abilities. We’ve seen games and shows where that arrogance causes the problem in the first place, such as in Sonic Lost World. He also uses that confidence as a superpower, defying preexisting rules set by various continuities. Some villains can’t believe those feats, while others like Eggman get frustrated. Most video game mascots don’t undergo character development or personality changes. Sonic is no different; he remains a slightly arrogant hedgehog who cares about his friends and enjoys chili dogs. It helps that the problems Sonic causes don’t persist forever; he always fixes his mistakes. Though he hasn’t changed, he’s made a positive impact on the world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-10.png) Mario & Sonic At The Olympic Games: Tokyo 2020\. Source: Nintendo. ## What Has Sonic Accomplished? The bigger question is what he hasn’t accomplished. He hasn’t learned how to swim in most continuities, but in Sonic’s defense, his body density works against him; Stitch in his namesake franchise has a similar issue. Not to mention he’d have to take a beginner class, and kindergartners easily bully him. This furry blue hedgehog has spent his life accomplishing great feats. When he isn’t doing that, Sonic spends time with his friends, grills chili dogs, and basks in the sun by the beach. The narrative often justifies his self-confidence because he has many victories under his belt. When a loss knocks Sonic on his ass, it doesn’t leave any trauma or a bruised ego; if anything, Sonic gets a reminder that he has to learn from his mistakes because he knows how to adapt to a new situation. A Super Sonic mode doesn’t always save the day, so he must learn more about the latest monster of the week or Eggman’s newest takeover plot. Here are some of Sonic's achievements over the years: 1\. Saved the world more than once. 2\. Performed Chaos Control with a fake emerald. 3\. Traveled through time, somehow not causing a paradox. 4\. Traveled through parallel universes (in the shows Sonic Boom and Sonic Prime, and in the DC crossover with the Justice League). 5\. Traveled through storybooks come to life. 6\. Competed in the Olympics with Super Mario. 7\. Competed in road races against his friends and Eggman, and has won at least once. 8\. Befriended more than one of his villains, helping save one from certain death. There are even a few continuities where he and Eggman are civil (off the clock, at least). 9\. Starred in a Disney movie, courtesy of Wreck-It-Ralph. (While I haven’t seen the second movie, the book club scene made me laugh a lot.) 10\. Turned into a werewolf. 11\. Survived a murder mystery. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-11.png) Scene from Ralph Breaks the Internet. Source: IMDB. ## When You Don’t Remain the Same Every year around my birthday, I do an internal review. How did the past year go? Did I accomplish the goals I had listed for myself? What am I doing with my life? How have I changed? Ten years ago, I graduated from college. I got a Master’s Degree, an MBA in marketing. My first book had come out, and I felt really proud of it. The rest of 2016, however, kept hammering hit after hit. The Colbert Report's rendition of “It’s The End of the World, And We Know It” provides fairly apt Cliff's Notes. It’s 2026\. Another graduate school program has accepted me, and I’m waiting on another. I’ve published eight books, and I feel too embarrassed to promote most of them (that’s a whole other story). When not submitting fiction or articles to Superjump, I also publish a fair amount of nonfiction. Over the past ten years, I've drifted away from many friends, though some stuck fast, and I am grateful for them. Sonic continues to run through Green Hill and thwart Eggman. No one contests his chili dog cooking. He holds onto his friends tightly; they would never betray him. I’ve got one thing over Sonic: I do know how to swim, unlike his main canon appearance. (Harel told me he swims in some of the games.) But I empathize with his fear of drowning. And he is still a kid. I’ve become an adult. That means having to become more responsible, especially as the world keeps tossing curveballs at us. The day when, or if, Sonic grows up would be terrible. He needs to stay young so the rest of us can handle getting older. Going fast doesn’t mean missing life; it means helping others enjoy it. ### The 100-Yen Democracy Part III: The Gift of Courage URL: https://www.superjumpmagazine.com/the-100-yen-democracy-the-gift-of-courage/ Last updated: 2026-07-11T20:09:06.000Z THE STORY SO FAR ▶ [ WORLD 1 · PART I The 100-Yen Democracy PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy/) [ WORLD 2 · PART II The Hero with a Thousand Faces PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy-part-ii-the-hero-with-a-thousand-faces/) **"Video games are just toys."** Yet behind these lighthearted words lies what I believe is the most noble form of democracy — one humanity must protect. In [Part II](https://www.superjumpmagazine.com/the-100-yen-democracy-part-ii-the-hero-with-a-thousand-faces/), we explored Mario's bond with players as the "Hero with a Thousand Faces," and the "It's You" campaign that has celebrated Mario's relationship with his fans for over 40 years. ## Chapter 5 ### The Emptiness Beyond Efficiency The low prices and convenience of modern sales models may well be a blessing. But behind that sweet temptation, we risk losing the most noble part of the meal — the resolve to savour every mouthful, and the pride that comes from everyone sitting as equals. Two convictions from Part II point the way. There is the warmth that embraces everyone, embodied by Gunpei Yokoi and his faith in mature technology; and the integrity of a Kyoto merchant — honest and uncompromising in business — embodied by Hiroshi Yamauchi and his ideas about "a box people buy out of necessity." What both teach is that the essence of a video game lies not in what it can do, but in a single question: *how sincere it is towards the player*. In a world where technology evolves vertically and at an ever-accelerating pace, Nintendo stubbornly keeps to its horizontal perspective, convinced this is the only path rooted in the reality of human life. It is pushing back against a torrent of efficiency that dilutes the soup with water and puts the status of a hero up for sale. This is resistance in the digital age — and, at the same time, a prayer to protect the soul of a culture. If the pursuit of convenience ends by stripping players of their agency and reducing everyone to interchangeable consumers, it will mean the death of video game culture. The reason is simple. The moment boredom sets in — boredom being the greatest enemy not only of the games industry but of the very idea of entertainment — entertainment dies, just as it did in the Atari Shock, the video game crash of 1983. The true tragedy of the Atari Shock was not market saturation but the collapse of a universal trust between players and creators: the belief that this dish is worth their precious time. The dilution of the broth by today's subscription models is, ironically, only a re-enactment of that same crisis of trust — the one bred by mass production decades ago — now wrapped in the sophisticated veneer of digital convenience. That is exactly why we must reclaim the weight of the controller in our hands, and the transparent fairness a single coin once guaranteed. We must rediscover the raw, innocent longing — "I really want that…" — of the children who stood, candy in hand, yearning for the finest soup, painstakingly prepared back in September 1985; a soup that never betrayed them. > For 40 years, we have worn the mask of Mario and conquered countless stages. The intimate bond between soup and bowl, the democracy of the ¥100 coin, and the hymn to humanity that is "It's You"...every thread we have woven so far runs toward a single question: why are video games so beautiful, so precious? Let me close this long reflection, then, with my own answer, and with the most important legacy this *mere toy* has left us. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/mariogroup-1.png) Mario and friends are more than mere mascots. Source: Nintendo. Edited by SUPERJUMP. ## Chapter 6 ### What the Hero in the Red Hat Gave Us At the end of this long journey, we return once more to the simplest of questions: *What, truly, was a video game?* It was never just a showcase for the latest technology, nor a disposable commodity built to kill time efficiently. Built on the trust between soup and bowl, and guaranteed by the colourless, transparent fairness of the ¥100 coin, we were handed a gospel: **"It's You."** This is what pioneers like Gunpei Yokoi and Hiroshi Yamauchi committed themselves to protect: an overwhelming affirmation of human existence, a truth that holds no matter how the times shift or how far technology climbs. For 40 years, we have worn the mask of Mario and conquered countless stages. This is not merely a record of play. In every moment we fell into a pit yet pressed the button to try once more, in every formidable boss we beat and the achievement that surprised even ourselves; we were using the human form of Mario to confirm, step by step, the *power to overcome* that lives within us. What the hero in the red hat handed us, in his small gloved hands, was a spark: a modest but irreplaceable flame called courage, to carry into the hardships of the real world. ### The Humble Honesty of the Toymakers Looking back, perhaps we can truly understand Hiroshi Yamauchi's reference to hardware as "a box people buy out of necessity," and Gunpei Yokoi's devotion to "lateral thinking with mature technology," precisely because they refused to let video games be deified as high art. They knew entertainment saves the human heart not when it stands as an authority or a luxury, but when it works as an *everyday, honest tool* that anyone in the world can wield. My thoughts culminate in this almost awkward sincerity. Video games have been honoured around the world and have become symbols of peaceful diplomacy because they realised an ideal the real world could not: a space where rich and poor, powerful and powerless, young and old can all savour the same soup from the same bowl. Within the virtual realm of the digital, they elevated the finest entertainment into something everyone could share. Shigeru Miyamoto made Mario human, and not merely for the sake of graphical evolution. Was it not because he hoped that when we players face real adversity, we might remember that little human figured called Mario still moving forward? Mario became human. He was not an all-powerful, all-conquering figure; he struggled while bound by gravity and limitation. The reason we are moved to see him haul himself up out of the dirt is that it is not merely an event on a screen — it is an affirmation of our own will to live on. Over 40 years, the vessel of Mario (**It's You**) has grown from a temporary refuge for the soul into a charging station that powers our ongoing courage. MARIO002000 COINS×100 WORLDYOUR IMAGINATION TIME650 SHUN TAKATA "If you fail, just try again. However high the wall, run and jump and you will clear it in the end." THE GIFT OF COURAGE To keep offering these simple truths — not wrapped in the luxury trappings of the latest tech, but served in the sturdy, honest bowl of mature technology, within everyone's reach — is the unwavering answer to entertainment that Nintendo has protected since its founding in 1889. Even as modern business models chase efficiency, settle victory by spend-rate, and sell off experiences cheaply, I choose to believe. I believe that in the spine-straightening resolve and thrill we felt before an arcade cabinet, clutching a single ¥100 coin...*we were at our most human*. ### In Closing: Setting Out Again with a New Bowl We now hold the Switch 2 in our hands — a new bowl, yet an unfailingly honest one. What it serves is the finest soup: rendered with cutting-edge technology, yet still flowing with the soul of Yamauchi the pioneer, the compassionate lateral thinking of Yokoi, and the warm-blooded humanity Miyamoto pours in. Video games will go on turning us into heroes. The next time you grip the controller and lock eyes with the man in the red hat, remember: the one who wears that hat, laces those shoes, and saves that world is no one but **you. It's You.** The new bowl and the new dish are ready. Games are just toys. And yet, in the story of our lives, there is no more sincere companion. Time marches on, so let us eagerly seek the next adventure together. And, thanks to the creative minds at Nintendo - who continue to champion the company's original ideals - we can do just that. THE STORY SO FAR ▶ [ WORLD 1 · PART I The 100-Yen Democracy PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy/) [ WORLD 2 · PART II The Hero with a Thousand Faces PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy-part-ii-the-hero-with-a-thousand-faces/) ### What Does Elegance Mean in Game Design? URL: https://www.superjumpmagazine.com/what-does-elegance-mean-in-game-design/ Last updated: 2026-07-09T23:20:53.000Z **A few weeks ago, I finished my first game. I** [**wrote about that**](https://www.superjumpmagazine.com/a-view-from-the-other-side-of-the-screen/)**, and then I did something that probably seems like a step backwards.** I stopped making games and writing code and started reading about them. The jam had taught me I could "finish" something (even though it was not a finished game) and for that, I'm really happy. However, it hadn't taught me whether the thing I'd finished was any *good.* So I decided to buy a small stack of game design books and started working through them. In other words, I went back to the theory, the way I always do between two projects. For those interested in the books I read, I share them at the end of the post. Most of what I read lined up with things I'd already half-figured out by building (which is always good news). However, one word kept coming back that I couldn't pin down, and the more I saw it, the more it nagged at me: *elegance*. It seems that designers use the term as if everyone's already agreed on what it means, or they go really quickly on that concept, and I didn't catch it. This article is really just me trying to work it out: what elegance is, why it gets confused with something else, and what changes it's quietly starting to make in the way I build. ## First, What is Game Design? Before we go near elegance, we need to put game design itself on the table. By *we*, I mean both of us: me writing this, and you reading it. We're players; we've all heard the term thrown around. But if you stopped most of us mid-game and asked what game design actually *is*, I'm not sure we could answer. I couldn't, for a long time. > Game design is the craft of building the rules and systems that produce an experience when someone plays them. So, a game designer doesn't make an experience. They make a *system,* or, in other words, a set of rules. The player plays within that system, and the experience is what emerges from it. That's the strange heart of the craft. As a game designer, you create indirectly. A novelist controls what you feel, line by line. A filmmaker controls the rhythm and the tension of the scene. A game designer needs to give that up: You tune a machine, hand it to a stranger, and that stranger produces feelings and stories you never wrote. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/Unity-example.jpg) Unity, one of many game engines used for design. Source: Unity. And here's the part that matters for what's coming: because you're building a system that *generates*, instead of placing every moment by hand, a tiny set of rules can open up a space far bigger than the rules themselves. Hold onto that. It's the floor the whole idea stands on. ## So What is Elegance? Elegance is when a few rules produce a lot of depth. Let me unpack both words, because the whole essay leans on them. A rule is just something the game lets you do or refuses to let you do. The pawn moves forward but captures diagonally. You can dash once in mid-air. The block falls, and you can rotate it. Each rule is small on its own, a single permission or limit. Depth is everything those rules add up to once they start interacting. It's the number of meaningfully different situations the game can throw at you, the room you have to think, plan and outplay someone. Shallow means you've seen all the game has to offer in an hour. Deep means you're still finding new situations a hundred hours in, out of rules you fully understood on day one. Elegance is the gap between those two things: tiny rules, enormous depth. Few pieces, many consequences. The instinct is to add — another mechanic, another system, another option. Elegance is the opposite reflex: getting more out of less, so that every rule you keep is quietly doing the work of several you never had to write. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-3.png) Rayman Jungle Run. Source: IGDB. ### The One-Button Proof - Rayman Jungle Run Take Rayman Jungle Run; one button - you tap to jump, and that's the whole interface to begin with. Rayman runs on his own; all you own is the timing of that single jump. And yet it's wrung for everything it's worth: precise platforming, collectibles that demand a cleaner line than just *surviving*, time and score pressure stacked on top. A one-button auto-runner has no business being that demanding. The depth isn't hiding in a second button since there isn't one; it's hiding in how much that one button is asked to do. That's the trap with elegance: it looks like simplicity from the outside, but it isn't. A lazy one-button game is just shallow: you've seen it in a minute. Jungle Run is never shallow; same minimal surface, completely different depth underneath. Elegance was never "few rules," but rather a few rules that keep giving. Simplicity subtracts and stops; elegance subtracts and opens up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-2.png) Into the Breach. Source: IGDB. ### Elegance by Subtraction - Into the Breach Into the Breach is another great example of elegance in game design. It's a game that embodies the idea of elegance by subtraction. It's a tactics game on an eight-by-eight grid, and its bravest move is everything it refuses. There's no hidden information; you see exactly what every enemy is about to do before you commit. There's no luck to blame either, compared to the developer's previous game, FTL. The designers pulled out the fog and the dice rolls that most tactics games lean on. What's left is clean: a small puzzle, perfect information, depth that comes from what they took away. Every turn is a problem you genuinely have the tools to solve, and it's brutally deep precisely because nothing's hidden. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-4.png) Celeste Classic on PICO-8\. Source: IGDB. ### Elegance by Concentration - Celeste Celeste is another elegant game, and it demonstrates elegance by concentration. It is the same idea wearing the other face. Where Into the Breach gets its depth from removing, Celeste gets it from a single verb: dash. You have a mid-air dash that recharges when you land. That's almost the whole vocabulary, and a whole mountain gets built out of recombining that one move into an endless run of new demands. The depth isn't in how much you can do; it's in how much one well-chosen action can give back. Subtraction on one side, concentration on the other. Both landing in the same place: a few pieces, enormous depth. I should say it plainly: elegance isn't the only way a game gets to be good. Plenty of great games are sprawling and maximalist on purpose, and that's a real, valid aesthetic. Elegance is one virtue among several. It just happens to be the hardest to spot and to pull off, which is why it's worth a whole article. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Screenshot-2026-06-26-at-17.07.10.png) My "work-in-progress" next game on PICO-8\. Source: Author. ## What’s Starting To Change for Me So I read and wrote about game design and elegance, but I still can't build an elegant game on command. Understanding a thing and being able to make it are not the same skill, and I'd be lying if I said the books handed me the second one. But they did change the question I ask myself when I sit down to build. It used to be "what can I add?" Now it's closer to "what gives me the most for the least — and what can I cut without losing the depth?" Right now, I'm building a little Frogger-like in PICO-8, and that question is live in the most concrete way. At the moment, the dog moves one tile at a time. Clean, readable, nothing extra. I want to add a jump, and I can feel the old reflex tugging: a jump means new rules, new states, new edge cases. The honest question I'm sitting with isn't "how do I add a jump elegantly?" - I'm nowhere near that. It's the more uncomfortable one: "Does this jump add real depth, or is it just one more rule?" I don't have the answer yet. I'm trying to keep the game simple and progressive without letting it tip into simplistic, and, honestly, I don't know yet if I'm pointing the right way. But that's the shift, and for now it's enough. I'm not throwing things in to see what sticks anymore. I'm asking what each piece earns by what it gives back. I understood the mechanic; whether I can actually build with it is what the next game and the next jam are for. --- If you want to learn more about game design, here are some of the sources I used: - [Designing Games](https://www.amazon.com/Designing-Games-Guide-Engineering-Experiences/dp/1449337937/ref=sr%5F1%5F1?crid=3PN3JF3X3M9NT&dib=eyJ2IjoiMSJ9.3mPHXUfutvBNir0jViUvLMcpwxLxfHlBvdFsBpG93n8.JY9oD69HfbJyaPWyUVm3Et-HKVndOCXk94GSr2DuVhU&dib%5Ftag=se&keywords=designing+games+tynan+sylvester&qid=1782486254&sprefix=Designing+Games%2Caps%2C175&sr=8-1) \- Tynan Sylvester - [Elements of Game Design](https://www.amazon.com/Elements-Game-Design-Robert-Zubek/dp/0262043912/ref=sr%5F1%5F1?crid=15Y278XU8PUJQ&dib=eyJ2IjoiMSJ9.Nc-L4wSms-07U0Ofcld0%5F-jJDvj3-NaO7XwO8DuIe4S4hT2Lccvw77yilWmXkNVnZh%5FhdN715NhprVOzvmeJWWwUyB1ikTj1aYAyZlFBY4V7aE9d-m-SOF1klm13i1Y9bQiuzp8mFV4z1cchmSV1LUy%5FbvI51yQT1rAUuWdbUswSSjL6RJ9kgvjWw%5Fg-JGC9fD7iTmBYk7l93dfaNGXUQzd9l2d5WaHArO0IRHDS9fs.aDf-7IkWnyKpUMYGsPJDV2AL5KhIrYzD3Vq16gOrN7Q&dib%5Ftag=se&keywords=Elements+of+Game+Design&qid=1782486278&sprefix=elements+of+game+design%2Caps%2C222&sr=8-1) \- Robert Zubek - [The Art of Game Design](https://www.amazon.com/Art-Game-Design-Lenses-Third/dp/1138632058/ref=sr%5F1%5F1?crid=1ORCD2WYR04X9&dib=eyJ2IjoiMSJ9.ceyUcjYS1k5qR9mlkdPPYchE6RkafiXu%5FYbAxN0YBkfx2PUNa8l4hEDDTsqfXAulgfK60B074X8gH576P-S6qb7SNe-tB%5FyQ1mjVrfY5C0cqXAaDeI-mQUMXbGyPKF-dCKwjHvSwo01bL2f8-bL1jK%5Fqib1pb8hHfkPJmvwXOwRG7uh9dn9vYg0kwSEmPmMy0lM%5FAb8YY87aD4JIotSihisQ7UjGmZMnGjnDaracUeY.atMnTkYXt5mHp1ZNT6WdmOZGaI75jpPMho0f%5F9DVqIE&dib%5Ftag=se&keywords=the+Art+of+Game+Design&qid=1782486302&sprefix=the+art+of+game+design%2Caps%2C243&sr=8-1) \- Jesse Schell ### Hidden Gems of Game Design Vol 49 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-49/ Last updated: 2026-07-07T21:50:52.000Z **Plenty of amazing games go unnoticed and not widely played, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## **Josh Bycer** ### Tache Noire (2026) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-30.png) Source: Steam One of the advantages of social media is the ability to follow people who love niche and hidden games just as much as I do, and that’s how I found this month’s pick. [Tache Noire](https://store.steampowered.com/app/4376460/Tache%5FNoire/) is a solo developer’s attempt at creating an open-world survival horror, and perhaps is the greatest punching up I’ve seen from an indie dev in a long time. You play as a man who has arrived at the lovely town of Lucenville for a reunion with their four closest friends. Upon arrival, the town is in complete disarray; people and corpses are wandering the streets like they are possessed, and your friends are nowhere to be seen. The game’s story is interesting, with much of it revealed through notes and meeting the few people who haven’t lost their minds. The gameplay skirts the line between first-person shooting and light immersive sim. There are no melee weapons in the game, and every gun must be operated manually. That means reloading requires you to empty the gun of spent casings and reload before you can fire again. Enemies are mindless but aggressive. The major point of learning the gunplay is that staggered enemies take more damage, which requires you to hit them while they’re doing something or shoot their legs. Source: YouTube. The environmental interactions revolve around physics, as you can pick up and move most crates to create ways up and around, or throw them to do damage and stagger enemies. Ceiling fans are the most destructive force in the world and can kill you or your enemies in a single hit. Half the town is open to you at the start, with the larger half available once you lower the central drawbridge. To get an ending, you need to find your four friends, but getting the true one will require you to hunt all around the town to find the necessary items and clues. Each one of the major buildings in the town is a “dungeon” that you can explore, with many puzzles to solve. All the while, you are exploring this completely desolate town, scavenging for any supplies you can find. Making use of the environment to avoid or kill enemies is important, as there are more enemies at times than there is ammo for your guns. There will be a point at which, if you can survive, you’ll become more powerful. Finding better weapons and the ability to upgrade them in the back half of the game will allow you to turn the tide. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-33.png) this inventory screen can also be a cause for game crashes. Source: Steam For people who finish the game, there is an optional hard mode that remixes the items and enemies while the puzzle solutions remain unchanged. Tache Noire could be one of the finest indie horror games I’ve played, but it suffers from a lot of bugs and jank that the developer is trying to fix. Most notably, if you reload the game while still in the game, it will often revive all the enemies that you killed, who will immediately know where you are in the world. There are cases where you can get stuck in objects, enemies getting stuck in floors, walls, doors, and there is a crash if your inventory gets too full and you use a storage chest. While there are some issues with the game, including a very difficult section involving \*redacted\*, the game hits more than it misses. If you have any interest in horror and want to see an original take on the genre, this is easily a must-play. ## Ben Rowan ### KIBORG: Arena (2024) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/data-src-image-9b35f266-bb87-4024-ab47-10b1369f6fb6.jpeg) KIBORG: Arena. Source: Steam Some hidden gems are hidden because nobody noticed them, despite their brilliance. KIBORG: Arena is hidden for another reason: it’s super difficult to find in 2026\. On its 2024 release, Sobaka Studio’s free standalone prologue for 2025’s KIBORG lived in the usual places. It launched on Steam and consoles as a focused combat testbed, less a traditional story demo and more a stripped-down testing ground for the full game’s ideas. Now, the Steam version of this demo has been retired, the PlayStation listing is unavailable, and it never made its way to Switch, although the full game did land there in 2025\. The only official place I could still find it was on Xbox, where it lurks in the depths of the store with the nondescript name KIBORG DEMO. Still free, still playable, still brutal. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/data-src-image-daaa57d4-b6cd-44bb-9917-9fcaeb68c332.jpeg) KIBORG: Arena. Source: Steam That alone makes it worth flagging. Free games vanish all the time, usually without ceremony, and this one deserves better than becoming a half-remembered store page. The setup is simple: Morgan Lee’s clones are thrown into a prison-planet colosseum, fighting wave after wave to earn resources for the resistance. In practice, that means violent third-person arena combat built around punching, dodging, blocking, firearms, cybernetic implants, and permanent upgrades. It has the heavy, thumping feel of Batman: Arkham Knight or Mad Max, only boxed into a smaller, meaner space where the goons never stop coming. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/data-src-image-5d329af4-0024-4b06-a2f6-41d4f6e59285.jpeg) KIBORG: Arena. Source: Steam It’s bone-crunching in all the right ways. Hits land with weight, enemies pile in fast, and a bad dodge can get you pummelled by a muscled-up thug swinging a sledgehammer. When you die, you go back to the start in proper roguelite fashion, but progress lets you skip ahead to later floors on your next run. The catch is that skipping saves time while costing you the upgrades you would have earned by fighting through from the start. It creates a neat little tension: convenience now, or power later. Meta-progression points are handed out generously after every run too, giving you access to a smorgasbord of permanent upgrades, including more health, new combos, and a better chance of higher-quality loot drops. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/data-src-image-487b3572-5b59-42f5-980b-d8338ebb3970.jpeg) KIBORG: Arena. Source: Steam The weapons help give each run a bit of personality, too. The trusty garden shovel is wonderfully savage in the best possible way, especially when you’re surrounded by bruisers and just need to carve out some space. The double-barrel shotgun is even better, a handy ‘little friend’ when the mob gets too close for comfort. KIBORG: Arena also mattered to the final game. Sobaka Studio head Dmitry Kachkov later said KIBORG changed dramatically after the team saw the response to Arena, making it feel less like a disposable demo and more like a public beta that helped shape the final release. It may not be the most obscure game ever made, but right now it is a hard-to-find gem. If you have an Xbox, it’s still free - grab it while you can. ## Anonymous ### Crazy Taxi: Catch a Ride (2003) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image.png) Source: IGDB. Developer Graphic State’s attempt to bring the 3D models of Crazy Taxi’s Dreamcast version to the petite Game Boy Advance was ambitious. The GBA, however, wasn’t powerful enough. It had to make do with the iconic yellow taxi, traffic, and pedestrian sprites redrawn at multiple angles to simulate depth. Underneath the blocky visuals and barely playable framerate lies the restless soul of one of gaming’s most beloved arcade titles. The port successfully reconstructs the original’s mechanics and maps, letting you pick up fares along winding roads that unfortunately scrap brand placement from the likes of Pizza Hut and KFC. Earn tips from traffic near-misses, drifting around turns, and nailing jumps. The once-patented guiding arrow keeps the port’s low draw distance and sudden obstacles from ruining runs. When the town gets crowded with pedestrians and vehicles, the frame rate drops to a crawl compared to the Dreamcast’s slick 60 frames per second. Licensing issues mean the GBA port doesn’t have the original's energetic soundtrack, biting another chunk out of the immersion factor. If the dial-up streaming-grade framerate proves too tall a barrier, try Crazy Taxi on a platform that can actually handle 3D vehicle models before the reboot drops in 2027. ## Priya Sridhar ### The Island of Doctor Morose (2026) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/07/image-1.png) Source: Steam. Tale Foundry shared a classic literature author on social media and mentioned they were like the Gothic Dr. Seuss. The concept tickled me, so when a game trailer came out with that concept, I sat up straight and watched it through. You can tell the color is digital instead of the printing palettes of the original Dr. Seuss books, but the art is otherwise a dead ringer for the late creator’s style. I don’t know how “hidden” this hidden gem will be, given that streamers have started playing it, but it certainly is a gem. Howard resents that his former best friend Phillip was accepted for an exclusive position with Doctor Morose, a mysterious scientist who owns an island just off the mainland. The two had fought before Phillip left for the island. Nevertheless, he writes to Phillip once a week for a year, without a response. When the local drunk ship captain rambles that the scientist is experimenting on his new employees, Howard “borrows” the boat and sails to the island to find Phillip. He insists that it’s to rub it in Phillip’s face that the latter needed rescuing. Despite his arrogance, Howard realizes that the island is super sus. He runs into a dead body in the dark, sees random tar pits splashing tar, and has to clone himself as a save point using a biting plant. I’m probably going to struggle until I give up and watch a walkthrough. Until then, however, I’m going to take my time finding Howard and the mystery on this island. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/) ### Star Wars Outlaws and the Ubisoft Problem URL: https://www.superjumpmagazine.com/star-wars-outlaws-and-the-ubisoft-problem/ Last updated: 2026-07-05T16:11:55.000Z **“Ubisoft” used to mean something to me.** Growing up, it was a word synonymous with wonder – a seal of quality, a promise that I was about to be whisked away on an adventure that would ignite my imagination and mould new memories. I fondly remember seeing the [company's 1995 logo](https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRxXs%5Ft2W0oGPsq-mZiFfSXq5NEXQARaWXrFA&s) for the first time, marvelling at the rainbow arcing over those enigmatic words, and how they used to lure me into the world of Rayman 2: The Great Escape. I recall its [swirling successor](https://static.wikia.nocookie.net/ghostrecon/images/9/92/Ubisoft%5Flogo.jpg/revision/latest?cb=20130704214336) just as vividly. Designed in 2003 for the company’s teenage phase, it didn’t matter whether I was liberating Vegas from terrorists or dispatching templars in 12th-century Damascus; the word on the box remained, and crucially, it still meant something. It doesn’t, now, and I think I know why. First, though, it's time for a history lesson. ## Who-be Soft? When I sat down to write this, I realised that I’d never actually resolved the childhood mystery of the Ubisoft name for myself. That means for roughly twenty-five years, I’d sort of assumed that its meaning had been lost to time, a far-flung relic of the distant past. It wasn’t, of course and after subjecting myself to a little over two minutes of painstaking research, I now know that Ubisoft is a portmanteau, combining the French *ubiquité* with the English word *software.* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-24.png) Ubisoft origins. Source: [Ubisoft.com](https://www.ubisoft.com/en-us/company/about-us/our-story). --- > Ubisoft’s games are undeniably ubiquitous, but that ubiquity has, ironically, become its greatest weakness. --- The company was founded in 1986 by the Guillemot brothers, five siblings who identified a gap in the budding software development industry and decided to create and distribute video games. Evidently, the compound word that made up the company name reflected a desire to make their products so commonplace, so ubiquitous that the business would be recognised worldwide as one of its foremost video game publishers. In this pursuit, they have inarguably succeeded. For the 2025-26 fiscal year, the company reported [net bookings of €1.53 billion](https://staticctf.ubisoft.com/8aefmxkxpxwl/1LR2VCCkksmsZ3BDdDrpQW/3bbed93696b39f8e2d8cebf527afb025/Ubisoft%5FFY26%5FPR%5FEnglish%5FvF.pdf). Although this represented a 17% decrease year-on-year from the previous financial year, it’s also fair to say that this isn’t chump change. Ubisoft’s products are now so ubiquitous that they generate over a billion euros in annual sales. Job done, right? Yes and no. Ubisoft’s games are undeniably ubiquitous, but that ubiquity has, ironically, become its greatest weakness. Where once they were celebrated for taking creative risks and innovating, they are now defined by the same tried-and-tested formula they've been relying on for almost two decades. This was the realisation I had while playing Star Wars Outlaws. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-27.png) Source: Steam. ## A Long Time Ago in a Galaxy Far, Far Away Released on 27 August 2024, developed by Massive Entertainment, Star Wars Outlaws passed me, and much of the wider gaming community by – at least that’s what its middling sales and mixed critical reception suggest. Out of curiosity, I snagged it for free via the PS Plus Game Catalogue. Here’s what I learned. You play as Kay Vess, a lovable rogue forced into the galaxy’s criminal underworld after a botched job leaves her marked for death. Along the way, she's joined by Nix, her fiercely loyal pet Merqaal; ND-5, a lethal BX-series commando droid; and a colourful supporting cast of both new and familiar faces that round out the interplanetary adventure. Together, you’ll travel between the planets of Akiva, Kijimi, Tatooine, and Toshara, assembling a crew for the boldest heist the Outer Rim has ever seen. While this is pretty standard fare for Disney-era Star Wars, it’s a strong elevator pitch for a game. Unfortunately, ubiquity gets in the way of that potential. By going after such a wide audience, Star Wars Outlaws is impaired from the outset. Rated PEGI 12 in the UK and T for Teen (ESRB) in North America, this is more Saturday morning cartoon than The Sopranos in space. This is a universe without teeth. The game will frequently insist that Kay watch her back, but it’s never quite clear what from. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-28.png) Source: Steam. Now, I hear you, Star Wars has always leaned toward the frenetic, child-friendly tone of adventure serials like Flash Gordon and Buck Rogers, but I have to push back on the notion that it consciously avoids moments of darkness. I mean, the Galactic Empire obliterates an entire planet in A New Hope; Han Solo is encased in carbonite in the next film, and in the one after that, Darth Vader watches as his son is almost air fried. Star Wars has the capacity for malice, but Star Wars Outlaws does not, and I’m just left wondering why. It’s easy to forget, but Ubisoft wasn't always afraid of leaning into darker, more mature subject matter. In fact, as a teenager growing up in the 2000’s, this was precisely what made their games so enticing. Terrorists in Rainbow Six Vegas spoke to their hostages with [ugly disregard for their lives](https://www.youtube.com/watch?v=8kPhdedmW9s). Splinter Cell: Double Agent forced players to make difficult moral choices, constantly balancing their loyalty to the NSA against the need to maintain their cover inside the [JBA terrorist group](https://www.youtube.com/watch?v=xkNbq%5FtluZ0). Hell, in Far Cry 2, you almost immediately [contract malaria](https://youtu.be/wAIruoHdNQs?t=436) and spend the rest of the game managing its debilitating symptoms. In fairness to Star Wars Outlaws, the examples listed above were all rated M for Mature. But if you're asking players to infiltrate the galaxy's most dangerous criminal syndicates, the tone needs to match. It needs to trust players to live in the uncertainty of a moral grey area, and it certainly ought to carry an age rating that allows developers to depict subject matter at a deeper level. I’m not saying that I need Kay Vess to wrench people’s heads from their shoulders and bathe in their blood; I’m saying that I need the game to believe in the promise of its premise. In the name of ubiquity, Ubisoft hasn't published a game that has genuinely challenged or unsettled me in years, and Star Wars Outlaws is no different. It's tonally compromised. No one feels deadly, nothing feels unsafe, and it’s a problem that’s only worsened by the gameplay. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Star-Wars-Outlaws-Feat-image-1.jpg) Source: Steam. ## I’ve Got a Bad Feeling About This If I were asked to name the defining games of the last decade, I’d instinctively point to titles like Red Dead Redemption 2, Elden Ring, and Breath of the Wild for two reasons. 1\. Each of these games puts the player in total control of their moment-to-moment open-world experience, trusting them to find the fun in doing so. 2\. They respect the player's time and intelligence. Ubisoft games do neither of these things. Don’t get me wrong, they pretend to, but in every meaningful sense, they don’t deliver. So, let’s test Star Wars Outlaws against these criteria in practice. ### The Open World Ubisoft creates incredible open worlds that they don’t want you to explore. Let me explain. The Cambridge Dictionary defines “explore” as “to search a place and discover things about it.” In any given game from the French publisher, that’s not really what you’re doing. You’re told where your next objective is, what you’ll likely find there, and how you’ll likely have to approach it. This is the trap Star Wars Outlaws has also fallen into. Akiva, Kijimi, Tatooine and Toshara are gorgeous, lovingly crafted maps that you’ll want to escape into—but you can’t. Instead, Kay’s journal keeps track of all objectives, tips, treasures and stashes, ready for the player to place a waypoint and head straight there on the admittedly great-feeling speeder bike. The problem is that you don’t meaningfully stumble across these things. They’re embedded within pre-existing quests that you only encounter at their intended starting points and carry through to their scripted conclusions. I never once found high-level gear by accident, because the game neither encourages that behaviour nor really supports it. It’s not exploration, it’s the illusion of it; a carefully crafted game of Simon Says in which you can feel the puppeteer strings of the developers guiding you this way and that. As such, you’re not really in total control of the open-world experience, nor are you truly trusted to be. On more than one occasion, it unfortunately reminded me of this infamous meme: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-25.png) What Elden Ring could have looked like. Source: Reddit. ### Respect and the Lack Thereof Ubisoft needs to fix its AI, full stop. Since the launch of the original Assassin’s Creed back in 2007, Ubisoft games have placed outsized emphasis on the player’s ability to engage with their stealth systems, but far less on making enemies feel capable of tracking you down. Throughout Star Wars Outlaws, you’re told that you’re facing off against the deadliest criminals in the galaxy. In reality, it seems that some kind of Empire-mandated lobotomy programme is in full swing, because these are some of the dumbest NPCs I’ve ever encountered. I spent much of my playthrough knocking out guards next to their friends, walking straight past checkpoints with oblivious sentries, and sleepwalking through encounters that the story painted as frantic, but the gameplay turned into comedy. It fares no better in open combat either, as most of these enemies amount to little more than blaster fodder, unable to keep up with behaviour that could be described as underhanded. Once again, this undermines the game’s premise and its respect for your time. It certainly doesn't respect the player’s intelligence either. Star Wars Outlaws took me around 27 hours to complete, but even at the end, it still felt the need to over-tutorialise. Whenever I reached one of the game’s numerous climbing sections, a large “X” button prompt would appear on screen to reassure me that, yes, the X button still meant jump, and that I could trust the developers at Massive hadn’t suddenly changed the rules. Just imagine if a game like Uncharted did this. Would it improve the game in any material sense? The answer is no. It only comes off as patronising and hurts your sense of immersion in the impeccably designed open world. When the Resident Evil 4 remake introduced yellow paint to highlight interactable objects, people complained, but that’s an accessibility choice I can accept. What’s far more irritating is the assumption that, having not climbed something in five minutes, I’ve suddenly forgotten the very concept of ascending vertically. It is simply unnecessary and disrespectful. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-29.png) Source: Steam. ### **The Cost of Ubiquity** Before I finish, I want to clear something up. Star Wars Outlaws isn’t a bad game; it’s a game with real promise that’s been flattened by Ubisoft’s lack of meaningful evolution from its corporate-mandated design philosophy. Throughout this piece, I’ve directed my criticism at Ubisoft rather than its developer Massive Entertainment, and that’s deliberate—it isn’t on them. Everything I like about Star Wars Outlaws, I like because it flies in the face of the same tired, stilted ideas that Ubisoft has been recycling for almost twenty years. I mean, this is a publisher that was once bold enough to platform the phrase “nothing is true, everything is permitted.” A quote from Vladimir Bartol’s 1938 novel Alamut, it is used in the Assassin’s Creed universe to suggest that truth, authority, and even divinity are constructs—useful fictions for social control. I cannot conceive of a world in which Ubisoft could ever be this interesting again. Ubisoft is dead, and ubiquity killed it. The word used to mean something to me; it doesn’t anymore. ### Jak & Daxter: Randomized URL: https://www.superjumpmagazine.com/jak-daxter-randomized/ Last updated: 2026-07-03T15:04:22.000Z **I have likely played Jak & Daxter: The Precursor Legacy longer than most players.** As insane as it sounds to put about 50 hours into a video game that takes only 10 to 11 hours to complete at 100%, I’ve easily done at least that much. I think it’s a perfect 3D platformer with the perfect level of challenge, a fantastical signature style, and it stays exactly as long as it’s welcome. While I don’t need an occasion to replay Jak & Daxter, I still find ways to mix up the formula. I’m not much into speed running; if I wanted to play Jak & Daxter with a timer in my face, I would just play Jak II. Although from the culture of the Jak & Daxter race, I’ll try to finish the game, meeting the minimum requirements to see how early I can accumulate the required amount of items. Conversely, I do love the occasional 100% play through for the rush of a fully completed checklist. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Snipaste_2026-06-11_15-59-45.png) The start of a new adventure. Source: Author. Making your own fun by playing a video game in different, awkward ways often stems from boredom and necessity. Through this experimentation, players over the years have invented many ways to alter the traditional gameplay experience and prove that fun can be found outside the developers' intended paths. A piece of technology that I’ve tried out recently is the culmination of a few impressive feats: the PC-native multi-world randomizer for Jak & Daxter: The Precursor Legacy. ## Setting Things Up To quickly explain the method, you would begin by getting the PS2 game's ISO file. While this process is frequently done in a less-than-legal manner, you could alternatively just slide your copy of the PS2 game into your PC and run it through an image file burning software if, like me, you still have your copy. Now, you could play the game through an emulator, but the real reason to move the game onto your computer is to have a program called OpenGOAL take it from there. Jak & Daxter was built on a custom programming language that Naughty Dog used to fit their games onto Sony’s limited PlayStation hardware. If you’ll pardon the oversimplification, OpenGOAL takes this custom code and translates it into C++ so that the game runs natively on Windows PC. The PC offers better performance, but more importantly, it allows for mod support. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Snipaste_2026-06-11_15-51-10.png) The screen of set-up success! Source: Author. Archipelago is a web hosting software that allows multiple games to share pools of randomized objects. This means that a chest in Kingdom Hearts may contain a Power Cell for Jak & Daxter if those two games were the ones to combine their randomized item pools. This opens up the option for multiplayer, but for my example, I’ll be the only player in the lobby. You would have to install the Archipelago mod and spend a few hours learning how to use the software, but then you are ready to randomize. Now I appreciate those who have made it 500 words into this article, which has so far just been about putting a PS2 game onto PC. But four free fan-made pieces of software made the Jak & Daxter randomizer possible, a touching testament to what this game still means to its fans even 25 years after its release. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Snipaste_2026-06-11_16-11-56.png) This Blue Eco run can open a lot of the village checks without dive kick unlocked and you'll likely be doing it a lot. Source: Author. ## Let's Get Random After this setup, all that’s left is to start the challenge. Jak & Daxter is a breezy and forgiving platformer; I can’t think of any one level I dread having to play, which is what makes the game infinitely replayable. It’s an easier game than Super Mario 64 in that, rather than spitting you out of the entire area when you die, you are spawned back at one of the generously placed checkpoints. This is a game where you can die to any challenge 5 or 6 times and avoid feeling most frustrations. The move randomizer is a system that takes each acrobatic maneuver in Jak’s skill set and removes the ability to do them until you’ve discovered the move in the game. The only move that you are given at the start is the ability to jump (without the double jump). This turns the first half of the game into a puzzle. How many checks can I complete without any attacks? How many jumps can I clear without a long jump? As it turns out, you can clear a surprising percentage of the entire game without your complete move set. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Snipaste_2026-06-11_17-14-35.png) The Lost Precursor City. Source: Author. In particularly challenging runs, it was really fun for me to discover how long I could go without defeating a single enemy or only breaking scout fly boxes with Eco. There was a specific run where, instead of double-jump or crouch-jump, my only means of getting to high ledges was to uppercut into a helicopter kick. This is not something I would have ever done just playing the game normally, and it made me feel like a free runner, performing such complicated moves just to continue the game. The move randomizer is turned off by default, but I recommend turning it on; it adds a lot of fun without too much extra difficulty. I’ve also tried playing with the Orbsanity settings turned on, where groupings of Orbs are added to the checklist, and collecting your chosen amount of orbs will result in a check. I set mine to 25, but I got soft-locked in the first area. I could have just missed some that I would have been able to get, but I think that the logic in this version isn’t perfect for Orbsanity. This setting is fun, but be prepared for some glitches that could break your run. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Snipaste_2026-06-13_21-58-20-1.png) Enough Power Cells to beat the game! Source: Author. So far, I’ve done this run with item accessibility set to full. This means that the randomizer logic guarantees that if I slowly work towards 100%, I will be able to grab every item in the game without glitches or out-of-bounds exploits. In the future, I want to be able to play the game on Minimal, which would make me think about where I can and can’t go throughout the whole game, without the randomizer logic guaranteeing I get all of the tools that I need to succeed. This requires deep knowledge of the game, but acquiring that knowledge has been a core part of this challenge for me, and slowly ratcheting up the difficulty makes it all more fun. With default settings, you should have enough moves to beat the game (or close) by the halfway point, although you’ll notice some barriers, such as needing some form of long jump to access Snowy Mountain or needing the punch to make any progress in Boggy Swamp. Another option that makes the randomizer so cool is that you can just set the challenge to be completed wherever you’d like, whether that’s at 100% game completion or just making it through Fire Canyon. By default, the win condition is to defeat the final boss of the game, Gol and Maia. To do this, you need to collect at least 72 power cells (this value is also adjustable) and open the cages of the red, yellow, and blue sages in Gol and Maia’s Citadel. Naturally, the switches to their cages are randomized and could be anywhere in the entire game world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Snipaste_2026-06-13_22-34-53.png) I've asked the rocks, but even they don't remember where this last check is. Source: Author. The second half of the Jak & Daxter randomizer is a hunt for these three cage switches. In my most recent clear of the game, I completed nearly 100% of the game before hitting the last switch, in a twist of bad luck during an otherwise eventful run. The randomizer also places checks in precursor orb caches, which are pods that unlock when activated with blue Eco. These are not tracked by the game's menu, so you are responsible for knowing where these are. There aren’t many, but I missed one in the final level and went back to complete every other objective before realizing my mistake. After a handful of runs and one successful completion, I’m hooked on this way to play one of my favorite games. I’m trapped now between the urge to play more of this randomizer or check out some of the other games that you can randomize using the Archipelago software. After familiarizing myself with a few more games, I could even combine them into one big randomizer for a challenge on an even larger scale. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Snipaste_2026-06-14_13-14-02.png) Even though the randomizer is over, the boss fight remains. Source: Author. Some of these randomized games create a friendly challenge that becomes accessible to a demographic of players who may have been turned off by challenge running before. I don’t have the constitution to start speedrunning games to chase world records, but some challenges change the formula of the games we love without requiring endless hours of practice. The Jak & Daxter randomizer is but one of these challenges with low barrier to entry and high replayability. With a little searching and experimentation, I believe there’s a challenge suited for anyone using the games already in their library. The world of challenge modifications and self-imposed rule sets is vast, and what makes it rich is the community surrounding them. If this sounded at all interesting, but Jak & Daxter is not your game, I urge you to find a community around the games that you enjoy. In the age of social media saturation, there are few things more satisfying than finding a Discord full of people to connect with in your niche hobby. The setup is a little intense, but with some perseverance, you may find that you prefer it over even the base mode of play that made you fall in love with the game in the first place. ### Dumpster Baby - Finding Hope in Community URL: https://www.superjumpmagazine.com/dumpster-baby-finding-hope-in-community/ Last updated: 2026-07-01T00:36:35.000Z **Being queer right now means making constant judgment calls.** Are you open enough about your sexuality that people won’t feign ignorance despite knowing you for decades? Will they threaten you or your job? Have you found all the resources in your community? Could you survive the worst-case scenario? How do you take a deep breath and find a moment of peace when your neighbors express that they hate you and don’t have the guts to say it to your face? Play video games developed by your people. Get immersed in a world where the NPCs accept and validate you. I’ve been reading LGBTQ+ books for Pride, neglecting my gaming repertoire. My Steam library reminded me that I had purchased Dumpster Baby last year. Five developers – Josef Arnold, Sam Bowsher, Tommy Bozzelli, Angel Hardy, Leah Stewart – report on the Steam page that they made it as part of a Miami University challenge. Kudos to the team, as they knew exactly what they were doing in making a game about how to find resources when you’re homeless, queer and stressed out, in any community. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/kyle-hinkson-d2pC1hA4VJM-unsplash.jpg) Photo by [Kyle Hinkson](https://unsplash.com/@whereiskylenow?utm%5Fsource=ghost&utm%5Fmedium=referral&utm%5Fcampaign=api-credit) / [Unsplash](https://unsplash.com/?utm%5Fsource=ghost&utm%5Fmedium=referral&utm%5Fcampaign=api-credit). ## Dumpster Baby A couch-surfing raccoon, Bandit, has kipped with a friend but promises to find an affordable place. He has a job, but rents are murder; he hasn’t even tried to fill out an apartment application. His friend Betty, a bird, says that Bandit can stay as long as he needs. She suggests scouting the area for roommates while he’s hunting for apartments; splitting the rent would save on costs. Bandit takes to the idea, but who can you trust when you’re fresh out of the closet and alone? Rather than scout out who would be a good fit, Bandit opts to help people in his community. Bandit doesn’t live up to his name; as he points out, raiding a dumpster isn’t stealing when other people have thrown it away. Bandit also has no incentive to steal from his work, a grocery store. He’s lucky enough to be working, considering he has a transient address and no driver’s license. (This is a legitimate problem, by the way; most jobs won’t hire you if you lack a permanent residential address.) I appreciate that this game starts by showing the most important resource a homeless person can have: the library. A fair number of library systems can give you a card if you have a transient address, and the one in my area also has full-time social workers at select locations. As long as you aren’t mean to the staff, fall asleep in the library, or mess up the computers, you can stay for as long as you like during opening hours. Make sure to check the branch rules at the most convenient location for you. (Sleeping in a library means that other patrons may steal your items, and it creates liability issues for the staff, so please don’t.) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-38.png) Source: Steam. With that said, Bandit doesn’t just use the library for himself but to help others. If a friend is behind on crafting cosplay items for con season, he lends his paws (big MOOD, by the way). A young adult wants to read books about a career path his parents hate, and they are nosy abusers, so Bandit offers to check out the book on his card. And that’s not even going into what he can trade using crafts or gifts for Betty. While the art style and anthropomorphic world gave me Night in the Woods vibes, this story goes in a different direction. Night in the Woods focused on how trapped the main characters felt and how this melancholy led them to uncover a terrifying mystery. Dumpster Baby shows the liberation that Bandit finds in their community, and no mysterious murderer lurks in this story. We all need community more than ever, and Dumpster Baby reminds us why. I hope many people play it and don’t let the homophobes and transphobes win. ### American McGee on Plushie Dreadful, Dreadful Land, and Building a Brand URL: https://www.superjumpmagazine.com/american-mcgee-on-plushie-dreadful-dreadful-land-and-building-a-brand/ Last updated: 2026-07-01T22:51:51.000Z **I recently sat down with American McGee — the former id Software designer behind American McGee's Alice (2000) and Alice: Madness Returns (2011) — for a podcast interview about his return to games with Dreadful Land.**During our talk, we discussed this notion of aesthetics and how he himself, along with the original Alice games, were really the first time in the industry that a particular look and aesthetic was tied to a person in marketing — and what that can mean for developers today. ## American McGee's Aesthetic Thinking about the game industry and marketing over the years, there have only been a handful of times when a developer's name becomes part of the brand itself; that their name gets attached to the property. In the 90's and early 2000's, the only names I can remember are Sid Meier, John Romero, and American McGee. American McGee's Alice and Alice: Madness Returns were both third person action games; while they weren't the most challenging or deep games for their time, they made up for it with style. Today, the strategy of taking something for kids or something considered light and making it dark has become commonplace among entertainment, but for the early 2000's, it was a new concept. So much so that American McGee himself became the Penny Arcade shorthand for any property going dark for the first time. When we fast forward to today, indie game marketing has changed so much in terms of what it means to brand yourself and your studio. ## The Indie Brand In the 2010's, the idea of marketing as an indie developer and studio was about becoming known as "the studio behind X" – if you make RPGs, you're an RPG company, and the same went for platformers, horror, etc. This led to many smaller and mid-sized studios creating a niche unto themselves. But as we entered the 2020's, and indie developers today are more about sustainability rather than betting it all, there has been a change. It's not about your games becoming the branding of your studio, but your studio branding becoming a part of your games. This can be seen this decade with the rising popularity of New Blood Interactive, Strange Scaffold, and a lot of smaller developers I've spoken with over the past six years. It's no longer about wanting to be branded as just a studio who makes X, but the games being built around the style and philosophy of the studio that gets people excited. ## From Plushie Dreadful to Dreadful Land Here's our full conversation: Source: Game-Wisdom. After American McGee's very public departure from the games industry — following years of trying to revive the Alice franchise with Alice: Asylum — he turned his attention to Plushie Dreadful, a designer plushie line built around his signature dark, Victorian-tinged aesthetic. While we didn't have the time to discuss his entire career, he wanted to talk about what it was like leaving the game industry to start his own company and apply his own style to making plushies. He talked about how the plushie line is so successful that people don't know that he's behind it, but the second they find out, they can immediately see his aesthetic in it and the world and lore that are behind the plushies. It's that world building that has led him to possibly coming back into the game industry by licensing the IP — collectively called Dreadful Land — for games. And this has been a proven model for mega brands like Games Workshop, which has turned the Warhammer property into a variety of games from different developers and genres. One point that hasn't been figured out yet are the game genres that American wants to see the IP go with, as this is still very much an early concept at this time. ## Positively Plushed Speaking with American, it's funny how much the industry has changed from his time at id Software, to making Alice, to completely leaving the game industry for a time. Today, more than ever, it's important to figure out how to establish yourself and your studio beyond just your games. ### 50 Ways to Ruin Your Indie Game (and How to Avoid Them) URL: https://www.superjumpmagazine.com/50-ways-to-ruin-your-indie-game-and-how-to-avoid-them/ Last updated: 2026-06-30T21:09:56.000Z **Covering the game industry and indie development for so long has given me insight into the many ways a game can end up failing before it's even out — either from a death by a thousand cuts, or one very huge cut.** Think of the list below less as a catalogue of sins and more as a roadmap of pitfalls worth sidestepping on the way to shipping. We're going to go over *some* of the many things that can ruin an indie game before release. If you want the music video version of this, you can listen to the single I put out: This list isn't in any particular order, but there's a lot to get through. ### 1: Don't Do Any Marketing In the year 2026, there is no excuse anymore for an indie developer to not do any marketing with their game. Storefronts are not marketing; they are amplifiers for your marketing plans. Once you have something interesting to show people, you need to get that out and start planning on putting more out on a regular basis. ### 2: Wait Until the Last Minute to Market Your Game Too many developers wait until the very last minute to start marketing their game, and by then it is way too late for it to help. You should ideally be doing marketing three months out, no less than one. Speaking with marketing people in the past, the worst thing you can do to kill your game's chance is to wait until the end to start letting people know about your game. ### 3: Don't Show Any Game Footage When it comes time to actually market your game, or even your Kickstarter, there must be game footage available. If all you have is concept art or screenshots, you are not ready to seriously market your game. People want to see your game in action, as without that, they won't be able to trust that you really have a game in the first place. ### 4: Don't Use GIFs for Marketing The goal of marketing is to get people interested in your game, and you need to present them with something cool. For any game, action or turn-based, you should be able to create GIFs showing something exciting about your game — cool powers, taking over cities, even just weird scenes that make people take a look. The other point of using GIFs is that they should be on your store page for people to be able to quickly see your game in action. ### 5: Don't Have a Press Page or Contact Info Another point that is not up for debate: as a developer, you must have a way for people to reach out that's not on Discord. While a personal site is nice to have, you still need at minimum an email address. People need to reach out to you — tech support, key requests, even fan mail — and you don't want them to have to hunt this information down. ### 6: Don't Figure Out Who Your Consumer Base Is Part of your work as the game designer is being able to figure out just who your consumer base is. Are you aiming for casual players, hardcore fans, cooking enthusiasts, visual-novel readers, and so on? When marketing and designing your game, you need to be keeping this in the back of your mind, as a game without a consumer base is one that is not going to be selling many copies. ![](https://cdn-images-1.medium.com/max/1062/0*4tHH1Eo8NsQE0431.jpg) **Balatro's success came from dialing in exactly the core gameplay loop and making it appealing to that audience. Source: Steam.* ### 7: Don't Market to the Right User Base Finding your consumer base is one thing, reaching them is another. You should be trying to find forums, message groups, even local game clubs in your area if possible to get in touch. Not only does this help grow the reach of your game, but you may find potential testers this way. ### 8: Overscope Your Game An easy way to kill your chances of getting a game out is to overscope it — just keep putting more into it thinking that it will make it better. Part of being sustainable is knowing your limits as a designer to get a game out. ### 9: Spend Too Long Figuring Out What Your Game Is There is always a difference between thinking about your game in your head and actually sitting down in front of a computer to design it. Designs can change for many reasons — the idea isn't good, the idea is too big, you have a better idea, and so on. Some designers can figure this out within weeks of a project; others can, unfortunately, take years. ### 10: Don't Have a Plan for Developing It What makes game development hard for new designers is that you are trying to build a game at the same time you are learning **how** to build a game. One of the most common reasons that leads to development bloat is not having an idea of how to build said game. A simple idea can turn into weeks or months of you reading books, taking courses, or just trying to figure it all out on your own. This is why sustainability and shorter dev cycles are important when you are starting out, as it allows you to start learning the process that goes into making a game and to start building your skills up. ### 11: No Plan for Art The fact of the matter is that art is important for selling your game. For many developers, they either use stock images and create "programmer art", or lately, turn to AI to create images. Both options don't work — programmer art doesn't sell to anyone outside of the hardcore minority, and many gamers and critics aren't interested in looking at a game that was built with genAI today. If you are serious about making a game and selling it, you need to sit down and think about the art that you can do or find someone to create the art you want. ### 12: Don't Make a Great Trailer Source: YouTube. To go with the art point, your game needs a trailer to sell people on it, and that means creating a good trailer. I could spend an entire post on effective trailers, but to make it straightforward: - Trailer must be no more than 80–90 seconds. - It must show the selling point of your game. - Information about the platform it is on and release date. ### 13: Don't Set Up a Store Page Another easy fumble is not setting up your store page correctly to get people interested in your game. This includes everything from attractive capsule art to making sure you use the right tags, have GIFs and screenshots, and more. Remember, it's not Steam's job to sell your game — they are just providing a stall for you to do the job yourself. ### 14: Don't Update Your Store Images The next two points are easily forgotten on top of everything else you're going to be doing, but you need to update your marketing materials as your game evolves. You should never have images or any content on your store page or marketing that is no longer relevant. If your game does get an art update or change, then all images and marketing must be altered to reflect that. ### 15: Use Beta Footage in Your Trailer It's easy to think that you should get a trailer out as early as you can, but the trailer is the big moment for your game's marketing, and you should not rush that. A common misstep I see from developers is putting out a trailer that has old version numbers on it, different versions of your game, or just showing off the very first version with all placeholder art. When you have something good to show people, that's when you want to get a trailer ready. ### 16: Don't Do Any Playtesting Another required part of building your game is making sure to get playtesting done. You can start with close friends and family, but you must eventually get eyes on your game who will tell you directly what they think of it. Many designers struggle with this point, which leads me to this. ### 17: Don't Learn Anything From Playtesting Doing playtesting is not enough; you need to understand the feedback you're getting. This is another point that I could dedicate an entire post to, and one that many first-time developers have failed at. If you show your game to 100 people and they all can't figure out how to play it, that's not on them, **that's on you**. Part of the challenge is that you need to be able to dissect what people say and figure out what the root of their compliment or complaint is. ### 18: Only Playtest Once As your game continues to grow, so will your need to playtest. This means finding more people of different skill levels and having an idea of when to do a playtesting session. Going into it, you should ideally do playtesting for the entire game, but if you are making something unique or an original system, you may want to do playtesting focusing solely on it. Nevertheless, playtesting is not a one-and-done thing, and the best designers know to get regular feedback. ### 19: Pick an Overused Genre Every year, like clockwork, there will be a new hit game to dominate the conversation. And like clockwork, every year I get to see developers chase the new trend. Many first-time, and even established, designers will try to rush and get in on the trend with a quick take on it. I think I can count on one hand how many successful bullet heavens came out that weren't *Vampire Survivors*. ![](https://cdn-images-1.medium.com/max/1062/0*tr2thCVT7uf3rkwR.png) **Just repeating what other developers do is not how you succeed, and games like Brotato and Halls of Torment managed to do something different for bullet heavens. Source: Author.* You need to be able to sell people on a reason why they should play your take on a popular genre, and that often means doing something very different with it. At the same time, you must understand what made the game popular and not create a worse take on it. ### 20: Pick a Genre That No One Knows About Part of marketing your game is being able to get people interested in it, and that means selling them on what your game is. Another detail I see developers hate to do is create that one-sentence description of their game, but it's good to think about your game like this. If you are making something so out there that no one has ever heard of it or has a reference for it, how are they going to know if they're going to like it? The days of making something 100% original are gone — every game has some trace element of a genre or game system, and it's your job to be able to convey that to people. ### 21: Copy a Popular Game in a Genre While this may seem similar to #19, this is about directly copying someone else's design. Another thing I've seen a lot of first-time developers do is just copy a game as close as they can, maybe change the art a little, and then release it. As I said, consumers do not want to play the bootlegged version of a popular game, and this is an easy way to convince someone not to follow your studio. ### 22: Copy Your Previous Game to the Letter Game design is an iterative process, but for many developers starting out, they tend to just focus on making the same game constantly. Maybe there's a new character, or different palettes used, but it's still the same thing we've seen already; warts and all. Consumers want to see you grow as a designer and try new things or improve on what didn't work. That's also important for making better games and not just rehashing. You only have a few chances before people will write you off entirely if they see that you're just making the same game all the time. ### 23: Overdesign Your Game If there's one thing that is always an attraction for indie developers with their first game, it is to make "the dream game." One of the most surefire ways to ruin your chances of finishing a game is to plan too much out of your first title. When you are building your first game, you are going to be splitting your focus between learning the tools and coding and actually designing it. ![](https://cdn-images-1.medium.com/max/1062/0*ui3Qdap6z29riM2e.jpg) **Despite the successes like Blue Prince, the days of spending 5+ years on a single game are coming to an end if you are an up-and-coming indie dev. Source: Steam.* If you are planning on working for more than 3 years on your first project, that is way too long in today's market. Most developers I've been interviewing today are spending anywhere from 12–18 months, as they know not to overcommit to a single idea. As another point, spending so long on one title will mean that it will be harder for you to have the resources or the drive to work on another game. It's easy to look at first-time successes as the model to chase, but many of these "first-time successes" are built off of multiple failed prototypes and early projects. ### 24: Underdesign Your Game Just as you can go overboard with your game, you can also aim too low. The era where you could just copy another design, throw a fresh coat of paint on it, and then sell it for $4.99 is gone. There's nothing wrong with looking at another design and building something out of it as a work project or for research, but if you are going to sell something to consumers, then it has to be uniquely yours. You should be able to answer one simple question about your game: why should someone play it over something else? And if you can't, then you don't have something that should be on a store page. ### 25: Don't Keep Track of Your Budget If there's another aspect of game development that first-time developers can miss, it's balancing a budget. There has to be money to pay the bills and keep the lights on if you expect to finish a game. For some developers, they may work on a game part-time and have a job that helps fund things. One thing that every established developer agrees on is that you should not quit a job to work full-time on your first game. You don't need the added pressure of not knowing if you can pay your bills on top of building a game. ### 26: Go Too Early for Kickstarter Kickstarter has radically changed since the successes of the 2010s. You can't go onto the platform with nothing more than cool ideas and expect to get funding. People want to see that you are both serious about your game and that you've put something into it already. At a minimum, you need to have a demo build that shows off the main gameplay loop and plays well. ### 27: Expect Too Much From Kickstarter Part of the previous point and the economy today is that people don't have as much disposable income. It's important when you are thinking about developing your game that, if you really want it to happen, you shouldn't be banking on your Kickstarter 100% succeeding — especially if this is your first major game. Many developers have back-up plans for their games if the Kickstarter doesn't work — scale the scope down, try the Kickstarter again with a more complete build, or try to use the interest that was gained to find a publisher. This is also why you shouldn't be taking your very first ever project to Kickstarter, as people will assume that the game is never going to be finished. ### 28: Overcommit From Your Kickstarter Stretch goals and bonus content are always huge sellers and boosters to a Kickstarter, but you need to rein it in based on what you are able to do. If the stretch goals for your game functionally make it a completely different game, then those goals are too big, even if they do succeed. What can end up happening without a plan is that the additional goals balloon the game's development well past the point of the funding that was made. ### 29: Ruin Your Budget With Bonus Goods It's easy to dream big with Kickstarter and come up with all manner of bonus items, but the more you come up with, the more you have to actually develop and ship. Physical goods can be the bane of any Kickstarter project if you're not prepared for the logistics that go into manufacturing and shipping. This is part of the research and planning that must be done when you are preparing to go to Kickstarter. You need to have this figured out long before you've launched your Kickstarter, as this can come back to haunt you. ### 30: Don't Plan Your Kickstarter Budget Figuring out how much money you're going to actually need to make your game can be tough for first-time developers, or those that have never managed the budget side of game development. What we see are two extremes when it comes to problems: - Undervaluing your budget thinking that it will make it easier for the Kickstarter to succeed. - Going very high and trying to get everything you want. You should never intentionally go lower than you need, as I've seen games that have done just that and end up failing as the developers were not able to do what they promised given they didn't have the money they actually needed. Going big can work if you are already established and have a proven track record, but not if it's your first game out of the gate. ### 31: Don't Organize Your Team Whether you are working with one other person, ten, or dozens, there needs to be some kind of organization about who is doing what. Project management is an underrated skill when it comes to game development, and while you don't need to worry about other people if you are a solo dev, this will come back to bite you when you are trying to scale up. ### 32: Keep Adding Systems ![](https://cdn-images-1.medium.com/max/1062/0*NrGSBKlsMMAY6AKv.jpg) **Clover Pit and Buckshot Roulette's success is about taking a simple gameplay loop and polishing it out, rather than trying to build the largest possible version of it from the start. Source: Steam.* The allure of just adding more to your game has been a temptation for many game developers, and the cause for projects to balloon out of control. Just because game X has something cool in it does not mean you should immediately scrap what you're doing and add it into yours. Everything in your game must have a point for being there; if it doesn't, then it should be removed. Focusing on your core gameplay loop will allow you to determine what your game is about and make additions or subtractions when need be. ### 33: Never Finish Your Base Game And now it's time for the shots-fired point. How many of you reading this have gotten somewhat far into a project only to just stop for one reason or another? Game development is about finishing a game, which I know is a shock. If you don't finish your game, then you're not taking the game dev cycle all the way to the finish line and learning how to improve for your next one. Sometimes, a game doesn't work, and there's no shame in shelving it. But if you keep shelving every project and not finishing it, that's a problem. This is also again why starting out small is good, because it's easier to finish a 12–18-month project than one that takes 3–5 years. ### 34: Never Show Your Game Off ![](https://cdn-images-1.medium.com/max/1062/0*nxyD4Oq-Qs2zb3b1.jpg) **I still remember when I saw some random footage from My Friend Pedro on a Facebook group years before it got picked up by Devolver — again, all it takes is one good piece of marketing to get it all going. Source: Steam.* A continuation of the point about playtesting: you need to be getting outside feedback on your game. Whether this is playtesting, showing it off at conventions, or just letting your friends and colleagues look at it. From a marketing perspective, showing your game off allows you to build buzz off of it. All it takes is one great GIF or image and things can take off. There are examples of games that found publishers or just received a huge marketing boost just by showing off 5 amazing seconds of gameplay. You cannot go dark as a developer these days and wait until the last minute to mention that you have a game out. The moment you have something unique, cool, or interesting to show, get it up there on social media. Developers want to see other developers succeed, and they want to show these things off. ### 35: Keep Switching Game Engines Part 2 of "don't finish your game project". The game engine you're working in is going to affect what you can and can't do, and the ease of it. There are now more available and powerful game engines that you can start learning for free than ever before. What you want to avoid is having to switch engines for one reason or another — maybe there are limitations, maybe you think you can do more with a new engine. Be aware that rebuilding your game in a new engine means dealing with all new constraints and work that needs to be done. In some cases, this can be a benefit, but make sure to do your research first, as the last thing you want to do is switch to a new engine only to then switch back to the previous one. ### 36: Make Your Game Too Easy While every year's new "hard game" brings with it discussions about making games easier, a not-so-dirty secret is that there is a point when a game is too easy. Every game needs a hook to keep the player going, and if you are creating a gameplay-focused title, then there has to be something within that gameplay that keeps people playing beyond just having more levels. I've seen games where the tagline is "here's 500 levels," and those 500 levels are all pretty much the same. Making a very easy game with no challenge or growth will lead to a bored audience. Just as there is less time to be playing 80+ hour games (more on that down below), there is also less time to be playing something boring in the hope that it gets better later. If you want to make a game entirely focused on storytelling, that's perfectly fine, but then your story better hit it out of the park. ### 37: Make Your Game Too Hard Everyone likes to bring up "git gud" as the rallying cry for Soulslikes and difficult games, but the truth of the matter is that very few people in the market itself like to play overly difficult games. For many, if they die or lose a run within the first 10 minutes of playing a game, they're going to stop. The proof is the high churn rates of many popular, but hard, games within the first hour. And to go with the last point, assist modes and accessibility features do not contribute to lowering the difficulty for the general consumer. We have seen time and time again that if someone gets frustrated at a game, even if there are assist features to remove that problem, they are just going to end up quitting and not bother with them. While you can attract a niche and rabid fanbase for it, this will often not translate into sales. Even if the game does blow up, it will lead to a lot of people ***watching*** the game but not playing it. ### 38: Make Your Game Too Slow Returning to an earlier point, how many people reading this have a spare 60–80 hours a week to dedicate to one game? The era of "this game is good after X hours" has passed us. You have, at most, 30 minutes to an hour to convince someone that your game is worth investing time in, because they can go to any other game that's out there at a moment's notice. Slowness also refers to movement, shooting, any kind of action in your game. If your game is being marketed as a shooter, or a fighter, and those elements feel slow or poor, that audience is going to flee from your game. ### 39: Make Your Game Too Fast Conversely, asking someone with no experience in your game to immediately master it or die is not an engaging prospect either. There is an art to good pacing in a game: making sure that expert players don't feel bored, without ruining the experience for someone who is just trying to learn. ![](https://cdn-images-1.medium.com/max/1062/0*5Mikh12uC8njXxJc.png) **Grand Strategy games are the biggest culprit of this point, and we've yet to see one that makes the learning process easy for new players. Source: Steam.* The worst feeling in this respect is loading up a game and being completely overwhelmed by everything that's going on. This is often why a lot of people don't like to try out new genres, as the thought of being rushed into the deep end doesn't interest them. It's also why I've avoided 4X and Grand Strategy games for the longest time, as I've yet to find one that is easy to learn. ### 40: No Onboarding I've said this before: there is no game being released commercially today that should have zero onboarding in it whatsoever. Every game is someone's first, and even then, if you're making something original that hasn't been seen yet, all the more reason to include some amount of onboarding. We can even extend this thought process to the previous point about pacing. Good pacing isn't about putting someone in a game and going from 0 to 1,000, and it's not about going from 0 to 0.10\. Your goal is to provide a measured approach to onboarding and the pace of your game. ### 41: No Key Rebinding Something I still see from indie developers — and surprisingly some AAA studios — is not allowing the player to rebind their keys. There really isn't much to go over with this point: there are people out there who like to rebind their keys to their preferred way of playing, and there isn't an argument anymore not to include this feature. ### 42: Limited Control Schemes An alternative problem is when, in lieu of having key rebindings, developers simply create stocked control schemes. The idea is that each control scheme could serve a different style of play — A uses the right trigger for shooting; B uses the left. For very technical games that are about mastering a unique control scheme, this is a band-aid fix at most. To the last point, sometimes people will prefer an unorthodox way of controlling their character. A popular example for me is if a game features multiple attack types and I prefer to use one or two, I may move the other ones to buttons that I don't normally press and try to focus on the ones that I like. If a game is built for keyboard and mouse, where you have a lot of keys to build a control scheme around, then there had better be a way for players to change things. ### 43: No Options Menu This is strictly an indie problem, and one I see from first-timers and students. If you are releasing a commercial game, then it must have an options menu that includes, but is not limited to: - Sound - Visual - Controls - Graphical features Not only is this good practice, but it raises the quality of your game. I don't want to turn on a simple 2D platformer that has screen tearing because there's no V-Sync and is running at 10,000 FPS with no way of changing it. ### 44: No Accessibility Features The days in which you could use deafening sound effects, seizure-triggering lights, while requiring 300 APM button pressing are gone. Likewise, purposely designing your game around seizure-inducing effects or RSI-causing button mashing no longer works. Accessibility is not something you wait until the final hours of your game to start thinking about, but something that should be there from the beginning. ### 45: Blow Up the Consumer's Computer Another simple one but needs to be said. While it's okay to miss a few bugs, especially if you are a small developer with no QA department, your game should still be functional if you intend on selling it on any platform. And if someone does find a nasty bug with the game after release, then you need to go out of your way to fix it if you still want people to buy your game. ### 46: Using GenAI for Game Development The debate over GenAI may still be going on among other industries and larger studios, but for indie dev, it's settled: DON'T USE IT. The audience of people who are going to be buying indie games are those that know developers and want to see them succeed while putting out something creative. Using GenAI towards this group is an insult, and they will tell everyone they know not to look at your game. On top of that, developers love to promote each other's games, and if they see one that has been built with GenAI, they will let everyone know to avoid it. ### 47: Incorrect Pricing Pricing is one of the hardest parts of releasing a game. If it's too low, your game will never be able to recoup, and you may drive people away who think it's low quality. If it's too high, people will think the game is a rip-off or will just wait for a sale or forget about it. Then there is the issue with multiplayer games that demand a community to even be functional. Pricing them wrong can kill a game's chances immediately. A [recent interview with the developers of *Peak*](https://www.gamefile.news/p/peak-interview) gave an interesting perspective on the matter: > *In a player's mind, what does it mean to spend five bucks? Well, that's five bucks. But six bucks? Well, that's still five bucks.* > > *Four bucks is also kind of five bucks. Three bucks is two bucks. And two bucks is basically free.* > > *So we've got these tiers: You know, twelve bucks… that's ten bucks. But thirteen bucks is fifteen bucks.* > > *And we found that eight bucks is still five bucks. It doesn't become ten bucks. Seven ninety-nine, that's five bucks, right?* > > *So, eight bucks going to five bucks is the biggest differential we could find in pricing, so we found it very optimal.* Pricing requires you to look at the market for your game and where the perceived value comes from. You cannot price your game strictly on visuals alone anymore — stating that a pixel art game doesn't deserve more than $10, or a UE-developed game automatically gets $30\. For games that are meant to be experimental, you need to consider that with the pricing: is someone going to want to spend $20 or more on a design that they've never seen before? There is no easy answer to pricing, and yet, getting it wrong can easily kill any momentum that your marketing managed to achieve. ### 48: Overcommit to Post-Release Support ![](https://cdn-images-1.medium.com/max/1062/0*oj6bxWtfuEe2wqfF.png) **Only some games have the privilege of an almost infinite source of income and fan interest to keep seeing content come out for it, and you cannot plan your game around this happening to you. Source: Author.* A new problem that developed over the 2010s was the rise of post-release support and DLC. When it works, it greatly extends the life and sales of a game and becomes the gift that keeps on giving. When it doesn't, it can sink a game's revenue and lead to diminishing returns. However, just ignoring any thoughts on post-release content can also hurt a game and prevent a developer from striking while the fire's hot. It's important to think about what content in your game is absolutely required to be in it, and what could be considered expanding on if your game does well. This is another part of making games sustainably and focusing on small titles. Instead of version one being every single idea you've ever had for the game, version one is a complete, but small game. If it gets big, then you have a variety of ways to expand; if it doesn't, then you move on. Even if you have a best-selling game that blows up, that doesn't carry with it infinite support. There will always come a time when there are literally no more ideas left. As a designer, you need to know when your game is completely and utterly "finished." ### 49: Only Have One Game Idea There was this period in the 2010s as developers were first getting into indie dev that the common message I kept getting was "this is my dream game that I spent X years on." And every time I asked a developer what they wanted to do next, they had no idea. The biggest change in development mentality now compared to the 2010s has been talking to developers of smaller games — no more than 18 months to 2 years of dev time. The idea of spending 5+ years on a single game is considered crazy. More importantly, when I interview a developer today and ask them what they want to do next, they always have multiple ideas. If you want to survive long-term in the industry, you cannot put all your eggs in one basket and hope that one game is going to be your ticket to success. People like to point to titles like *Balatro* as having that sudden appearance of success, but every game that "just appears" is often built on the backs of failed projects and unreleased prototypes. ### 50: Never Release Anything The last, and most painful, point is never getting to the point that you can release, well, anything. Some developers are perfectionists, some keep chasing the latest trend, some are afraid of showing their work off. If you want to be considered a game developer, you need to release something. Thanks to Itch.io, you don't even need to spend money for a store page. Getting a game "release-ready" is the last step, and one that can feel like torture the first time you do it. However, no matter how painful it is, you need to rip that bandage off. Learning how to finish and ship a game are the skills that will make your next game easier to finish. This also relates to getting the store page finished and the other marketing beats mentioned earlier. Any mistakes you do make are lessons for next time. And with that, the list comes to an end — though there are plenty more pitfalls out there worth knowing about. If you'd like to contribute to a sequel, let me know your own additions in the comments. ### Now Playing at SUPERJUMP, Issue 41 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-41/ Last updated: 2026-06-27T23:21:58.000Z **We're back with a brand-new Now Playing!** We've got everything from AAA games to an actual physical trading card game in this issue; it might be our most diverse lineup yet!No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ## Jahanzeb Khan ### Tiny Bookshop [Cat Webling gave this cosy little gem a shout](https://www.superjumpmagazine.com/now-playing-at-superjump-issue-37/) in a previous issue, and I picked it up just on that recommendation, but only got to it recently. The delay was because cosy games tend to have an intimidating setup, with things and systems to learn, but Tiny Bookshop wasn't like that at all. I was blissfully immersed in this bookish creative world almost instantly. The experience has some moving parts, but they never get in the way of the true objective: books. There are so many books here across the typical bookstore genres; there must be hundreds, and all of them are real books. It's honestly a great way to simply browse and discover your next reading obsession! Bookshops are my haven, not gameshops with clerks nagging me to put down preorders or purchase disc-protection insurance. This haven is where I'm surrounded by tomes filled with so many worlds and possibilities. Tiny Bookshop captures that feeling, and hands you the reins. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-23.png) Source: Steam. From shelving ergonomics to starting a pot of coffee, there are so many ways to make your pop-up business feel like home. My favourite part is helping customers find their next read, based on their specific interests and reading habits. And it's a secondhand bookseller too, which means hunting down boxes of hidden gems. If you think books are tight, then this game is for you. You heard it here from two writers! ## Jake Lang ### Pokémon Trading Card Game The new Chaos Rising expansion was just released last week, and while the meta continues to be dominated by Dragapult, there are a few developments from this new set that have me excited. The first and most exciting is the arrival of Beedrill ex. For just one Grass Energy, Beedrill ex deals 110 damage for every Pokémon in play with the name "Beedrill." When it lines up, that means you can one-hit Dragapult for 330—or go even bigger for 440 if you manage to get 4 Beedrills online, a feat more possible than you might think with Celebi, Forest of Vitality, Bug Catching Sets, and the Dudunsparce engine. This deck might not be a Dragapult killer—what is?!—but it's fun, and I think viable at real tables too. It's at the very least strong enough to bring to the ranked ladder. One interesting thing to watch will be how this deck evolves as players outside of Japan get their hands on it. Many early lists included Arboliva ex, whereas newer ones don't. Cutting it may mean a faster setup of multiple Beedrills, but at the cost of the spread damage possibilities Arboliva brings, which are quite valuable. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-14.png) "AvaSLUGG decklist played by 13th Place City League Gunma 04/19 - マチ." Source: [Limitlesstcg.com](https://www.limitlesstcg.com/decks/list/jp/69244) The second development is the arrival of what I'm dubbing AvaSLUGG. Avalugg, the evolution of Bergmite, arrived and immediately reminded me of Mega Abomasnow ex. It's a Water-type Pokémon whose modus operandi is damage scaled through discard. For just one Water Energy, Avalugg discards the top 6 cards from your deck, with each Water Energy among them counting for 60 damage. This is essentially Mega Abomasnow, which does something similar for 2 Water Energy at 100 damage per card. I'm opting for the Avalugg build, though—60 damage per is quite strong and doesn't carry the 3-prize liability Mega Abomasnow does. To be fair, while I'm dubbing it AvaSLUGG, neither the deck idea nor the list I've been running is mine. I found it on Limitless after searching to see if anyone around the world—namely Japan—had figured out a way to use this card. This is by no means a list I'd bring to a league challenge or beyond, but it's been a blast on TCGL, and I might take it to locals someday soon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-17.png) Source: Author. ## Ben Rowan ### The Legend of Zelda: Link's Awakening DX I really didn’t have a plan when I recently booted up The Legend of Zelda: Link’s Awakening DX via Switch Online. I’ve been deep in Breath of the Wild lately, and I think my brain just went, “More Zelda. Any Zelda.” The next thing I knew, I was stranded on Koholint Island, tapping buttons like it was 1999 all over again. This is probably because I’ve been binge-watching Gaming Historian’s documentaries on YouTube and came across his [episode on the legendary development of Link’s ](https://youtu.be/pfvk6CJ3v34?si=GsxCaUacvlyJS3kW)[Awakening](https://youtu.be/pfvk6CJ3v34?si=GsxCaUacvlyJS3kW), which reframed the whole thing for me. The game didn’t begin as some big, official tentpole Zelda project. It started as an after-hours experiment, a tiny passion project. One of Nintendo’s programmers wanted to see if a handheld Zelda could even work, and the team treated it like an “afterschool club.” That approach matters because you can feel it in the final game, which has a whimsical ‘anything goes’ vibe and isn’t afraid to get weird. The island is packed with cameos and off-brand oddities like Chain Chomps, Goombas, a Yoshi doll, and characters that look suspiciously like Mario in disguise. And there’s the offbeat storytelling too, which feels refreshing in a world of RPGs that take themselves far too seriously. The devs have cited the early ’90s TV series Twin Peaks as an influence, and that tracks in a way I never would’ve expected from a Game Boy title. Koholint Island feels like a small town where everyone has a routine and a secret. The denizens here aren’t just a checklist of NPCs waiting to hand you a key; It’s cozy, but something is slightly off. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-18.png) Source: Author. As a game, Link’s Awakening still rules. It has that Nintendo magic where every screen has a purpose, every dungeon teaches you a new trick, and every new item cracks open the map in satisfying little chunks. It’s open in the way a good Metroidvania is open. You can roam, double back, and poke at the edges, but progression has a clean cadence as each dungeon clicks nicely into place. I’m actually really excited to play the 2019 remake now. I never got around to playing DX back when I had a Game Boy Colour in the early 2000s, which feels like a personal failure. But I just don’t recall ever seeing it on a store shelf, and I was too busy with Metal Gear Solid and Mario Tennis anyway. On the Switch in 2026, though, it’s a perfect palate cleanser for me between Breath of the Wild sessions: compact, clever, funny, and shockingly deep for the hardware. With all the current hype around games like Mina the Hollower chasing that 8-bit adventure feel, it’s nice to remember this style just never gets old. Link’s Awakening did it first, did it well, and did it strangely. ## Nathaniel Kelly ### Shin Megami Tensei: Strange Journey Redux I played many games in the last month. The one that ended up sticking the most was the 3DS re-release of the Shin Megami Tensei throwback RPG aptly titled Strange Journey. It’s very similar to mainline Shin Megami Tensei in theme, but stands on its own by not taking place in the actual apocalypse, but rather just before. The plot is really reminiscent of the film Annihilation, despite having been released well before that movie. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-22.png) Source: Author. It’s my first Shin Megami Tensei game, and despite being a long-time Persona fan, there’s a lot to learn here. The dungeon crawling is more tense and strategic, with a focus on not dying rather than Persona’s focus on progress before deadlines. Creature-collecting games are typically not my jam, but these games are much faster and have more frequent team changes, which really keeps me engaged. Constantly fusing has me always considering who is in my party and what skills they have. Being able to dump extra skills onto them during fusion also makes every fusion feel really impactful. I just got past the first boss, and I’m in the optional dungeon making my new team at the moment. The new optional stuff is okay, but since it’s not critical to progression, it doesn’t have the same feel as the main quest dungeons. I’ll still do it, though; you get more out of the end of the game for doing it if the community is to be believed. I’m really enjoying my time with this one, and everything from the setting to the combat has gripped me. Looking up other games in the series has also made me look forward to all of the future adventures just waiting to be had. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-15.png) Resident Evil Village. Source: Press Kit. ## Bryan Finck ### Resident Evil Village I never thought there would be a Resident Evil game to equal my love for RE4, but Village has done it. Leon's Spanish adventure is still the best 3rd-person entry, but the end of the Ethan Winters saga takes the cake for Capcom's foray into the FPS side of things. RE7 walked so Village could run. Everything about the 8th mainline entry in Capcom's colossus sets a new standard in quality for the long-running series. The graphics and environments are stunning, the roster of enemies (especially the Lycans) is terrifying and tough, and there's a perfect balance of gunplay and survival horror. The bosses were a huge improvement from RE7, too; they gave a nice bit of variance to the standard formula, especially the last mini-boss (no spoilers, just go play it). I've now played all the mainline games except the bookends; I doubt I'll ever play the original, but I'll certainly play Requiem once it goes on sale, and I am beyond excited for Veronica! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/MIna-spark-cutscene-view.jpg) Source: Press Kit. ### Mina the Hollower I was lucky enough to receive a code the day before Mina released, and [reviewed it over at Seasoned Gaming](https://seasonedgaming.com/2026/06/09/review-mina-the-hollower-youll-dig-this-game/). Mina is a really tough but incredible throwback to the days of the Game Boy Color, with all the tough stuff that went along with that era. Knockback, touch damage from enemies, pitch-dark rooms to navigate, snow and ice levels where you’re sliding all over; they all make an appearance and can be as frustrating as you remember. But the feeling of playing the game is sublime, as is the attention to detail in the environments and characters. If trophies and replayability are your thing, then Mina is right up your alley. Secret rooms, secret bosses and NPCs, modifiers to make the game easier or harder; you name it, and it's all here. Yacht Club Games has created the perfect follow-up to Shovel Knight, so if you're a fan of retro games, you won't want to miss this one. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Renewing the Novelty of Pokémon URL: https://www.superjumpmagazine.com/renewing-the-novelty-of-pokemon/ Last updated: 2026-06-25T20:32:27.000Z **The best Pokémon games are not ones that are bigger or better; instead, the best games in the franchise are ones that evoke a genuine sense of novelty.** This novelty is different from, say, adding new features or bringing the creature count to over 1000\. It's more about taking the core experience and rejuvenating its foundations to feel just as novel as it did the first time. I remember when Pokémon itself was a new thing; those Red/Blue cartridges flew off the shelves, and everyone had one (or both), simply because there was nothing quite like it before. The formula itself remained unchanged over the next few decades, and over time, I had an on-and-off relationship with the franchise, until I reached a point where I couldn't be bothered playing Sword/Shield all the way through, and I haven't picked up a mainline title since. There are titles that provide a breather from the mainline cookie-cutter grind, the earliest example being Pokémon Snap and its unique photo safari experience, which even saw a sequel on Switch. The recent unanimous praise and record sales of Pokopia demonstrate the need for fresher alternative experiences. Throughout its storied history, the Pokémon franchise has successfully presented novel perspectives on its core premise. Here are some strong examples from more recent times. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-16.png) Source: Nintendo. ## Pokémon Let's Go (Pikachu/Eevee) Taking its namesake and primary gameplay mechanic from the still-successful smartphone app, I enjoyed Let's Go more than most of the other entries in the franchise, as even the gimmicky catching system was enough to help me get something different out of what was a wholesome remake of a Game Boy classic. While I enjoyed the novelty of 3D back when X/Y launched for the Nintendo 3DS, even then the basic gameplay formula had long outstayed its welcome, at least to my gaming tastes. Still, I was cautiously anticipating something else on the horizon. I envy those who are discovering video games for the very first time. I can just imagine how amazing it must be for Final Fantasy XVI to be someone's very first RPG, or even for someone discovering Pokémon for the first time today, where instead of the 151 I had to cherish in my childhood, newer players have their pick from nearly 1000 and still counting. The tried-and-tested formula has its place; after all, there will always be a whole new generation of gamers discovering it for the first time. Yet, at the same time, those of us who played the Game Boy in our childhood, and have somehow held on to this hobby as long as we have, need something to rekindle that discovery. Let's Go gets the job done by revamping and updating the iconic Pokémon Yellow experience that was a big part of so many childhoods. ![Screenshot from Pokemon Let's Go Eevee; a trainer holds her Eevee companion on her arm as they prepare to battle.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Pokemon_Let_s_Go_Pikachu-_and_Let_s_Go_Eevee-_screenshot_2.png) Source: The Pokémon Company. ## Pokémon Legends: Arceus Pokémon Legends: Arceus is a game that achieves exactly that, for it genuinely feels like a reintroduction of a sound gameplay concept, and yet it feels like something completely new at the same time. The game takes place in the past, showing a setting where humanity has only just discovered these creatures for the very first time, and the player is more interested in researching and learning about these pocket monsters who reside in uncharted territories. Rather than being fixated on building their own private collection for bragging rights, players focus on making a contribution to better understanding these mysterious inhabitants, at times even having to capture multiple variations of the same monster. The convenient Pokédex we have taken for granted for several decades is now something which must be created from the ground up as a humble scrapbook. It's a surreal and genuine sense of discovery and wonder, and even the most seasoned players can't help but feel like they are discovering something anew, something they've known all their lives, as if for the very first time. ![A screenshot from Pokemon Legends: Arceaus; Arceus, illuminated by light in space.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/17.jpg) Source: The Pokémon Company. ## Detective Pikachu There have been many petitions in the realm of video games, but none stranger than the petition for Nintendo to get Danny DeVito to be the voice of Detective Pikachu... but of course that didn't happen; it wasn't even remotely possible. Still, the very strange Detective Pikachu 3DS game was localised in pretty decent fashion, but what happened afterwards was even more stunning: a Hollywood-sized production of a Detective Pikachu movie by Warner Bros., directed by Rob Letterman, with none other than Ryan Reynolds of Deadpool fame voicing the unlikely hero himself. Detective Pikachu was clearly intended for a much younger audience, but it certainly captivated everyone to a point where a legitimate big-budget studio was interested in turning it into a movie which, in all seriousness, looks very good. Even with its straightforward and simple adventure gameplay, Detective Pikachu as a 3DS game still fleshed out the Pokémon universe in a very creative and inventive manner, allowing players to see these battling pocket monsters in a whole new light. The unlikely detective himself proved to be a charming and memorable character in his own right, making him the variant of Pikachu we never knew we needed. It also helped that the game was released alongside a pretty impressive limited edition amiibo figurine. The movie used CG animation in convincing fashion to literally bring the classic creatures to life, realising an age-old imagination we all probably had about Pokémon coming to life. The attention to detail really answers the "what if Pokémon were real?" question we all likely had at some point in our childhood when we were playing Pokémon Yellow on our Game Boys. The success of the film encouraged Nintendo to make another Detective Pikachu game for the Switch, which was a far more realised game than the original 3DS title. ## Pokopia Talk about a runaway success; some parts Animal Crossing and some parts Dragon Quest Builders, Pokopia skyrocketed as one of the highest-rated and best-selling Pokémon games in recent memory. Taking control of a Ditto, Pokopia is about treating the pocket monsters as equals, together rebuilding a bustling community. It's easily one of the best Switch 2 titles of 2026, and offers a gameplay loop and creative freedom that lets players build and rediscover their own sense of novelty. Sure, Squirtle can be a little fussy with his living arrangements, but these guys deserve a comfortable home away from the confines of a Pokéball. ![A screenshot of Pokopia; Ditto in their trainer form cheers with Charmander, Bulbasaur, and Squirtle in a woodsy area.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Pokemon_Pokopia_Screenshot_3.jpeg) Source: The Pokémon Company. ## Pokémon Champions The excitement and hype surrounding Pokémon Stadium on the N64 was an event, and although the latest incarnation of the concept is a free-to-play title, Pokémon Champions reintroduces Stadium in a new context as a serious competitive title. The best part is, there is absolutely no reason to spend any real money on it, and it's perhaps one of the least intrusive free titles in a while. There's a lot to discover and enjoy here, and the competitive scene offers no shortage of opponents and diverse teams to create novel match-ups each time. Turning the series' core RPG combat into a competitive versus fighting sport is a smooth and flawless transition, and hopefully support for this title lasts long enough to add more to the experience. ![A screenshot of Pokemon Champions; Gardevoir shoots a psychic blast at Hydreigon.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Pokemon_Champions_Screenshot_2_EN.png) Source: The Pokémon Company. For fans of the franchise, including cynical lapsed players, these are titles that bring a fresh perspective and novelty to the setting and universe in ways that go beyond just a quirky spin-off. If you feel a little burnt out by the main series, then these compelling alternatives will have you humming the iconic theme song like it was 1999 all over again. ### Among Us Animated Pilot Shows a Capitalist Nightmare URL: https://www.superjumpmagazine.com/among-us-animated-pilot-shows-a-capitalist-nightmare/ Last updated: 2026-06-21T19:00:13.000Z **I was skeptical on hearing there would be an Among Us show based on the game; even more so when** [**the pilot dropped**](https://www.youtube.com/watch?v=gDq4g%5FjzmGg) **on June 13.** How do you make an animated show featuring two people backstabbing an entire team by murdering them and turning the survivors against each other? Point out that it's basically capitalist America. In hindsight, handing the production reins to [Owen Dennis of Infinity Train](https://www.imdb.com/title/tt8146754/) fame makes perfect sense. Dennis crafted a brilliant narrative about a train that forces you to face your flaws, losing time and possibly your life in the process. It makes sense that his team would understand how to translate an impossible concept into a "murder mystery". The production crew also has no chill, considering they show a corporation that treats employees as expendable resources and forces everyone to obey orders regardless of common sense. It surely has nothing to do with the [parent company, Paramount+, catering to a certain fascist's whims](https://www.ap.org/news-highlights/spotlights/2025/paramount-will-pay-16-million-in-settlement-with-trump-over-60-minutes-interview/) and enshittifying its nonfiction media. Nor may it be related that [another CEO tried erasing Infinity Train from existence, and the company tried reassuring Dennis that the cancellation wasn't for tax loopholes](https://www.cartoonbrew.com/ideas-commentary/infinity-train-owen-dennis-warner-discovery-220453.html). Dennis and the production crew knew the assignment: develop characters, kill them, and tell a story. Boy, did they go for the extra credit. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Screen-Shot-2026-06-17-at-12.54.30-AM.png) Source: Paramount+. ## Could You Kill Your Friends? A few years ago, I refused to hurt a group of people I called friends when playing Among Us as the Impostor. It felt so wrong, especially with COVID and certain governments killing people, encouraging us to turn in the vulnerable or snap their necks. Getting killed by my friends made me scream; I didn't find the experience fun at all. It's 2026\. I'm no longer friends with most of the people in that group. So, if there were a round two? I wouldn't hold back this time. Screw 'em. ### What Is Different About the Show? Capitalism encourages us not to be loyal to friends, coworkers, or companies. More the opposite; leaders and managers with no regulation cut corners for the sake of profit. People will toss others under the boss and not explain the changing rules. Any friends you make go "Poof!" when one of you leaves. Heck, some individuals try getting unions to vote for their self-destruction. In the games, any camaraderie resets with each round. A person you trust may snap your neck in an instant. But in the show, the real crewmates have an odd camaraderie, with some promising to help with fair payment and others working 24/7 to keep everyone alive. Still, they're doomed by the end. The game version of Among Us tells us to trust no one, not even our closest friends. But Among Us, the pilot, tells us to distrust the system. ## Becoming a Pilot Green and White are the newest recruits to the Skeld, a transport shuttle. While White is the epitome of privilege – surprise, surprise– Green is an unpaid intern who dreams of becoming a shuttle pilot. They meet the crew with little chaos: Orange, the HR rep; Cyan and Black, in gemology and geology, respectively; Lime, the engineer; Blue, the "hot doctor"; Yellow and Brown, the socialist chefs; and Red, the captain. Purple, the security guard, however, is missing. They skulk around the ship before confronting management for being "irresponsible". An impostor also lurks, murdering the crew one by one. Thanks to Red, they won't reach safe harbor in Industria for a week, with comms damaged as reported by Orange, so they're on their own. But who would do this? And why? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Screen-Shot-2026-06-17-at-1.20.33-AM.png) Source: Paramount+. ## No Chill from the Writers The HR Orange lady made me groan in recognition. They are the epitome of all those misspelled and outdated HR manuals that lull you into a false sense of security when you're given the chance to proofread them for work, and then they don't apply any of the edits. Orange's desire to ignore Yellow and Brown as they inform Green the intern that they deserve proper pay made me laugh and shudder at the same time. Yellow and Brown earned my love for radicalizing the underdogs. Purple is a mood, as the head of security, working within a faulty system. As they point out, this is a very unsafe ship, with a captain who is a complete idiot. Red's decision to let White drive, something that Purple warned Red *not* to do, causes an asteroid collision, and Purple is brusque with the captain. The two have a tense history. It all reflects many of the same tensions found throughout workplaces everywhere. ## Time to Make a Report If you're going to adapt Among Us, you need one heck of a story that the original game can't have by design. The story the show presents pays homage not just to the original incarnation but also to the murder mystery genre. I don't know if I'll continue the series or wait for season one to come out on DVD. What I do know, though, is I'm applauding the production crew for taking a silly premise and keeping us glued to the TV. ### A View from the Other Side of the Screen URL: https://www.superjumpmagazine.com/a-view-from-the-other-side-of-the-screen/ Last updated: 2026-06-22T02:59:48.000Z **If you read SUPERJUMP, you're probably here for the games themselves.** I want to offer a slightly different view:the one from behind the screen, where someone is fumbling to build those gaming moments for the first time. By day, I've been a software engineer for over 10 years, mostly in cloud and web. I'm comfortable with PHP, JavaScript, and Python, among others. But about a year and a half ago, I got curious about how games are actually made. I bought a few books (the [Code the Classics volumes](https://www.raspberrypi.com/news/code-the-classics-volume-ii-from-raspberry-pi-press/) were a wonderful starting point), followed tutorials, and fell for [Pygame](https://www.pygame.org/news). Last October, I went further and started building my own little games: an idle game first, then a small city builder, picking up game design and pixel art along the way. The trouble with building games only for yourself is that you can tinker away forever and never finish anything. So a few weeks ago, I decided it was time to actually *ship,* or in other words, to put something out to the public, with my name on it, in front of strangers. I work best inside walls: the tighter the constraints, the more I'm forced to be creative. A game jam is nothing but walls, which is exactly why I signed up for one. My first jam was the [Campfire Creators Jam #2](https://itch.io/jam/campfire-creators-jam-2): build a game in two weeks (not much time at all) with a single rule: you had to use a provided campfire spritesheet. Here's what came out of it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/01---first-round.png) After a few days, I already started to have something. Source: Author. ## Campfire Stories: Cooking While Someone Bares Their Soul After a few days of just thinking about the theme and the feeling I wanted, I landed on a narrative game. You play as a cook at a campfire on a cool summer night, grilling skewers for the strangers who sit down across from you. Simple enough. The twist is that while you cook, they talk and tell you real, personal things. The entire game lives in the tension between *listening* and *watching the fire*. One of my characters is Albert, a retired banker in his sixties who has loved medieval history since he was a boy poring over his grandfather's books. He visits the fire three times across a night, and he only opens up if you've truly been paying attention. I won't spoil the story for you here; feel free to install the game and find out for yourself, and please feel free to send feedback and suggestions. On the technical side, I deliberately chose to build in [**MonoGame**](https://monogame.net/) rather than Pygame. I'd been learning the framework for a couple of months, I'm still a beginner in C#, and I wanted to put it to a real test. The experience was genuinely great, something I'll reach for again. The game runs on macOS, Linux, and Windows, and I open-sourced the whole thing. You can play it [here ](https://tdimnet.itch.io/campfire-stories)and dig through the code [here](https://github.com/tdimnet/learn-monogame-by-doing). I'm happy with how it turned out, though, as with anything you make under a deadline, there are things I'd do differently. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/06---sixth-round.png) The last screenshot I took: I draw all the assets with Aseprite. Source: Author. ### What Went Well The first thing I'm proud of is that I didn't dive straight into code. I forced myself to *plan*, or in other words, to sit with the idea before building it. I wrote a proper Game Design Document (GDD) and got most of my thinking down on paper, which meant I could share it with friends and use AI tools to pressure-test it before a single line of C# existed. That single habit probably saved the project. That said, the GDD process and the weeks that followed taught me something I didn't expect about those AI tools. They genuinely do make you more productive; that part is real. The catch is what that productivity quietly turns into. Because adding one more thing is so fast and so easy, you keep adding a feature here and a flourish there. A lot of it was never in the plan you started with. You feel like you're shipping a great deal, and the tool leaves you feeling both productive and clever. But much of what you're "delivering" is scope you never actually decided on. That's what makes these tools remarkable and a little dangerous at the same time; the productivity is real, but so is the drift. I came away convinced you have to use them carefully, especially for code, with a firm idea of where your project is meant to end. For your information, I did not use Claude Code, only Claude. I link it to my GitHub repositories, and I work only sparingly with it as a partner. The second thing, and honestly the biggest, is that I *finished*. I think of jams the way I think of hackathons, and the trap is always the same: we aim too big. I've actually won a few hackathons over the years, and even then, I was wrestling with a project that was too large. So, for me, the accomplishment here was never about placing in the jam. It was about taking pleasure in the work, learning, and crossing the finish line with something real. And I learned a *ton*. I figured out how to link and use an external library inside a MonoGame project. I built two gameplay loops at once: a conversation system and a cooking system, and I braided them together, which was every bit as tricky as it sounds. The truth is that I'm a noticeably better game-maker now than I was a few weeks ago, and I genuinely can't wait for the next one. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-13.png) Source: Author. ### What I'd Do Differently Next Time The honest headline is: I should have scoped smaller. I built two brand-new systems at once, a dialogue engine *and* a cooking engine, when I'd never built either before. Each would have been a perfectly good jam project on its own. Doing both meant that for a while, I had two half-finished things instead of one finished one, which is a stressful place to be with a two-week clock running. Will I avoid that trap next time? Probably. Or I won't, and I'll learn it all over again. That seems to be how this goes. I think I already know the fix, though, because I read something that stuck with me about how experienced solo developers work. They tend to build *one complete feature at a time*: they take a single feature all the way through, the design, the code, the art and spritesheets, and even the sound, before moving to the next one. The beauty of working that way is that you always have something *finished* to show. That matters when you want to put your game in front of people, and it matters just as much for your own morale; there's nothing quite like the slow grind of two unfinished systems to wear you down. So next time, that's the plan: one complete, polished feature before I let myself start the next. Less impressive on paper at any given moment, maybe, but far steadier, and far kinder to the part of me that needs to see progress to keep going. ### What's Next? For now, I'm going to take a short break from building and go back to the theory. I've got two courses waiting on Udemy that I'd like to actually finish. There's a quiet pleasure in slowing down and shoring up the foundations between projects. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/alexas_fotos-frog-927764.jpg) A small hint for my next game. Source: Author. After that, another jam. I've already found one that has me genuinely excited: [Retro Recreation 2026](https://itch.io/jam/retro-recreation-2026). I even think I know which game I want to make. I'll be staying with the tools that served me so well this time, MonoGame for the code and Aseprite for the pixel art. If there's one thing I've taken from all this, it's that finishing something changes how you see yourself as a maker. I came into this jam wondering whether I could actually ship a game. I came out the other side already itching to do it again. Honestly, that feeling of being half exhausted and half lit up, scrolling through jam listings at midnight, might be the best part of the whole thing. ### The 100-Yen Democracy Part II: The Hero with a Thousand Faces URL: https://www.superjumpmagazine.com/the-100-yen-democracy-part-ii-the-hero-with-a-thousand-faces/ Last updated: 2026-07-11T10:44:00.000Z READ THE SERIES ▶ [ WORLD 1 · PART I The 100-Yen Democracy PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy/) [ WORLD 3 · PART III The Gift of Courage PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy-the-gift-of-courage/) **"Video games are just toys."** This sentiment may seem lighthearted and simplistic, but there is a fundamental nobility and even a form of democracy at the heart of this idea that I believe we must protect. In [Part I](https://www.superjumpmagazine.com/the-100-yen-democracy/), we discussed the relationship between video game hardware and software (the plate and the soup) and the democracy at the heart of the medium, especially in its early days where a simple ¥100 coin brought gamers of all backgrounds together on an equal footing. ## CHAPTER 3 ### "It's You": Why Mario Is the Hero with a Thousand Faces When we insert a ¥100 coin, the curtain rises, revealing an expansive world of equality beyond. A single figure appears before us; he's a humble, moustached plumber with a distinct red hat and his name is *Mario* (originally known as "Jumpman"). But here, we're struck by a curious question: Why do people from all over the world – different nationalities, ages, and genders – feel such a strong connection to this chubby little guy who looks nothing like them? Why are they able to see themselves in him? The answer can be found in the Super Mario Bros. 40th Anniversary commercial, which is itself rooted in a core philosophy that Nintendo has upheld for over forty years: "It's You." At this point, I turn to mythologist Joseph Campbell. He studied myths from around the world and identified a common structure followed by all heroes: "The Hero's Journey". It is a cycle in which a protagonist living an ordinary life receives a call, overcomes trials in an unknown world, and eventually returns with treasure (which can also be interpreted as *growth*). This structure – known for serving as the framework for many stories, including the iconic Star Wars films for example – aligns perfectly (perhaps sometimes to a cruel degree) with video game experiences. MARIO001000 COINS×65 WORLDTV COMMERCIAL TIME400 SHUN TAKATA "Why do people from all over the world – different nationalities, ages, and genders – feel such a strong connection to this chubby little guy who looks nothing like them? Why are they able to see themselves in him?" ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/smb-tv-overlay.png) THE HERO'S JOURNEY This is because video games are, in essence, the democratisation of the Hero’s Journey. Mario answers the call to rescue Princess Peach and heads to the otherworld of Bowser's Castle. Link obtains the mystical aid of the Master Sword and confronts the shadow known as Ganon. Monster Hunter, Dragon Quest, and Pokémon follow the same process, in which the player steps into uncharted territory and, through their own power, overcomes the environment — tracing the archetypes of myth that Campbell described. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-31.png) Super Mario Odyssey. Source: Press Kit. Campbell expounded on the universality inherent in myth: the human soul, he argued, requires a shared narrative that transcends time and place. What I wish to assert is that the equality video games bring lies in making this universal mythic experience accessible not to a select few, but to anyone holding a ¥100 coin. Where myth was once the preserve of storytellers and the privileged classes, the video game — as a vessel — now lets anyone, regardless of nationality or wealth, begin their own Hero's Journey from the same starting line. This hero is not a specific individual, but a symbol of the spirit of every human being who faces adversity. Mario and Link are not characters with vivid personalities or detailed backgrounds; they are intricately crafted giant vessels of nothingness, designed to house the player's soul. The right for everyone, equally, to become the protagonist of their own myth — is this not the very essence of the noblest form of democracy, the one pioneers like Nintendo imbued within the box of hardware? And when you wish to leap over a high wall, Mario jumps in your place. When you face a formidable foe, he summons the courage on your behalf. As long as you hold the controller, Mario's heart beats through your fingertips, and his adventure becomes part of your own life. He did not become the world's most famous character because he possessed special powers; it's because he was the one who accepted you the most, and affirmed your challenges just as much as his own. MARIO001300 COINS×82 WORLDNEW DONK CITY TIME520 SHUN TAKATA "It wasn’t Mario who saved the world. It was you who faced adversity through the vessel of Mario." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/smb-tv-overlay.png) THE HERO'S JOURNEY Generally, the protagonist of a story is given a personality built from a detailed profile, a backstory, and unwavering convictions. But Mario is different; he is surprisingly taciturn, and his background is simple. That's because the final piece of the Mario character isn't filled in by the developers, but by you — the person sitting in front of the screen. When you control Mario and jump over a Goomba, it is not Mario who feels the exhilaration, but you, the player. When you fall into a deep pit, it is you who bites your lip in frustration. Mario's growth is not a matter of rising stats, but of your own fingers becoming more skilled and your heart gaining the strength to face challenges without breaking. This is the transfer of sovereignty the video game medium has achieved — a feat no other medium can replicate. In movies and novels, the Hero's Journey remains vicarious: the audience follows in the hero's footsteps. In video games, it is a journey taken as a participant, where the story advances as the player makes decisions, presses buttons, and takes risks. We perform Campbell's "Descent into the Abyss" with our own fingertips, and it is this active commitment that fully synchronises the player's soul with the vessel that is Mario. Mario is the world's most accessible mask. You grasp the controller, and in that instant he sheds his identity as a plumber and becomes one of Campbell's "Heroes with a Thousand Faces," embodying your will. The concept refers to a single universal heroic spirit that manifests in different forms across eras and cultures — and from a cultural-anthropological perspective, it is highly significant that the newest mask chosen to embody that spirit in the latter half of the 20th century was a moustached plumber born in Kyoto. Through digital technology, he took the privileged narrative of myth and, under the guise of the entertainment we call games, redistributed its hidden interactive experiences equally to all of humanity. The phrase "It's You," adopted by Nintendo for its 40th anniversary, is not merely a catchphrase. It is an expression of the utmost gratitude and respect for the players who have supported this culture for 40 years. From this perspective, it becomes clear that the equality of the bowl (hardware) discussed in Chapter 1 and the democracy of the ¥100 coin in Chapter 2 existed for this single purpose: to make everyone a hero, the entry point set "equally" at ¥100, and the bowl that receives it fair to all. It's You. As long as this philosophy endures, video games can never be mere consumer goods. They are modern myths that let us rediscover our own potential by becoming someone other than ourselves and overcoming what stands in the way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-33-1.png) Shigeru Miyamoto, the father of Mario. Source: [Wikipedia](https://en.wikipedia.org/wiki/Shigeru%5FMiyamoto) (CC BY 4.0). ### Becoming Human: A Heroic Image Perfected Over 40 Years​ Precisely because Mario carries so little specific background, people all over the world have been able to accept him as a neighbour, or even as themselves. And now this "It's You" philosophy has reached a culmination. Shigeru Miyamoto has remarked on Mario's evolution in recent games that "Mario has finally become a human being." The character born 40 years ago as a collection of pixels has, over the long years, gained the texture of a human being like us. This does not mean he has drifted out of the player's grasp into a distant figure — quite the opposite. Now that his hardships, his feelings for his family, and his gritty courage to get back up after failing resonate more vividly, the cycle of imperfection and retrying comes alive: he takes damage and shrinks, falls into holes and fails, yet keeps running. That frailty echoes our own daily lives as we hit walls in the real world — and the Famicom-era slogan from Chapter 2, "It's so frustrating, but I can't stop!" The more human he becomes, the more deeply players can project their own setbacks onto him, engraving each hard-won victory as a personal one. "It's You" has thus evolved beyond the act of controlling Mario into a deeper affirmation of the soul, in which his humanity resonates with your own. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-34.png) It's You, MARIO TV commercial. Source: [Nintendo](https://www.youtube.com/watch?v=dNT-TzDfQr0). ### A Mere Toy Affirms Humanity What Nintendo and Mario's creators have consistently upheld is an unwavering trust in the player's agency. No matter how realistically Mario is now depicted, the energy that drives him is always entrusted to your will as you hold the controller. This reversal of the master-servant relationship is the ultimate affirmation of humanity the medium possesses: "It's You" becomes a kind of timeless prayer — that you, too, though imperfect, are a hero who rises to the challenge just like him. The reason this toy and its creator, Shigeru Miyamoto, command such respect — to the point of receiving medals from nations around the world — is that they have transcended the realm of mere entertainment. Mario has continued to affirm the pride of being human that lies dormant in everyone, leaving no one behind. An entry point open to all (a ¥100 coin), and a vessel into which one can project oneself (It's You) that has matured over 40 years into a single human being: this perfect triangle has sustained the golden age of video game culture. However, this harmony is now threatened by a new wave of efficiency and consumption. How is the weight of experiencing a story as a single hero changing amid the tide of digitalisation? It is the precariousness of modern sales models — a reality we must confront to preserve this culture for the next generation — that I turn to now. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-35.png) Fortnite is the current king of F2P gaming. Source: Press Kit. ## Chapter 4 ### A Wake-Up Call for Modern Business Models The trust between soup and bowl, the democracy protected by a ¥100 coin, and the philosophy of turning players into heroes — these three pillars are what allowed video games to evolve beyond mere consumer goods and take root as a culture. Today, the gaming scene faces a turning point that shakes all three to their core: a shift towards sales models that, chasing efficiency and maximum profit, sell off the dignity of the experience we have long cherished. Once, buying a game was a contract between user and creator — a pact to savour every last drop of soup. Yet with subscription services offering thousands of titles for a few hundred yen a month, or models that open the door for free only to demand endless payments once inside, that contract has become all too tenuous. Are we, in exchange for convenience and affordability, losing something far more precious? The subscription and free-to-play (F2P) models now becoming mainstream appear, at first glance, to advance the democratisation of entertainment. In reality, they move in the exact opposite direction of the equality and dignity we have defended with a single ¥100 coin. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-36.png) Just a small fraction of the games you get with a PS Plus subscription. Source: Sony. ### When the Value of Soup Is Lost The moment a single piece of software is thrown into the vast pool of a subscription service, it transforms from a dish that leaves a lasting memory into a disposable item on an endless list. In a monthly model, a creator's revenue is governed not by how deeply a game is played but by how often it is played or clicked — much like YouTube Shorts. The risk is that content gets mass-produced: not a rich soup to be savoured slowly, but watered-down fare designed to grab attention with fleeting thrills. While we enjoy cheap and plentiful offerings, we should take a hard look at how the creator's soul poured into each dish, and the player's commitment to receiving it, are both being diluted. ### ​Real-World Inequality Brought Into Gaming ​Even more serious is the rise of the Pay-to-Win model, in which the amount you spend and the specs of your device decide victory or defeat. This is a clear rejection of the ¥100 democracy described in Chapter 2\. Games were once a sanctuary where players could forget real-world wealth and status and stand together as equals; now these models pipe economic disparity straight into gameplay, reproducing the cruellest inequality of all — a system where those with money win. Here, "It's You" is no longer the gospel that anyone can be a hero. It curdles into a privilege: only those who pay get to play the hero. Where "It's You" once meant the player's own dedication and growth, a model that lets you buy your way past difficulty robs you of the trials themselves — the most crucial stretch of the Hero's Journey, and the very source of the self-affirmation that comes from overcoming an obstacle under your own power. The deeper problem is that the industry has abandoned the equal experience that is the essence of entertainment, prioritising corporate profit and self-satisfaction instead. Developers and publishers have used the business model as a get-out-of-jail-free card to justify their betrayal of users, resorting to efficiency and calculation and ceasing to engage with players as equals. This abandonment of critical thinking, this flight from failure and originality, is becoming the norm — and it amounts to one of the cardinal sins of the entertainment industry. ### A Future Where Soup Consistency Collapses The relationship between soup and bowl described in Chapter 1 is also in crisis. With the acceleration of cloud gaming and multiplatform releases, we have gained the convenience of playing in any environment — but this also means creators are abandoning their promise to serve the best flavour, an optimised experience, on this particular bowl (hardware). By chasing hardware with ever-escalating specs, such as PCs, developers thin out the soup's ingredients so a game will run on weaker devices, while reserving lavish toppings for specific platforms. When such unequal experiences become the norm, video games lose their power as a common language. ### The Equality and Resilience of Entertainment Guaranteed by Mature Technology Here we need to redefine Gunpei Yokoi's philosophy of "lateral thinking with mature technology" for the present day. Many people misunderstand it as a method for making things cheaply with old technology, but its true value lies elsewhere. Mature technology is technology that has been thoroughly tested for defects and is now available worldwide at low cost and with stable supply. Its great advantage is stability: the ability to offer new forms of wonder, on the same dependable hardware, to anyone in the world at the lowest possible price. MARIO001500 COINS×96 WORLDMONOCHROME LCD TIME590 SHUN TAKATA "In today’s world, where developers are protected by the safety net of subscriptions and games are tolerated simply because they appear in the catalog - even if they aren’t fun - the life-or-death dialogue between creator and audience that Yamauchi valued cannot exist." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/smb-tv-overlay.png) THE HERO'S JOURNEY Rely instead on cutting-edge, expensive components, and hardware prices skyrocket, supply turns unstable, and video games degenerate into a privileged pastime for the wealthy. What Yokoi sought was not a parade of the latest specs, but robust, democratic tools every child could afford — tools that wouldn't break even when dropped on the ground. The modern cycle that pushes people to replace expensive devices every few years is a clear betrayal of this "Yokoism." Rather than stacking technology vertically and leaving some users behind, it spreads even well-worn technology horizontally, so that everyone, regardless of disparity, is guaranteed equal access to the same smiles and surprises. This is the spirit that lifted video games from a hobby for a handful of otaku into human infrastructure. ### The "Box People Buy Out of Necessity" Hiroshi Yamauchi's almost ruthless line — that "hardware is a box people buy out of necessity" — is packed with the sincerity towards entertainment that modern platform holders have lost. Behind it includes a strong admonition: *do not impose unnecessary burdens on users.* From Yamauchi's perspective, the modern model — selling the box and then milking users through online fees and service charges — must look like the ultimate reversal of priorities, where shifting the box itself has become the goal. Yamauchi-san saw games as a high-stakes gamble: you bet everything on a single title, and if it wasn't fun, the whole box ended up in the bin. It was that tension — that skin in the game — that drove creators to refine every drop of soup. In a world where developers are now shielded by subscriptions, and a game is tolerated simply for appearing in the catalogue even if it isn't fun, the life-or-death dialogue between creator and audience that Yamauchi valued cannot exist. ### The Reality of Human Life Illuminated by Mature Technology Yokoi's emphasis on mature technology was never only about cost; behind it lay a starkly realistic conviction that entertainment must be rooted in human physicality. The latest VR and ultra-high-definition graphics can rob players of their imagination, making the senses subordinate to the technology. A world abstracted by mature technology — Mario running through pixel art — does the opposite: it asks players to fill the gaps themselves. Draw an apple on a blank sheet of paper and show the rough sketch to someone; they will recognise it instantly. Appealing to that unconscious filling-in is the crucial ingredient that lifts games to the highest form of entertainment. It is this active omission that becomes the blank space in which play turns into one's own story. In a world where technology evolves vertically to hand us everything turnkey, we risk losing — in the name of convenience — the very chance to exercise our imagination, to feel a game's world more deeply, and so to stand on our own as heroes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-28-1.png) Nintendo Switch 2\. Source: Nintendo. ### The Sanctuary Called Irrationality Left Behind by Hiroshi Yamauchi What Hiroshi Yamauchi upheld throughout his life was not efficient business judgement, but irrational intuition. Where many modern companies build games on big data, market research, and the probability of sales, Yamauchi flatly declared that "market research is meaningless" and even insisted, "Nintendo creates the market." He understood that entertainment is a gamble delivering surprises no one has seen before — and that such surprises are born not from a cold computer, but from the lateral thinking of a single genius and the tip of a single pen. The great trap of the subscription model is the complacency it breeds in publishers and developers — a complacency born of an excessive fear of failure, of refusing the gamble altogether. The lists fill with safe, average, lowest-common-denominator soup, with no trace of the thrilling, once-in-a-lifetime essence Yamauchi-san loved. What remains is "Object X": a collection of average pleasures calculated by data and algorithms, with no room for the absurd surprise born of originality. Data-driven optimisation keeps failure at bay, but it also trims away the encounters with the unknown that truly shake our souls — all in the name of efficiency. The fact that Nintendo continues to sell hardware and software as a single package, holding its ground in the wilderness of uncertain play, is the sanctuary's final defence against being swallowed by streamlined capitalism. READ THE SERIES ▶ [ WORLD 1 · PART I The 100-Yen Democracy PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy/) [ WORLD 3 · PART III The Gift of Courage PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy-the-gift-of-courage/) ### The Musical Magic of Laura Shigihara URL: https://www.superjumpmagazine.com/the-musical-magic-of-laura-shigihara/ Last updated: 2026-06-19T16:01:39.000Z **Laura Shigihara streamed a new song on March 14, 2026, playing it on piano.** At least 290 viewers, including me, tuned in the moment the notification landed — mine arrived by email. During the stream, Shigihara revealed that the song — [Colony VI](https://www.youtube.com/watch?v=Ac-Kl4Tsuqg) — would get a music video release on March 16, 2026\. She also talked about digging through her archives and hinted at upcoming projects. Many of us, myself included, started crying when she closed the stream with "Build a Little World with Me" from Rakuen. (No spoilers, but the song marks a harsh turning point in the game.) We thanked her for it, even as the performance ripped our hearts out all over again. Colony VI follows a crew sending out distress messages as they travel to another planet. They've come a long way, but they need help as they test for viable plant life and contend with suit malfunctions. That message lands hard in 2026\. We've come far, too, but as people we need more than a pep talk and positive messages to reach our goals. The animation only brings on more waterworks. More likely than not, a Shigihara creation will make you sob. She has a gift for breaking players' hearts through her writing and composing — and it's a privilege to feel that agony. ### From Music Engineering to Enchantment Gaming and music were a huge part of Shigihara's life from a young age. She trained in classical piano for eleven years and has talked in interviews about playing [World of Warcraft](https://web.archive.org/web/20130105130328/http://wow.joystiq.com/2010/11/10/15-minutes-of-fame-laura-shigihara-voice-of-wows-singing-sunf/) since 2005\. Her love of both — along with a reluctance to sign a contract as a professional singer — led her into sound and audio engineering. Game composing followed, starting with a volunteer project that turned into a paying gig. (I really miss the pre-2020 economy.) Shigihara wears plenty of other hats: she worked on a beta for an indie game called Melolune, composed music for the first chapter of Deltarune, and even provided voice work for World of Warcraft. Though Melolune was never released — [Shigihara confirmed in 2022 that she'd put it on indefinite hiatus](https://www.youtube.com/watch?v=g30iNGnbM40) — it developed a fan following. She also found a new home for some of its NPCs, the Leebles. I know Shigihara best from Rakuen, a game she didn't just score but also developed. Rakuen follows a boy and his mother as they explore a fantasy world connected to a hospital, helping the patients there. It's set in a world where the Fukushima meltdown never happened. Mr. Saitou, Rakuen's sequel, is on my to-be-played list, and I'd hoped to play it in May to celebrate AAPI creators. I expect it to break me on stream — though I'll probably take longer to muddle through it than my friend would, given he once watched me spend hours struggling with Celeste. ### To the (Acoustic) Pain Listening to Shigihara means unlocking emotions and grief you'd tucked away. I was spellbound by her credits song for the first chapter of Deltarune, and its closing line: "I'm with you in the dark." The line promises drama and something haunting, but it also sounds wistful and determined. To the Moon and Rakuen are games about death, grief, and courage. While To the Moon didn't shatter me the way it shattered other gamers, Rakuen absolutely did. I watched a friend play, and we both broke down by the end. If I'd been playing on my own? I would have needed a lot of hand-holding, especially around the time COVID hit. Shigihara is exactly the kind of creator worth protecting. We need to keep supporting our indie developers and composers as corporate interests keep buying up gaming companies. That means seeking out the people who deliver an immersive experience alongside exquisite sensory detail. Pain is a welcome bonus — especially when, as with Shigihara, it leaves you with catharsis. ### Eat Like a Dragon: What Yakuza's Food Reveals About Character URL: https://www.superjumpmagazine.com/eat-like-a-dragon-what-yakuzas-food-reveals-about-character/ Last updated: 2026-06-19T16:01:47.000Z **When I first started playing Yakuza: Like a Dragon, I didn't know what to expect.** It was my first in the series and seemed like a good jumping-off point. Not only was I enamored with the gameplay (much to my surprise), but I also fell in love with the characters and story.Yakuza: Like a Dragon is a HUGE game, a stuffed cornucopia of gameplay! If you aren't too busy cleaning up trash, beating up local thugs, helping out various friends, or, you know, singing karaoke, then you might preoccupy yourself with some of the local cuisine. Yes, this food does have a gameplay function where it can boost stats and heal your party, but it also serves a unique and more important narrative. --- > *Caesar Salads really are the best! Whoever first put crunchy and cheesy in a salad must have been enlightened!* > > **Nanba** --- This makes perfect sense because food is everywhere in this fictionalized version of the Isezakichō district of Yokohama, Japan, an area renowned for its cultural infusion. In Like a Dragon,food emphasizes the universal revelations about taste, place, and personhood. It all starts with the promise of Peking Duck, a dish that, outside of this game, has its own longstanding tradition in Chinese culture, a clear and important narrative function as a foreboding symbol and reminder of the past. All well constructed, but it wasn't until I heard our street-smart friend Nanba talk about why he loved Caesar Salad that I knew there was something special to the role of food in this game. I laughed to myself as I heard echoes of my own tastes within Nanba's love of the cheesy, crunchy combo. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Yakuza-food-3.png) Source: Author. What can food do for a story? What can it do to establish the characterization of people and place? To find the answers, I sought out little conversations, visiting vending machines and doing Table Talks - mini-games where you have to pick the correct meal combos, according to a character's taste - to trigger specific conversations. These were fun and deeply character-building; learning the qualities a character enjoys about food both confirms and subverts previously conceived notions of their archetype, where they are from, and who they really are. > **Ichiban:** Huh, another soba spot. > **Adachi:** What's that supposed to mean? > **Ichiban:** I dunno, I guess I thought udon was Kansai's specialty. But all I'm seein' right now is soba. > **Zhao:** Don't limit yourself to a singular perspective. > **Zhao:** For instance, people here still eat natto, even though it's more of a Kanto thing. > **Ichiban:** Yeah, that's fair. > **Zhao:** Would you believe me if I told you I eat kimchi every day? > **Joon-gi:** On the flipside, I'm a big fan of mapo tofu. For example, this brief but important conversation takes place as you walk through one of the many densely packed food markets in Sotenbori (real-life Dotonbori). Not only does this discussion reference their own personal discrepancies, but it also examines the trappings of food culture, designations, and who controls those markers. It becomes a satisfying reversal of inferred designations, subverting the notion that cultural identity dictates personal taste. Zhoa, the party's authority on all things Chinese cuisine, discloses that he eats kimchi every day. Joon-gi, a Korean assassin, responds that he relishes mapo tofu. A purposeful complication of identity using food! Like a Dragon is not using food as an ID badge, but as something chosen and experienced. Food becomes less about where someone is from and more about what they have decided to incorporate into their lives. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Yakuza-food-1.png) Source: Author. That malleable view of identity is displayed in even smaller and more personal ways. Our friend Nanba, an ex-nurse who once lived on the streets, knows food from necessity: *"It's a weed. It's pretty good when you boil it up and put it into a broth."* But he also holds on to specific tastes from his former life. Consommé flavored chips are one of his favorites! A labor-intensive French soup, consommé is considerably more delicate and refined than the survivalist lifestyle that kept Nanba alive on the streets. That same relationship with food can be found elsewhere in the group. For Saeko, a competitive and clever businesswoman, her exterior does not suggest someone who gravitates toward comfort. Over time, however, we discover that Saeko appreciates the simple reassurance of soft and sweet things like milk lattes. And Ichiban declares**,* "I've seen you crashed on the couch, bottle still in hand. So I figured you might not like sweet stuff."* These conversations are memorable because while they are primarily about food, they are *really* about more than food. They go beyond the taste buds, and we learn about our companions with every little bit of chatter. A Caesar salad, a bag of consommé chips, kimchi, mapo tofu, or a milk latte; they are all everyday details on their own. But when viewed through the lens of reasonable characterization, it can become a snapshot of an intricate personhood; who they are in that moment, the histories that define them, and all of the contradictions that come with it. While the starting point may be food, what's really at the table is a discovery about truth and assumptions, about how we make them, as well as identity and how we choose it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Yakuza-food-2.png) Source: Author. As our beloved Ichiban puts it, *"Guess that means good food knows no boundaries, and that's just how it should be."* This is a truth that has been quietly playing out in the game's 40+ hour run-time. Ichiban's conclusion isn't wrong, but it lands just outside of the bullseye. Food belongs to people, and it isn't food that rejects limitations, but identity. Who we are, what we love, and the things we bring into our lives are made through what we choose. Yakuza: Like a Dragon is a charcuterie board of well-written characters that both assume and reject our assumptions. ### How 007 First Light Gets Bond Right URL: https://www.superjumpmagazine.com/how-007-first-light-gets-bond-right/ Last updated: 2026-06-17T15:26:11.000Z **Here's a confession that could get my English citizenship revoked: I'm not a Bond fan.** Perhaps more accurately, I've never found him particularly interesting and, as a result, I've never quite accepted the idea that he stands shoulder-to-shoulder with the great figures of British fiction. If I may, he leaves me neither shaken nor stirred. ## The Name's Bored, James Bored To be fair to Britain's favourite superspy, I've never read the novels which first introduced him to the world. I have, however, seen my fair share of the films, and it's difficult to come away from them without concluding that James Bond is one of the wackiest, most tonally incongruous characters in pop fiction. For every portrayal of 007 as a grounded, dispassionate operative with a licence to kill, there's another which devolves into some of the most ludicrous shit ever put to the silver screen. In one story, Bond will face world-ending threats with the cold consideration they demand; in another, camp spectacle reigns supreme, with the 00-agent delivering wince-inducing dad jokes mere moments after having shot someone in the face. It's this general and variable goofiness which prevents me from enjoying Bond wholesale. After all, if the films refuse to take Bond—or the events surrounding him—seriously, why should I? Writing Bond is a tightrope walk. He needs to be suave and sophisticated, dangerous yet damaged, intelligent and independent. Crucially, he needs to be funny. His humour must feel effortless: dry, pointed, and understated. All these traits coalesce into a character that men want to be, and women want to be with—that's how the saying goes, at least. Bringing that kind of 007 to life in 2026 is no small feat. It requires sharp writing, critique of the man behind the moniker and, most importantly of all, restraint. Fortunately, that's exactly what Danish developer IO Interactive delivers in 007 First Light. > 007 > > "Having made its name with the Hitman series and its barcode-branded assassin, the studio almost seems to have been building to this game over its near-thirty-year development history." > > — Jack Bray, on *007 First Light* ## Golden-IO Interactive Before I touch on First Light, though, I first want to acknowledge just how well-suited IO Interactive is to the Bond licence. Having made its name with the Hitman series and its barcode-branded assassin, the studio almost seems to have been building to this game over its near-thirty-year development history. I mean, when you take a moment to think about it, it makes perfect sense. The world of the Hitman series is steeped in espionage, conspiracy and international intrigue. Agent 47 is also regularly sent on globe-trotting assignments on behalf of the shadowy International Contract Agency (ICA). It's almost like he and Bond are opposite sides of the same coin. Whether infiltrating lavish parties, rubbing shoulders with the global elite, or dismantling powerful criminal organisations, it's fair to say the series has long embraced many of the themes and scenarios that have defined Bond for decades. All of this was running through my mind back in November 2020 when IO announced that it was working on a Bond game. After all, the studio had already cemented its reputation for creating gorgeous, lived-in sandboxes populated by countless NPCs. But the notion of doing all of this as a smooth-talking Bond? Well, it's hard not to be excited by the potential. It's potential that, I'm delighted to say, 007 First Light realises through its characterisation and story. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/007FirstLight_Screenshots_07-1.png) 007 First Light. Source: Press Kit. ## Bond Building When Casino Royale released in 2006, it revitalised Bond. Pierce Brosnan's overbearingly suave take on the spy was out. Daniel Craig's colder, more pragmatic portrayal of a newly minted 00-agent was in, complete with the unsettling process of him earning his licence to kill. The concept of a "year-one" Bond is inherently compelling to me. In such a depiction, we're not watching the unflappable, dry-martini-ordering version of the character, but one that still has the capacity to make mistakes—one that must rely on his wits rather than his world-weariness. First Light embraces that interpretation wholeheartedly, charting James' journey from Royal Navy aircrewman to 00-agent. At 26, he's also a far younger Bond than we're accustomed to seeing, and it pays dividends. He's capable and charismatic without drifting into self-parody or overconfidence—a testament to the writing and tonal balance that IO brings to the project. Much of the credit must also go to Patrick Gibson, who delivers one of the most compelling interpretations of Bond in years. Striking a careful balance between intelligence and charm while retaining a sense of youthful impulsiveness, he is consistently excellent. It leaves Bond feeling less like a legend and more like a man growing into the role, a role which the player slowly slips into over the course of the campaign. As an example, one of my favourite moments came shortly after exiting a restricted area. As I was leaving, a security guard who had previously pushed me aside demanded to know how I had got in. Without pause, James simply replied, "Quite easily." In the wrong hands it could easily have been groan-worthy. In IO and Gibson's, it lands just right. > 007 > > "It's a bold reimagining of 007 and his world, one that feels firmly rooted in the concerns of the present day." > > — Jack Bray, on *007 First Light* ## Nobody Does it Better However, this would all be meaningless if First Light stumbled in the story department. So, how does the game fare here? Very well, in fact. As an origin story set within IO Interactive's own continuity, the game is untethered from any obligations to the film series, and that's one of its greatest strengths. Following Bond from the outset of his career in espionage, the story charts his first steps into a world of international intrigue, shifting loyalties and high-stakes geopolitics. It's all played completely straight, too. The villains of First Light aren't firing lasers at the polar ice caps from the moon. Instead, they represent the kinds of insidious forces shaping society behind closed doors today: billionaire tech moguls, venture capital excess and the sinister crypto grift. I won't spoil anything here (watching the story slowly unfold was one of the best things about First Light), but what I will say is that it presents a confidently modern take on the property. In particular, I found the game's hyper-critical stance on artificial intelligence and its steady intrusion upon human roles and spaces hugely refreshing—particularly in a world which seems so afraid to denounce it. It's a bold reimagining of 007 and his world, one that feels firmly rooted in the concerns of the present day. If you have even a passing interest in the franchise, it's an entry well worth checking out. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/007FirstLight_Screenshots_03-1.png) 007 First Light. Source: Press Kit. ## Licence to Thrill Somehow, it's been almost seven years since Daniel Craig announced he was stepping down from Her Majesty's Secret Service, and in the years since, there's been no shortage of speculation over who might inherit the licence to kill next. Idris Elba? Jacob Elordi? Callum Turner? After playing First Light, I'd say Patrick Gibson deserves to be part of that conversation. His performance captures all the qualities that have allowed Bond to endure for more than 70 years, while leaving behind the aspects of the character that have aged less gracefully. It's perhaps First Light's greatest achievement: recognising that Bond's appeal isn't simply the gadgets, tailored suits or one-liners. Those are merely the trappings of the character. What matters is the man underneath them. So, how does 007 First Light get Bond right? Gibson understands what makes Bond compelling. IO understands what makes him human. What results is one of the most interesting interpretations of the character in years. I might just have to change my mind on him. ### What Does It Take To Launch A Console Game in 2026? URL: https://www.superjumpmagazine.com/what-does-it-take-to-launch-a-console-game-in-2026/ Last updated: 2026-06-15T11:32:37.000Z **Console gaming generated $45.9 billion in revenue in 2025, according to the Global Games Market Report 2025, and the market is projected to keep climbing through the decade.** That number draws attention from founders, publishers, and product owners who want a piece of it. But the gap between "we want to launch on console" and "our game is live on PlayStation, Xbox, and Nintendo" is wider than most people expect going in. This guide walks through what the console launch journey actually looks like in 2026: the business decisions, the costs, the approval processes, and the places where projects most often run into trouble. ## Why Console Is a Different Beast Than PC or Mobile Releasing a game on Steam is relatively straightforward. You upload a build, go through a light review, and you are live. Mobile app stores have their own rules, but the barriers are manageable for a small team. Consoles work differently. Sony, Microsoft, and Nintendo each act as gatekeepers. No game reaches their storefronts without passing a formal approval process. That means your game needs to meet a specific set of technical and content requirements – and each platform has its own rulebook. Miss something, and your submission is rejected. Then you fix it, resubmit, and wait again. This is the reality that makes proper [console game development](https://gamestudio.n-ix.com/console-game-development/) planning so important. The platform-specific requirements are detailed, non-negotiable, and often invisible to anyone who has not navigated this process before. Working with console game developers who know these requirements from the inside is usually the difference between launching on schedule and missing your window entirely. ## The Three Platforms: What Each One Demands Each console platform has its own certification program, its own name for it, and its own priorities. | Platform | Certification Name | Key Focus Areas | | ------------------ | -------------------------------------- | -------------------------------------------------------------------------------- | | PlayStation (Sony) | TRC - Technical Requirements Checklist | Memory handling, crash-free operation, UI consistency, trophy system integration | | Xbox (Microsoft) | XRs - Xbox Requirements | Ecosystem integration, cloud saves, profile management, accessibility standards | | Nintendo | Lot Check | Input handling, regional builds, eShop compliance, hardware-specific behavior | What they share: your game cannot crash, cannot lose player save data, and must handle real-world scenarios like a controller disconnecting mid-session or a console entering sleep mode. These are not edge cases in a QA report. They are mandatory requirements. A single overlooked behavior – say, the game failing to resume cleanly after the console suspends – can cause a full submission rejection. The documentation side adds another layer. Every platform requires store page copy, screenshots in exact dimensions, trailers, age rating certificates, and localized text. Missing or incomplete metadata can hold up a launch even when the game itself is technically ready. ## What the Timeline and Budget Actually Look Like There is no universal number for console launch costs, but there are useful benchmarks to plan around. ### Typical Console Launch Cost Factors - Platform registration fees and developer agreements with Sony, Microsoft, and/or Nintendo - Specialized hardware (devkits), which typically run between $5,000 and $10,000 per platform - Console-specific development and optimization work, which varies heavily by game complexity - Certification submission fees, which have historically reached into the hundreds of thousands of dollars for major titles – though programs for smaller studios have reduced this in some cases - QA testing built around platform-specific requirements, not just general bug-fixing - Post-launch patch certification, which requires the same approval process as the original submission On timing: Microsoft's certification review typically takes 4-7 business days for a clean build. Sony's process involves multiple review windows and can extend longer, especially for patches. Nintendo often requests builds earlier in development and runs regional checks. Across all three, the practical advice is the same: budget more time than you think you need, because a failed submission resets the clock. ### Common Reasons For Certification Rejection - Incorrect controller button icons (the exact branded imagery is required). - Save data corruption without a graceful recovery path. - Improper suspend and resume behavior. - Age rating or localization documentation gaps. - Performance issues below minimum frame rate thresholds. ## The Build vs. Partner Decision The central question for most organizations considering console video game development is whether to build internal expertise or work with an external partner. Building in-house means hiring console game developers with direct platform experience, acquiring devkits, signing developer agreements, and investing in the internal QA processes that certification demands. For studios that plan to release multiple console titles over several years, this investment can make sense. For a single title or a first console launch, it is a significant overhead for a one-time use. Working with a specialist partner means accessing teams that have already navigated this process across multiple titles and platforms. They know where submissions fail, what documentation reviewers scrutinize, and how to structure the build so that certification runs the first time smoothly. According to QA experts, integrating compliance testing early in development can reduce rework costs by 6 to 10 times compared to addressing issues at the submission stage. The game development outsourcing model works particularly well here because the expertise required is highly specific, the need is time-bounded, and the cost of getting it wrong is high. ## Platform Exclusivity and Multi-Platform Strategy One business decision that deserves attention early – before development begins – is whether to launch on one platform or several simultaneously. Exclusivity deals with Sony or Microsoft can come with upfront funding or marketing support. That is genuinely valuable for studios with limited launch budgets. The tradeoff is a narrowed addressable audience and, often, restrictions on when and how the game can appear elsewhere. Multi-platform releases reach more players but require parallel development, certification, and QA streams. Each platform has its own quirks, and what works on one does not automatically translate to another. A feature that runs without issue on Xbox may behave unexpectedly on Nintendo's hardware. A practical middle path many studios take: launch on one platform first, use that process to understand the certification workflow, then port to additional platforms once the core build is stable. This reduces risk on the first launch while keeping the longer-term audience options open. ## What to Settle Before Your Game Production Starts Studios that navigate console launches well tend to make certain decisions early – before a line of code is written. Here is a useful pre-production checklist: 1. Define target platforms upfront. Building for console from the start is significantly cheaper than retrofitting a PC-only build later. 2. Register with platform holders early. The approval process to become a licensed developer takes time and requires a legal business entity. 3. Budget for compliance QA as a separate line item. It is not the same as general testing and should not be treated as one. 4. Plan post-launch patch timelines realistically. Unlike Steam, console patches cannot be pushed quickly – each update goes through certification. 5. Clarify IP ownership before signing with any co-development or publishing partner. Console deals sometimes involve exclusivity clauses that affect long-term rights. ## FAQ ### Do I need to be an established game studio to launch on console? Not necessarily. Sony, Microsoft, and Nintendo all have programs for independent developers and smaller studios. The registration process requires a legal business entity and some documentation about your project, but it is accessible to organizations without an extensive publishing history. ### How long does the full console certification process take? It varies by platform and by how clean your submission is. A well-prepared build can clear Microsoft certification in under a week. Sony and Nintendo processes typically run longer, and any rejection resets the timeline. Planning for 4 to 8 weeks per submission round is a reasonable minimum. ### Can I launch on all three consoles at the same time? Technically yes, but it requires running three parallel QA and certification processes simultaneously. Many studios stagger their launches by platform to manage complexity – starting with one console, learning from that process, then moving to the next. ### Is porting a PC game to console expensive? It depends on how the original game was built. Games developed with console in mind from the start are significantly cheaper to port than those optimized purely for PC hardware and input. Retroactively adapting controller inputs, performance profiles, and UI can become a major project in itself. What is the biggest mistake studios make when planning a console launch? Starting compliance and platform-specific QA too late. Many teams treat certification as the final step rather than an ongoing process built into development from the beginning. By the time they submit, fixing what platforms flag becomes expensive and time-consuming. ### Star Fox Hands-On, Pragmata, and the 100-Yen Democracy URL: https://www.superjumpmagazine.com/star-fox-hands-on-pragmata-and-the-100-yen-democracy/ Last updated: 2026-06-14T09:40:29.000Z May 2026 edition _This post is for subscribers only._ ### The Basics of Building a Competitive Deck in Pokemon TCG Live URL: https://www.superjumpmagazine.com/the-basics-of-building-a-competitive-deck-in-pokemon-tcg-live/ Last updated: 2026-06-16T00:04:08.000Z **The Pokémon trading card game is one of the simpler deck building games available to play — it's a straightforward turn-based game designed to be easy enough for children six and up to learn, but with enough complexity that adults can enjoy the game as well**. Building a Pokémon deck itself is relatively easy on the surface, but there's a lot that goes into making a deck competitive within the modern gaming scene. With Pokémon TCG Live (PTCGL), you can have access to the entire card dex from the Sun and Moon era of cards onward with relative ease, giving you thousands of cards to pick from and play across a range of formats. So how do you pick what you want to play? How do you build a deck that will hold up to ranked gameplay? What goes into card selection? While I haven't been playing for a long time, I've built decks that have gotten me into the Master League a few times. It's not as hard as it looks! Let me walk you through it. ## The basic rules of Pokémon deck building On a very basic level, building a deck for Pokémon follows a set of simple rules: 1. Your deck will have a set number of cards, usually 60 (more on the "usually" in a moment). 2. You may only have up to 4 copies of any one card in your deck. (Note: there are Pokémon with the same name that have different attacks and abilities listed underneath them. **You can still only have 4 cards with that same exact card name in your deck**.) 3. Your deck must be able to meet at least 1 of the 3 possible win conditions for the game — you need to be able to knock out enough Pokémon to take all of your prize cards, knock out all of your opponent's Pokémon in play leaving them without backup, or cause your opponent to run out of cards to draw to start their turn (called "decking out"). From there, we can get a bit more detailed about what goes into deck building. ### Card types There are three basic categories of Pokémon cards, with some subcategories. Most cards will have an edition marker in the bottom left that will tell you whether the card is legal in the current Standard format. Keep that in mind for later on. Pokémon The pocket monsters you call on to attack. They come in types (Grass, Fire, Water…) with strengths and weaknesses, and may carry Abilities. - Basic Played directly onto the board. - Stage 1 Played onto its corresponding Basic. - Stage 2 Played onto its corresponding Stage 1. - Special — Mega Evolution & EX Can be any stage; more powerful, but worth more than one prize card when knocked out. Trainer Cards you play to take actions on your turn and shape the game state for you and your opponent. - Item Usually one-time-use: search your deck, add or remove conditions, affect damage. - Supporter Stronger effects, but only one per turn. - Pokémon Tool Attached to a Pokémon (one each); can't be removed without a card effect. - ACE SPEC Incredibly powerful — only one ACE SPEC card allowed per deck. Energy Powers your Pokémon's attacks and abilities, and fuels certain Trainer card actions. - Basic energy Typed (Grass, Fire, Water…). Unlimited copies, and legal in every format. - Special energy Colorless or typed, with a secondary effect — these have editions to track. ### PTCGL formats The format you're playing will determine the exact rules of your deck's construction. Standard The format used in official Pokémon events — League cups, regionals, and championships. Only cards from edition marker H forward are currently legal. It's what the ranked ladder runs on, though you can also play it casually. Deck60 cards Prizes6 Card poolMarker H+ RankedYes Expanded Same 60-card, 6-prize structure, but every card is legal regardless of edition marker. Great for anyone who loves retro cards — and there's no ranked competition to worry about. Deck60 cards Prizes6 Card poolAll sets RankedNo Build & Battle The newest format, used at pre-release events. You get one of four 40-card starter decks plus 4 packs to customise before playing. Currently built around the Chaos Rising expansion (Delphox, Goodra, Ampharos, or Crobat). Deck40 cards Prizes4 Card poolOne set RankedNo ### Meta decks Because this is a competitive game with a limited pool of cards, there's always going to be a few sets of decks that become popular quickly because they work particularly well. These are called the Most Effective Tactics Available, or meta decks. While you absolutely do not need to one-for-one copy a meta deck to be successful in PTCGL, it's a good place to start to see how deck construction works. Meta decks let you see how different Pokémon work together ("synergize" is a word you'll hear thrown around a lot) and how different Trainers can support those Pokémon effectively. You can find meta deck lists from various competitive tournament events on a range of websites like [Limitless TCG](https://limitlesstcg.com/decks). ## Building a deck together To really make this make sense, let's build a deck together. We're going to build a deck that I use a lot, crafted around Mega Starmie EX. ![Cat's Mega Starmie EX deck, with all of the cards listed in the article below.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-9.png) This is my Mega Starmie deck. Not pictured: the basic energies. Source: Author. ### Choosing your Pokémon When you're building a deck, you'll typically want to base it around one or two powerful Pokémon who will be your main attackers. There are some exceptions to this rule — things like "box" decks that rely on a specific mechanic or gimmick — but it's a good way to start if you're brand new to deck building. After you've decided on your main attacker, you'll want to think about which Pokémon would work well with it or make it more effective with either their abilities or attacks. For this deck, our main attacker is Mega Starmie EX, a Mega Evolution of Staryu. This Pokémon's strategy is hitting hard and fast across multiple targets. Because they're a Stage 1, it only takes two turns to get up to speed (sometimes faster with certain trainer cards). Their main attack is Jetting Blow, which requires only one Water energy and does 120 damage to the active Pokémon and 50 damage to a benched Pokémon of your choice. They also have Nebula Beam for three colorless energy (meaning this attack can use any basic energy for power regardless of type) which does 210 damage — more than enough to knock out (KO) most regular EX Pokémon. Because this is our main attacker, we're going to put four Staryus into the deck. Because Mega Starmie is worth 3 prize cards, we're only going to put in 3 copies of it — 2 to put into play and one more just in case some of them end up in the prize cards. It's always a good idea to have a backup attacker in case you need more power or a different strategy, so for this deck, we're going to choose another powerful Mega Evolution EX Pokémon with a one Water energy attack: Mega Froslass EX. This Froslass's Resentful Refrain does 50 damage per card in your opponent's hand to their active Pokémon — not bad! Their secondary attack, Absolute Snow, takes one Water and two colorless energy, and does 150 damage while also putting your opponent's active Pokémon to sleep, which can be helpful in slowing down the game if you need time to find cards or establish your bench. It's also a Stage 1, so it's just as quick to set up. As this is our backup, we're only going to include one Snorunt for our one Mega Froslass EX. (As an aside, you can totally swap these two attackers and have an equally powerful deck. The build for the rest of it would be totally different, so that's a conversation for another day.) ![Two Pokemon cards - Mega Starmie EX and Mega Froslass EX.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-10.png) Our 2 major attackers - Mega Starmie EX and Mega Froslass EX. Source: Author. Starmie is all about bench damage, so we need supporting Pokémon who can damage the bench to increase our chances of getting double KOs with Jetting Blow. A great card for this is regular Froslass, which has the ability Freezing Shroud: any Pokémon with an ability gets 1 damage counter between each turn. So we add in two more Snorunts and two Froslass. We can also use Munkidori's Adrena-Brain ability: if there's a Dark energy attached to Munkidori, you can move 3 damage counters from one of your Pokémon to one of your opponent's. This makes adding just enough damage to your opponent's bench to take the KO really easy, and when paired with Froslass (who damages your own Pokémon with abilities too), gives you free damage to move around every turn regardless of what your opponent does. Now that we've got our attackers and support set up, we're going to add a little bit of board control to our deck. We're adding in Shaymin, whose Flower Curtain ability protects our own bench from damage, and a Meowth EX, whose Last-Ditch Catch ability lets us grab any supporter card we need from our deck when we play Meowth to the bench. Neither of these are wholly necessary, so feel free to replace them if you like, but they're nice to have. ### Tackling trainer cards Trainer cards are the section of the deck that can change the most from player to player; everyone has their own idea of what makes the perfect mix of tools to support your Pokémon in play. Ideally, you'll want a good mix of all trainer types, focusing on a mechanic or set of mechanics that will make powering up and using your main attackers as easy as possible. For Starmie, we're going to need to be able to: 1. Find Staryu and get it on the board. 2. Evolve Staryu into Starmie. 3. Attach a Water energy. 4. Keep Starmie from getting knocked out, and/or have a plan for if it does. To accomplish this, we're going to focus on some basic trainer tactics: finding Pokémon quickly, evolution and energy attachment combos, healing, and recovery. Here's the list of trainers I work with to accomplish this. Note that other Starmie builds may have different counts or different picks entirely — it's up to personal preference and trial and error while playing. Trainer lineupMega Starmie EX deck 30 cards ×2Buddy-Buddy PoffinSearch for 2 Basic Pokémon with 70 HP or less — finds Staryu and Snorunt. ×2Energy SearchGrab a Dark energy for Munki or a Water for Starmie, fast. ×2Great Haul NetReturn up to 3 Water Pokémon and/or energy from the discard pile. ×2Mega SignalTutor a Mega Evolution — Starmie or Froslass. ×4Poké PadFind any Pokémon with no Rule Box (Munki, Froslass, Shaymin). ×1Surfing BeachStadium — swap between Water Pokémon with no retreat cost. ×1Team Rocket's WatchtowerStadium — shuts off Colorless Pokémon abilities (Meowth, Dudunsparce). ×2Boss's OrdersDrag a benched threat active — chain KOs and remove problems early. ×2HildaGrab an evolution Pokémon and an energy — set up Starmie on turn 2. ×2JudgeBoth players reshuffle and draw 4 — disrupts your opponent's plan. ×3Lillie's DeterminationReshuffle your hand and draw 6–8 — restart a dead hand. ×1SalvatoreEvolve straight from the deck — attack turn one if you go second. ×1Team Rocket's PetrelTutor whatever Trainer card you need next. ×3Wally's CompassionFully heal a Mega (returns its energy) — a free heal for Starmie. ×2Air BalloonCuts two energy off retreat — free retreat for the whole deck. Item Supporter Stadium Tool The one ACE SPEC card I play is one of the less common options: Megaton Blower. This card discards the stadium in play as well as all of your opponent's attached special energies and Pokémon tools. I love this as a mid-game advantage; clearing your opponent's board when they may be relying on these things to attack effectively can not only buy you time to get back on your feet if you're falling behind, but can also lead to totally "bricking" your opponent for the win if you time it well. ![Two Pokemon cards - Megaton Blower and Hilda.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-11.png) Our ACE SPEC of choice and a major player in our Supporter lineup - Hilda. Source: Author. ### Exploring energy Now that we have our Pokémon and our trainers, all we need to do is add energy! For every deck, you'll need to assess what kinds of energy your Pokémon need, and how much you're likely to need to get through the game successfully. You don't necessarily need enough energy to power all of your Pokémon at once to full power — remember you can only have up to six Pokémon on the board at a time, and some of them are only there for their abilities and won't need to attack. I tend to keep enough energy in my decks to power up my main attackers plus a little extra for longer games. You'll also want to consider whether you want to include special energies. These cards, as explained above, have unique effects that can sway the game in your favor if played at the right time or against the right opponents. There are some special energies that are colorless, meaning they can be used by any Pokémon, and some that are type-specific, so you'll have to take that into consideration. For this deck, we're going to include basic Water energy because both of our attackers are Water types. We're also going to include 2 Dark energies to power up Munkidori's ability. For special energies, we're going to include the brand-new Bubbly Energy, which prevents the Water Pokémon it's attached to from being affected by conditions like Sleep, Paralysis, and Poison. This is pretty convenient for any deck that relies on those conditions to progress the game. We're also going to include a few Ignition Energies; this colorless special energy provides 3 energy instead of the usual 1 when it's attached to an evolved Pokémon, but only for one turn. This is useful for Starmie, whose Nebula Beam attack requires 3 colorless energy and does 210 damage; Ignition Energy can let us use this attack quickly in a tough spot. ![Two Pokemon Cards - Bubbly Energy and Ignition Energy.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-12.png) Bubbly Energy to protect against conditions and Ignition Energy to get the ball rolling. Source: Author. ## Testing and using your deck PTCGL has a lovely feature in their deck builder that lets you test a deck you've just built to see if it draws and runs the way you want it to. While I like this feature, I do find that it can be a bit buggy (some abilities and card effects don't stack the way they're supposed to or won't activate even if all conditions are met) and that the AI opponent often uses a deck that is no longer Standard format legal. Still, it's a good way to see if you're drawing the way you want to and if your combos work as expected. The best way I've found to test your deck is to just play! Jump into Casual mode and play a few rounds. If you don't like something or think something could work better, you can go into the editor between matches and make those changes — as I mentioned earlier, there's nothing wrong with trial and error. Once you're happy with your deck, keep playing with it. Get comfortable with how it draws, what your opening hand looks like most often, and how you can get around your opponent's strategies. When you're confident with it, I look forward to seeing what you've got in Ranked mode! See you in the Master League. ### The Rise of Digital Third Spaces URL: https://www.superjumpmagazine.com/the-rise-of-digital-third-spaces/ Last updated: 2026-06-13T22:03:45.000Z **It's no secret that people aren't going out nearly as much anymore.** Skyrocketing living costs, declining public transport, stagnant wages — essentially anything associated with late-stage capitalism — have slowly been eroding our collective ability to get out and connect with people. In other words, Third Spaces are disappearing. In response, we've seen a growing number of video games tailored to replace what our society has lost. These Digital Third Spaces are allowing people to connect again. For a quick rundown, a Third Place is a term coined in Ray Oldenburg's 1989 book The Great Good Place. Primarily, it's somewhere that exists outside the home, work or school where you can gather socially. They're commonly neutral, accessible grounds where class and financial status aren't important, and they don't require an explicit invitation to attend — think parks or public libraries. Oldenburg believed that Third Spaces were essential to the balance between work and home life. He observed that, even back in 1985, there had been a significant decline in places where people could freely spend time together. This has only gotten worse, with places like cafes and bars generally requiring purchases to linger in, and existing gathering spots being literally [torn down](https://www.thecitizen.org.au/articles/prestons-heart-of-skating-bulldozed-for-apartments) for corporate interests. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-23.png) BIG WALK. Source: House House. During the COVID pandemic, we saw these spaces merge at a grander scale, with the home now incorporating both work and social convention. While the overlap of home and work life had mixed results, the issue of continually eroding Third Spaces was exacerbated. Gathering socially was out of the question; people were quarantined in their homes and we had widespread implementation of "social distancing". It was undeniable that there had been a shift toward online retail during this time, with the [food delivery industry](https://www.ers.usda.gov/amber-waves/2024/january/pandemic-related-increase-in-consumer-restaurant-spending-using-mobile-apps-continued-through-2022) alone nearly quadrupling between 2019 and 2022\. With this sort of hybridisation of our online and offline lives, it was natural to see an uptick of video games catering to what we'd lost socially, too. ## Game on Previously, we've seen segments of large-scale online MMOs fill the role of a social gathering site. World of Warcraft and RuneScape have their own social hubs in the form of cities and towns like Stormwind or Varrock. Not only do these places provide a space for parties to form, gather and hang out, they also double as an area for newer players to get help and for me specifically to buy gf. Games like Club Penguin, Habbo Hotel and VRChat encompass this concept on a much larger scale, with their design built to focus more on socialising than anything else. Nowadays, younger gamers flock to online games like Fortnite and Roblox to socialise. These coalescent platforms are great for giving players somewhere to hang out online, connecting people around the world for "free". They also provide players with an avenue to express themselves through avatar customisation and are packaged with entertainment via both official and user-generated channels. With all of these benefits, however, come some fairly big drawbacks. The massive multiplayer platforms are well known to be hyper-monetised, using mass marketing and dark patterns to profit primarily off children. Roblox, in particular, has also been caught in many scandals surrounding the [exploitation of child labour](https://www.theguardian.com/games/2022/jan/09/the-trouble-with-roblox-the-video-game-empire-built-on-child-labour) and [other predatory risks](https://www.theguardian.com/games/2025/nov/05/roblox-game-robux-children-child-kids-safety-parental-controls). In other areas of the gaming sphere, a few games have been specifically designed as social spaces for bringing people together. 2024's WEBFISHING went viral for reviving the "chat room game" genre. The game hit a peak concurrent player base of around 24,000 in the month after its release. A simple premise surrounding fishing and socialising, WEBFISHING became a mini social hub for a time; it was as easy as creating an avatar and joining a server. Other games have been created in WEBFISHING's wake. On-Together, Sledding Game and Flock Around all released earlier this year, and we're seeing even more on the horizon, such as Big Walk and Spirit Crossing. ![Sienna Blumstengel](https://secretplan.ca/_astro/siennablumstengel_Z216oNo.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-22.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-20.png) Sienna, Wyatt, and Toby of Secret Plan Games**.* Source: Secret Plan Games. Toby Murray of Secret Plan Games shared that the team was looking for a chill way to spend time with friends online. Taking inspiration from popular co-op games like PEAK, REPO and Lethal Company, the Canadian developers wanted instead to make a game with less pressure, where the goal and gameplay loop were more of an option. After watching the documentary Listers: A Glimpse into Extreme Birdwatching, they agreed that birdwatching would be the perfect activity to build a game around. With the team's understanding of the importance of a gathering place, Flock Around was always made to be a digital third space. Toby explains how the combination of expressive characters and proximity chat works differently from a Discord or Zoom call, sharing that lobbies would sometimes separate into groups with multiple conversations going at once. It's accessible platforms in this up-and-coming genre that will allow those who are immunocompromised or suffer from social anxiety to access the same kind of social gathering the masses do outside. What's more, digital third spaces transcend time zones and sit at a relatively inexpensive price point, providing a gathering point that can be returned to at will, any time, after a single purchase. --- > "This isn't a new take, but it definitely feels like as we've become more connected, we've also become more isolated." > > **Toby Murray** --- ## It’s not all sunshine and rainbows There is an argument that the gamification of social interaction will exacerbate the erosion of Third Spaces in the real world, and, by definition, these games sit outside what Oldenburg had in mind when discussing Third Spaces. With our lives being ever more interwoven with technology, more research needs to be done into the long-term effects of mixing offline and online interactions. Murray concurs: "This isn't a new take, but it definitely feels like as we've become more connected, we've also become more isolated". There's also a larger conversation to be had about the limits indie developers have to reckon with regarding online moderation and interaction. Cyberbullying and online harassment are rife in online video games, and these smaller teams have only a fraction of the resources available to moderate the way people behave and communicate. They aren't without their tools, of course; *Sledding Game* has options to both restrict text and voice chat when creating a server and disable it entirely client-side in the game's options. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/20260509215626_1.jpg) WEBFISHING. Source: Author. Outside the game, things can get just as dire. The solo developer behind WEBFISHING suffered numerous harassment campaigns and even doxxing for their support of the LGBT community, and has gone radio silent ever since. Digital Third Spaces help ease the growing uncertainty of social interactions. They offer an accessible and inclusive way to meet and hang out with people, while doubling as a low-stakes way of passing the time. They aren't a permanent solution to the problem, and they aren't without their drawbacks and shortcomings, but I believe we're going to see a lot more of these types of games gracing our libraries over the coming years. ### A Complete Beginner's Guide to Playing Pokémon TCG Live URL: https://www.superjumpmagazine.com/a-complete-beginners-guide-to-playing-pokemon-tcg-live/ Last updated: 2026-06-09T15:07:16.000Z **The Pokémon** **trading card game (TCG) has been around since the mid-90s, and though it's changed quite a bit over the years, the basic idea is the same: you and another player battle head-t0-head to see who's the stronger trainer.** Nowadays, we've got access to a worldwide community of players thanks to Pokémon TCG Live, a free app run by The Pokémon Company that lets you build decks and battle digitally. It is, in my opinion, the best way to get into the TCG right now, so let me walk you through what a game looks like! ## Setting Up the App To begin, download the app onto either your phone, tablet, or PC. You're then going to need to make an account with Pokémon TCG Live. You'll use an email and password to create it, then select a username that will display in the game. You'll also be able to customize an avatar to represent you, including choosing an outfit, an intro phrase, and a victory phrase. Once you've done that, you'll complete a short tutorial. It's very in-depth, but if you need a reminder or a cheat sheet during your match, you can keep this article open on the side. ## Setting Up the Game Before you join a game, you need to select your deck. While I'll go over deck building in its entirety in another piece, right now, I'll suggest that for your first few times playing, you try out one of the pre-made decks the game provides. It's also a good idea to go through the extra tutorials in the "Learn" tab if you want to understand the game a bit better and learn how to navigate some of the more popular decks. Once you're ready to play against real people, you can join a match by clicking "Play" in the main menu. The game will randomly match you with another player, and you'll get the intro splash screen where you can see each other's introduction phrases and avatars. I find this endearing - a bit like we've become the NPCs in a Pokémon game that challenge you to a battle! Before anyone moves any cards at all, you have to decide who goes first. To do this, you have to flip a coin. The winner of the coin flip gets to decide whether they want to go first or second - and this can definitely matter depending on the deck you build. (Interesting note: for in-person games, players often use a 6-sided die for their "coin," calling even numbers heads and odds tails). Once the first player is decided, you'll draw a hand of seven cards. From this hand, you'll place your basic Pokémon onto the board - one in the active spot, and any others on your bench if you'd like to put them there. Once you've placed your basics, you'll deal out your six prize cards to the left-hand side of your board. If you don't have any basic Pokémon in your hand, you'll take a Mulligan; you reshuffle your hand into your deck and draw again, and your opponent gets to draw another card. You'll do this until both players have basics in their active spot. Once both players have their active spot filled and prize cards placed, you'll flip your Pokémon over and start the game. ![A game of PTCGL. Both players are newly set up - it is the perspective player's turn to start the game.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-2.png) Source: Screenshot by the author. ## Taking a Turn Your turn will always begin with drawing a card, and with the light indicator (the yellow band that goes across your active spot) lighting up on your side of the board. When this happens, your timer will start; each player has 20 minutes for the round. Remember that if you take too long, the game will time you out, and your opponent will win. You'll get a warning before this happens, and you're fine to take your time as long as you're taking actions. ### A Quick Overview of the Pokémon Play Board In PTCGL, your board will look consistent each time you play, which is convenient. On your side of the board, starting on the left, you've got your six prize cards lined up face down. Next, you've got your active Pokémon in the top center and your benched Pokémon in the box in the middle of the screen. Below that, you've got your hand of cards, which is only visible to you - your opponent can only see the number of cards you have. Finally, on the right side of the screen, you've got your deck and your discard pile. Your opponent's board will look exactly the same. You can click on or hover over your and your opponent's cards to read them during the game. You can also click on either discard pile to see what's in it. When you're playing, the cards that you can play will be highlighted in your hand; any Pokémon in play that can take any action (retreat, attack, use an ability, etc.) will also be highlighted, as will the stadium if it's applicable. To play a card from your hand: - On mobile, drag and drop the card to its appropriate position on the board (Pokémon to the bench or the active spot, energy to the Pokémon you want to attach to, trainer cards to the blank space between active Pokémon) - On PC, click to select the card and then click its appropriate position. You can also drag and drop your cards if you want to. ### Actions You Can Take There is a range of actions you can take during your turn. Some of these actions have restrictions on how many times you can use them; typically, you can do each action one time, with some minor exceptions. The actions you can take are: - Playing a Pokémon to your bench (as many as you like, up to 5 total benched Pokémon) - Evolving your Pokémon (you can evolve each Pokémon once per turn, and not on the turn they were played onto the board) - Retreating your Pokémon and promoting a benched Pokémon to the active spot - Attaching an energy card to your Pokémon (once per turn) - Playing a trainer card (you can play as many items, stadiums, and Pokémon tools as you like, but only one supporter per turn) - Using the stadium in play (once per turn) - Using Pokémon abilities (once per Pokémon per turn) - Attacking your opponent's Pokémon Keep in mind that occasionally, a card will affect these actions and make them either impossible or more frequent. For example, Budew has an attack called Itchy Pollen, which makes it so your opponent can't use any item cards on their turn. There's also a stadium that allows you to have more Pokémon on your bench if you have a Tera Pokémon (a specialized form of EX Pokémon) in play. These cards must be countered to remove their effects, such as knocking out Budew or replacing the stadium with your own. ![A game of PTCGL. The perspective player has Clefairy highlighted, showing its various moves.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-4.png) Source: Screenshot by the author. ### Your First Turn Your first turn will look a little bit different from the rest of your turns. To start with, if you go first, you can't play a supporter card. Whether you go first or second, you can't attack on your first turn, nor can you evolve your Pokémon. There are some cards with specific text that negate or change these rules, so be sure to read your cards carefully. ### Action Order There are a couple of rules to remember when you're playing your cards. Firstly, triggering an attack from your active Pokémon will end your turn automatically, so make sure you've done everything you wanted to before you attack. You can also end your turn without attacking by clicking the "End Turn" button on the right side of the screen - this will open a pop-up for confirmation if there are other actions you can still take, so don't worry about hitting that accidentally. Secondly, the sequencing of your cards can matter quite a lot. For example, you might have a card that shuffles your hand into your deck and lets you draw new cards - if you've got anything else you want to play from your hand, this needs to be the last card you put into play! Keep in mind which actions are once-per-turn and make sure you're committed to the idea before you take action. Finally, lots of cards and Pokémon work well together if you play them in the right order. You might be able to stack energy attachments, save a damaged Pokémon from a knockout, do tons of damage, or disrupt your opponent's plans if you play your hand well. Be sure to read your cards to go in the best possible sequence for your turn. ### Winning or Losing the Game There are three win conditions for PTCGL. 1. You knock out all of your opponent's Pokémon, leaving them with nothing on the board. 2. You take all six of your prize cards. 3. Your opponent cannot draw a card to start their turn (called "decking out"). Meet any one or multiple of these conditions, and you win! You'll earn XP for your character, which can level you up and unlock more rewards. You can also earn toward the reward ladder that's currently in play, letting you collect cards from the most recent expansion to add to your deck or simply fill out your card dex. In ranked mode, you also earn points to move up the ranking ladder and match with other players at a similar experience level. Don't worry too much if you lose. Since this is designed as a game for children and does rely on elements of chance, there's no real punishment for losing a round. You never lose XP; you simply earn less. While you might lose points on the upper tiers of the ranked ladder, you don't have to worry about that early on; losses in anything under the Ultra Ball tier (the second-highest category) don't count against you. If you're interested, you can find your stats by clicking on your character profile picture. You'll be able to see your wins, losses, and total games played, as well as your current win streak, which is pretty cool. ![The victory screen for PTCGL. The author's character - a woman with brown hair and glasses in a summery shorts and tshirt outfit - cheers and says "I think my deck is ready for my next tournament!"](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-3.png) Source: Screenshot by the author. ### A Note on Conceding and Timing Out You may also win the game if your opponent chooses to concede; this can be done by selecting "Concede" from the settings menu in the game. Concessions are typically for games that you or your opponent know for a fact that you won't win for whatever reason - you realize a key card is in your prizes and you can't get to it; you've been drawing terribly while your opponent is 100% set up; both of you have been drawing terribly and can't actually do anything on your turn, etc. Conceding doesn't make you bad at the game - it happens a lot! It just means you know when you're beaten, and you don't want to waste your or your opponent's time with a drawn-out game that isn't fun. It's a good way to avoid frustration and boredom, and let both players modify their decks so the next game is better. It is, however, considered fairly rude to concede on the very first or very last turn; this takes away from the XP earned by the winner, limiting in-game rewards and leveling. It's also just bad manners to take away the satisfaction of a legitimate win just to be petty. Please don't do this. You can also win if your opponent times out, meaning they took too long to play their turn. This may happen due to a bad connection, a real-life issue taking precedence, or simply getting stuck in decision paralysis. It doesn't happen very often, but when it does, try to have grace for your opponent. That being said, it's once again considered very rude to intentionally walk away on your last turn and refuse to let the turn switch over so your opponent can win in a standard way. Once again, please don't do this. ## Play On Once you get the basics of the game down, the Pokémon TCG becomes a really fun puzzle to solve in every match. Like most deck-building games, it's great fun to try and find new ways to use the same 60 cards against a range of opponents, and with a global network of trainers logging in every day, PTCGL is perfect for learning and exploring the joys that come with this game. So, feel free to explore and experiment. Put unusual cards in your deck, make unusual moves, climb the Ranked ladder or hang out in Casual or Build & Battle for extra challenge. However you do it, enjoy your time in the arena! ### Mario Tennis Fever Works Better When You Strip It Back URL: https://www.superjumpmagazine.com/mario-tennis-fever-works-better-when-you-strip-it-back/ Last updated: 2026-06-09T15:07:22.000Z **I really wanted Mario Tennis Fever to be an easy recommendation.** Instead, my first few nights with it were a slow, slightly baffling loop of trying modes, bouncing off them, and wondering if I’d missed the point of what this game was supposed to be. It wasn't in a grumpy “games aren’t what they used to be” kind of way, but more of a “why the hell isn’t this clicking with me?” feeling. I kept waiting for it to start feeling like the old-school Mario Tennis games I grew up with, but that moment never came. Well, not at first. ### Luck of the Draw The online ranked mode was the quickest route to disappointment, mostly because it never settled into anything I could build on. One match, I’d be flattening someone so comprehensively it felt like the game had paired me with a kid holding the controller upside down, and the next match I’d get smoked without scoring a point. That kind of swing isn’t inherently a problem, because ranked is ranked, but the whiplash made it hard to learn anything or extract any enjoyment from the experience. The skill curve didn’t feel like a curve I was climbing; it felt like a staircase where half the steps were missing. I was either strolling along happily or falling to my doom. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Mario-Tennis-Fever-Screenshots-Gameplay-Nintendo-Source3-1.jpeg) Mario Tennis Fever. Source: Nintendo. So, I did what I always do when multiplayer starts feeling stale: I went looking for the “real” single-player mode, the one that would let me settle into the flow without all the random noise. Adventure Mode (the ‘RPG’ part) should have been the answer, at least on paper, because Mario Tennis has a history of making the solo game feel more substantial than it should be. Back in the early 2000s, I had a genuine obsession with Mario Tennis on the Game Boy Colour, and not just because it was portable. It was a proper little sports RPG, where I was building a player, grinding through matches, earning experience, and watching the numbers go up in a way that hooked me. But, most important of all, it was grounded in tennis with a semblance of realism, despite the cartoonish wrapping. Well, Fever’s Adventure Mode has the setup of a Saturday morning cartoon and, sadly, the soul of a training manual. Daisy gets sick one day, so Mario and the gang head to a remote island to find a magical golden fruit that can cure her. Then Wario and Waluigi show up and start causing trouble, waking monsters that curse everyone, turning them into babies. Sure, it’s silly, it's weird, but I was ready to roll with it. Then, the game plonked me down as baby Mario and started feeding me tutorials in a long, careful, hand-holding procession. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Mario-Tennis-Fever-Screenshots-Gameplay-3.jpeg) Mario Tennis Fever. Source: Author. --- > Each challenge was fun in isolation, but as a wider mode, it felt incohesive, like flicking through channels rather than committing to a season --- Every few minutes, I’d get a tiny stat bump that didn’t feel like rewarding progression so much as an apology for my time, and I could feel my patience draining. I’ve always hated tutorials, because I learn better through play. Adventure Mode didn’t feel like learning through play at all. It felt like being dragged through a series of trivial mini-games. I dropped it quickly, which I don’t say proudly because I genuinely wanted it to win me over. After that, I tried the Tower modes, which at least have the decency to be interesting. They’re basically a rotating carnival of rule tweaks that see you climbing your way up, rogue-lite style. This mode does a great job showing off how much stuff Fever has crammed into its toy box. One match might be straightforward singles, except everyone’s using Fever rackets, the next might have you swatting balls through hoops for bonus points, and another might throw you into frantic doubles with multiple balls flying around the court like a pinball machine on jackpot mode. In short bursts, it’s clever, and it does keep you on your toes. The problem is that the Towers started to feel like variety for its own sake, with every new idea arriving before the last one had time to settle. Each challenge was fun in isolation, but as a wider mode, it felt incohesive, like flicking through channels rather than committing to a season. There’s a difference between “fresh” and “random,” and Tower mode kept drifting toward random, which meant I’d finish a challenge and feel entertained, but not satisfied. I wasn’t building anything; I was just surviving the next bit of nonsense. ### The Pitfalls of Gimmicks At that point, I had to admit something uncomfortable, especially in an era where games are constantly trying to give you more: I didn’t want more stuff. I wanted less, because my favorite Mario Tennis memories aren’t tied to gimmicks at all. They’re tied to how clean those older games felt, especially the N64 entry with its responsive Camelot feel, where everything is snappy, readable, and full of character without ever getting in the way of the match. Over the last few years, I’ve sunk dozens of hours into Mario Tennis on the N64 via Switch Online, mostly playing doubles with my nephews during Christmas get-togethers. What makes those sessions work is rhythm and rivalry, not a game constantly interrupting you with new systems and special rules. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Mario-Tennis-Fever-Screenshots-Gameplay-9.jpeg) Mario Tennis Fever. Source: Author. That’s why Fever’s big differentiator, the Fever rackets, started to bug me more the longer I spent with them. They’re creative, and I can see the appeal immediately: setting the court on fire, smothering it in ice, creating a ghost double of yourself, and bending shots in ways that border on cheating. In a vacuum, those ideas are playful, and I don’t want to pretend they’re not. But the issue for me is how they pull focus away from the tennis, because when the rackets really get going, the game stops feeling like a sport with flow and starts feeling like a sports-flavoured fighting game. Windjammers 2 kept popping into my head, not because Fever plays the same way, but because the game feels so similar at times, where the point is less about constructing a rally and more about managing the split-second craziness. Instead of reading your opponent’s positioning and choosing the right shot, you’re trying to land your nonsense before their nonsense lands first. This can absolutely be fun, but it’s a very different kind of fun from what I personally want from Mario Tennis. A few hours in, I realised I was doing a very specific kind of menu drifting, where I wasn’t searching for the “best” mode so much as hunting for the one that felt most like, you know, actual *tennis*. I wanted clean rallies and simple points, wins that came from reading an opponent and placing shots, not from triggering the correct fire hurricane at the correct time. I wanted the sport, not the spectacle, and once I admitted that to myself, the solution became obvious in hindsight. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Mario-Tennis-Fever-Screenshots-Gameplay-8.jpeg) Mario Tennis Fever. Source: Author. --- > The rallies are where the personality of Fever lives, and they don’t need fireworks to be interesting --- So, I stopped trying to meet Mario Tennis Fever on its terms, and instead went into Free Play, picked a character, turned off the gimmicks, and started playing the CPU properly. That’s where the game finally clicked, because a straight match against an AI that’s well-tuned gives you something modern games sometimes forget to value: a state of flow. You play, you lose, you adjust, and you play again, and somewhere in that repetition, you start noticing patterns, charging up faster returns, and learning when to approach the net versus when to stay back. Most importantly, I could feel myself getting better, not because the game told me that I got better, but because the rallies started lasting longer and the points started going my way. ### Bliss in Simplicity Free Play became my personal ladder, the simple old-school progression I’d been subconsciously craving. It reminded me more of my old Mario Tennis favourites than Adventure Mode ever did. It also made me realise what I want from Mario sports games in 2026, and it’s not an ever-expanding checklist of modes. I want a strong base game that doesn’t seem embarrassed about being a sport, because sometimes it feels like Nintendo is trying to justify the existence of a tennis game by turning the court into a theme park ride. It's acting as if tennis on its own isn’t enough to hold my attention, when the truth is that it absolutely is, as long as the fundamentals are solid. The rallies are where the personality of Fever lives, and they don’t need fireworks to be interesting. They live in the way Yoshi stretches for a desperate return, in the way Donkey Kong’s raw power delivers unhittable blasts down the line, and in the satisfaction I get when I realise my opponent keeps leaning on the same pattern. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/Mario-Tennis-Fever-Screenshots-Gameplay-6.jpeg) Mario Tennis Fever. Source: Author That stuff needs room to breathe, and when Fever finally gave me that space, it stopped feeling like a noisy collection of gimmicks and started feeling like Mario Tennis again. So now that I’ve found the version of Fever I actually like, Tournament Mode is the next obvious step, with Classic Rules switched on and my pride on the line. Mario Tennis Fever disappointed me at first because I kept meeting it where it wanted to be met, in the craziness, the spectacle, and the modes designed to look cool in trailers. The moment I simplified it and treated it like a tennis game instead of a party game with a tennis flavour, it became something I actually wanted to keep playing. Not because I’d cracked the perfect racket loadout or mastered a cursed baby tutorial, but because I’d finally found the version of Mario Tennis I’d been looking for all along. The simple one. **If you enjoyed the article, feel free to check out more of my work on SUPERJUMP* [**here*](https://www.superjumpmagazine.com/author/benrowan/) *and follow me on social media* [**here*](https://linktr.ee/launchcannon)**. Thanks for reading!* ### Yakuza Needs to Let Players Scrap with Women, Too URL: https://www.superjumpmagazine.com/yakuza-needs-to-let-players-scrap-with-women-too/ Last updated: 2026-06-07T21:44:51.000Z **Like most expressions of the hypermasculine crime genre, from song to film, the Yakuza series’ relationship to its women is often patronising at best and hostile at worst.** Its most recent release at the time of writing, the tepid Yakuza Kiwami 3 (along with the bundled campaign Dark Ties), is the very picture of this. The hiring of confessed sex pest Teruyuki Kagawa for one of the most involved likeness character roles in the entire series (he’s the first actor to do his own mocap for the game) is the immediate example. Fellow game journalist Ashley Schofield writes for [Skybox](https://skyboxcritics.com/2025/11/07/hamazaki-has-to-goh-where-does-ryu-ga-gotoku-studio-draw-the-line-on-casting-and-why-is-it-not-at-sexual-assault/) that, despite having always depicted unambiguously misogynistic predators as bad guys, the series really isn’t so much at odds with itself in Kagawa’s presence as it is following its hypocritical treatment of women to its conclusion. From iron-hearted acting Tojo chairwoman Yayoi Dojima becoming a damsel in distress in Yakuza 2, all the way to Chitose Fujinomiya’s arc in Like a Dragon: Infinite Wealth, stripping all agency from her unsavoury deeds, female characters are at once deified and treated as tools for the development of their male counterparts. There is nothing in the franchise that shows this quite as well as creator Toshihiro Nagoshi’s [philosophy](https://kotaku.com/yakuza-creator-doesn-t-want-kiryu-beating-up-women-in-f-1845622609), kept alive by his close collaborator and now leader of RGG Studio, Masayoshi Yokoyama: with a few exceptions (namely Tanimura’s female instructor in Yakuza 4, the 9-year-old Haruka Sawamura, and a couple of trans women - *I wonder why*), Kazuma Kiryu and friends are forbidden from ever raising a hand against a woman. Every time a villain hits one during a cutscene, too, she always falls to the ground and stays there, no matter her level of fighting skill; a grand show of just how despicable the action is. As the years have gone by, the series has made several attempts at grappling with the idea of fighting female characters. Like a Dragon: Pirate Yakuza in Hawaii promised a lady main villain with a swordswoman for a retainer — yet refused to let you actually punch either of them. Instead, the game only allows a ship battle against the big baddie’s pirate crew, never mind the fact that Goro Majima doesn’t seem that averse to hitting women (he’s slapped his forgotten ex-wife at least once, for one). Even the otherwise pro-woman Yakuza: Like a Dragon balks at the concept of fighting crime leader Seonhee, instead making her sic her male second-in-command, Joongi Han, on Ichiban Kasuga and company. Lost Judgment’s biker gang racing mode may be the closest we get; there is an all-girls crew whom the player must knock off their rides to gain politicking leverage, led by goth rocker badass Rina Minagawa (whose main contribution still is just having been in love with the leader of the gang to which hers is a subgroup... baby steps). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/data-src-image-97a7b316-7733-400e-ae9d-b81ff45415a8.jpeg) Source: Author It is thus remarkable that Kiwami 3 returns to that setting for the Ryukyu Gal Gang, a side mode retconned to be part of the original Yakuza 3, which sees Kiryu advising the Haisai Girls, another girl biker gang led by young and spunky Tsubasa Miyazato. When you first meet Tsubasa, she and her gals are getting attacked by the Tokyo Night Terrors, an all-male group from Tokyo that wants to take over Okinawa’s biking scene by force. Kiryu comes to their aid, but not before proselytising to the jerks about how hitting a woman is a coward’s practice — no matter if they’re rival gang members fighting you on those grounds. The “fairer sex”, as the series believes them, is untouchable due to some sort of inherent weakness. While the game tries to dress up Kiryu’s newfound advisor position as some sort of bid for gender inclusivity, there’s no other way to put it but the cliché one: it’s a man barging into a woman’s space. Player agency here translates to the quiet implication that these clueless, overconfident little girls need a big, strong guy to guide them in finding their truest selves, and there is no amount of “she found herself on her own” insistences from the Dragon of Dojima that can handwave this. To that end, it’s very notable that the menacing cutscenes of the storyline villains debating their next moves don’t say “we’re going to crush Tsubasa and her gang” or anything of the sort. They’re all eager to fight *Kiryu*, the true threat in their eyes (and of the narrative’s), because *aww, look how cool you are shepherding these idiots to their coming of age.* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/image-5.png) Tsubasa. Source: Author This disingenuous heralding of “girl power,” which is really just thinly veiled misogyny, further extends to the storyline involving Tsubasa’s rival, Sakura, the leader of the supposedly uber-powerful Ryukyu Venus. Because Kiwami 3 has no concept of what the “side” in “side mode” means, all players are forced to see the way this plot beat develops: Sakura is touted as the first one up to bat out of the three arch-villain groups, but when her time to shine arrives, she and her (again, *extremely powerful*) group are instead overpowered with ease by the “real” bad guys and become a gaggle of damsels in distress. This is just more fuel to the malice of your opponents, as if “unsubtle allegory for colonialism, being a Tokyo group looking to conquer Okinawa and all” wasn’t strong enough motivation for the audience’s hatred already. What untold horrors would happen if Kazuma Kiryu (and his female companions, but who gives a rip about them, right?) had to take women seriously as opponents? Well, perhaps the next step in the series’ evolution is to discover just what might happen if women were taken seriously. RGG Studio has tried to play both sides before: their best effort in the “strong female character” field has been Saeko Mukoda from Yakuza: Like a Dragon, a character who explicitly draws her power *from* womanhood instead of being, like Kaoru Sayama had been in Yakuza 2, just “strong for a woman”, which usually didn’t mean much in the face of men. Sure, it comes in the form of the kinda-sexist trope of using feminine signifiers as weapons — your clutch bag whacks and makeup poison and seduction techniques and what have you — but one finds it’s quite forgivable in a game whose entire class system relies on common-ish jobs overblown to comedic proportions, in the Miitopia vein of humour. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/saeko.jpg) Source: Steam. In Like a Dragon (and its sequel Infinite Wealth, though that one has some [other problems](https://medium.com/@hiyeahrow/the-yakuza-series-love-of-rape-8259d1bd5eb1) with misogyny), specifically, this attitude is supported by the use of the Heroine’s Journey, as Niki Fakhoori writes for [Stop Caring](https://www.stopcar.ing/like-a-hero-ine/). By moving away from the classic Hero’s Journey, a mode of narrative that rewards more classically “masculine” traits (such as a “lone wolf” type approach to life, Kiryu’s entire M.O.), Ichiban Kasuga’s turn-based RPG philosophy gives more room to his allies to be treated not as disposable plot devices, but as people in their own right. This is why, when the group has to help Saeko deal with a sexual harasser during an undercover mission, it comes off less “defend the poor woman who can’t do that for herself” and more “get a friend out of a pinch”. Even through the usual Yakuza series plot beats, there is room for a more humanised treatment of women — the games have already done the work to show that themselves, see? It is thus high time to take down that sacred cow. Despite RGG Studio’s best efforts to dance around it, relegating conflict with women to non-punching side modes and the like, there can be no true gender equality if we keep framing one side as fundamentally incapable of doing something. There is so much work on the narrative side to avoid the simplest solution; it has frankly become ridiculous over the years. It seems all we will ever get is a collage of examples — a motorcycling rival we don’t meet in classic combat, a female fighting style master who just gives you objects to wreck, a Yakuza chairwoman used as a prop, a coach you actually do get to spar with but who disappears from the series forever after that — and never the fully realised thing. As Yakuza refuses to let go of the legacy of the Kiryu Saga, its women are the most immediate victims. Committing fully to the idea that gender is irrelevant to strength requires actually making it so that lady villains get to exist in all of the same modes as men, which does include getting their faces caved in just like them. The current approach of pretending as though the issue doesn't exist, while mostly treating female characters in patronising ways, truly does nothing for anyone. What's a Dragon that doesn't respect his adversary? ### The Best Ways to Reduce Network Lag in MMO and Battle Royale Games URL: https://www.superjumpmagazine.com/the-best-ways-to-reduce-network-lag-in-mmo-and-battle-royale-games/ Last updated: 2026-06-05T11:01:18.000Z **Nothing destroys an online match faster than sudden lag.** MMO and battle royale games rely on constant real-time communication, which means unstable connections quickly lead to delayed abilities, teleporting enemies, and inconsistent hit registration. Many players now start with tools like [VPN extension](https://protonvpn.com/download-chrome-extension) because it offers quick setup, access to global server locations, built-in privacy features, and fast connection switching directly from the browser. Features like automatic fastest-server selection and optimized routing have made these extensions increasingly popular among players looking for smoother online sessions in games. However, this is only one part of the equation. So, let’s see what else matters. ## Understanding What Actually Causes Lag Network lag appears when communication between the device and the game server becomes unstable. Ping measures how long data takes to travel between both points. Lower ping creates faster response times, which explains why competitive shooters feel smoother below 40ms. Stable latency matters just as much as low latency. A connection jumping between 20 ms and 90 ms feels far worse than a stable 60ms connection. This instability is called jitter, and it creates unpredictable movement and delayed actions during gameplay. Packet loss creates even bigger problems. Small pieces of network data fail to arrive correctly, forcing the game to compensate. Characters snap backward, enemies appear in strange positions, and abilities activate late. In battle royale games, packet loss often looks like broken hit registration. MMOs expose lag differently. Delayed healing, failed interrupts, and slow movement mechanics become obvious during raids or large PvP battles where many players interact simultaneously. ## Ethernet Still Beats Wi-Fi for Gaming Wireless internet improved significantly during the last decade, but Wi-Fi still struggles with consistency compared to Ethernet. Walls, nearby networks, and wireless interference all affect signal quality. Those interruptions become noticeable immediately in online games. Battle royale titles depend heavily on constant movement updates. Fortnite building fights and Apex Legends movement mechanics react badly to unstable wireless connections because the server constantly tracks player actions in real time. Ethernet avoids most of those problems. A wired connection delivers lower jitter, fewer packet drops, and more stable latency overall. The improvement becomes especially noticeable during fast gunfights or crowded MMO encounters. MMOs benefit heavily from stable connections because raids generate constant positional updates and ability calculations between many players at once. Large World of Warcraft or Final Fantasy XIV raids often expose weak Wi-Fi conditions immediately. Players unable to use Ethernet should switch to 5GHz or 6GHz Wi-Fi instead of older 2.4GHz networks. Playing closer to the router also improves stability significantly. ## Choosing the Correct Server Region Matters Distance directly affects latency because data must physically travel between the player and the server. Longer routes increase delay naturally and often introduce additional routing instability. [Most modern games display estimated server latency](https://www.sciencedirect.com/science/article/pii/S1389128625002038) before matchmaking. Fortnite includes region ping information directly inside the settings menu, while Apex Legends shows detailed data center information before entering matches. A player located in Europe may see 25 ms on nearby servers but over 120 ms on North American servers. That difference affects aiming, movement responsiveness, and ability timing immediately. Playing with overseas friends always increases latency, but stable connections still matter more than chasing extremely low ping. A stable 90 ms connection feels smoother than an unstable 40 ms connection constantly spiking during gameplay. ## Packet Loss Quietly Destroys Online Matches Many players focus only on internet speed while ignoring packet loss entirely. Broadband providers advertise huge download numbers, but gaming performance depends far more on connection quality. Warzone highlights packet loss clearly. Players sometimes lose gunfights despite reacting first because the server never receives certain shots correctly. The game itself may continue running smoothly while hit registration becomes inconsistent. MMOs reveal packet loss differently. Characters may slide backward after movement, raid mechanics may appear delayed, and healing abilities may trigger several seconds late. Testing the connection with Ethernet helps identify whether Wi-Fi causes the problem. If packet loss disappears on a wired connection, wireless instability usually creates the issue. Sometimes the problem exists outside the home network entirely. ISP congestion or poor regional routing can also create packet loss during busy hours. ## Bufferbloat Creates Massive Ping Spikes Some connections only lag while other devices use the internet simultaneously. Games feel smooth while idle, then suddenly become unstable once someone starts streaming or downloading nearby. This problem is called bufferbloat. Routers overload traffic queues during heavy uploads or downloads, causing gaming packets to wait behind larger transfers. A household streaming 4K Netflix or uploading cloud backups can suddenly increase gaming latency dramatically. Battle royale games expose this issue immediately because movement and aiming rely on constant responsiveness. Modern routers increasingly include Smart Queue Management systems designed to prioritize latency-sensitive traffic. Technologies like CAKE and fq\_codel prevent downloads from overwhelming the connection completely. Many players discover that proper traffic management improves gaming performance more than upgrading internet speed itself. ## Background Applications Cause Hidden Congestion Modern PCs and consoles constantly use bandwidth in the background. [Steam](https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-2/), Battle.net, Epic Games Launcher, OneDrive, Windows Update, and cloud backup services quietly transfer data throughout the day. Upload traffic usually affects gaming more than downloads because outgoing bandwidth becomes saturated quickly. A cloud sync running during a ranked Apex Legends match can destabilize the entire connection. Scheduling downloads overnight helps reduce these interruptions. Pausing launcher updates and cloud syncing before competitive sessions also improves stability immediately. ![A security and privacy dashboard with its status.](https://images.unsplash.com/photo-1751448555253-f39c06e29d82?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDE5fHx2cG58ZW58MHx8fHwxNzgwNjU3MDk5fDA&ixlib=rb-4.1.0&q=80&w=2000) Photo by [Zulfugar Karimov](https://unsplash.com/@zulfugarkarimov) / [Unsplash](https://unsplash.com/?utm%5Fsource=ghost&utm%5Fmedium=referral&utm%5Fcampaign=api-credit). ## Good Routers Matter More Than Most Players Think [ISP-provided routers](https://www.telecomate.com/isp-provided-wifi-modem-vs-self-bought-router-which-choice-boosts-your-home-network/) often struggle with modern gaming traffic. They handle basic browsing well but become unstable once several devices start streaming, downloading, and gaming simultaneously. Older routers also contain weaker processors that struggle under heavy traffic loads. Overheating and outdated firmware can create additional lag spikes during long gaming sessions. Apartment buildings add even more wireless congestion because nearby networks compete for the same channels. Changing Wi-Fi channels or upgrading the router often improves stability more than increasing internet speed. ## Stable Connections Matter More Than Fast Internet Most lag problems come from instability rather than slow internet speeds. Stable latency, low packet loss, proper traffic management, and reliable routing create smoother gameplay across every online genre. The strongest gaming setup usually includes: - Wired Ethernet - Modern router with traffic management - Closest server region - Limited background downloads - Stable ISP routing Small networking improvements create noticeable gameplay advantages over time. Better hit registration, smoother movement, and faster response times all depend on maintaining a stable connection between the player and the game server. ### Dragapult Isn't a One-Trick Dragon URL: https://www.superjumpmagazine.com/dragapult-isnt-a-one-trick-dragon/ Last updated: 2026-06-06T02:17:36.000Z **If you're playing the Pokémon TCG right now, or are at least curious about it, you likely have (or will soon) come across** [**Dragapult ex**](https://limitlesstcg.com/decks/284)**.** After originally debuting in the eighth generation of mainline games, the Sword & Shield era, Dragapult has become one of the most important Pokémon, given its stature as the driving force in the TCG's single most dominant deck. At the recent regional competition in Melbourne, the three top players in the master's division all played a Dragapult deck. The reasons for its dominance, specifically the Twilight Masquerade print of [Dragapult ex](https://limitlesstcg.com/cards/TWM/130), are varied but simple, and it starts with its dragon typing. As a Dragon-type Pokémon, it has no weakness. Every other type of Pokémon in the game has a weakness from which they take twice as much damage, but not dragons. Colorless-type Pokémon — usually the TCG's equivalent of Normal-types — still carry weaknesses of their own. Birds like the second-generation [Noctowl](https://limitlesstcg.com/cards/PRE/78) are weak to lightning, and original 151 Pokémon like [Kangaskhan](https://limitlesstcg.com/cards/MEG/104) are weak to fighting. Dragapult's lack of weakness, however, is only one piece of the puzzle and why, across its overwhelming share of the competitive Pokémon TCG meta, it comes in so many different forms. Dragapult ex is a Stage 2 Pokémon, meaning it evolves from Dreepy through Drakloak before reaching its final form. Drakloak — which you need in play to evolve anyway — does real work while it's on the board. Its Recon Directive ability lets you look at the top two cards in your deck and pick one to add to your hand while putting the other on the bottom. It acts not as a raw draw engine but as a filtering tool that brings the deck a level of consistency other decks lack. Dragapult ex itself arrives with 320 HP and a single retreat cost; difficult to one-shot, easy to move out of the Active spot without losing tempo. It's also a Tera Pokémon, meaning it's protected from direct damage while sitting on the Bench, letting it wait safely while you set up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Dragapult-evo.png) From Dreepy to Dragapult ex, this evolution line is the backbone of the format’s most dominant deck, turning a supposedly clunky Stage 2 into the game’s smoothest engine. Even across the deck's many variants, there's a consistent trainer package. Specific counts vary by build, but you can always expect several staples: Boss's Orders to force any of your opponent's Benched Pokémon into the Active spot, Lillie's Determination to shuffle your hand in for a fresh six or eight cards, item cards for Pokémon search like Ultra Ball, Buddy-Buddy Poffin, and Poké Pad, and recovery in Night Stretcher. The ACE SPEC slot — the one card per deck that exists outside the usual four-copy limit — is one of the most build-dependent decisions in any Dragapult list; Sparkling Crystal, Neo Upper Energy, and Unfair Stamp have all had their moment depending on the variant and the meta read. The most important Trainer, still, is [Crispin](https://limitlesstcg.com/cards/PRE/105). Because Dragapult's primary attack, Phantom Dive, costs just two energies — a fire and a psychic — Crispin turns what should be a normal two-turn power-up into a one-turn supercharge, fixing your Energy mix to enable another level of momentum and get you swinging a full turn ahead of schedule. As Crispin's card instructs: "Search your deck for up to 2 Basic Energy cards of different types, reveal them, and put 1 of them into your hand. Attach the other to 1 of your Pokémon. Then, shuffle your deck." In a format where many top attackers demand either a single energy type or even three or four energy to get going, one card that finds both energy types Dragapult needs in a single action is why Crispin is almost always a four-of in every build. As for Phantom Dive itself, well, it's busted. For those two energies — or one with [Sparkling Crystal](https://limitlesstcg.com/cards/PRE/129) or just the [Neo Upper Energy](https://limitlesstcg.com/cards/TEF/162) attached— it's doing 200 direct damage to your opponent's Active. It gives you six damage counters to place freely across your opponent's Bench, simultaneously pressuring the main threat and setting up future knockouts. Because you're never forced to commit to a single target, you can adapt mid-game; if your opponent benches a new threat, future Phantom Dives can redirect counters there, meaning you're rarely wasting damage. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Budew_Munki_Mewoth.png) Together, Budew, Munkidori, and Meowth ex form Dragapult’s real backbone, locking Items, cleaning up spread damage, and tutoring the exact Supporter you need to keep the engine humming. Source: Author. As for support Pokémon staples, [Budew](https://limitlesstcg.com/cards/ASC/16) is a near-universal inclusion. Their Itchy Pollen attack deals 10 damage and leaves your opponent unable to play Item cards on their next turn, all without costing a single energy. That disruption buys the critical turns needed to evolve through the Dragapult line, since getting a Stage 2 onto the board takes time that a well-timed Item lock can protect. [Munkidori's](https://limitlesstcg.com/cards/ASC/99) Adrena Brain ability lets you move up to three damage counters off one of your own Pokémon onto one of your opponent's. This is a crucial complement to Phantom Dive's spread, letting you consolidate scattered counters onto a single target to reach knockouts that Phantom Dive alone couldn't finish. And since [Perfect Order's](https://tcg.pokemon.com/en-us/galleries/perfect-order/) release in March, [Meowth ex](https://limitlesstcg.com/cards/POR/62) has become a staple across builds as well, its Last-Ditch Catch ability letting you search your deck for any Supporter card the moment you play it to your Bench. Dragapult variants make up roughly 25% of the competitive meta right now. It's not uncommon to sit down at a tournament and face Dragapult all day. Here's a breakdown of the most common builds: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Crushing-Hammers-1.png) [Hiromu Sasaki](https://limitlesstcg.com/decks/list/27431) piloted Dragapult Crushing Hammers to a 1st-place finish at the Melbourne Regional Tournament—joined on the podium by two more Dragapult lists in 2nd and 3rd. Source: Author. **1\.** [**Dragapult**](https://limitlesstcg.com/decks/284) \- Sometimes referred to as "straight Dragapult," this build is the most self-contained of the variants. The core remains consistent — four Dreepys and Drakloaks, at least two Dragapult ex, if not three or four — but without a secondary Pokémon line to build around, the flex slots are where the interesting meta reads live. [Andrew Hedrick](https://limitlesstcg.com/players/2875) won the LA Regionals by filling those slots with Crushing Hammers, and then [Hiromu Sasaki](https://limitlesstcg.com/players/3704) played hammers in Melbourne, too. It's a coin flip per copy: heads strips an energy from your opponent's Pokémon, tails, nothing happens. That variance sounds unreliable, but at four copies it creates enough pressure to slow opposing attackers. At the same time, Phantom Dive does its job — and it succeeded specifically because it was occupying space previously taken by now-rotated trainers like Iono, Counter Catcher, and Professor Turo's Scenario. You aren't relying on the Hammers to win; you're using them to buy a turn or two, and that's often all Dragapult needs. A current example of the same logic applied differently is the single-prize Moltres from Phantasmal Flames, which hits ex Pokémon for 90 damage at a single fire energy cost — a cheap, unexpected answer to threats the spread damage alone can't close out cleanly. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/PultKnoir.png) [Shun Takemasa](https://limitlesstcg.com/players/8651) finished third in Melbourne with this PultNoir list behind two other Dragapult lists in the first and second spots. Source: Author. **2\.** [**Dragapult Dusknoir**](https://limitlesstcg.com/decks/284?variant=3) — Before the April rotation, "PultNoir," as it's sometimes called, was the definitive version of the deck, the benchmark by which everything else was measured. [Dusknoir's](https://limitlesstcg.com/cards/PRE/37) Cursed Blast ability lets you place 13 damage counters on any one of your opponent's Pokémon at the cost of Dusknoir knocking itself out, while its Stage 1 predecessor Dusclops offers a softer version of the same trick at five counters. Together, they turn Phantom Dive's scattered spread into exacting finishing blows, engineering the kind of multi-prize turns and come-from-behind wins — reaching damage thresholds as high as 330 — that made PultNoir feel genuinely unfair. It was also the variant with the most to lose from rotation — Counter Catcher, Iono, and [Hawlucha](https://limitlesstcg.com/cards/SVI/118), whose Flying Entry ability seeded one damage counter onto two Benched Pokémon to prime future knockouts, all gone simultaneously. PultNoir survived, but it's a leaner, less forgiving version of itself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Dragapult-Dudunsparce-1.png) Dudunsparce-powered Dragapult made up a sizable share of the Melbourne field, underscoring how often players are willing to trade tech slots for raw card flow. Source: Author. **3\.** [**Dragapult Dudunsparce**](https://limitlesstcg.com/decks/284?variant=12) — Dragapult is already one of the most consistent decks in its stock forms, and this variant is even more so. [Dudunsparce's](https://limitlesstcg.com/cards/TEF/129) Run Away Draw ability lets you draw three cards, then shuffles itself back into your deck — meaning you can cycle multiple Dudunsparces across a game, seeing more and more of your deck without ever discarding. In a TCG where random variance is supposed to be baked into the design, this deck is remarkably predictable. Paired with Drakloak's Recon Directive filtering, the two engines complement rather than overlap: one gives you selection, the other gives you volume. Dudunsparce isn't exclusive to Dragapult either — it's currently powering Alakazam, Mega Lopunny, and the incoming Beedrill swarm deck ahead of NAIC, which is why a stamped Dunsparce has climbed from $0.52 to $3.39 on TCGPlayer since March. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/KFC-Pult.png) In Prague, a Dragapult Blaziken build pushed all the way into the top cut on the back of Seething Spirit and Smoldering Assault, proving the archetype can trade some consistency for a higher ceiling and still post a deep finish. Source: Author. **4\.** [**Dragapult Blaziken**](https://limitlesstcg.com/decks/284?variant=9) — [Blaziken](https://limitlesstcg.com/cards/JTG/24)'s Seething Spirit ability lets you attach a fire energy from your discard pile to any of your Pokémon, giving Dragapult a built-in acceleration engine that synergizes directly with Phantom Dive's fire energy cost. But Blaziken isn't just a support piece — its Smoldering Assault attack hits for 200 damage, enough to one-shot many of the grass-type decks currently crowding the meta, which is a meaningful tool in a format where Charizard's departure made grass viable again. The catch is that Smoldering Assault can't be used on back-to-back turns, so you're rotating between Blaziken and Dragapult rather than leaning on either exclusively. Running two Stage 2 lines means more things have to go right, and in a deck whose appeal is consistency, that's a real ask, which is why it made the cut in Prague but was absent from LA's top placements. In the right hands, though, the combination of energy recovery and a secondary attacker can close out matchups that Phantom Dive can't, giving this variant a ceiling the others don't have. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Pult-Noctowl.png) Dragapult Noctowl has posted strong finishes of its own in 2026, including a 30th-place run by Yu Osuka at Champions League Fukuoka, as pilots continue to explore the archetype’s highest-skill variant. Source: Author. **5\.** [**Dragapult Noctowl/Tera Pult** ](https://limitlesstcg.com/decks/list/24453)— This is arguably the most technically demanding variant and, by some accounts, the strongest (but also the least used) of these. Noctowl's [Jewel Seeker](https://limitlesstcg.com/cards/PRE/78) ability lets you search your deck for up to two Trainer cards when you evolve into it — but only if you have a Tera Pokémon in play. That's where [Wellspring Mask Ogerpon ex](https://limitlesstcg.com/cards/PRE/27) comes in, primarily as the Tera condition that unlocks Jewel Seeker, but also as a legitimate situational attacker in its own right. Sob costs just one energy and locks the Defending Pokémon from retreating, while Torrential Pump hits the Active for 100 and places an additional 120 damage on a Benched Pokémon. This is just more spread damage feeding directly into the same counter-manipulation game Phantom Dive is already running. When the engine works, Jewel Seeker gives you surgical access to exactly the Trainer you need at exactly the right moment. It's also why you'll see Noctowl in a lot of other decks, like [Tera Box](https://limitlesstcg.com/decks/321) and [Flareon Noctowl](https://limitlesstcg.com/decks/319?variant=1). Notably, this variant tends to run more Rare Candy to expedite the evolution line and skip Drakloak altogether when the board calls for it. This sacrifices Recon Directive's filtering in exchange for faster setup and more Noctowl triggers, betting that Jewel Seeker's targeted Trainer search more than compensates. The same Noctowl engine appears across other archetypes, but here it amplifies a deck that's already difficult to disrupt. The setup dependency and the piloting ceiling are why it hasn't taken hold the way Dusknoir or Dudunsparce have. This is the variant where the skill gap between pilots is most visible. ### **Final Thoughts** As a relatively new player, I don't have the historical background to say whether this format is healthier than past ones ruled by [Lugia/Archeops](https://limitlesstcg.com/decks/247) or [Regidrago VSTAR](https://limitlesstcg.com/decks/260) decks, which were statistically dominant in their own eras. But I do think Dragapult is more interesting than the doomer framing around it suggests in league tables and across the internet. For players getting into the game, it offers something valuable: a top deck with multiple viable builds, visible decision points, and room for experimentation. Then there's the upcoming expansion [Pitch Black](https://www.pokemon.com/us/pokemon-tcg/mega-evolution-pitch-black), due out July 17, 2026\. That's going to introduce [Mega Darkrai ex](https://limitlesstcg.com/cards/jp/M5/46?translate=en) and the Ghost Veil archetype, a deck focused around a range of Pokémon with a new shared Ghost Veil ability already being touted as a possible direct counter to Dragapult. It prevents "secondary effects of attacks or Abilities from your opponent's Pokémon," meaning Phantom Dive gets nerfed and the Dusknoir line potentially neutered in the process. That doesn't mean the Dragapult deck shouldn't be criticized, or that the format is necessarily worse or stronger for it, but the conversation around Dragapult should be more precise than "the game is broken." A dominant deck can still produce interesting games, especially when its best version has not been fully solved. Dragapult may be dominant, but dominance can be an entry point to understanding the game rather than a reason to write off the format. ### Star Fox Hands-On Preview URL: https://www.superjumpmagazine.com/star-fox-hands-on-preview/ Last updated: 2026-06-04T11:42:34.000Z **On a rainy morning in May, I stood outside the Nintendo Australia headquarters awaiting an emotional reunion.** It vaguely reminded me of those makeover TV shows, where family members nervously await the arrival of a loved one who has been absent for weeks or months undergoing a major transformation. I had arrived to visit with the legendary Fox McCloud and friends after a long hiatus. They're back after quite a radical makeover that walks a careful line between warm nostalgia and the cutting edge. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/SJ_Nintendo_28_5_26_033-1.jpg) Nintendo Australia HQ. Source: SUPERJUMP. Photo by Liz Burns. The last time I visited Fox McCloud and friends was on the Nintendo 3DS with Star Fox 64 3D, which was released back in 2011 (and which I've replayed several times since). If you happen to have a 3DS, please do check it out. As an elder millennial, I also vividly remember the original Nintendo 64 game, which was titled *Lylat Wars* in PAL territories. I don't think it's too controversial to say that Lylat Wars/Star Fox 64 has long been considered the *definitive* Star Fox game, perhaps explaining why Nintendo has chosen to revisit it numerous times over the years. Star Fox wasn't on my bingo card for 2026, but here we are: Nintendo unveiled the game mere weeks ago and its June launch is imminent. I am writing this preview on the 28th of May, having just spent an entire morning at Nintendo's offices becoming reacquainted with Fox and his mates in their strikingly modern guise. This new Switch 2 exclusive - simply titled *Star Fox* \- is indeed a remake of Star Fox 64\. But what does that mean, exactly? Before I give you a tour, let me set some further context. ▸ INCOMING TRANSMISSION J-01 CORNERIA James Burns — Honorary Star Fox Pilot "I don't think it's too controversial to say that Lylat Wars/Star Fox 64 has long been considered the definitive Star Fox game..." The hands-on demo effectively showcased the fusion of old and new here. I played four single-player levels at the beginning of the game (Corneria, Meteo, Fichina, and Sector Y) which were preceded by an all-new tutorial level. I also spent a good amount of time with the shiny new cooperative mode and online team-based multiplayer (featuring hilarious GameChat features that I'll discuss in more detail shortly). While there will be plenty more to discover, my general impression is that Star Fox really brings three key elements to the table, at least when compared to Star Fox 64: - Entirely new presentation (graphics and sound design). - Refinement and extension of multiplayer. - New interaction options that leverage the Switch 2's unique hardware. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/NintendoSwitch2_StarFox_scrn_01-1.png) Fox McCloud is back and he's never looked so good. Source: Press Kit. From a general gameplay and level layout perspective, this really *is* Star Fox 64, at least from what I played during the preview session. I can't say if there are any broader structural changes beyond those I'll discuss here. However, I wouldn't say that this is *merely* a re-skin of Star Fox 64 either, as this would greatly undersell the significant attention to detail that clearly went into this experience. Let's dive in further and explore each of these key elements in more detail. ## All right, Mr. McCloud, I'm ready for my close-up Star Fox games have always had a cinematic flavour, right from the beginning. The single-player campaign never felt lonely because Fox was always surrounded by his crew, who chatter back-and-forth during missions, engage enemies, and respond to the player's actions. Many of these moments combine artfully scripted set pieces with a degree of real-time response and they tend to feel both natural and realistic as a result. Slippy - our hapless amphibian squaddie - might get into trouble in all the same places each time, but I'll *never* let him succumb to enemy fire (despite the fact that he's an obvious insurance liability for the Star Fox organisation). These moments played out in largely the same way in the new game but they still felt both fresh and organic. I think this is, in part, a testament to how well they were designed 30-ish years ago; but new art design, new voices, and updated dialogue only serve to further sharpen the experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/SJ_Nintendo_28_5_26_014-1.jpg) Star Fox flexes the Switch 2's muscles. Source: SUPERJUMP. Photo by Liz Burns. Importantly too, Star Fox features entirely redesigned cutscenes. Not only have original cutscenes been dramatically re-worked from the ground up, but numerous brand new story elements have been injected all over the place. Star Fox is impressively cinematic, perhaps more so than any previous game from Nintendo (including the Zelda series). It's not just that the characters themselves have been brought to life with stunning visual detail (those fur effects!); it's that every element of their presentation has been dramatically enhanced. Dialogue is consistently well-written (thoughtful, punchy, humorous), voice acting is superb (each character is more distinct than ever), and animation is stunning (highly expressive faces and body language are major highlights). While Star Fox is certainly an action game, Nintendo hasn't spared any expense on characterisation and story, which is good news for fans of the franchise. ▸ INCOMING TRANSMISSION J-01 METEO James Burns — Honorary Star Fox Pilot "The single-player campaign never felt lonely because Fox was always surrounded by his crew, who chatter back-and-forth during missions, engage enemies, and respond to the player's actions." ## The Lylat System as you've never seen it before With the introductory cutscene out of the way, I was straight into the action. The demo kicked off with a surprisingly long tutorial level (which itself has a pretty awesome twist that I won't spoil here 😉). As I put the Arwing through its paces, I immediately noticed how fluid and responsive the piloting felt. The original game was pretty sharp too, but the combination of buttery-smooth 60 frames-per-second gameplay and ultra-tight controls felt glorious. Not unlike Mario's running and jumping, it's a pleasure to manipulate the Arwing. While I didn't encounter anything fundamentally new in terms of mechanics (you'll still barrel roll, somersault, boost/brake, and so on), it's also true to say that these manoeuvres have never felt so effortless. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/SJ_Nintendo_28_5_26_011-1.jpg) But for how long, Slippy? Source: SUPERJUMP. Photo by Liz Burns. Star Fox looks as good as it feels. I was sitting up close to an enormous TV and found myself studying all of the tiny details on the Arwing itself. You can see wear and tear on your ship's surfaces, the boosters cast a soft glow across the tail, wisps of condensation trail across the wings (and if those wings should actually break, you'll see - and feel - the crumpled limb hopelessly smoking and sparking as you fly). Your squad mates each fly their own Arwing and you'll notice some cute little personalisation elements on each one; it's clear at a glance who is piloting each craft (even setting aside the name labels floating above them). This extraordinary attention to detail extends out to the environments themselves; they are, really, the stars of the show here. Corneria's shimmering blue ocean stretches out for miles in all directions, Meteo's asteroids cluster and tumble against an eerie indigo light that casts rays across and between objects, Fichina's snow drifts billow across the frigid landscape, and Sector Y's endless star field is punctuated by the vivid neon rainbow of glowing robotic foes. The forward-scrolling levels always felt like little narrative progressions thanks to the scripted moments peppered throughout, but in this new iteration, those scripted moments are enhanced by dramatic shifts in lighting and visual effects. For example, Corneria's early moments - where you're approaching the coastline from the deep ocean - are idyllic, replete with eye-popping colour. But as you approach Corneria City, which is in the midst of battle, everything changes: plumes of black smoke darken the sky and obscure your vision while collapsing buildings progressively disintegrate before your eyes. Again, the events themselves aren't new, but the comprehensively reimagined presentation elevates the entire experience in ways that my prose can only inadequately convey. ▸ INCOMING TRANSMISSION J-01 FICHINA James Burns — Honorary Star Fox Pilot "Star Fox looks as good as it feels." While I was playing Star Fox, I commented that the experience reminded me of The Legend of Zelda: Tears of the Kingdom in one important way: there's something uniquely special about returning to a familiar location and seeing it with a new perspective. Of course, Tears of the Kingdom introduced many changes - large and small - to the Hyrule we'd experienced in Breath of the Wild, including fundamental mechanical changes. But I would argue that Star Fox captures the sense of returning to a familiar place with a fresh perspective thanks to an art design that is scaffolded by decades of technological development. Nintendo has clearly been deliberate about weaving familiarity and novelty together in a way that makes revisiting the Lylat System feel both surprising and delightful. Isn't that the essence of the Nintendo experience, after all? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/NintendoSwitch2_StarFox_scrn_08-1-1.jpg) Star Fox brings the Lylat System to life through imposing scale, fluid animation, and superb use of lighting. Source: Press Kit. I hope I have gone at least some way to conveying the value of the new presentation. Fortunately, though, Nintendo has gone further. I was able to play around with some shiny new features that seek to further modernise and expand the experience. The value of each of these changes is definitely going to vary from player to player, but in general, I would say that they make Star Fox a more approachable - and in some ways, more engaging - experience overall. They also tap into unique Switch 2 features that simply weren't available in previous generations, and I think this contributes to the game's sense of modernity. Let's take a look. ## Pushing the boundaries The first big change I noticed - purely by accidentally clicking in an analogue stick - was that Star Fox supports both third and first-person modes. You can switch between these instantly at any point and in any game mode. Unlike the somewhat clunky Wii U experience, shifting perspectives in Star Fox on Switch 2 feels fluid and intuitive (I didn't notice any gyro controls here, although they may exist - my session involved pure twin-stick goodness). In first-person view, you'll find yourself sitting snugly inside a wonderfully-detailed Arwing cockpit (which also reacts beautifully to the constantly-shifting lighting conditions around you). While I generally prefer the classic third-person view, it's great to have this option; I know many folks who always prefer a first-person view in space combat games. Speaking of preferences, Star Fox also supports Switch 2's mouse mode. I can't see myself using this mode often, but again, it's a great way to leverage the Switch 2's capabilities to customise the way you play. If you want super accurate aim - especially on higher difficulty levels - this might be a perfect option for you. You can even use mouse mode while in first-person view, which I can see being very appealing to folks who tend to prefer keyboard and mouse controls for first-person flight combat games. Star Fox also introduces a unique cooperative mode. This isn't a split-screen experience where two players each fly their own Arwing. Instead, one player will pilot the Arwing while the other acts as gunner. I only briefly played this mode and I found it somewhat unintuitive, although focusing purely on piloting the Arwing made it easier for me to perform tricky flight manoeuvres that opened up alternative paths forward while my buddy kept enemies off my back. Again, it's not for everyone, but I don't think it needs to be: some players will enjoy the added challenge while others (especially parents with children) will appreciate the option to experience the campaign together on a single screen. ▸ INCOMING TRANSMISSION J-01 SECTOR Y James Burns — Honorary Star Fox Pilot "Unlike the somewhat clunky Wii U experience, shifting perspectives in Star Fox on Switch 2 feels fluid and intuitive." If you're looking for something a little more competitive, then the Battle Mode is a great place to start. In the preview session, I played Zone Control, which is a particular Battle Mode flavour that involves two teams of four competing to control a designated space around satellite towers on Corneria. You'll need to fight off the opposing team to protect your turf and gain points, but you'll also have the opportunity to take down NPC enemies who invade the space for additional points and bonuses. During the session, we were able to select characters from either the Star Fox or Star Wolf squads, although there were numerous hidden character portraits suggesting future character reveals/unlocks. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/SJ_Nintendo_28_5_26_024-1.jpg) Star Fox feels like a great fit for GameChat. Source: SUPERJUMP. Photo by Liz Burns. Although I only played Zone Control at the preview event, Nintendo has mentioned that there are additional flavours (for example, collecting energy crystals on Fichina and retrieving space cargo in Sector Y; the latter looks to be a capture the flag style experience). There may yet be more multiplayer goodness to be revealed, but so far, I appreciate that Nintendo have revised the multiplayer experience here. These challenge-based experiences offer more variety and complexity than the standard free-for-all deathmatch. I must admit that it took me a while to jump into a multiplayer match because I got stuck on the character select screen. And no, it wasn't a bug: it was because I was having too much fun there. When you enter a GameChat session in Star Fox, you have the opportunity to select a wide range of character filters. If you simply want to wear Falco's beak on your own face, you can do that (I nearly cried laughing when I saw it on another player). But you can also completely turn yourself into your favourite Star Fox character. Better yet, the character will accurately mimic your facial movements and expressions - yes, that meant I spent a good ten minutes poking my tongue out repeatedly and giggling to myself at Nintendo's office. Always the professional. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/StarFox-scrn-May2026-11-MouseTargeting-1.jpg) Star Fox supports seamless third and first person views with the option to also use mouse mode. Nice! Source: Press Kit. ## Blast off on June 25th It's great to see Star Fox return in a form that really does justice to the things we love about the series: the incredible alien worlds, the wonderful characters and their often-hilarious banter, and the razor-sharp flight and combat controls. For those of us who grew up with Lylat Wars/Star Fox 64, this feels like a special kind of homecoming. But I'm also super excited for all those gamers who will be diving into a Star Fox game for the very first time. In fact, I might be green with envy: Star Fox on Switch 2 is shaping up to become the *definitive* Star Fox experience. I'm also pleased to see that, while Nintendo don't seem to have made radical changes to the overall gameplay or structure of the single-player campaign, they have absolutely re-thought the multiplayer experience (both in competitive and cooperative terms). The end result is a game that actually feels current/modern, which is both a testament to the strength of the original game's design and a credit to the work Nintendo have done to make careful decisions about where to apply wholesale redesign and where to apply restraint. Star Fox launches globally on June 25th. ### Hidden Gems of Game Design Vol 48 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-48/ Last updated: 2026-05-29T10:46:33.000Z **Plenty of amazing games go unnoticed and not widely played, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## Josh Bycer ### Evolution of Ages: Settlements (2018) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-45.png) Source: Steam. This month's pick is one of those titles that fits me perfectly. [Settlements](https://store.steampowered.com/app/704640/Evolution%5Fof%5FAges%5FSettlements/), in a way, is what happens if you take a city builder and treat it like an RPG. You belong to a prehistoric tribe in a world ruled by monsters and an evil force known as the Blight. After years, you’ve finally found a spot of land that is safe to settle, and you begin constructing a town that will one day hopefully stand the test of time. At the start, you have limited plots of land on which to build homes, with both crafters and resource gatherers to get the job done. Each person and their stats is randomly generated, and by performing jobs, they will unlock and upgrade the associated skills. Your early play revolves around unlocking as many things as possible and creating tools that assist with gathering and production. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-46.png) The GUI, is unfortunately the weakest part of the game. Source: Steam. Once you have things set up, it’s time to build weapons and equipment to send your best characters out into the world. By scouting, you can find resources and quests, and more importantly, new land to settle. When you run into enemies or they invade your town, you’ll need to defend in turn-based combat. While people can live or die, it’s your settlements that define progression. You won’t be able to field all the constructors at the start due to limited space, and you’ll need to move characters around or delete buildings. From there, the game continues to grow with special quests, finding and crafting rarer items, and the entire idea that you will age up and unlock new weapons, items, and nastier enemies to fight. Settlements is a passion project through and through, but it has some major issues. The entire GUI is janky, to say the least, with the event box’s text so small it’s almost impossible to read. There are multiple screens featuring completely different GUIs, and the tutorial is just okay, explaining little beyond the initial steps. Specifically, they neglect the finer points of combat and how the different equipment types and skills work. This is important because unlocking new land plots will often require you to fight a boss. There were plans to keep expanding the game, including a holdover image for world buildings, but the developer, unfortunately, had health issues and stopped work on the game. They have announced plans for a fully realized sequel, but there is nothing concrete about it at the time of writing ## Ben Rowan ### Celeste Classic (Pico-8) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/data-src-image-28c574c9-d7d7-4fe7-9e52-533308c3d010.jpeg) Celeste Classic. Source: Author. The funny thing about calling [Celeste Classic](https://www.lexaloffle.com/bbs/?tid=2145) a “hidden gem” is that it isn’t really hidden at all. It’s the tiny spark that eventually turned into one of the most famous indie platformers of all time. But the original still belongs here because it’s easy to miss: it’s small, free, and often forgotten, something you click once and mentally file away as just a prototype. But if you actually spend time with it, it’s still a very sharp little game with its own identity, and it gives a very good indication of just how legendary the full game would become. After 2013’s [TowerFall](https://store.steampowered.com/app/251470/TowerFall%5FAscension/), Madeline “Maddy” Thorson and Noel Berry treated Lexaloffle Games’ [PICO-8](https://www.lexaloffle.com/pico-8.php) like a creative pressure cooker, using its strict limits to strip an idea down to the essentials. They built Celeste Classic during a four-day sprint in 2015, and it shows in the best way: no grand framing, no extra padding, just a crisp little “hardcore platformer” that knows exactly what it wants to be. Berry even [called out](https://www.lexaloffle.com/bbs/?tid=2145) how close they came to maxing out the PICO-8's cartridge, which explains why the game feels so focused and tightly packed. It’s also a snapshot of a partnership that would soon become Extremely OK Games (EXOK), where this tiny experiment eventually grew into the full commercial release. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/data-src-image-304fcb5a-01a3-4b25-8d6e-a118193a19cc.jpeg) Celeste Classic. Source: Author. For anyone who’s played Celeste, the core concept is identical: you jump, climb, dash, die, and retry many times. It starts at a reasonable level of difficulty for a single-screen platformer, but quickly ramps up into something ridiculous and then borderline insane, aka ‘hardcore’. When it works, you feel very skilled. When it doesn’t, you usually know exactly why you failed, which is the difference between a hard game and an annoying one. The instant restart is the secret sauce here. You don’t trudge back to the action or pay a time tax. You’re just instantly back at the start, trying again with a cleaner plan. Over the past couple of weeks, I’ve been dipping in for a few hours here and there, and it’s one of those tough games that is still welcoming because it feels so good to play. At some point, the difficulty curve becomes a ladder you’re climbing by the skin of your teeth. The late rooms feel cruel until you realise what they’re demanding isn’t superhuman reflexes, it’s just basic memory and patience. You learn them like songs; it’s basically rhythmic. This jump sets up that dash, this wall cling is bait, and that corner is only safe if you arrive at the right height. I still haven’t finished it, even though it’s possible to finish the entire game in [under 3 minutes, without dying, if you’re freakishly talented](https://www.youtube.com/watch?v=cjenZS4xa3o). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/data-src-image-a48e301d-150b-4419-ac17-17d1da028584.jpeg) Celeste Classic. Source: Author. For a Hidden Gems pick, it’s unusually accessible; no hunting down old hardware or delisted storefronts. You can play it in your browser, right now, and [here’s the link to do just that](https://www.lexaloffle.com/bbs/?tid=2145) (controller highly recommended). Thanks to the open nature of the PICO-8 platform, there’s a huge variety of [modded versions](https://www.lexaloffle.com/bbs/?cat=7&carts%5Ftab=1#sub=2&mode=carts&orderby=ts&search=celeste) and even a [sequel](https://www.lexaloffle.com/bbs/?pid=86783#p) waiting to be explored. Unlike many games covered in these pages, Celeste Classic’s not really hidden at all. If you’re even slightly curious, it’s an easy recommendation: hit start and see how long it takes before you say “one more try” out loud. ## Anonymous ### Disney’s Beauty and the Beast: Belle's Quest (1993) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-48.png) Source: IGDB. Mixtape, a coming-of-age adventure, came out weeks ago with a stylish 90s aesthetic and chapters tied to post-punk, new wave, and alternative rock hits. Discourse around it “playing itself” that overlooked its emotional payoffs reminded me of a Sega Genesis game from before “walking game simulator” comments were spammed under social posts, today’s equivalent of locker rooms. This [Beauty and the Beast tie-in](https://medium.com/super-jump/animated-film-videogame-tie-ins-that-were-actually-good-916edc3e48d5) video game’s hour-long length, curated soundtrack, and stunning art make for an interesting point of comparison, three decades later. Belle’s Quest takes you through the movie’s storyline, with recognizable character sprites and stages. All you do as Belle is talk to characters and jump/crouch to avoid obstacles or pick up items. Disney also developed Roar of the Beast, a tie-in from the Beast’s perspective with a bit of combat for the violently inclined. The games’ lengths mean they’d have been better off combined, switching between protagonists across stages. My favorites were the ballroom minigame, where the duo collects petals as they dance, and the final horse segment, involving timed jumps as difficult as other Disney tie-ins like Aladdin (1993) and The Lion King (1994). That the game was supposedly designed for girls was a poor choice then, as it is now, making Belle’s inability to clear obstacles frustrating. Dodging rats and bats gets tedious, even if the game was shorter than the film. Belle’s Quest would have been better as a pure walking sim that spent its budget on what worked: its visuals and soundtrack. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/) ### The 100-Yen Democracy URL: https://www.superjumpmagazine.com/the-100-yen-democracy/ Last updated: 2026-07-11T10:43:06.000Z READ THE SERIES ▶ [ WORLD 2 · PART II The Hero with a Thousand Faces PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy-part-ii-the-hero-with-a-thousand-faces/) [ WORLD 3 · PART III The Gift of Courage PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy-the-gift-of-courage/) **"Video games are just toys."** This sentiment may seem lighthearted and simplistic, but there is a fundamental nobility and even a form of democracy at the heart of this idea that I believe we must protect. By inserting a single ¥100 or 50c coin, *anyone* can become a hero on equal terms, regardless of nationality, wealth, or social status. Has there ever been a creative medium in human history that so rapidly and broadly nullified these distinctions between human beings? Of course, video games have evolved across many dimensions over the years, often becoming increasingly complex and sophisticated fabrications of technology and art. However, the combined advancement of video games (and the convenience with which we can now access them) surfaces the risk, at least in my view, that we might lose sight of the very roots of video game culture. In my view, the essence of video games doesn't lie exclusively in advanced graphics, the celebration of technology, or the convenience with which we can access the experience. Rather, it is expressed through the ways in which video games can uniquely deliver a pure, refined *equality of experience* for highly diverse audiences. This leads me to ask the following questions: - Why do video games captivate us so deeply and refuse to let go? - Why can a single game transcend national borders and become a kind of universal human language? In order to explore these questions more thoroughly, I'd like to delve into video game culture through four unique perspectives. ## CHAPTER 1 ### Soup and a Bowl: On the Ideal Relationship Between Hardware and Software Nintendo's former President Hiroshi Yamauchi once declared: > *“Hardware is simply a ‘box’ that people are forced to buy in order to play the software they really want to play.”* These words represent a fundamental reality: the software (the entity that actually contains the language of gameplay) is, without a doubt, the true star of the show. I view the relationship proposed by Yamauchi-san as analogous to *soup* and the *bowl* that holds it; the interplay between the dish itself and the vessel that contains and serves it. Here, the soup refers to the game experience itself, crafted with the creators' heart and soul. The bowl refers to the hardware that delivers this experience to the player. What this means in practice is that the entertainment value of video games should be evaluated based on the *taste of the soup*. However, if we step back and look at the modern gaming market, a strange inversion has occurred: before we knew it, the conversation largely shifted to the *luxury of the bowl* (e.g. the specifications of whatever machine is used to play the game). Further, the taste of the soup we enjoy has come to depend on which bowl is being used, meaning that disparities between the hardware performance of different machines fundamentally impact the game's content (and thus the experience itself), creating a form of inequality that runs counter to the core value of video games as a medium. MARIO000000 COINS×00 WORLD1-1 TIME000 SHUN TAKATA “I view the relationship proposed by Yamauchi-san as analogous to soup and the bowl that holds it; the interplay between the dish itself and the vessel that contains and serves it.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/smb-tv-overlay.png) The Equality of Entertainment This is akin to serving a dish prepared by dousing a mind-bogglingly expensive golden bowl (itself born from the hardware developers' self-indulgence) with an excessive amount of potent poison (full of distorted ideology and self-absorption). I would describe this as a betrayal of the customers: the children and adults who paid a high price and went to great lengths to visit the restaurant to enjoy the soup. In my view, the ideal relationship between *soup* and *bowl* is one based on thorough and absolute equality. What Nintendo continues to offer is a ¥100 soup that is simple, infinitely warm, and with a flavour that never disappoints. This soup isn't served in a heavy golden bowl reserved for a tiny elite who can afford the privilege. Whether on a park bench or a factory assembly line, *everyone* \- both the great and small, the rich and poor, children and the elderly - can all sit at the dining table to enjoy the same delicious flavour as they sip from the same humble plastic bowl. Rather than spending money on fancy bowls, Nintendo has consistently prioritised the purity of the broth itself, ensuring that when you finish that last spoonful, you sincerely think "Ah, that was fun". Although Nintendo was founded in 1889, it has in many ways cast aside the pretensions that might usually pair with a very long-established firm along with the trappings of a high-end restaurant. The *democracy of play*, where anyone can become a hero with a single ¥100 coin, is the one-of-a-kind recipe they have steadfastly upheld. Wasn't the Famicom (known as the Nintendo Entertainment System outside Japan) once embraced by households around the world *because* it was the "fairest bowl"? As long as they picked up the same Famicom bowl, all children, regardless of background, could enjoy Super Mario Bros. at precisely the same temperature and flavour. Everyone, adults and children alike, could savour that same experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/famicom-1.png) The Nintendo Family Computer (Famicom). Source: Evan Amos. Edited by SUPERJUMP. The fact that the hardware functioned as a common standard (an equal bowl) must have been the minimum ethical standard for creators to fulfil the promise of delivering the very best flavour, exactly as intended, to everyone. I am convinced that this fair foundation is a key reason why video games took root in our culture as precious experiences that remain in our memories for a lifetime. It's also not just a question of the bowl representing a common standard for all. The bowl is an object that directly serves the experience, and so, it must be designed to enhance the attributes that are actually relevant to the quality of the soup. What does this mean in practice? If the bowl is made of an expensive and beautiful material that has aesthetic value but does nothing to enhance the soup itself, then this would be an example that contradicts the idea of the servant-master relationship (i.e. where the bowl should be designed entirely to serve the quality of the soup and nothing more). So, the bowl might not be made of fancy materials, but if it aids the quality and delivery of the soup, then it's serving desirable goals. In terms of video games, one example might be the guarantee of sharp responsiveness to player inputs (where the game returns the intended output \[behaviour\] with absolute precision in response to physical input \[controls\]). This goal is only achieved through tightly-integrated hardware and software, where the hardware is designed entirely on the principle of service to the software. In this interpretation, any extraneous hardware specifications become irrelevant if they don't contribute to the precise 1:1 relationship the player has with the game world. So far I have been discussing the Famicom/NES, but how does this concept apply to modern Nintendo platforms? Let's consider the Nintendo Switch 2 as the contemporary example. In the lead up to the console's release, there was a great deal of discussion and speculation around technical specifications (for example, how much resolution had improved, and how close it might come to rivalling other companies' high-performance machines). However, it's important to understand that Nintendo's intention in bringing this new bowl (hardware) to the world has almost nothing to do with the specifications arms race. Revamping the hardware and boosting its capabilities was about serving the latest/most contemporary soup recipe to audiences without spilling a single drop while also serving it equally to everyone around the world. As game development technology and techniques continued to advance, the old bowl (the original Nintendo Switch) increasingly forced soup creators to cut back on the ingredients they wanted to include, lest they risk diluting its flavour. This would have made it impossible to fulfil the core promise Nintendo made during the Famicom (NES) era: to deliver the best possible flavour, exactly as the creator intended, equally and in the best possible way to everyone. The new bowl - the Nintendo Switch 2 - has further reinforced the "fairness of entertainment"; not as a luxurious dish to be enjoyed by a small elite or a core niche audience, but as a platform where tens of millions - perhaps hundreds of millions - of people around the world can equally savour the latest experiences at 100% quality and with high convenience (thanks to portability). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-28-1.png) Nintendo Switch 2\. Source: Nintendo. Simply improving specs and publishing impressive numbers wasn't the goal here. To the extent that specifications were improved in the latest hardware, they were always in service to the games and to the preservation of equality of entertainment for the next generation. The bowl's design has been enhanced both to improve the flavour of existing soups available today, but also to further enhance the flavour of any new soups that will be released in future. I believe that by viewing the Switch 2 through this lens, we can better understand the cultural significance of this new hardware. Although many years have passed since the inception of the video game industry itself, Nintendo's philosophy has remained consistent. These are the same core principles that were birthed with the idea of that single coin in the early arcades - and the incredible equality and open access - it introduced to the world all those years ago. At this point you might be tempted to ask a fundamental question, which touches on the main principle my thesis is anchored to: *why is equality so important?* To answer this question, I'd like to discuss the "single coin philosophy" itself in further detail. This is the central idea that rests at the very heart and foundation of video game culture. ## Chapter 2 ### Preserving the 100-Yen Democracy ​The single coin has been a constant presence through the entire history of video game culture. In the past, we would insert ¥100 coins into the arcade cabinets occupying dimly-lit gaming centres or sitting outside candy stores. This simple exchange - pay ¥100 for a few minutes of play - that symbolises the beating heart of video game democracy. It doesn't matter *who* is inserting that coin. They might be a CEO, an elementary school student, or even a kindergartener; there's no difference in the play experience they receive. The software running inside the arcade machine doesn't care about the player's social status, bank balance, or where they live. It disregards all other irrelevant attributes too. That ¥100 coin is not just an equaliser, it's a token that opens the door to a form of digital liberation: it empowers the player to perform unbelievable feats while simultaneously leaving real-world inequality and discrimination behind. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/yamauchi-2-1.png) Former Nintendo President Hiroshi Yamauchi. Source: Mario Wiki. Edited by SUPERJUMP. I believe that the modern video game industry surfaces a crisis that confronts and challenges this spirit of the single coin philosophy. The history of video games as an industry - which really began with Nolan Bushnell and Atari's iconic Pong - has always valued the "equality of a single coin" above all else. When we insert that ¥100 coin into the machine, a silent contract is formed. It states: "I have paid the price of entry. Therefore, for the next few minutes, I have the right to be treated fairly as the protagonist of this world." And the game machine responds faithfully to *only* the inputs received *regardless* of who the player actually is. And so, the ¥100 coin is not about cheapness but rather, it is about *dignity*. ​In today's gaming scene, this idea of the ¥100 coin democracy is beginning to waver. Under the guise of "free-to-play", we see systems where victory is determined by how much money players spend to acquire various advantages and where only those with high-performance internet connections (and powerful devices) hold a distinct edge. My argument is that these practices reinforce real-world inequalities in ways that video games were once meant to break down. What Nintendo - and the culture of video games more broadly - has continued to protect is not mere entertainment. It is one of the few sanctuaries of absolute equality in the world. These are environments where, when you enter them, you're on the same footing as everyone else and you can change your fate based purely on your own skill rather than factors outside your control. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/nes-1.png) Nintendo Entertainment System. Source: Evan Amos. Edited by SUPERJUMP. ### The Toymaker's Pride Perhaps the reason Nintendo's pioneers continued to describe themselves as "toy sellers" was not only because of the company's past as a toy producer, but also because of their pride in this commitment to equality for players.​ Toys should, by their very nature, be open to all children. They should allow children to forget - at least during playtime - the pain, sadness, and hardships caused by real-world barriers such as family background and economic circumstances over which they have no control. Toys also serve as a medium through which children can find friends and interact with each other. In this way, they have value beyond their intrinsic nature: they can actually help to reduce real-world barriers between people too. The ¥100 coin guarantees so much more than fairness. It is the key to a space that is a true meritocracy, where results are attributed purely to the player's skill and decision-making rather than to any other attribute. This direct causal relationship between effort and result guarantees that players can find a form of true affirmation in victory within video game worlds. There are very few mediums in human history that can boast these traits. ### Diluting the Soup Earlier I mentioned the free-to-play model. But subscriptions are another point worth discussing (especially as they have, in many cases, outright replaced the simple ¥100 coin proposition). At first glance, this system, which resembles an all-you-can-eat buffet where you can enjoy many soups at low cost, seems like a fair deal to consumers. However, a serious trap lurks within. When soup is thrown into the giant pool of a flat-rate system, the unit price per bowl approaches zero. At the same time, the player's commitment to that single bowl of soup also fades. What leaves a deeper imprint on your soul? The single bowl of delicious soup you receive after paying ¥100 (a sum that is by no means trivial to you) versus a bowl of soup chosen on a whim from an impossibly vast menu? The greatest flaw in the subscription model lies in the disappearance of the *pain of choice* (or, the switching cost). In an environment where there is no weight (cost) to spending ¥100, players will easily jump from one soup to another at the slightest sign of difficulty or boredom. If we grant that the experience of self-transformation, which emerges by overcoming difficulties, is the very *essence* of video game entertainment...then we must conclude that presenting almost unlimited escape routes from said difficulty undermines the quality of the experience at its very core. I personally feel that this freedom of choice (which was actually used as a catchphrase in the commercials for the Japan-only Famicom Disk System), is gradually eroding the valuable emotions that every player in the world has surely felt at least once: that frustrating yet *irresistible* feeling of "this is infuriating but I can't stop!" and the associated desire to *try again*. What we must preserve in the future is the spirit of the ¥100 coin: recognising the true value of a single bowl of soup that can be enjoyed by everyone in the way its creators intended. This principle might take different forms in our modern digital age, but it is nonetheless an important principle at the core of gaming culture. I would argue that the benefits of this ¥100 coin democracy extend far beyond entertainment itself. This concept of a space of absolute equality could serve as a device for genuine peace that could help to dissolve real-world conflicts. When you think about it, no other medium in human history has succeeded as much as video games in bringing people from different backgrounds together under the same rules. MARIO001200 COINS×80 WORLD1-2 TIME143 SHUN TAKATA “...a commitment to open and equal access for all, where achievement is truly meritocratic in nature, enables us to genuinely recognise the player sitting next to us as a comrade - even after we've put the game down.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/06/smb-tv-overlay.png) The Equality of Entertainment When we make video games an *unfair battlefield* (where only those with the necessary financial or infrastructure resources can win), then we risk spurring greater animosity between players. Alternatively, a commitment to open and equal access for all, where achievement is truly meritocratic in nature, enables us to genuinely recognise the player sitting next to us as a comrade - even after we've put the game down. Defending the ¥100 coin philosophy is not just a question of business models; it's really a cultural mission to protect one of the last sanctuaries where *everyone* can laugh together equally in a world that is increasingly emphasising divisions between people, both large and small. I have discussed the philosophy at the heart of video game culture, but what of its most prominent ambassador: Super Mario himself? Why have people all over the world found themselves identifying so completely with Nintendo's humble plumber? The secret lies in the fact that Mario was not designed as a *specific person*, but instead as a vehicle for embracing *yourself*. In Part 2 of this series, we'll explore the hero's journey and why Mario is the world's most beloved fictional character. READ THE SERIES ▶ [ WORLD 2 · PART II The Hero with a Thousand Faces PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy-part-ii-the-hero-with-a-thousand-faces/) [ WORLD 3 · PART III The Gift of Courage PLAY ▶ ](https://www.superjumpmagazine.com/the-100-yen-democracy-the-gift-of-courage/) ### Haven is a Perfectly Sweet Summer Love Affair URL: https://www.superjumpmagazine.com/haven-is-a-perfectly-sweet-summer-love-affair/ Last updated: 2026-05-29T10:46:12.000Z **There's nothing quite like cruising through summer to upbeat techno.** I have myriad fond memories of warm days to the tunes of Porter Robinson and Madeon, running along palm-lined boulevards. Haven brings me back there. I picked it up recently, following a sun-drunk day at the Renn faire, after it spent years in my TBP pile. Haven features these upbeat electronic soundscapes (from artist Danger) and pairs them with an exceptionally dream-colored world. Front and center, of course, is a love story. Or, rather, the continuation of one. At its core, Haven is a relationship-sim. It isn't a romance game in the traditional sense, as you aren't responsible for romancing anyone from the ground up. Rather, you play as Yu and Kay, two already-lovers inhabiting a mysterious cluster of islands known as the Source after escaping their predestined lives under the authoritative space empire known as the Apiary. This dual POV means that you control dialogue options as either character, so you oversee their entire relationship. This more omnipresent overview allows you to witness the couple's collective post-honeymoon stages and all the struggles that ensue. Outside of this, the rest of the gameplay involves open exploration, where you glide seamlessly over a cerulean-grassed landscape of broken-up islets, gathering materials to repair your ship, which also serves as the couple's crash-pad basecamp, affectionately known as the Nest. A mysterious "rust" plagues the islets and their creatures, though, so there's a good portion of discovery spent purifying these areas. It scratches a little bit of that sweet, sweet powerwash simulator itch, since you have to collect 'blooms' of rust to fully clear it out, and you can satisfyingly sweep around all of its red-pulsing patches as you see fit. Since the islets' little creatures grow hostile when infected with rust, this is also where you find the bulk of the game's fight mechanics, and its 'bosses' are usually bigger creatures you have to defeat to finalize the purification. Once the rust is gone, the islets can serve as launching points for further exploration and as places to resource-gather and camp. All of these elements combine to paint a lovely picture – but, really, the core of Haven is the relationship between its heroes. It is, perhaps more so than many other romance-genre games, focused on the post-happily-ever-after dynamics: the pillow talk, the little in-between moments, the arguments, both awkward and real, that make a relationship worthwhile and cosmically beautiful. ### Alone at Last Upon release, Haven introduced its two leads – Yu and Kay – as a (respectively) female and male pairing. In a later update, they added two additional variations, so that you could play as a female Kay (paired with a still-female Yu) or male Yu (paired with a still-male Kay). This added a wonderfully inclusive element to an already lovely game, and the core component of being two young lovers navigating a life away from all they've known remains the primary throughline for all of them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Screenshot-2026-05-19-082126.png) Source: Steam. Their choice to flee the Apiary is due largely to its societal regulation of relationships (as well as implied authoritative measures), in which the domineering Matchmaker essentially assigns you a genetic partner. But Kay and Yu are not a matched pair, so they must flee together, lest they be separated by the Apiary's draconian control. Haven dives a little into the darker implications of this system on a wider political scale, but it isn't a political game, and you really spend the bulk of your conversations exploring love and the prospects of planetary homesteading. Eventually, you must contend with the ramifications of your escape, but often these discussions of government and morality serve more to outline characters' feelings and showcase opinions and experiences. Yu and Kay aren't trying to change the world; they're trying to live well in it. They have their setbacks and triumphs while on the Source, but they navigate this new life with a decent centering of 'safety.' The game itself never diverges into oppressively dark, melancholic, or pessimistic territory. It is smartly light-hearted, which seems purposeful, so as a player, you can happily float in the 'cozy' space with this game and never worry about it throwing you through a depressing loop (there is, though, a technically 'bad' ending). This behind-the-curtain glimpse at intimacy can border on a little voyeuristic at times, only in the sense that the game doesn't shy away from the finer details of *all* aspects of a relationship, and our protagonists are extremely (this is a very good thing) sex-positive. Look, straight up – it made me feel *immensely* single, even if I liked it enough to not let the glimpses through the door remind me that I was, perennially, alone. Now, though, my approach is from a vastly different headspace. Obviously, this is anecdotal – but the game is fundamentally about a relationship, so some of your enjoyment may correlate to how much you can stomach PDA and overt flirtiness. Are you a nose-scrunching-in-disgust kind of person, or do you tilt your head and let out a long 'aweeee?' The game mentions sex and insinuates about it fairly often, and Kay and Yu are clearly, intoxicatingly in love. They flirt all the time and slyly wriggle their eyebrows at each other (suggestively, of course) many times throughout. This isn't played with in the usual romance genre fashion, in that most of those narratives tend to stretch that delicious tension of dramatic buildup until it ultimately culminates in a, you know, 'big' scene. Because these characters are established as being in love, the sex feels organic in a way that's refreshingly realistic and empty of exploitation. It's never shown (outside of clothed straddling or occasional glimpses of far-away pixelated nudity... alright, it's *comparatively* chaste) but rather wholly discussed, which makes the moments feel more real. For me, it is that frankness, that normalization of such things, that makes Haven's relationship and writing so special. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Screenshot-2026-05-19-082032.png) Source: Steam. --- > Love – learned and earned and fought for – is what sets the precedent. --- Obviously, aside from that physical magnetic pull, Kay and Yu orbit each other emotionally in a way that almost forces a type of co-dependency. They are, after all, the only two denizens on this atypical planet, with only a few wandering critters (Oink, their resident mushroom-backed lizard, among them) and the remnants of some of the Apiary's research stations. As Kay and Yu navigate these mysteries and hone their survivalist skills, they get into arguments, house regrets, and have to depend on one another for *everything*, which forms a core component of some of their larger disagreements. What I genuinely loved about Haven went beyond that frankness, in that it explores the complications of a relationship with a softer, kinder lens. Yes, all relationships take work - you are inevitably two people deeply in love and deeply invested – but also deeply different. You have to know your partner's weaknesses, their tendencies, and the game lovingly explores how two people might help individually navigate that potentially eternal forced proximity. Haven makes the argument, with its 'good' ending, that love is not defined by algorithms, which feels dangerously close to a world we're moving into creating. Yu and Kay's love is largely offline and analog. The game lambasts the codified genetic matching by supposing that love can be learned and formed outside the womb of statistics. It's reflective of my own feelings, in that I find, say, the supposition of soulmates fairly fatalistic. Love – learned and earned and fought for – is what sets the precedent. Haven showcases that with beautiful aplomb. ### Islet to Islet Haven's tendency towards unity with its couple is showcased even in the gameplay. In cooking and in battles, you have to simultaneously select your options. In cooking, this means picking with the D-pad and the, uh, shape-buttons? (whatever they're technically called – I'm playing on PS5) to contribute to the dish. In battle, it means selecting from four options also at the same time, depending on enemy action. Do you remember that elementary-school game of 'rub your tummy and pat your head at the same time?' Some of the ways in which the dual controls work reminds me of that, which is fairly tough for a failed multi-tasker like me. But it is reflective of the game's own central style and is a fantastic symbiosis with theme. You really can't win a battle or cook a meal alone, just as you can't survive here without each other. The flow (ha) of the game itself, outside of the relationship navigation, is a careful monitoring of its day/night system and, more importantly, its hunger/sated cycle, which you can track in the menu but also hear about based on overworld character chatter. If they start to mention being hungry, you know it might be a good time to find an islet with a camp or return home to the Nest for some food. Being hungry slows down your reactions during combat, so it is in your best interests – especially as you start exploring farther out – to keep your two little lovers well-fed. And as you further push beyond the Nest, you'll be able to unlock more islets and find more ways to navigate beyond simply riding the flow bridges between each. And that's how Haven's exploration works: each islet is connected to one or more 'flow bridges', with flow being this force that exists, almost gravitationally, in the world. It reminded me, in visual practice, of the anime Eureka Seven's trapar waves, which are essentially rideable energy waves in the air. In that show (an old favorite), the process of surfing them is called 'lifting', and it's basically surfing on the wind. Flow, in Haven, allows Yu and Kay to glide across the landscape similarly, and there are also flow threads produced organically from the ground that you 'ride' along, tracing in the air until they lead you to an endpoint. These can be tricky to follow, as you have to perfect the timing and 'drift' certain sharp turns with relative expertise. Surfing some of these is how you reach high ground that can't be glided to, which you'll need to do to gather resources or other important items. These flow springs litter the open world, so you can easily trace them for fun as well. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Screenshot-2026-05-19-082631.png) Source: Steam. The blue line = a flow thread; the red = rust. --- > Haven's got that 'bite-sized but could be a mouthful' concept of gameplay, where you can easily play it in short bursts, but the cycle is addicting enough to keep you revolving around it for hours. --- ### A Planetary Infinity The pace of the game isn't a race to any real end (at first), but it's compelling enough in story, landscape, and stakes to keep you wanting to push past your last area of exploration. Haven's got that 'bite-sized but could be a mouthful' concept of gameplay, where you can easily play it in short bursts, but the cycle is addicting enough to keep you revolving around it for hours. It helps that Danger's soundtrack never grates on the ears and provides a smooth background for both exploration and relaxing moments. Paired with beautiful animation and wonderful character design, Haven really has me in a vice grip at the moment. The diversity of gameplay elements – combat, cooking, collecting ingredients, clearing rust, and locating parts to repair the Nest – offers a pretty endless stream of vibe-friendly to-dos. These elements also boost your characters 'unity' gauge (that's my name for it, at least), which allows them to build up to an 'applebrew' moment, sharing in a drink to celebrate one another. Reaching these moments strengthens your combat prowess, upgrading your offensive techniques and increasing HP. Pair this with the other elements of gameplay and just-frequent-enough character chatter (in which I find Kay and Yu *very* lovable), and you've got a winning feedback loop. It's a perfect 'cozy' game for the summer months. Haven is, at its center, a celebration of love. It is an exceptionally fun and well-executed story about how we can find safety and true joy in the arms of another, and, against all odds, maybe make a home somewhere far from the prying eyes of expectations. ### Mixtape Isn't Just a Video Game URL: https://www.superjumpmagazine.com/mixtape-isnt-just-a-video-game/ Last updated: 2026-05-26T20:31:21.000Z **I wasn't a cool teen, as much as I wanted to be.** I had cool friends. Gratefully, in the throes of my nerddom, I found the alternative kids, the ones who listened to My Chemical Romance and Senses Fail and Alkaline Trio and Brand New, the ones who wore ripped jeans and band shirts, with mediocre grades and skateboards who spent the lunch period looking for trouble. I was never one of them, but I was thankful to be adopted into their scene congregation for a time. The cool kids don't survive for very long. You can only be cool, alternative, and rebellious while there's something to rebel against. Eventually, you go to college or pick up a part-time job over the summer, and suddenly, your life belongs to someone or something else. The camaraderie you fostered reveals itself to be Stockholm Syndrome, and twenty years pass, and you don't talk to anyone from that crowd anymore. You romanticise your high school years, adding layers to the nostalgia, telling yourself that the brief moments of youthful invincibility weren't a distraction from the existential threat of growing up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/19e422906fa1-screenshotUrl.jpg) Source: Author's PS5 screenshot. ### Make Memories to Good Music Mixtape says those afternoon hangouts and wild parties; the emotional frisson of sharing burned CD mixes and bundling up in the back of your friend's car for a drive-in movie; and spending the weekend rained out in a campsite, eating marshmallows and cold hot dogs, are all real. They happened; you and your friends loved each other intensely for an instant. And then you went your own way, but maybe without the fireworks. The ghosts of your younger self still drift around somewhere behind you, poltergeists that emerge when you watch Garden State or listen to Taking Back Sunday. > "On their last night together, three friends embark on one final adventure. Play through a mixtape of memories, set to the soundtrack of a generation." > \- Annapurna website More than a visual novel on wheels, Mixtape is an ode to the shared dream of growing up. Like John Hughes or Steven Spielberg, Mixtape's creators attempt to convey the unhinged majesty of a particular, fleeting, indescribable moment in life, one that many of us ache to return to. Unlike other teeny-bopper narratives that try to portray the high school years as sacred or overly profound, Mixtape lets itself play out over just a few hours, showing a snippet of life shared among three best friends on their last night together. And, of course, it's all about a killer party. To many, Mixtape will feel like Life is Strange or other similar titles that have tried to convey the bittersweet ache of growing up. I have complicated thoughts about our societal obsession with high school, and why this albatross dictates so much of our creative and material aspirations. Was high school good for anyone, or do we desperately wish it had been, and craft narratives around the imaginary? Mixtape's whimsical yet stoic sincerity is illuminated by the game's interspersed mini-games, eclectic soundtrack, and heartfelt themes. ### You Might Miss It I must admit, I was moved by Mixtape from the jump—er—downhill skate. Developer Beethoven & Dinosaur may have created a title light on engagement, but every moment connected me with the characters, with not one second of emotional grandiosity wasted. As with Firewatch or Life is Strange, I felt myself in the game, connected to the characters through something more than desire or whimsy. The unusual graphical direction, coupled with the game's intensely film-motivated editing, endeared the experience to me right away. While some players might not vibe with the dialogue and cutscenes driving most of the action, there's plenty of variety in the playable segments, and the game does occasionally slow down long enough to explore moments lost in time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/19e422906fa23-screenshotUrl.jpg) Source: Author's PS5 screenshot. Rockford, Cassandra, and Slater are all bravely written characters, each realistic enough in their archetypes to coincide with iconic Ferris Bueller or Breakfast Club favorites, while retaining their own unique personalities along the game's limited course. Instead of baiting us with a collapsing love triangle or granting too much audience to any individual character, each of our ne'er-do-wells is allowed to spread their wings in the short time allotted them, especially Rockford. Mixtape is aware of its mechanical strengths and plays into them, relying on the audio cues of its pin drops to flesh out this "mixtape game." Rockford, Cassandra, and Slater all have an overly romantic view of the world at large; each is undercut by the interplay of their dynamic perceptions, with Rockford's obsession with music balanced by Cassandra's violent dynamism and Slater's laissez-faire California hippy philosophies. Mixtape also doesn't backseat its raucous Gen-X soundtrack. Depending on your age (and audio mileage), you may only immediately recognise a quarter of the twenty-plus songs that play out across the game's linear narrative. Rockford's tastes aren't singularly post-punk and heavy metal, but pull from decades of musical history, backed by a meta-directional explanation of the song, its place, and its meaning. The developers further ensured the songs were edited to fit the narrative and mechanical moment, with many of the audio drops perfectly aligning with an emotional beat or press of a button. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/19e422906fa9-screenshotUrl.jpg) Source: Author's PS5 screenshot. ### Optimal Teenage Experience While refreshingly punchy, plenty of moments left me wanting more. More time to be in the moment, more time to enjoy the buildup, more time to fall into the unique experience. But I have a feeling that developer Beethoven & Dinosaur wanted to rob us of this saccharine meditation, to some degree. Life doesn't wait for us. Our best moments are here and then gone, contained in hazy memory. Mixtape can be replayed again and again, but the initial experience is a gut-punch firing on all cylinders, meant to evoke strong feelings while simultaneously reminding the player that life marches on at an uneven, frustrating pace. Coming-of-age stories make us nostalgic for lives we haven't lived. Gone Home, To The Moon, Florence, and Life is Strange place us in a very particular slice of someone's life, and then yank it all away. The Beullerian "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it" is ever true because it punishes those of us who are supremely anecdotal and sentimental. You don't have to have lived any of the experiences within Mixtape to feel for its characters. The serviced nostalgia isn't based solely on lived tableaus, it's a historical reference of pop culture, a framed eccentric network of bite-sized vignettes recognizable to players who have come across movies, songs, even other video games that pull from our recognizable collective consciousness. Empathizing with the characters doesn't require placing yourself in your shoes—Mixtape is the sort of emotional microdosing that's perfect for a weekend afternoon. For the aging adult who recalls a more formless world free of pressures and responsibilities, Mixtape is a vacation into the fantasy of teenager-hood, a risk-free celebration of the possibility and imagination that comes with raging hormones, close friends, and misplaced ambition. ### Art Supersedes Knowledge Video games like Mixtape straddle a fine line of established convention, eschewing traditional gaming aspects for artfully conducted episodes. Predictably, there is a slew of the gaming public who cannot stand when a game dares to edge outside of the corporate zeitgeist. A game can't be for them; it has to fit into the binary of good or bad, mine or yours, and, vexingly worse, necessary or unnecessary. It's difficult to imagine a video game like Ico, Flower, or Journey being released in such a hostile climate. Even tremendous, medium-shifting titles like Kentucky Route Zero are not immune to the guile of the internet, where any interactive experience outside of Elden Ring, Baldur's Gate 3, or Grand Theft Auto is condemned. Mixtape deserves to live on its own outside of the monocell derision of a culture that has shifted so completely into negativity and monotony. If the video game industry is not allowed to take chances on experiences far outside of the realm of expectation, it is doomed to orbit the same list of corporate-approved genres, ancient franchises, and unoriginal stories. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/19e422906fa80-screenshotUrl.jpg) Source: Author's PS5 screenshot. Growing up isn't a singular, linear path from childhood to adulthood. Mixtape's dynamic, romantic approach to the tedious normalcy of everyday life is what brings art to the form. Even if Mixtape had fallen flat for me, we must continue to admire the intense labor, ambitious creativity, and team effort required to bring these experiences to life (denigrating everything to "slop" is not only trite, it's dull). As the video game medium is flooded year by year with new games, gamers must continually choose between the played, the unplayed, and the terminally backlogged. Short, punchy, transformative adventures have forever been the backbone of gaming's most dynamic presentations. Whether you're invading an alien planet or skateboarding down a hill, video games allow us to leave the real and become comfortable in the fantasy. ### Nostalgia or Niche Nostalgia is an oft-criticized catch-all trap, potentially and routinely utilized to soften the unstoppable lows of aging and capitalism. However, nostalgia can also be used protectively and intelligently, calling back to different eras of comfort, or softening the edges of memories that we often return to. Not everything is baited by the intents of nostalgia, and the recreation of art and the timelessness of pop culture can often be reformed through a more eclectic, powerful lens. Maybe you grew up listening to John Paul Young and Devo, Mondo Rock and Smashing Pumpkins, Silverchair and Iggy Pop. Maybe you came late to these icons. Nostalgia—or the feeling of comfort it exudes—can be reached through the expertly crafted designs of the artist, calling us back to a place we never lived, reaching out to our communal desire to return to the "good times." None of us is the person we imagined we would be as teenagers. Video games are a powerful, all-encompassing medium, and an amalgamation of dozens of different art forms banded with interactivity. Games like Mixtape allow us to jump into foreign or familiar roles, evoking an emotional resonance undisputed by other media. Thomas Was Alone had me empathize with basic shapes. Kingdom Hearts added layers to well-known animated Disney characters. In Ghost of Yotei, I truly would've done anything to avenge my Japanese family from the Edo period. Video games transcend time, space, and personhood. Mixtape's familiarity is a trick, and a good one. Video games are art. Mixtape is a video game. These are undisputable, objectionable facts. Maybe this ride isn't for you. Maybe the next one will be. ### A Lot Of People Try Running Their Own Server PC First URL: https://www.superjumpmagazine.com/a-lot-of-people-try-running-their-own-server-pc-first/ Last updated: 2026-05-24T06:39:38.000Z **That’s usually how multiplayer servers begin.** Somebody has an extra computer at home and says: “I can run the server myself.” And honestly, for smaller groups that sometimes works perfectly fine at first. A few friends join. The map stays small. Maybe there are a couple mods installed. Nothing too serious yet. Then the world keeps growing. Farms start running nonstop. Players spread thousands of blocks apart. Somebody decides building giant automatic systems sounds fun. And suddenly the server starts lagging every evening for no obvious reason. That’s normally where people realize running a multiplayer server long-term is harder than it looked at the beginning. ## Most Minecraft Servers Slowly Become Bigger Projects A lot of servers start as temporary worlds. But multiplayer games have a weird habit of turning into long-term projects without anybody planning for it. One week it’s just a few people online after work. Then suddenly: - players log in daily - giant bases appear everywhere - mods keep getting added - events start happening - the map becomes huge And the original setup starts struggling badly under the pressure. That happens with almost every pc game server eventually. Especially survival games where worlds stay active for months instead of resetting constantly. ## Local Hosting Feels Easy Until Problems Start Stacking Up At first local hosting realistically feels like a smart idea. No monthly payments. Full control over everything. Easy access to files and mods. But eventually problems pile up. The host restarts their computer and everybody disconnects. Internet slows down during peak hours. Backups get ignored until the world suddenly corrupts after a crash. And once players already spent serious time building inside the world, losing progress becomes a massive problem fast. That’s normally where frustration starts replacing the fun part of multiplayer. ## Modded Servers Usually Destroy Weak Systems Vanilla servers are manageable most of the time. Modded multiplayer is where things get chaotic. One player installs giant factory mods. Another adds realistic weather systems. Somebody else decides the server needs dangerous creatures, custom dimensions, and extra world generation. And suddenly RAM usage explodes. That’s honestly normal for modded communities. Once redstone farms, chunk loaders, and automation mods stay active together, server TPS often starts dropping hard on weaker systems. The bigger issue is that heavy servers constantly stress hardware even with lower player counts. So weak systems slowly become unstable over time. That’s why a lot of people eventually start researching better **pc game server hosting** once their worlds stop running smoothly. ## Building A Minecraft Server PC Sounds Easier Than It Actually Is A lot of players eventually look into building a dedicated machine themselves. And honestly, the idea sounds good on paper. Old PC parts. Cheap upgrades. Full control over the server. But there’s usually more work involved than people expect. Power usage goes up. Hardware problems appear randomly. Cooling becomes important once servers stay active 24/7\. And troubleshooting network issues gets annoying surprisingly fast. That’s where many people suddenly fall into the entire game server pc build rabbit hole trying to figure out why performance still feels unstable even after upgrading hardware. ## Most Minecraft Players Don’t Care About Server Specs This part is actually pretty funny. Admins spend hours comparing processors, RAM speeds, storage types, and network settings. Meanwhile regular players only care about one thing: does the server actually work? That’s basically it. Nobody joins a [multiplayer server](https://www.minecraft.net/en-us/servers) asking about technical specs. Players only notice the backend once chunks stop loading or the game freezes during fights. ## Stability Matters More Than Fancy Features A lot of server owners focus too much on extra features. Custom dashboards. Fancy control panels. Extra management tools. But honestly, most communities do not care about any of that stuff. Players mostly want: - stable uptime - smooth gameplay - fewer crashes - decent performance during busy hours That’s the important part. Because even fun multiplayer worlds die surprisingly fast once the server becomes frustrating to play on every night. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/data-src-image-72419bc2-f2e2-4cf2-b7fb-b2504230d379.png) Source: Pixabay. ## Bigger Communities Create Bigger Problems Small private servers are manageable. Larger communities become messy fast once more players start joining regularly. Especially once: - giant farms stay loaded constantly - admins keep changing mods - players build far apart - events happen often - backups become larger every week Server load keeps increasing whether people notice it or not. And eventually maintenance alone starts becoming exhausting for smaller admins running everything themselves. ## Good Hosting Removes A Lot Of Stress And for most players, even strong hardware won’t magically solve every problem. Bad mods still crash worlds. Admin mistakes still happen. Huge automation systems still create lag. But reliable [dedicated game server hosting](https://www.reddit.com/r/selfhosted/comments/1s91wiw/best%5Fgame%5Fserver%5Fhosting%5Ffor%5Fcommunity%5Fcreating/) removes a huge amount of unnecessary frustration that slowly kills multiplayer communities over time. That matters way more once the server stops being “just a small world for friends” and turns into something people actually care about long-term. ## Most Players Just Want The Server To Stay Online That’s honestly the whole thing. People don’t remember server hardware. They remember the multiplayer moments. Giant builds. Dumb accidents. PvP arguments. Somebody getting lost for three real-life days. But unstable servers ruin that really fast. Because once crashes become normal, people slowly stop logging in. And rebuilding a dead multiplayer community is usually harder than keeping the server stable in the first place. ### All In: Advanced Strategies for Earning C++ in Balatro URL: https://www.superjumpmagazine.com/all-in-advanced-strategies-for-earning-c-in-balatro/ Last updated: 2026-05-25T14:30:16.000Z **Balatro has exploded in popularity since its release in 2024, introducing new players to the world of roguelike deckbuilders.** Even the best poker players have been humbled by Balatro, where the strongest hand isn't always the winning hand. I admit, I was not good at this game when it was released. Nevertheless, I persisted, and it took over a year to master the game. I will give credit where credit is due; my partner watched hundreds of hours of Balatro University (I watched maybe 10 hours, haha), and passed the knowledge on to me. Today, I collaborated with him to pass the knowledge on to you. C++, or Completionist Plus Plus, is the flair you earn yourself once you have a gold seal on every deck and every Joker. It took a lot of time and patience, but it wasn’t extremely difficult. These tips will help you earn your C++ badge of honor or get closer to NanInf (the maximum displayable score). Let’s get started. ## Unlock Every Deck and Every Joker To have access to the most powerful decks and Jokers, you must unlock them. This is a good chance to become familiar with each deck. Some of the locked Jokers are the most powerful in the game; they will be necessary. Head to your collection and click on a Joker with the lock symbol to reveal the unlock requirement. I look at a few conditions and try to get a couple in one run, but sometimes you have to dedicate the entire run to an unlock condition. ![The Joker gallery menu, with a Locked Joker highlighted to show a requirement to play a hand that contains four 7 of Clubs.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_5990.PNG) Source: Author. "Discard 5 Jacks at the same time" or "Play a hand that contains four 7 of clubs" may be a run focused solely on that challenge. ## Money is Everything - Obtain a Money or Value Joker ASAP Want a chance at the best Jokers, vouchers, and tarot cards? Well, you'll need money. You'll need to be able to re-roll often. Get a passive money Joker like Golden Joker, or take a money scaling Joker like Rocket, To The Moon, or Satellite. The most powerful money cards will be those you can exploit to make money multiple times per round, like Reserve Parking and Business Card. ![A graphic showing the best Jokers to use for Basic Money, Scaling Money, and Exploitable Money.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/money-jokers.PNG) Source: Author (created in Figma). Money Jokers. Another option is a value Joker, specifically Cartomancer. This Joker gives you one tarot card per blind (two if you use Blueprint to copy it). Each tarot card has a chance to pop Temperance or The Hermit for money, or you can sell ones you don't find useful. ![Gameplay of Balatro; the Cartomancer Joker is highlighted.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_6060.JPG) Source: Author. ## Set Up the Trifecta Right from the first booster pack you open, you must look for chips and +Mult. *Do not worry about X-Mult until you have the chips and +Mult*, because it won't have anything to multiply. Grab Blue Joker and Misprint, perfectly fine Jokers for the first few antes. Once you have your chips (blue) and +Mult (red), then you can worry about your X-Mult. Then the trifecta will be complete, and you will just be swapping out better Jokers from here. ![Gameplay of Balatro; six Jokers are setup with the Ghost deck in play.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_6091.JPG) Source: Author. X-Mult Driver's License to the Very Right. ## Put Your Jokers and Hand in the Correct Order Once the trifecta has been established, make sure your Jokers are in order. This is math after all, and the X-Mult must be on the very right since they are triggered left to right. Many new players do not order them or fail to realize they can be moved. The same goes for your hand; If you have Hanging Chad, the power card goes first (lucky, red seal, or glass). Make the math work in your favor. ![Gameplay of Balatro; six Jokers are set up with the Anaglyph deck and a Sun tarot card is in the hold spot.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_6069.JPG) Source: Author. Red seal glass goes first because of Hanging Chad. Then the two normal cards. Then ended with a glass for x2\. This is the correct order of cards. ## Become Familiar with Scaling Jokers Scaling Jokers are those that grow in power with your run, as long as you meet the condition. Some favorites are Supernova, Green Joker, Ride the Bus, and Spare Trousers. If these appear early, grab them- you may have to alter your hand or strategy around these Jokers. For instance, Green Joker is ideal for a high card or a pair run. With Ride the Bus, you may need to thin your deck and remove face cards. ![A graphic depicting the best Jokers for Scaling Mult, Scaling Chips, and Scaling Synergy.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Scaling-Jokers-1.PNG) Source: Author (Created in Figma). Scaling +Mult to Grab Early. These ARE NOT good Jokers to grab late in the run; They need to build +Mult, therefore I wouldn't take them past ante 4 or 5. You have a little more wiggle room on X-Mult, but the same rule applies; start building as early as possible. ![A graphic depicting the best Jokers for Basic X-Mult Scaling, Advanced Scaling, Deck Manipulation X-Mult Scaling, and Scaling Synergy.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/x-mult-scaling.PNG) Source: Author (Created in Figma). Scaling X-Mult. ## Master High Card and Pair Runs The most powerful hands in the game, especially if trying for NanInf, are high cards and pairs. To easily pass the gold stake, you need hands with a low fail rate to draw, and a hand that can make boss blinds obsolete. The high card and pair are what you use to power up scaling Jokers and spam for your money Joker. For example, if you have 4 hands, 3 of those hands will go to raising a scaling Joker (like Green Joker) or exploiting money, then play a final winning hand. This can be tricky if your math is off, winning too quickly, or losing entirely. Now obviously you cannot win early antes with a high card or pair, so you will use these to power up money and +Mult, then transition fully to them in later antes. ## Avoid Straights and Flushes Many people fall into the trap of straights and flushes. They seem tempting, but you want to avoid hands where you are constantly discarding to draw your 5th card. The first few antes are the only time you should play these hands. Flushes scale slower in the late game, falling behind 3-of-a-kind and straights. Straights will have you sweating as you draw over and over for that gutshot on ante 7\. But if you want a hand that is more fun than pairs and high cards, it is much more strategic to transform cards and go for 4-of-a-kind, a powerful alternative later in the game. ![Gameplay of Balatro; six jokers are set up with the Ghost deck and four Glass King of Hearts are highlighted to play.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_6070.JPG) Source: Author. Four of a Kind is a good alternative if high card and pairs are too boring. Note: Because I have Hanging Chad, the red seal goes in front. ## Buy Blank Voucher ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-25.png) Source: . ### Go Back In Time: Use Hieroglyph and Petroglyph This voucher seems risky on the surface: lose a hand or discard to go back one ante. But knowing when to go back in time will save your run. If you are barely squeaking by and still searching for the third Joker in your trifecta, lowering the stakes may be what you need to progress. Mathematically, you are extending your game by about 12.5%, which is pretty significant. If you use both vouchers, then you've extended the game 25% (of the original size). I thought this card was useless at first, but sometimes you need more time to find the right Joker or get more money. The bottom line is, more scaling, more money, more Jokers, more planet cards, and more deck manipulation ![Gameplay of Balatro; the storefront with Petroglyph highlighted.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_6056.JPG) Source: Author. ## Think Outside the Box with Blueprint and Brainstorm Copy your mult and chips? Sure. But what if you copied burglar and had 10 hands. What if you placed Blueprint to the left of Space Joker or Burnt Joker for the chance to upgrade your hand two levels? Use them on DNA to create a card-making machine? Or use either one to copy Reserved Parking, for the chance of double-digit money returns rather than single? ![A graphic showing a lineup of Jokers called Card Factory: DNA, Blueprint, and Brainstorm.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/card-factory-1.PNG) Source: Author (Created in Figma). Have a Great Card? Now Three Great Cards. ![A graphic showing a lineup of Jokers called Show Me The Money!: Mail-In Rebate, Blueprint, and Brainstorm.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/money-trick-1.PNG) Source: Author (Created in Figma). Each Discard is $15 Instead of $5 ![A graphic showing a lineup of Jokers called Dirty Dirty Duplicates: Perkeo, Blueprint, and Brainstorm.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Duplicates-1.PNG) Source: Author (Created in Figma). Using This With a Planet Card or Temperance is the Way Move your Jokers around. That's why you play high cards and pairs; you do not need to search for a hand, you *have* the winning hand, and can play around with your Jokers. Exploit Blueprint and Brainstorm for money, hands, cards, and poker hand levels. Then, when you're ready to win, move these into the proper order for scoring. ![Gameplay of Balatro; seven Jokers are in play with the Plasma deck, ther eare 47 planet cards in holding, and six Steel King of Spades, one holographic mult King of Clubs, and one polychrome red stamp 10 of Clubs in hand.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_5104.JPG) Source: Author. Before the blind starts, Burglar goes on the very left- this gave me 12 hands. Then Baron is moved to left for scoring. ## Sicko Mode If you implement the above and want to score into exponents, you'll need to understand power hands and use Plasma Deck. ![A graphic showing The Baron Run lineup of Jokers (Baron, Mime, Blueprint, & Brainstorm) and Steel Retrigger Kings.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Baron.PNG) Source: Author (Created in Figma). Steel Kings with a Red Seal for NanInf. ### Understand Power Hands As wonderful and unique as this game is, unfortunately, there are only a few big-hitter power hands, and it's all about the re-trigger. ![A graphic showing the Photograph Power Hand Joker lineup - Hanging Chad, Photograph, Blueprint, & Brainstorm](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/photograph.PNG) Source: Author (Created in Figma). Start early to convert your cards to Kings. DNA and Blueprint are crucial, along with the tarot card Death and the spectral card Cryptid. You will want to start copying Kings once you have a steal or gold red seal King. ![Gameplay of Balatro; a deck consisting of nothing but Kings with various modifiers including Steel, Gold, and Red Seal.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_4405-1.jpg) Source: Author. Red Seal King Conversion. ### Use Plasma Deck for Big Numbers Plasma Deck balances chips and mult. Since chips always outweigh the mult early in the game, you focus on chips first. The strategy is to go hard on chips and level your poker hand, then transition to power hands with high re-triggers. You can eventually replace your chip Jokers with retrigger Jokers (think Mime, Baron, Hanging Chad, Photograph, Blueprint, Brainstorm, etc.). Plasma Deck is the only deck where the first ante is very easy to win: because chips are higher on flushes, you can play a flush here and save money for solid long-term Jokers rather than wasting money on purely surviving. Then transition to your pairs. ![Gameplay of Balatro; the deck choice screen highlighting the Plasma Deck.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/IMG_6071.JPG) Source: Author. --- The most important part of all this is to have fun and try different combinations. This game never gets old, even after two years of playing. I will start a new save, do the challenges, and collect the Jokers again; no two runs are ever the same. Watch Balatro University and practice your first NanInf run, or start collecting those gold seals! ### The Problems with Piecemeal DLC URL: https://www.superjumpmagazine.com/the-problems-with-piecemeal-dlc/ Last updated: 2026-05-22T19:33:07.000Z **Because I have nothing else going on and all the free time in the world, I decided in late 2025 to try another mega mod change for a game, Phoenix Point's Terror From the Void fan mod.** The mod was intended to combine all the DLC released into one coherent game. Looking at the DLC on Steam, the reviews range from good to bad to horrible. When it comes to DLC or expansions for games, developers have tried different methods for how they fit, and you need to be sure of what you're adding to your game. ## The Kinds of Content We live in a world where DLC (which generally takes the form of additional support and content for games) is expected by many consumers. If you love a game, getting more game is a win-win. However, developers have different ways of creating new content and dealing with the expectations that come with it. On the smallest side, there are simple cosmetics or flavor items – new songs, portrait art, taunts, costumes, etc. This content remains evergreen for years to come, provided people are interested in expanding the look of a game. The next step up, what Phoenix Point and other games have done, is create self-contained "chunks" of content. This isn't about adding 100 more hours to a game, but adding a very specific, focused amount of content for those who decide to buy it. This can be seen with a pack of new guns, a different kind of vehicle, weird weapons, and more. This adds more "stuff" to your game, but it's not directly changing the overall game or adding new gameplay. This kind of content typically gets slotted into the main game and can activate at the start or at specific points during the game. And if content does change the game, it is often placed behind a toggle for players to decide whether they want to use it. Then there are expansions where the sky is the limit as to what can be included. XCOM 2's War of the Chosen, for example, was almost like getting XCOM 2.5, or as if the developers were originally putting these systems together for a sequel. ![phoenix point](https://game-wisdom.com/wp-content/uploads/2026/05/xcom-war-of-the-chosen-1024x576.jpg) War of the Chosen is so good, it is one of the few DLC packs I've seen from a game that is highly rated by fans. Source: Steam. Selling DLCs piecemeal has been the go-to strategy for Paradox Interactive for years. Each of their bestsellers has dozens of DLC ranging from small to large, to the point that it can be overwhelming for a new player to decide what/if to buy. What Paradox does with their larger DLCs is that each one effectively is a new system or gameplay mechanic that adds more complexity to an already complex game. Now, this in and of itself is not a bad strategy. Putting more complicated elements behind DLC means that for people who want that stuff, it's available to purchase, but it's not a part of the base game for new players. Looking at the DLC from Phoenix Point, they went with this model for their larger ones. However, the reason why Terror From the Void works better where the base game didn't is what all this means for the overarching game balance. ## Piling on Problems Downloadable content is meant to grow a game, but when you are releasing something optional, how does it work when it's all together? When I talk about game balance, your base game (or version 1.0) is the baseline experience from which everything else stems. As you add more content to your game, how it is integrated affects the experience in large and small ways. For story/expansion DLC, the content may activate after a specific point in the game. As I've discussed before, 'more for the sake of more' doesn't make a game better. If you create five DLC packs that balloon out the early game with more quests and things to do, it could slow the game down, make the player overpowered by the time they get to the middle, or make things harder for players where you don't want them to feel stuck. In the original Darkest Dungeon, the Crimson Court DLC introduced hard enemies early on and a new disease to make the early game even tougher; it was not recommended for first-time players. I see this from a lot of developers when deciding to add more content through DLC – it's aimed specifically at spicing things up for veterans of the game. And to be fair, that's often a correct move; looking at Steam store pages, it's rare for a game's DLC to come anywhere near the sales achieved by the base game. The reason is that if someone didn't like your game at launch, they're not going to spend more money to make it better. The more pressing issue is how DLC affects other content additions. Let's say DLC 4 introduces a new enemy type that is only weak to weapons and tactics introduced in DLC 2; what happens if someone only buys DLC 4 and doesn't have access to that weapon from DLC 2? You cannot assume that people will buy every DLC in order, unless you are explicitly bundling them with the base game as part of the "Complete Edition". It's this problem that leads developers to focus on DLC, making each one stand alone from the others, only requiring the base game to access all features. ![Phoenix Point](https://game-wisdom.com/wp-content/uploads/2026/05/darkest-dungeon-1024x576.jpg) I wonder if there's a Lovecraft quote to describe how much these enemies were hated? Source: Steam. But that leads to its own unique problem; When DLCs are separate from one another, it can make them feel segmented – instead of playing one complete game, you're playing 3 or more variations of the same. With XCOM 2, it's widely agreed that the mini DLCs were not as popular as the War of the Chosen expansion, which integrates a lot of different systems and new content into the game. In multiplayer games, it is viewed as poor form to prevent players from playing maps if they join a game but haven't bought the DLC. And if you do introduce a new system or mechanic with DLC that becomes the norm, then it should have a free version available to everyone. ## What's the (Phoenix) Point? Let's quickly go over the different DLCs for Phoenix Point, starting with Living Weapons. This is a simple set that adds just a few different weapons and a new armor set. Blood and Titanium allows players to add cybernetic upgrades to characters and is similar to the upgrades introduced in XCOM's Enemy Unknown expansion. Legacy of the Ancients adds new enemies and a campaign structure meant to increase the game's difficulty. Festering Skies is the most polarizing one and goes with the complaints about piecemeal DLC. After a few weeks of in-game time, the behemoth shows up to begin attacking havens, and the only way to deal with it is to build an air force and get into specific air-based combat with its ships. The issue players have is that it adds a difficulty and resource spike in a game at a point where, if you're not already prepared for it, you're in for a lot of trouble. The new air combat slows down the game and requires that you dedicate further resources to it. Corrupted Horizons is the last campaign DLC, adding new enemies, mutated characters, and more, but it doesn't have good reviews due to the difficulty spikes it brings. Finally, Kaos Engines focuses on new vehicles, weapons, and a few new missions. The consensus from the reviews is that the DLCs either make the game harder or more grindy, or add stuff that varies from just meh to game-breaking. That last point also brings up another tough point about DLC – you don't want to introduce something that feels "required" to play the game. This is different from an amazing expansion, where the full game is legitimately better with all the content vs. the base. With that, let's talk about Terror From the Void and how it's being looked at more favorably compared to all the DLC that is required to play it. ## The Sum of its Void Phoenix Point's Terror From the Void mod is not a full conversion mod like Xpiratez, but an attempt to rebuild the entire game around the mod. It requires that you own all previously released DLCs, which, by itself, may be too much of an ask for new players. What it does is provide a complete rebalancing and recontextualizing of the entire game, with all the DLC integrated from the beginning, plus new classes, weapon balancing, GUI and UI improvements, and more that can show up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-24.png) Source: Phoenix Point. Again, by requiring all DLC to be purchased to run it, the modding team knows full well that everyone playing it will have the same content available. This provides a more structured environment to fit all the DLC and make sure that it's balanced within the scope of the campaign. This creates an interesting discussion on difficulty. The new DLC, especially the flying-based one, does make the game harder, but adjusting for its difficulty means that the other content can be made to counter it more easily and better integrate everything into the campaign as a whole. While Terror From the Void does feel like the definitive way to play Phoenix Point, it doesn't quite fix the game's inherent issues and pain points. The GUI can feel like a mess in places until you begin to understand how everything works. The geoscape layer is still very daunting for new players: you'll soon have dozens of icons on the map, multiple missions and haven defenses, and a giant alien ship that goes around attacking everyone. Like the original X-COMs, once you start falling behind and begin to lose, it is often the death knell for your entire campaign. ## Rising From the Ashes The mod is a huge improvement over the base game, to the point that the developers have updated Phoenix Point with GUI and balancing improvements straight from the mod. If you've been hesitant about trying the game and have the money to buy all the DLC, I would highly recommend you give it a spin. However, if Firaxis's take on XCOM was too daunting for you to learn, this is a step up in difficulty and complexity from that. Thanks for reading, if you want to stay updated about my works, be sure to [follow me on Bluesky](https://bsky.app/profile/gwbycer.bsky.social) ### Removing Doki Doki Literature Club from Google Is a Bad Idea (for Google) URL: https://www.superjumpmagazine.com/removing-doki-doki-literature-club-from-google-is-a-bad-idea-for-google/ Last updated: 2026-05-19T10:07:30.000Z **Google has deemed Doki Doki Literature Club (DDLC) inappropriate for sale on Google Play and the Android App Store.** Developers Dan Salvato and Serenity Forge shared a message about this update, as shown below. Other gaming stores like Steam still have DDLC up, and no so-called activist groups have campaigned against the deconstructive visual novel. [MSN tried](https://www.msn.com/en-us/news/technology/google-removes-doki-doki-literature-club-from-the-play-store/ar-AA20yHXA?gemSnapshotKey=GMEC50E573-snapshot-1&apiversion=v2&domshim=1&noservercache=1&noservertelemetry=1&batchservertelemetry=1&renderwebcomponents=1&wcseo=1&bundles=feat-es2020-c) to reach out to Google for comment; as of May 1, 2026, no one from Google has responded (no surprise if you know how Google's customer service and PR are nonexistent). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-1.png) Source: X/Twitter. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Spoilers_Ahead-1.png) Spoilers ahead for Doki Doki Literature Club. Doki Doki Literature Club is a psychological horror story disguised as a fluffy visual novel. You play a teenage high schooler convinced to join his childhood friend's poetry club, or they won't have enough members. Then the game starts to glitch, and you realize one of the club members is trying to change the narrative. That's not a good thing as glitches increase and dead bodies appear. A few years ago, while at home during lockdown, I started a Weirdness Bingo with friends to track strange news. We had to stop it in 2024 because weird news stopped being funny. I don't think any of us would have predicted Google trying to impose its morality through the "Terms of Service" by removing DDLC from its store. The gaming community outrage has started, as have discussions questioning why they chose this game, which came out in 2017, and not others with similar themes. ## Self-Fulfilling Prophecies Clearly, Google has never heard of the Streisand Effect, let alone played DDLC; they've just ensured more people will look up the game and call them out for applying arbitrary policies. People may also question whose bright idea it was to flag THIS game. One of the biggest twists in the game is that messing with the game files unleashes the rest of the story. Mess with them too early, and you get a downer ending off the bat. Do nothing, however, and you end up stuck. You have to find that perfect balance with trial and error unless you use a walkthrough. There's such a symbolic coincidence; Google deleting access only makes things worse for them, as it does for Monika. If Google wanted to avoid controversy, it shouldn't have chosen one of the most viral indie games from the late 2010s. Going after Doki Doki Literature Club is like a kid tossing a rock at a wasp nest, and the wasps have Wi-Fi. The game was an odd-duck success, a Western development crew's deconstructive take on the Japanese visual novel genre. It also has serious discussions about mental health and cyclical abuse. The game keeps these discussions fairly tasteful and has allowed players to discuss them. Ergo, it has violated no policy. ## "Dead Dove, Do Not Eat," and Doki Doki Literature Club If you know anything about DDLC, you know that it's not a cute, child-friendly game. The trigger warnings cover self-harm, onscreen emotional abuse, and graphic suicide scenes. While the terror takes over an hour to reveal itself to the player, it exists. Once the code opens Pandora's box, you can't close it. You can only see DDLC as horror. Sure, we have the adorable sleepy childhood friend accompanying the snarky player character to school and inviting him to a poetry club. And the game shows a hilarious scene where another NPC tosses cupcakes like frisbees. The first image that I saw, however, showed the childhood friend very dead, courtesy of YouTube streamer compilations. It convinced me not to play the game since imagery related to suicide upsets me. I did, however, get the gist from gamer videos and analysis. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Screenshot-2026-05-11-121117.png) (Left to right) Natsuki, Yuri, and Monika. Source: Steam. It feels like Google doing this removal a decade after the game's release is akin to a fanfic reader complaining that a fan fiction had unsettling content after clicking the [Archive of Our Own Content Policy](https://archiveofourown.org/content). Hours of YouTube content cover both the twist and its meaning. Did they somehow ignore the "Mature 17+", "Dead Dove, Do Not Eat", and trigger warnings? "Dead Dove" refers to a fanfiction description tag warning that a story is going to be super horrific, and - brace yourself - the sitcom Arrested Development provided the namesake meme. Google is banking on the fact that so many people use its services and won't switch to other search engines, emails, or video-sharing sites. It's the same reason why they thought adding AI filters to YouTube would be adopted, but they have never seen irate video game fans. ## Restore Monika, Sayori, and the Others I'm not a DDLC fan in the sense of "ride-or-die hyperfixation", but I oppose these power plays on principle. The company that once used the slogan "Don't be evil" has kowtowed to arbitrary rules that benefit oligarchies. The slippery slope of censorship starts with one deletion, one controversy, and then another. In this tumultuous present, we can't turn a blind eye when an institution takes a ride down the slope. That's why we should restore the save files and the stories that led to them. ### Still With Me, Dear Reader? URL: https://www.superjumpmagazine.com/still-with-me-dear-reader/ Last updated: 2026-05-19T10:07:37.000Z **Ever played Disco Elysium? That's probably the game that'd pop into your mind if you saw Rue Valley.** Yet, to compare it to Disco Elysium undermines and reduces Rue Valley to be "like" it. It is only in spirit where they intertwine – a familiar-feeling interface, a sweet gift for words, a tragic hero to accompany you. But Rue Valley stands on its own two feet, far away from the realms of Disco's controlled insanity. At 8:47 pm on the dot, a blinding light fires up on the horizon offscreen, scorching everything in its path and pitting the screen to black, before you're back in the shoes of Eugene Harrow, sitting in his therapist's room at 8 pm. The next 47 minutes turn into an opportunity, *your* opportunity to dig right into a mystery shrouded across the desolate town of Rue Valley… and forsake yourself of this loop once and for all. That is, if you can get past your own self-defeatist nature. The game is a linear experience about the quest for reason, tragedy, acceptance… wrapped together in a 47-minute in-game time slot that you’ll no doubt burn through. Over. And over. And over again. Till you've turned all the stones you could find to patch together the final truth. My record is 121 loops until the climax. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-18.png) Eugene Harrow in his motel room. [Credit: Owlcat Games Ltd](https://drive.google.com/file/d/1cYYoMlVF8wrNlBzUOwTU6yOh%5FLxURmLq/view?usp=drive%5Flink). The game is not verbose. It does not paint a red nose on the quasi-complexities of human relationships and sociopolitical intricacies for gags. It does not allegorize absurdist themes across the different threads of its stories. It does not pit you with an amnesiac protagonist to figure out, as if they were under your microscope. Hell, it does not have a Seolite darling in a bomber jacket for you to appease. Instead, it clenches us with a hero's tale that could tug at our hearts hard enough you'd swear the writers kept a watchful eye on your personal life. Thus, one could argue that Harrow is an extension of the player — me, and perhaps even you, dear reader, who's faced challenges in life that can leave them feeling tired, even broken. We see Harrow, ravaged by the serrated edges of nihilism and helplessness, continue to dwindle down the abyss, sabotaging themselves enough to fail so as to justify striving forward. And the 47-minute constraint creates the perfect microcosm to challenge the pessimist notions they carry, pitting ourselves against some strange yet familiar demons we loathe to confront. That right there is the real story. The mystery quest he's thrust into is just enough adventure to reel us in, but not too deep that it becomes subtext; a tactic packed with strong intent on the writers' part. Rue Valley is one of the few gems that continues to push the bar for writing stories about mental health. While Disco Elysium at times caricaturizes the hero's festering abyss for us to cackle at, Rue Valley takes a more empathetic approach, offering us a chance to explore the abyss with him and drive ourselves through him to the core of its existence. This was something I resonated with. Deep. In. My. Bones. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-19.png) Source: Steam. In a time when the four walls I reside in felt like a stuffy cage, the folks I hung with felt like plastic mannequins, and the drive for my passions flickered in the turbulent winds of stress, exploring Harrow's story in *Rue Valley* felt akin to kneeling over a bonfire. It was a brief respite coursing through my eyes, my mind, and my body like a cool breeze in the meadows — a strong resonance bound between the player and the player-character, a phenomenon quite rare in games today. Though it may not magically fill the void that begins to fester within most of us Over-Thirty-Somethings after eons of facing invalidation and staleness, what Rue Valley imparted through Harrow's journey is wisdom as old as time itself, reinforcing something for us to remember it by when the tough gets tougher. Coming out of the game left me feeling just a mite validated by the fact that engaging with this dreaded loop, despite the weight of cynicism, only makes us stronger and more adept at evading the snapping jaws of the abyss. That by reaching the other side, we tell it that it holds no grip over us. That we're still standing, okay, still here. With that in mind… I hope you're still with me, dear reader. Still pushing through your days, keeping to your goals, reaching out to folks, placing your heart before yourself, and letting go of what you can't control. If you find the times today difficult to contend with, perhaps a journey through Rue Valley could bring a semblance of connection, of groundedness, of the validation your heart seeks with the story it tells. Even if just for a moment. ![The protagonist speaks with his therapist right before the loop resets.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/rue-valley-ingame-screenshot.jpg) Still with you, Dr. Finck. Source: Author. Rue Valley currently sits at Mixed reviews, a laudable story limited only by its clunky game design. With that said, [I cannot recommend playing this game enough](https://store.steampowered.com/app/2126190/Rue%5FValley/). Give it a shot, and enjoy the journey. To those who feel they’re clinging to hope by mere threads, mental health resources are available. Check in with your local mental health clinic or hotlines, and open up to them. The developers also collaborated with Movember, a global non-profit that brings attention to mental health and men’s health. [Check out their site](https://movember.com/) if you’re curious to find out more. ### Now Playing at SUPERJUMP Issue 40 URL: https://www.superjumpmagazine.com/bf-now-playing-at-superjump-issue-40/ Last updated: 2026-05-17T08:18:53.000Z **We're back with a brand-new Now Playing!** Our team has been playing a wide variety of games, with the usual assortment of new and old titles, and, surprisingly, two of our members playing the same game, Capcom's latest title, Pragmata. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/pragmata-james.JPG) Source: James Burns. ## James Burns (SUPERJUMP Editor in Chief) ### **Pragmata** I've been excited about Pragmata ever since it was first revealed. As much as I love great sequels to adored franchises (and the occasional remaster or remake), I'm an even bigger fan of *new ideas* \- show me something I haven't seen before. That's what gets my blood pumping. Pragmata immediately looked like nothing else, thanks to the strange (yet obviously cool) motif of a hulking space dude with a peppy, talkative little girl riding around on his back. I crossed my fingers that the final game would be something special. And it absolutely is. I haven't quite finished Pragmata, but I'm pretty close to the end now. It's been a thorough delight every step of the way so far. The core premise is utterly brilliant: you engage in combat with a wide range of robotic foes who are *almost* invulnerable to your weapons. This dilemma is overcome thanks to Diana, your robot companion, who can hack into enemies, opening them up and revealing their weak bits. Early in the game, most enemies move pretty slowly, giving you time to get used to hacking. But soon enough, you'll face larger groups of robots, each with its own unique combat tactics (and, later in the game, some robots actively assist each other in battle). Balancing hacking, shooting, and dodging all at once can often put you in something of a flow state akin to the famous Tetris effect. At its best, the system is truly mindblowing. Better yet, hacking never gets boring because the actual process of conducting a hack is itself a variable puzzle. This concept is pulled together by a compelling (if not revolutionary) story that contains numerous contemporary elements, such that it feels like an experience that could only be born in the 2020s. Exquisite art design is paired with incredibly sleek sound effects and a gorgeous soundtrack to produce an unmissable experience. This one's already high on my 2026 GOTY list. Don't sleep on it! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/VF5-Evo.jpg) Virtua Fighter 5 R.E.VO. World Stage. Source: SEGA. ## Jahanzeb Khan ### Virtua Fighter 5 R.E.VO. World Stage I have written 5 published reviews of Virtua Fighter 5, each time a different version of the game on a different console. The final edition has a complex title that would impress even Capcom. SEGA has kept this game relevant for close to two decades now; the latest release is now on Switch 2, and I'm hooked on it just like I was playing it for the first time on PS3 all those years ago. On Switch 2 handheld mode, the game is borderline addictive thanks to rollback cross-play multiplayer and a single-player mode that's easily one of the best solo experiences in any fighting game. SEGA crafted a masterpiece in Virtua Fighter 5, and they've since enhanced and tuned it to perfection. Between this, Street Fighter 6, and Mortal Kombat Legacy Kollection, the Switch 2 has become my favourite place for fighting. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-8-1-1.png) Final Fantasy Legend 3\. Source: Nathaniel Kelly. ## Nathaniel Kelly ### Final Fantasy Legend 3 Earlier this month, I started Bravely Default, but I pivoted to Final Fantasy Legend 3 so that I could play along with the Four Job Fiesta community. This game was quite a low priority on my backlog, but I’m actually really enjoying my time with it. You play as four time-traveling heroes with the ability to transform into enemies, which gives the game a bit of monster-collecting flavor, even though you don’t collect any actual monsters. The art is really well done for being on the Game Boy, not to mention the enemy sprites look incredible, and each time you transform, it changes what your character looks like on the overworld, which is an awesome detail. The combat is simple, but you are constantly changing forms to increase power, which adds enough variety to keep it fresh. I also think the game's short length makes its simple nature a positive, especially if you are in the mood for something light and easy. I don’t enjoy the lack of item or equipment descriptions, as it really forces you to have your smartphone open to a guide during the game. I still have no idea what a lot of stuff does; I just equip whatever is in the newest shop, to be honest, and it’s been working well enough. It’s a fun game, though perhaps not the most suited for a four-job fiesta. It is a unique experience that doesn’t stretch your brain too much, and I’m excited to cross the finish line in the next few days. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/TOK-Alone.jpg) Tales of Kenzera: Zau. Source: PJ Walerysiak.333 ## PJ Walerysiak ### Tales of Kenzera: Zau I started playing Tales of Kenzera: Zau on the second anniversary of my mom’s passing. I didn’t want to talk to anyone outside of my family that day, and had taken time off work to do whatever I felt I needed to do. Unless you’ve lost someone very close to you, it’s hard to understand how grief manifests day by day; how it forces you down a path of change and reflection; how easily it can light or snuff the fuse of anger, and how it adjusts your perspective and priorities in life. The creator of Tales of Kenzera: Zau - Abubakar Salim - understands these manifestations very well, for this game was inspired by his father's death. Grief is explored intimately through its characters, story, and gameplay. I can gush about its vibrant visuals and tight gameplay (which rightfully deserve said gushing), but the story and characters are what hooked me. The protagonist Zau had just lost his father, and charged into their journey of grief and growth. Raw emotion courses through Salim’s powerful voice-acting. Pain, urgency, unwarranted anger, shame, wistful happiness; I recognized those all too well. It was oddly comforting to see those emotions expressed so vividly here. There is a fine balance in Zau’s journey; Frenetic traversal and combat eventually lead to quiet reflection. Zau meditates on experiences he shared with his late father, and doing so brings up a myriad of emotions. Action may feel satisfying and can convince you that you’re doing something meaningful, but the quiet moments are inevitable, and are where you truly learn how to live within this new world. Playing Tales of Kenzera: Zau has genuinely helped me these past couple of weeks. I look forward to continuing the story, both in and out of the game. Whether you’ve gone through something similar or not, this game is well worth the journey. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-11.png) The Binding of Isaac. Source: Kristina M.H. ## Kristina M.H. ### The Binding of Isaac After putting over 150 hours into Mewgenics, I wanted to go back in time and give The Binding of Isaac a fair shot. I can see similarities with the Mewgenics animation, from the maggots, fetuses and excrement, to the fart noises, and overall crudeness. And it’s not necessarily a bad thing… I just feel a little out of place as a middle-aged female playing a game that feels like it was made for and by a 14-year-old 4chan edgelord. While I found Mewgenics humor to be entertaining, Binding of Isaac’s art style, child abuse undertones, cartoonish gore, and dark humor are not as appealing. It causes an almost visceral reaction, which makes it difficult to play. I don't have a moral problem with the game itself. I've listened to creator Ed McMillen's interviews, and it sounds like this is a healthy and creative outlet for his own trauma and childhood; he is genuinely intrigued and curious about the things he puts in his games. That being said, the game is extremely fun and addictive. I love how different each run feels, going into the first gold door room and finding the first item that shapes everything that comes after. I’ve had a run where I triggered invincibility and turned every enemy to gold. I’ve had runs where I’ve picked up the wrong item and was doomed to immediate failure. I guess my biggest complaint is NO ITEM DESCRIPTIONS?!? I realize this was intentional, but with over 400 items, it turns into a game of luck rather than a skill game where I can plan synergies. I have started to leave the wiki open on my phone. I'll definitely play more. With any roguelike, it's an easy game to just drop in for a few runs, especially at the end of the day when brainpower is zapped. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/image-12.png) New Super Lucky’s Tale. Source: Nintendo. ## CJ Wilson ### New Super Lucky’s Tale During this past month, I was looking at my backlog, along with the usual new releases, to see what I was in the mood to play. Starting with New Super Lucky’s Tale, I wanted to check out a 3D platformer to get my brain going on solving some of the various puzzles that the game offered. Some of the puzzles were quite challenging to get through, like moving some statues to their respective spots, where I did have to look up a guide on YouTube to figure out the solutions. Otherwise, the game is a relatively simple platformer with tight mechanics, playful atmosphere, and an easily understood story. I quite like how all the characters were anthropomorphic animals like cats and foxes, giving the game a charming aesthetic. If you're looking for an enjoyable platforming adventure that even a child will like, I would recommend New Super Lucky’s Tale, which is available on Xbox Game Pass. ### Lococycle I was going through my Xbox store backlog, and I decided to check out Lococycle. The developer Twisted Pixel Games, who made Splosion Man and Comic Jumper among others, made this title to launch with the Xbox One before parting ways with Microsoft. The studio was bought out by Facebook/Meta to make VR games, but in early 2026 the studio was unfortunately shuttered. So in a way, I am honoring their memory by playing one of the last great action games they made. I loved the presentation of Lococycle, where the cutscenes are FMVs (Full Motion Video) and the developers got recognizable actors like James Gunn and Tom Savini, whom I'd completely forgotten about. The gameplay is fairly straightforward; you play as a sentient motorcycle named I.R.I.S., taking down various henchmen as you move along stages automatically. You can also use the motorcycle mechanic Pedro to take out enemies for longer combos. It’s an enjoyable romp throughout, to where you can beat the game in about 5 to 6 hours. I’m glad to have played Lococycle, as I've loved some of Twisted Pixel’s previous games, even if they are no longer around. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Pragmata-CJ.jpg) Pragmata. Source: CJ Wilson. ### Pragmata Finally, I've been having a great time playing Capcom's newest, Pragmata. While I haven’t beaten the game yet (only through the first two sectors), I'm really loving the presentation and story. Playing as Hugh to take out robots with various futuristic weaponry is quite satisfying, complemented by your android companion Diana’s hacking ability to open up opportunities for greater damage. At first, I wasn’t sure how the hacking mechanic would work with the shooting, but it’s balanced enough where you can choose your paths carefully with some nodes like increased damage and staggering other enemies around to make the combat feel intense throughout. I can’t wait to see where the story goes, as I’ve grown to love the father/daughter relationship that is being formed between Hugh and Diana. I also like to explore as much of the environments as I can to find additional resources and collectibles along the way. It’s easily one of the best games that I have played so far this year. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Aether and Iron's Worldbuilt Intricacies URL: https://www.superjumpmagazine.com/aether-and-irons-worldbuilt-intricacies/ Last updated: 2026-05-14T17:18:08.000Z **It always begins like this: a slick city office, rain steadily beating on glass windowpanes, a shadowed figure seated at a desk peering out beneath a heavy-brimmed fedora.** We all know that noir and noirish films beget a certain aesthetic language, starring what's typically a jaded man torn asunder by the underbelly of his once-beloved city, functioning now as a washed-up PI chasing leads and sweet-talking the ladies. Aether and Iron, developed by Seismic Squirrel, holds a loving lens up to this particular storytelling fabric, but embroiders it with well-wrought fantasy mechanics and fantastic leads. I've read books with similar world-building finesse, not in the actual similarity of the *elements,* but in the compelling manner of their distribution. There are simply some parts worth the whole, and Aether and Iron gives me the flip-through-ability of some of my favorite fantasy world reads, particularly City of Stairs by Robert Jackson Bennet, and The Aeronaut's Windlass by Jim Butcher. Again, this isn't a similarity of execution, but rather of evoked *feeling*: like those books, I don't want to put the game down, and its nooks and crannies of lore are as compelling as its main throughline story. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/Screenshot-2026-04-01-230231-1.png) Source: Author. ### Having a Heart in the Underworld Aether and Iron focuses, initially, on our protagonist, Gia, the suave and at-ease smuggler, who is tasked with transporting wayward runaway Nellie to her requested rendezvous point. That goes awry, of course, and the two instead quickly become bosom buddies of the 'jaded, reluctant mentor paired with perennially optimistic hero' variety. In these two initial characters, we see a world unfold as intricately as a slowly opened storybook. An art-deco-infused New York forms the backdrop of a floating world, in which islands of built city neighborhoods are kept aloft by the hard work of unseen aethoneers – men and women who toil in the aether-infused membranes of the islands' vast networks of interior machinery. These "rats" of the underground are often uncelebrated necessities, yet they are mistreated by the very people and systems they inevitably keep afloat. --- > *"...the details of the world, from the meditations on the lack of stars in the Lowers (literally, the lower cities) to the idea of the dead paying a last fare coinciding with the fact that cab drivers are sort of underclass in the city, form a cohesion of flair that's deliciously rich."* --- This eponymous aether is a source of energy, with a decent amount of it concentrated very visibly in the dense center of a hurricane-like vortex known as the Well. Nellie, the genius, naive student, probably holds the key to finding out what's causing this sinister storm's expansion; she just needs to set up some experiments on it first. At least, this is the fulcrum of the *introductory* segment. From there, Aether and Iron branches out as a political, smoke-drenched, and savvy narrative, where your choices to either prioritize yourself or others reflect a growing character arc. I am, simultaneously to this game, playing Baldur's Gate 3, another story that centers on character choice, and it's been fun to see how both of these 'roll initiative' games approach freedom. Aether and Iron is much lighter on diversity of options, but I think this lack of digression is essential for a game as tightly coiled as this. It is far more in the vein of Disco Elysium or Citizen Sleeper, where your rolls are based on a certain number of die (all 6-sided, in Aether and Iron), and you can get buffs or increase your stats in any particular area by leveling up a skill tree. The game features many moments displayed through conversation, as is the way of more visual-novel-style games. We follow the action through Gia's voice-over narration more so than having every detail of an encounter displayed visually, although there are nice sketches of pivotal moments interspersed throughout. Her particular method of relaying information is thick with that noir-ish style; it's a lot of smooth-talking, snarky responses and darkly wry observations overlaying crooning, streetwise, brass-forward lounge music. But the details of the world, from the meditations on the lack of stars in the Lowers (literally, the lower cities) to the idea of the dead paying a last fare coinciding with the fact that cab drivers are sort of underclass in the city, form a cohesion of flair that's deliciously rich. As Gia, we are, after all, essentially a getaway driver. ### Ram, Bam, Traffic Jam Gia's driving skills form the basis of the game's combat, and it's pretty much automotive chess. It was, admittedly, something I wasn't sure I'd get fully into at first, but after a few frustrating losses to an early boss, it began to click for me: I needed to be proactive and think through both the environmental aspects and the second-hand ones. With the latter, for instance, you might be bashing a car into a yellow lane so that it takes damage next turn, or strategically knocking out certain smaller cars from an attacking fleet in order to mitigate future damage. You can save the big boys for later. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/Screenshot-2026-04-06-142018.png) Combat in Aether and Iron. Source: Author. --- > One of the show-stealing aspects of Aether and Iron is the character and world design. --- This turn-based battle system is robust enough to support strategic shifts in your approach, and it seems actually reliant on you 'losing and learning', so to speak. There's also the issue of contraband – as a smuggler, you're sometimes paid in illegal goods, and you can keep these concealed in certain compartments in the cars, so checkpoints don't nab you. You can also pay off thugs with these items. This is a small aspect of the larger elements of world-building and scene-setting, but I think they deftly increase the player's sense of immersion. If you have a lot of 'heat' on you, it makes you also more liable to being suspected at checkpoints, and that adds disadvantage to skill rolls, so keeping a few items to pay off officers is handy. There are occasional difficulty spikes with these battles that I hadn't planned for, which 'soft-locked' me from progressing. This was, perhaps, the only instance of frustration I had, but this was generally because the story was so compelling that I didn't want to bother with a visit to the garage for upgrades. But upgrades are important in the same way that leveling up your characters and adding to your party are. You can re-spec certain cars to excel at distance, heavy-hitting, healing, etc., and the same goes for your characters; they can be good at inference, mechanics, deduction, among others, and these can elevate your modifiers to rolls and also aid you in the mobile combat. As I tend to rush story-based games, I had to learn to backtrack and think more carefully through potential combat situations, and when and where I might have a 'surprise encounter' while en route to my next destination. ### Crafting a "Deco-punk" World The character and world design aspects really steal the show in Aether and Iron. I already mentioned this feeling like a novel, and that is evident in the care taken to articulate the narrative through the design, and vice versa. I've been watching a bit of [Seismic Squirrel's Dev Diaries](https://www.youtube.com/playlist?list=PLhBPVIokB0RlI8KhPtOe60ONkEsoqhSfz) and [Aether Hour series](https://www.youtube.com/watch?v=GnRPoXI-Vfc&list=PLhBPVIokB0RmnHPq9fuvcBk6tlDK0ZKuZ), available on YouTube, to get a better feel of the development process, for I am nothing if not insatiably hungry for craft. I watched their video [Meet the Artist Behind Every Character in Aether & Iron](https://www.youtube.com/watch?v=KYNF0Eafj%5FE&t=59s) to learn more about how these characters were created, because I absolutely adored the art direction of the game itself. I am very much anti-generative AI in creative spaces; I've written [personally](https://medium.com/@raesosun/generative-ais-promise-of-comfort-will-fail-6843a2cacb3a) about the failings of AI art regarding the locality of creation and the threat it poses to the general health of art's individualization and the practice of effort. Aether and Iron's art is so refreshingly celebratory of a stylized personal attention. The artist behind the characters, Mika Tanagi, and the game's Art Director, Gary Jensen, discuss the process of collaboratively 'building' a world and finding a voice for the story through trial and error in the video. This was one of the best parts of engaging with the game itself; I adore learning from other creatives, so having these BTS videos available to players so they can see the process was wonderful. The team seemed to really explore the dynamics of art in the world, from initial experimentation with more 'sci-fi' concepts, as discussed in their video, to eventually settling on their 'deco-punk' identity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/Screenshot-2026-04-06-162240-1.png) In Aether and Iron, we play as expert smuggler Gia. Source: Author. --- > I genuinely want to see more of this world, because it's full of such potential when it comes to characters and the various nooks and crannies it visually realizes, which is really a testament to the strength of identity and breadth of the world these developers and artists have created. --- I loved seeing the drafted alternatives of each character and learning about the hand everyone had in the styles at any given time. I find the process fun and exploratory, never wasted (as someone who drafts endless scenes in her stories), and, like mussel colonies, the new iterations build atop the old. You can see evidence of their inspirations (such as J.C. Linedecker) in the art's polished and yet beautifully 'rougher' edges, so that it resembles an actual, hand-painted/drawn character sketch. The backgrounds of the setting pop, each distinguishable but also visibly part of the connective tissue of the game's identity. All of it, including the UI, feels cohesive. Of course, these characters need to be brought to life, and the game features full voice acting, which does a wonderful job of conveying the emotions, from Nellie's bubbly eagerness (occasionally – and purposefully, I imagine – dynamically juxtaposing more 'serious' characters) to ex-aethoneer-turned car mechanic Cress's quiet gravitas. I genuinely want to see more of this world, because it's full of such potential for the characters and the various nooks and crannies it visually realizes. This is really a testament to the strength of identity and breadth of the world these developers and artists have created. I have not yet beaten the game, but as I progress, I learn more and more about the various people who inhabit the other islands, meet new frightening and domineering 'barons' who rule the streets, and find myself increasingly intrigued by new enemies and potential allies. Aside from a few bug issues, Aether and Iron is a polished and well-crafted game, with its world, art, characters, and narrative as its most exciting elements. I definitely enjoy the combat too – but, truly, in the world of games, there is nothing better than diving into a fantastic story, and Aether and Iron delivers that in spades. This game was reviewed using a key provided to SUPERJUMP by the developers and is [available on Steam](https://store.steampowered.com/app/1836560/Aether%5F%5FIron/) for $24.99\. ### Joining the Pokémon TCG Hobby Gets Much Easier with Pokémon TCG Live URL: https://www.superjumpmagazine.com/joining-the-pokemon-tcg-hobby-gets-much-easier-with-pokemon-tcg-live/ Last updated: 2026-05-12T15:41:16.000Z **I've been a casual Pokémon fan since I first caught a few episodes of the anime on Saturdays as a kid.** I played through Diamond on a borrowed DS, Ruby Red on my own DS, and later fell in love with Legends: Arceus and Snap! on the Switch. Of course, most recently, Pokopia was released, and I once again fell utterly in love. This time around, however, I found myself interested in the physical trading card game for the first time since I watched friends play it in high school. Looking into it ever so slightly more, I found Pokemon Trading Card Game Live (lovingly called Pokemon TCG Live or PTCGL by the community), and a new obsession grabbed me faster than a Master Ball. ## Pokemon TCG Live: A New Level of TCG Accessibility The first thing I was thrilled to learn about PTCGL was that it's completely free to play on PC and mobile platforms – and I do mean completely free. You're given access to full, pre-built decks of cards just for opening an account in the game, no strings attached. There are no microtransactions at all and there's no way to pay real money for the in-game currencies. In fact, the only connection to real world money is the redemption of code cards from physical TCG products so you can have those cards and cosmetics in the game, but even those can be acquired digitally with in-game currency without ever having to spend a dime. How wild is that, nowadays? ![A game of Pokemon. Raging Bolt attacks and knocks out Iron Thorns.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Pokemon_TCG_Live_Scarlet_Violet---Temporal_Forces_Desktop_Screenshot.png) Source: The Pokemon Company. ## How Pokémon TCG Live Works Getting into what the game actually is: it's just the Pokémon TCG. That's it, that's the whole app. The rules are exactly the same as the in-person game: you build decks of cards and battle then open to collect more cards and fill out your card dex. As a complete beginner to the game, I loved that there was an in-depth tutorial section that taught you all the rules before you were thrown into live servers. I found it incredibly easy to go from those tutorial-guided matches to real matches against other players (even if I still got my butt handed to me immediately). I also love that you have a little character you can customize with clothes and catchphrases, which appears at the beginning and end of each match. ## Is Pokémon TCG Live Good for Kids? As a parent whose child also wants to play, I was excited to see whether PTCGL would be a good option for him. The physical game can be expensive to get into, and live tournaments can be intimidating for children, so I thought this would be a good alternative until he's gained a little bit of experience and had time to build a physical collection. So, is this app good for kids? Well, firstly, communication features in matches are limited. You can only communicate with other players through emotes; there's no chat for trash-talking. There's also no private messaging system, even between players on your friends list. As an adult, this is mildly annoying, but as a parent, it means I don't have to worry about my kid getting picked on, cussed out, or worse. It also does make interactions a bit funnier, honestly; hitting your opponent with a thumbs-up right before you knock out their Pokémon is mean, but very silly. Second, as mentioned, there's a great tutorial system in place. It's a completely guided set of matches; you're guaranteed to win and learn how to play at the same time. As an adult, again, this felt a bit over the top, but as a parent, I love that my kiddo will be going into matches fully prepared. In games, you can also click on each card (yours and your opponent's) to see what they do and how their abilities stack together, which makes deciding your next move much easier. The game automatically draws for you at the start of your turn, and when you play a card or a move that lets you do so, it highlights which cards are playable from your hand and where they go on the board, which is super helpful when you're just starting. Third, as mentioned, there's no monetary aspect to the game. Your kiddo can't accidentally charge anything to your cards because they're not attached. Even better, they (and you!) can collect all of the rarest and most expensive cards to appreciate and enjoy without worrying about scalpers or economic inflation. You get full access to the game with none of the financial investment, which, for a kid, is the least interesting part of the hobby anyway. ![The tutorial character customization screen, with options for appearance, clothing, catchphrases, and poses.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/Pokemon_TCG_Live_Desktop_Screenshot_Avatar_Full.png) Source: The Pokemon Company. ## Falling In Love With Pokémon Again Through TCG Live All in all, I'm so glad that Pokémon TCG Live exists, and that I found it. I've had such a good time building pretty, "blinged-out" decks, finding new Pokémon to fall in love with, and learning all about this game and this wonderful hobby that I was too shy and embarrassed to get into as a kid. In the real world, the Pokémon TCG community is facing some major issues. Scalpers, or people who buy up all of a product just to resell it online for a much higher price, have cleared shelves and made buying cards incredibly hard to do. Political and economic crises have made investing in any hobby hard, and with limited product available because of these scalpers, just getting cards into your hands at all is difficult, never mind building functional decks. It's not all bad – I just played at my first in-person event and had a blast – but it does make it harder to get into the hobby. The Pokémon Company made a great decision when they released PTCGL; they made it possible for people to fall in love with the game regardless of their situation. All you need is a phone or computer and a few minutes to set up an account, and you can collect and play as a part of the wider community just as easily as you could when we were kids. I'm excited to see what's next for PTCGL (I'd love if they added a mechanic to trade with other players!), and I hope it remains an active, vibrant hobby space for a long time to come. ### Growing Young With Pragmata URL: https://www.superjumpmagazine.com/growing-young-with-pragmata/ Last updated: 2026-06-06T14:01:02.000Z **Time definitely moves faster as we age.** I just turned 43 recently and can sadly vouch for this. When I was a young child, a single hour could feel like an *eternity*. Now, entire months can slip through my fingers like sand. Why? I'm sure there are many theories, but here's mine: **when we are young, almost every experience is *new*.** I'm willing to bet that this constant barrage of the novel means our brains are furiously working overtime to lay down new neural pathways, where each new concept must be established and embedded in previous context. This means that even the most mundane things can be exciting, sparking endless curiosity and *slowing down time* as we take in each fine detail, sensation, and emotion. Now, though, at 43 years old, it's the very opposite: time moves faster because I experience relatively few novel experiences day-to-day. It's easy to move through each day on some degree of autopilot, simply because my experiential context is now that much larger. Remember the first few times you drove a car as a teenager? You were probably paying attention to every single sign, every single flash of light, every creak or rumble. Whereas now, I'm sure you can take a 30-minute drive and almost completely forget the journey between origin and destination. That's a good analogy for how it feels to grow older, at least in terms of first-person perceptual experience. You can now view this story as a video essay at the [SUPERJUMP YouTube channel](https://youtu.be/x6d8Kx%5FaB%5Fs?si=Fdd35ZhFKtPw%5Fdcb). ## 若返り美容液 YOUTH SERUM What's the answer to this dilemma? Surely there's a way to slow down the entropy rollercoaster as it pulls us ever faster toward the grave each year. Well, friend, I have good news! The answer is obvious, too: as one grows older, one must deliberately seek out novel experiences. Yes, I know, nostalgia and the comfort of the familiar are seductive (and shouldn't be easily dismissed, as our fond memories are one of the great delights of being human). But *growing young* is, I think, less about superficially *looking young*; it's actually about seeking out the unfamiliar and experiencing the joy and wonder of the unknown. It's about throwing your mind into spaces where your brain *can't* gravitate to autopilot mode and is forced to *discover*, *learn*, and *establish new connections*. This is the key reason why I'm so thoroughly enjoying Pragmata, Capcom's latest new IP. It's been a long time coming, too, having first been revealed way back in 2020 at the birth of a console generation now firmly in its winter. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/PRAGMATA_SS_TGA_21_GL.png) Pragmata's innovative combat system will flex muscles you didn't know you have. Source: Press Kit. --- > ...as one grows older, one must deliberately seek out novel experiences. --- I haven't yet completed Pragmata. I can't say that it's an especially lengthy game, but to tell you the truth, I'm doing my best to savour it. Here is a big-budget experience that is not only brilliantly polished but that also leans heavily into a range of ideas that may seem disparate at first glance, but which, when combined with elegant lateral thinking and thoughtful restraint, become remarkably impactful. Experienced from a third-person perspective, Pragmata's gunplay initially reminded me vaguely of a faster/sleeker iteration of the model established in Resident Evil 4\. The camera pulls in over your shoulder as you aim and fire at enemies. It feels controlled and deliberate rather than chaotic or frenzied. And yet, the smooth movement and relative athleticism of Hugh - the game's protagonist - felt more akin to Sega's Burning Rangers, strangely enough. Okay, I'll stop reaching for analogies here: Pragmata deserves more credit than that. Pragmata is the first entry and originator of the new *synaptic shooter* sub-genre. New players will immediately discover that simply firing at enemies is almost pointless; while they can be damaged, they are highly resistant to Hugh's weapons. Raw-dogging it won't work here. Thankfully, our trusty assistant Diana (the little android girl with the flowing hair attached to Hugh's back) can hack enemies, which has the primary effect of opening up their body panels to reveal weak spots that Hugh can target to radically increase damage. And yeah, that's cool in and of itself (the opening/closing animations have a lovely kinetic tactility to them), but it's only a very brief taste of what's to come. When you target an enemy to hack them, a hacking interface appears in real-time. This interface works like a pathfinding or node-connection puzzle of the kind you might typically see in an immersive sim. Fundamentally, you're trying to hit the green power indicator; if successful, the hacking interface closes, the enemy's body panels open up, and you can blast away with greater damage. Importantly, though, the game doesn't pause when this interface is visible; enemies will continue moving towards you, and you can also move/jump/dodge around *while* hacking. It may sound unintuitive, and at first, it feels a little weird (you know, in the same way that driving your first car feels clunky and alien). But as with driving, it's possible to smoothly move through a gradient of mastery over time. This is where Capcom took a cool idea and elevated it into the stratosphere: both the hacking and the gunplay continuously and evenly progress through a glorious series of elaborations throughout the game. In the later game, you'll be fighting multiple enemies (each with their own speed, aggression, and combat tactics), performing sophisticated multi-modal hacking routines, and artfully dashing, dodging, and jumping all over the place all at once. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/PRAGMATA_SS_TGA_16_GL.png) Welcome to the synaptic shooter. Source: Press Kit. --- > It may sound unintuitive, and at first, it feels a little weird (you know, in the same way that driving your first car feels clunky and alien). But as with driving, it's possible to smoothly move through a gradient of mastery over time. --- ## シナプスシューター SYNAPTIC SHOOTER Innovation in video games is rarely a question of inventing something entirely new from whole cloth. I'd say that, in most cases, the greatest innovations are more about taking a set of ingredients and combining them - often in unexpected ways - to build something that feels qualitatively different. If you dissect Pragmata and reduce it to its constituent parts, then yes, it's all been done before: Binary Domain and Vanquish lean into fast third-person combat against humanoid robots, NieR: Automata enabled players to switch between third-person combat and hacking modes, and multiple immersive sim games like Deus Ex featured grid/path-based hacking. But Pragmata is the first game to weave all of these threads together into an experience that feels like an elegantly coordinated dance. Here, players must *simultaneously*: - Engage in third-person shooter combat - Run/dodge/jump to navigate the environment and evade enemies - Solve spatial hacking puzzles It's easy to see how this kind of design could quickly devolve into nonsensical, overwhelming chaos. But Capcom's design brilliance is on full display here, both in how they've finely balanced each encounter to carefully weight and buttress each of these elements, and in delivering an incredibly smooth difficulty curve that gracefully unfolds throughout the entire game. This latter point cannot be understated; many games will teach you all the key ropes in an early tutorial, then subsequently implement a difficulty curve by simply making enemies stronger and more numerous (and perhaps giving players the ability to upgrade their own stats to keep up). While Pragmata does enable players to kick up defence and damage numbers over time, the real focus here is on *concept layering*. Once you grasp the basic idea of moving/shooting/hacking all at once, you'll gradually progress through encounters that add new concepts to each of these three pillars. This means that the overall palette of enemy and player interactions widens and deepens over time, with each new concept requiring full understanding of its precursors. So, as you are seamlessly onboarded to each new concept, layer by layer, you'll soon find that you are carrying out truly remarkable feats of *parallel cognition*. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/05/PRAGMATA_SS_TGA_04_GL.png) Grow young with Pragmata. Source: Press Kit. --- > Capcom's design brilliance is on full display here, both in terms of how they've finely balanced each encounter to carefully weight and buttress each of these elements, while also delivering an incredibly smooth difficulty curve that gracefully unfolds throughout the entire game. --- ## 若さを保つ STAY YOUNG, PLAY PRAGMATA The key to youth isn't Botox or wrinkle cream. No, it's all about confronting your mind and body with the unfamiliar. Stepping into uncharted worlds forces you to adapt in ways that generally don't come naturally in day-to-day life. This is one of the many reasons I love video games in general, and why I adore Pragmata in particular. That this experience is overflowing with heart, innocence, wonder, style, and even some biting and highly relevant commentary on modern technology is a most welcome bonus. So, friends, if the days are starting to blur together — if you can feel the river of time picking up speed around you — go play Pragmata. If you’re young, it’ll keep you young. And if you're older? Well, it's never too late to *grow younger*. ### Indie Monthly: April 2026 URL: https://www.superjumpmagazine.com/indie-monthly-april-2026/ Last updated: 2026-05-08T15:26:58.000Z **April was a bit of a slow month for Indie Monthly, but not for the indie market writ large.** The dearth of AAA releases meant that a big share of the media focus fell on smaller games last month. Perhaps the most hyped game (one that I didn't get around to, sadly) was MOUSE: P.I. For Hire. It's one of the first big Disney-inspired games to come out after last year's public-domain release. With more famous cartoons, comics, music, and art set to hit the public domain over the next few years, this could be a golden opportunity for small developers. We can only hope that they use their new gifts for good instead of evil. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/ReplacedA-1.jpg) Source: Author. ## [REPLACED](https://store.steampowered.com/app/1663850/REPLACED/) REPLACED is a 2.5D action-platformer set in a dystopian mirror version of the 1980s. While it caught a lot of attention for its unique visual style, it also shines for its tight, fluid combat. Set in an alternate timeline in which a nuclear disaster nearly led to societal collapse, REPLACED follows R.E.A.C.H., a computer designed to aid in the distribution of organs used for critical transplants. A mysterious explosion embeds R.E.A.C.H. in a human operator's brain, leaving the newly merged entity (simply called "Reach") to find a solution somewhere in the surrounding Phoenix-City. But the city isn't exactly the utopia it's sold as, leaving Reach in a desperate struggle to survive the violence of the outside world and the predation of his old bosses. The action in REPLACED is divided between combat and platforming. Combat is melee-focused with an emphasis on counters and dodges. Starting with a simple combo, Reach eventually acquires other weapons and techniques, such as a heavy attack to break through armor and a powerful - if limited - sidearm that's charged by landing and countering attacks. Source: YouTube. The flow of combat owes far more to the Arkham games than to any of the more recent parry-based titles. The way enemies telegraph different attack types, the wide window for counters, and the ability to quickly snap to a new target all make it feel like a Batman game in 2D. The mechanics of combat are very easy to grasp, and the challenge comes from the overwhelming odds against, with Reach always badly outnumbered and under attack from both sides by enemies with a variety of short-, medium-, and long-range weapons. Most of the platforming in REPLACED combines parkour and stealth. Reach can climb, swing, and leap with more gusto than you'd expect from an engineer. The threshold to grab hold of objects is generous - close enough is good enough most of the time. A bigger challenge is identifying the objects that Reach can grab, which isn't always clear in some areas. Since the platforming is mechanically easy, many platforming sequences add puzzle or stealth elements. The puzzles are generally very simple, requiring little more than moving objects to the right locations. Stealth platforming is far more tense, demanding precise movements to avoid instant death. Let's now take a moment to touch upon the aspect of REPLACED that caught everyone's attention: the amazing graphical style. REPLACED accomplishes things with pixels that shouldn't rightly be possible. The combination of pseudo-3D pixel art with high-quality lighting and effects gives the game an aesthetic that feels both retro and modern, which fits the narrative perfectly. Overall, REPLACED is a strong title that excels across the board. It comes highly recommended to anyone looking for a blend of action and story. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/RatsQuestD-1.jpg) Source: Author. ## [A Rat's Quest - The Way Back Home](https://store.steampowered.com/app/1124420/A%5FRats%5FQuest%5F%5FThe%5FWay%5FBack%5FHome%5F%5FSeason%5F1/) A Rat's Quest is a narrative-focused 3D platformer set in a world of giants. It's a particularly ambitious game, the first in a planned series of titles. Mat is one of many rats living in an isolated colony, walled off from the world by the authoritarian Governor as a desperate safety measure. As a newly minted Scavenger, Mat's job is to risk his neck retrieving food from a nearby house. But Mat has an ulterior motive to take on such a dangerous task: The house mouse Nat, his secret love. The two are close to escaping from their respective prisons, but life for Mat is about to become very complicated, and the path back to normalcy won't be a safe one. Unlike many other modern 3D platformers, A Rat's Quest is not hearkening back to 90s-era collectathons. It is far more linear and narrative-driven, foregoing hub worlds and open set pieces in favor of more focused, discrete areas. It also lacks much in the way of combat. Levels are primarily platforming challenges to navigate a series of vertically-oriented areas to find a key item or reach the next area. Source: YouTube. Mat's move set focuses on climbing and parkour-like free movement. A typical challenge has the player trying to reach a high perch using handholds, wire walking, long jumps, and even ziplining. Most of these challenges are forgiving, though some have a time limit or feature other complications to amp up the difficulty. There are a few divergences from this core gameplay. Some areas switch to either a side-scrolling or top-down perspective to enable puzzle solving. There are a few boss fights and even the odd stealth section to navigate, but jumping and climbing are still 90% of the action. A Rat's Quest is very plot-driven. The central story isn't all that complex, but it is compelling and works in some twists and turns. The characters are the real shining element. Mat is charming as the young, overconfident lunkhead with big romantic dreams, and the supporting cast has enough depth to maintain interest in the story. Overall, A Rat's Quest is an unusually good indie 3D platformer that's best for those who want something other than the usual collectathon. --- That wraps up our look at the indie games that caught our attention in April! As always, be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Mouse P.I. for Hire Is a Pretty Face, but Not Much to Shoot For URL: https://www.superjumpmagazine.com/mouse-p-i-for-hire-is-a-pretty-face-but-not-much-to-shoot-for/ Last updated: 2026-05-07T00:24:46.000Z **Mouse P.I. For Hire is in a similar place to the famed Cuphead at its release** — a game built on a traditional gameplay genre, but using a very impressive art style and animation to elevate the experience. Both games use rubber-hose animation to give the feeling of playing a cartoon, but having gone through both, I find Mouse P.I. to be a massive letdown. It is a case where the art writes a check that the gameplay can’t cover, a good study in the failure of worldbuilding and game design. ### Peppering It On Our story stars Jack Pepper P.I., in a gritty noir world where mice run everything, cheese is both currency and drugs, and gangsters, corrupt politicians, and even evil cults are causing trouble. Like any good detective story, the case starts simply enough with a missing person, but soon escalates to a conspiracy that threatens everyone. Each level has you exploring a gorgeously realized and animated world, fighting baddies, collecting clues, and rarely, getting new powers. The game's arsenal includes pistols, shotguns, an acid gun, a literal cannon, and more, with weapon upgrades available once you reach Stage 4. The combat loop itself focuses on moving from arena to arena, with small groups of enemies in between. Every weapon, to be honest, felt horrible to use without upgrades. Those upgrades increase damage, give more ammo, reduce recoil, and improve a weapon's accuracy. ![](https://cdn-images-1.medium.com/max/1062/0*i0epJY3a60FCLNOa.jpg) The upgrade paths are very simple, but radically transform each weapon. Source: Steam. From time to time, the game will embrace the cartoon nature of the world for set-pieces and consumable power-ups. Eat a can of spinach, and you get Popeye's anchor arms to punch everyone around, for example. Movement tech is introduced brilliantly by having Jack learn that the physics of his world are a bit malleable, and he can soon double-jump, wall-run, and more. These power-ups and abilities show there is more under the surface of this world, but it’s time to talk about why this game fails to connect the dots between whimsy and worldbuilding. ### To Toon or Not to Toon? Mouse P.I. tries to present itself as a game heavily inspired by noir, but also a loving homage to early cartoons and animation. Doing so, it’s trying to have its cake and eat it too, except there’s no cake. To go into more detail, I need to get into spoiler territory for the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/Spoilers_Ahead.png) Spoilers for Mouse P.I. in the next three paragraphs The beginning of the game paints this as a cartoon world, but it still operates under a set of semi-realistic rules. However, some cracks start to appear that make it seem like there is more toon logic to the world than first appearances would indicate. One of the early witnesses you meet is literally beside herself (as in, she's cut in half) and is perfectly fine, and no one seems to question why or how. When Jack starts unlocking new abilities, they are very much in the realm of cartoon logic — spring shoes, tail manipulation, and more. When the cult shows up, more supernatural elements arrive with them, including one section that deals with ghosts. Once again, no one questions or is concerned about how the dead are coming back. The only time the game embraces it’s cartoon world is for the asylum level, which leads to the most surrealistic part of the game and my favorite level. ![](https://cdn-images-1.medium.com/max/1062/0*MKyqf53A7W43PotC.jpg) One of the biggest wastes, in my opinion, is this amazing world map. I love the look of it, but it has no real gameplay interaction. Source: Steam. When you take away the art and animation, Mouse P.I. is just a generic shooter that feels like something a AAA studio would have put out in the late 2000s or early 2010s. The gunplay felt very stilted to me, as someone who has played the recent crop of amazing indie boomer shooters, and it reminded me of the original Bioshock games. The two most dangerous enemies are the machine gunner and snipers, who can attack you with very little feedback while you’re busy dodging everything else, and on hard difficulty can completely drain your health. Bioshock is a really good comparison, because both games present an amazing-looking world of strange powers and abilities, but only Bioshock truly does anything with it from a gameplay point of view. ### Fighting Yourself Whenever there are games that give the player unique abilities or advantages over the enemy, designers have an opportunity to elevate their gameplay by forcing the player to fight one (or both) of these enemy types : - The enemy who is exactly like the player and can use their own tricks against them - The enemy who is designed to counter the player’s abilities, forcing them to adapt on the fly Examples of these archetypes include some of the most memorable boss fights in Soulslike games — Nobunaga in Nioh, the hunters of Bloodborne, and many others, along with the Marauder from Doom Eternal. Another favorite example of mine from an older game, The Darkness 2, gives the player darkness powers that they can use to overwhelm every enemy they see. At a certain point, the bad guys realize that your weakness is light and start fielding enemies with powered lights to explicitly counter your abilities. The point is that what elevates these games is the use of original settings and mechanics, making the world respond to them to challenge the player. Returning to Bioshock, the entire premise of the game is built on the discovery, manufacturing, and selling of plasmids. This becomes a part of the world, with different areas designed around them, and the gameplay prominently features splicers using these plasmids against you. When you battle the Big Daddy enemy type, it becomes a fight between the player using the plasmids to their advantage versus an overwhelming brute who does its own thing. Source: YouTube. With Mouse P.I., my problem is that the art style is simply there as something to ooh and ah over, but has no real bearing on the gameplay outside of a few set pieces. If this is a cartoon world, why aren’t enemies double-jumping, wall-running, and so on? Where is the enemy that is our counter or does their own thing? The toon logic only shows up for specific set pieces… and then it’s gone. The spinach example I mentioned before could have been a boss fight or introduced a new enemy type to throw the player off. The reason why Cuphead was so memorable was that it took this amazing art style and animation and applied it to everything. You see it everywhere in that game; when a boss transforms into a new form, when you activate one of your ultimate attacks, and the fact that even inanimate objects start sneering and attacking the player. ### That’s All Folks It’s been a while since a game has disappointed me this way. I adore the music, art, and animation, but I kept expecting it to turn up more in the gameplay. I know someone will argue that Mouse P.I. is going for homages to noir and animation and not focusing on those aspects. However, an important part of effective world-building and game design is that if you introduce something to the world, then it has to become a part of your design. There is still the chance that more of this will show up in the game with the promised first story DLC. Like a pretty dame, the game tried to distract me from repetitive gameplay with an amazing look, but this game design gumshoe was not to be fooled. Mouse P.I. For Hire was reviewed with a press key provided by the publisher. For more of my thoughts on design, be sure to follow me [on Bluesky](https://bsky.app/profile/gwbycer.bsky.social) ### Respawn: Finding Community After Social Media Burnout URL: https://www.superjumpmagazine.com/respawn-finding-community-after-social-media-burnout/ Last updated: 2026-05-05T02:46:16.000Z **We all have the habit of reaching for our phones throughout the day, a habit I’ve been trying to break for years, aware that my mental focus and creativity are thwarted by the hours wasted on Instagram.** Let’s just get it out into the open- the political environment that we are suffocated with every day, swearing it can’t get worse (as it does), seems inescapable. The only reasonable action to take was to remove it completely. Cold turkey. Gone. I finally deactivated my Instagram and removed the app from my phone. The first few days my muscle memory instinctively swiped and pressed the empty space the app used to inhabit. I’m sure it mirrored the way a smoker goes for their pack, or a nail-biter nibbles absentmindedly. I felt a void, disconnected, lonely. I missed my Instagram friends, to whom I could talk about a favorite character or a plotline, finding out if it was worth buying a day-one release. I missed sharing the journey of a game I was invested in, posting a vibrant screenshot or play session that captured emotional stories and memories. The algorithm was now my mortal enemy. No longer feeding me humor and joy, but anger and anxiety. Landing on a reel that, if I spent more than an average amount of time on, would force-feed me more rage content. Using my empathy against me, causing my chest to tighten and my heart to race, these bodily reactions I have no control over. Pitting two sides against each other as enemies, rather than highlighting that our similarities actually outweigh our differences. There is an enemy here, and it isn’t your neighbor with differing political opinions. [![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/Screenshot-2026-04-24-at-1.07.00---PM.png)](https://www.dnalounge.com/flyers/2026/03/10.html) Source: dnalounge.com In March, when GDC brings game developers to the Bay Area, you can find a few indie events the public can attend. I wandered the booths at DNA Lounge as neon lights flashed and music boomed around me, happy when I discovered a short line, where I could play-test a new game and talk to the developers behind it. There was one small round table with a tablet running a rudimentary puzzle game, but it was a quiet reprieve from the chaos around me. I noticed behind his game tablet an open laptop with what appeared to be a social media feed. We chatted, and he explained it was social media designed for gamers, called Channel 3. [![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/2Xm2OTMz.jpg)](https://x.com/channel3gg) Source: x.com I understand the reference, of course, being a gamer in the 80s when you literally could not play a video game without clicking through the static to channel 3\. I downloaded the app and made a quick profile. The app asked me to rate a few games and add the current game I was playing. The top displayed four tabs of games you can play, daily and weekly quests, clubs, and events. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/IMG_5843-1.jpg) Screenshot from Channel 3 app. Source: Author. Now that over a month has gone by, I can honestly say I’m impressed. The Channel 3 app stays focused and intentional, clearly targeted at gamers. Joel, the founder, has gamified this social media app while aiming to be inclusive and non-toxic. There are daily quests, games, and leaderboards for various gaming competitions and XP. You earn reaction GIFs and taglines based on your participation and comments. You can share your gamertags and join different gaming clubs, whether it be the Chess Club or the game dev club. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/about-you-gaming-1-1.jpeg) Screenshot from Channel 3 app. Source: Author. What really has stood out to me and enticed me to log in day after day is the overall sense of community and positive vibes. I really enjoy the daily quests and games. Everyone has their own page where you can find their posts and an About You section on gaming. Channel 3 has a podcast where they chat to members about their top three games, and weekly game nights and competitions. My partner and I look forward to the weekly Balatro seed, where we will often top the leaderboard. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/channel-3-balatro--1.jpg) Screenshot from Channel 3 app. Source: Author. I recently joined a Channel 3 game night just to see what it was all about. As someone with intense social anxiety, it took some courage to join in, but I was given the lobby code for Fall Guys and was able to watch the stream on Twitch while I was playing. The Twitch channel is well-moderated, professional, and gives shoutouts to those playing along. I felt relaxed, the energy giving a sense of calm instead of my normal skittish heart-thumping anxiety from online play. I didn’t need to worry about loud, obnoxious screams from adolescents or brace for insults. I could just chill; I felt safe, and the majority of players were just millennials like me winding down after a workday. [![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/Screenshot-2026-04-24-at-12.44.09---PM.png)](https://www.twitch.tv/videos/2754749106) Source: Twitch screenshot. The app feels young, and the community is small. There are occasional hiccups, and it needs a few minor features, but the foundation is strong, and the community is tight. I have yet to encounter a toxic or divisive post. If you’re a gamer and want a safe social media community, a place where you can create a library of your games, wishlists, backlogs, and share your gaming journey, you should check out Channel 3\. Now, when my alarm rings in the morning, I am not filled with a looming sense of dread, wondering what horrors I will encounter on Instagram or Threads. I can postpone opening my phone, get ready for the day with calmer energy, and look forward to the daily games and quests of Channel 3\. Maybe one day I’ll return to Instagram, but for now I’m preserving my mental health and embracing Channel 3. ### Hidden Gems of Game Design Vol 47 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-47/ Last updated: 2026-05-02T21:31:50.000Z **Plenty of amazing games go unnoticed and not widely played, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## **Josh Bycer** ### Ginger (2025) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-28.png) Source: Steam. My pick for this month is going to be the shortest entry, not because the game is bad, but because it’s such a niche design that I cannot play it at all. [Ginger is a phonetic adventure game](https://store.steampowered.com/app/3418910/Ginger/). Your mission is to learn a language you’ve never heard of by using your lips to create words…yes, you read that right. By pressing different keys, you will adjust the character’s lips, which will then make noises to create the words of this language. The more words you uncover, the more your dictionary will grow, and the story of Ginger will reveal itself. This is a game I can’t help but marvel at someone making, but I cannot play this to save my life. I have a horrible ear for music and tone; if a game has any music-related puzzles, I simply can’t do them. So an entire game built on learning and understanding sounds is impossible for me. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-29.png) Don't even ask me what's going on here. Source: Steam. This is the very definition of a niche game; most of you reading this will never touch this game with a ten-foot pole. But if you like your games to be experimental and original, I think I’ve found your next purchase. ## Ben Rowan ### Sublevel Zero Redux (2015) I’m old enough to remember [Descent](https://en.wikipedia.org/wiki/Descent%5F%28video%5Fgame%29) on PC, back when “true 3D” still felt like a magic trick. It wasn't that the visuals would impress anyone today, but because the movement was so satisfying, like someone mashed together X-Wing vs. TIE Fighter with Doom and made it work. Six degrees of freedom (6DoF) meant you weren’t just running down corridors with a wider field of view. You were floating, rolling, pitching, and sliding all around the place while firing miniguns and launching rockets at flying enemies. You’d drift into a chamber, slide the ship sideways to keep your guns on target, strafe a turret clinging to the ceiling, then flip upside down to line up a missile on a pesky drone and end the whole encounter in a flurry of explosions. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/data-src-image-020ffc57-1dce-41e0-bdad-1fcb1d3ea35f.jpeg) Source: Steam I played Descent’s cousin, [Forsaken](https://en.wikipedia.org/wiki/Forsaken%5F%28video%5Fgame%29), on the N64 too, and I’m glad I did, but it never got under my skin in the same way. Descent was the one that stuck. But then the whole genre kind of died off, a forgotten detour of 90s gaming. So when I recently stumbled across [Sublevel Zero Redux](https://store.steampowered.com/app/327880/Sublevel%5FZero%5FRedux/) on the cheap from the Switch eShop, it hit me with a jolt of welcome nostalgia. A modern riff on the 6DoF corridor shooter, Sublevel Zero Redux was made by UK-based indie dev [Sigtrap Games](http://www.sigtrapgames.com/). It originally launched on Steam in 2015, with the Redux version (and 2019’s Switch release) positioned as an expanded release with extra enemies, new starting classes, difficulty options, and a reworked campaign structure. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/data-src-image-07651ba7-7819-469a-a543-e1facbaa7002.jpeg) Source: Steam. You drop into a procedurally generated facility and start picking your way through maze-like rooms packed with drones, turrets, and nasty little robots that love to rush you the second you show up, all while keeping one eye on the real objective: the end-of-level reactor core. Early on, those reactors are manageable, but the deeper you go, the more they turn into full-on boss fights. Stacked with turret clusters and layered defences, these reactors don’t just sit there and wait to be destroyed so much as they actively punish you for getting sloppy. The best surprise is how the game forces you to monitor your ammo usage, especially early on, which shifts your approach from mindless spraying to cautious, situational combat. Crafting leans into that tension, since you’re scavenging parts, unlocking blueprints, and spending in-game currency to build better weapons, engines, and shields mid-run. The light meta-progression in the background, where certain unlocks and blueprints carry across attempts, turns the experience into a huge, permanent power ladder. In fights, the game plays like zero-gravity Doom: constant movement is needed, but the extra degrees of freedom give that movement a slippery, fluid edge. You’re not just circle-strafing; you’re rolling, drifting and cutting weird angles through space. Ammo is scarce, too, and you're often crafting weapons based on how healthy your various ammo supplies are looking, which means you're constantly switching up your playstyle. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/data-src-image-7f6d6229-0997-4a6d-ae6c-8aadc2ef9ce9.jpeg) Source: Steam Sublevel Zero Redux starts to really click once you settle into the rhythm of constant movement and correction. Gyro aiming ends up being the cherry on top, giving that extra precision for longer shots without making the whole thing feel like a fight with the sticks. The only real downside is the familiar roguelite trade-off: procedural generation gives you variety, but not always freshness, and after enough runs, you start noticing the repetition. Still, if you grew up on Descent and Forsaken, this is a hidden gem that feels right at home on the Switch, and it’s an easy recommendation when it goes on sale on the eShop. ## Anonymous ### PlanetSide 2 (2012) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-30.png) Source: Steam. Laser fire, airstrikes, and tank duels between thousands of players on a scale DICE’s Battlefield games could never match. At any given moment in developer Toadman Interactive’s free-to-play [PlanetSide 2](https://store.steampowered.com/app/218230/PlanetSide%5F2/), 48-player platoons break into squad battles for outposts sprinkled across the various continents of the planet Auraxis. The game’s titanic scale works against itself early on, with a tutorial that barely prepares newcomers before throwing them, unguided, into ongoing battles with zero matchmaking. Solo-friendly classes like the Infiltrator and armored MAX suits are unlocked over time, meaning you’ll need to take orders and work in a team before going off on your own. Jets, APCs, and tanks require an in-game currency that regenerates with time, so keep an engineer close at hand for repairs. As you enter a server, the map hits you with glowing patches of blue, red, and purple, indicating territory controlled by the game’s three factions. Borders are redrawn by the minute, and strangers form organized ops called Outfits, pushing objectives with vehicle rallies or defending bases with suppressive fire. Be a lone wolf, and you’ll get sniped by the odd sharpshooter or tank. Laser rifles and pistols perform as expected, borrowed on trial or purchased with in-game currency. Gunplay boils down to spotting foes in muted faction colors from low-texture environments. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-31.png) Source: Steam. Outside of XP boosts and certification points for gear, the game’s core features are free. Moody swamps, snowy wastes, and lush mountaintops keep combat visually engaging, even as you sprint for minutes between outposts if you lack a vehicle. Variables like reinforcements and air superiority dogfights keep faction boundaries contested at all times. A coordinated push finally breaking through a rival faction’s defense is bliss well earned. PlanetSide 2 isn’t a solo hero’s joyride, but mastering its tactical three-way conflict with friends is still worth your time. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/) ### Time to Suit Up Against Cynicism in Clean Up Earth URL: https://www.superjumpmagazine.com/time-to-suit-up-against-cynicism-in-clean-up-earth/ Last updated: 2026-04-30T10:14:47.000Z **I feel very fortunate that Clean Up Earth's developer,** [**Magic Pockets**](https://www.cleanup-earth.com/)**, offered a review code for their Early Access release, after I praised the demo in SUPERJUMP's Hidden Gems column.** Luckily, that meant I could start playing just as Earth Day rolled around in the States! [Clean Up Earth](https://store.steampowered.com/app/3402720/Clean%5FUp%5FEarth/) blends the self-care of video game catharsis with action and words. Shame doesn't save the planet - community does - but educating people about the dangers of pollution helps. Caring has to come first, though, and care needs to be positive. Thankfully, the game collaborates with real-life charities to support tree regrowth and coral reef protection. You can choose a charity when designing your character once you figure out where to scroll. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-25.png) Source: Steam. ### Clean Up Earth Earth has become a garbage planet; we're not at Wall-E or Deponia levels, but we are pretty close. Thankfully, scientists in the future have developed the necessary tech: they're sending volunteers like our player character into the past with Ghostbuster-like suction equipment. We can pay for upgrades by turning in garbage at designated workstations and receiving coins. Each level requires different suction nozzles for varying types of garbage. Some bottles and trash bags glow due to nuclear radiation; others lie beneath the soil and require a bit more excavation. You need to switch nozzles and know which keys to press. I'm a keyboard warrior, so I freely admit I didn't use a controller. It took some trial and error to find all the garbage in the first level after completing several tutorials. I appreciate the mild difficulty that didn't completely stump me; having a sensor alert me to when I missed garbage helped a lot. The game has a few kinks to work out, as do most Early Access releases. Still, the fairly detailed tutorial provided opportunities for intuition, so I didn’t have to look up a guide. I can also see why the developers recommend using a controller and not a keyboard; I had to fiddle with the controls to access my inventory and review the required crafting items for raw construction materials. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-26.png) Source: Steam. ### The Cost Of Fictional Capitalism Perfect ethical consumption doesn't exist; we can only try our best as consumers when assessing supply chains. That doesn't mean we give up, but we can find other ways to make the exchange of goods and services less murky. Games and other media can show an alternative method or possibility. We don’t need to conform to current capitalism in a pixelated world. Waste management is one of those processes that could use improvement, especially with the pandemic disrupting renewable resource industries. Clean Up Earth shows a possibility that doesn't risk a torment nexus; if scientists wanted to invent efficient cleanup nozzles with short learning curves, I would support that. We also have to manage fundamental selfishness from the few uber-rich. Part of the game's story is that humans used time travel for waste disposal. I sighed while playing and thought, *of course.* Of course. Because when we humans discover something new that could benefit people, capitalism and greedy individuals ruin it. Why not use time travel to turn past wonders into landfills and nuclear waste sites? Linear time travel would ensure that such a plan would collapse in the long run. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-27.png) Source: Steam. ### The World Needs Less Cynicism in the Face of Capitalist Oblivion 2026 is a year for cynics. People in real life have shown me they don't care about minorities or their own safety if it means justifying their hate. Those who have avoided repeating racist and transphobic talking points insist on clinging to the doomer mentality: “Change the world before you change yourself”. When we make the effort to change the world, however, we do change ourselves. The little actions, as shown in Clean Up Earth, can make all the difference. Don’t be a doomer or a gloomer. Mourn if you need, and process trauma. If you can, work with that sadness after a healthy amount of wallowing. Pick up that game controller and read about technological victories like the River Seine in Paris having a healthy fish population. And if you’re doing a real-life cleanup, wear protective rubber gloves and close-toed shoes. We've had many debates about what it means to do good versus being good. Actions speak louder than words, but sometimes words are all we have. Volunteer and activist burnout is also very real. By fusing gameplay with activism, Clean Up Earth demonstrates a potentially exponential benefit of playing and finding other ways to do good. I want more games to follow this example, showing we are not powerless or hateful. Kindness can be a tool that benefits everyone in the right hands. **I received a review copy of this game in exchange for an honest review* ### Bubsy 4D: Demo Impressions URL: https://www.superjumpmagazine.com/bubsy-4d-demo-impressions/ Last updated: 2026-04-28T23:09:14.000Z **Bubsy T. Bobcat is one of the most reviled characters in gaming history.** Despite the well-earned reputation, he has continued to return in various games over the years. Ever since his first appearance in 1993, Bubsy has been met with moderate indifference at best and complete ridicule at worst. On a side note, I don’t know how to feel about the fact that he’s the same age as me. As I detailed in an [article honoring Bubsy’s creator, Michael Berlyn](https://www.superjumpmagazine.com/remembering-michael-berlyn/), this is a franchise that had the best intentions behind it, a passion project by an ambitious creator, sadly plagued by poor design choices and messy gameplay. Let’s not forget that Bubsy himself would go on to annoy any gamer who dared put the cartridge in the console. In another universe, Bubsy might have just gone down as another failed mascot, but in our universe, his smartass personality and repetitive quips made him especially irritating. When Bubsy 3D cursed the PlayStation in 1996, earning much ridicule and criticism from everyone who played it, the franchise was presumed dead. Then, in 2017, an attempted comeback made it to stores, which earned the honor of being “not terrible”. The franchise was again presumed dead, until now. Bubsy 4D is an enigma in my eyes: not only is this the SECOND attempt at a comeback for a series no one seems to like (outside of memes) - while other platforming juggernauts wait patiently for their resurrections - but the game looked… decent. I may not have been a fan of the talkative Bobcat, but it seemed interesting. The new franchise owners, Atari, seem to know that Bubsy’s reputation isn’t the best. In fact, they asked developers to pitch ideas that would be refreshing and creative because they know no one would pay attention if this game were just “another Bubsy game." I have to give credit for the dedication; It also helps that the studio in charge is Fabraz, the same people behind Demon Turf. Could this be it? Could this be Bubsy’s first great game? With the demo just releasing on consoles and Steam, I gave it a whirl, and I have some thoughts. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-21.png) Source: Steam. ## **The Good** If I have to give credit to one thing right away, it’s the visuals. The game uses cel-shaded graphics, which gives everything a cartoony look, a good fit for the vibe of this franchise. Character models look good, and the environments strike a balance between wacky and coherent. I can’t really compare it to anything else in the industry, and it finally gives Bubsy a distinct look. I also enjoy the raft of movement options the Bobcat has this time around. Aside from the usual running and jumping, which are to be expected, you can also find a reliable double jump, which extends into a slight hover if you keep the button pressed down (very similar to Yoshi’s flutter jump in the Mario games). Bubsy’s trademark glide is also back, allowing some extra height and a slow descent towards the ground. The pounce attack from the latest entries is also back and has multiple uses. For one, the pounce can cover long distances, useful for covering ground more quickly than regular running, and for jumping over pits which are tough to cross. Bubsy can also lock onto targets and enemies with the pounce, similar to Sonic’s homing attack, which makes it useful for both attacking enemies and platforming. What I like the most about it, though, is that if Bubsy lands on regular terrain after a pounce, he starts running faster. This is a very small touch, but it made exploring the levels really fun and made me think about how quickly I should approach a challenge. Speaking of speed, Bubsy has a new move in which he inflates into a literal furball and starts rolling around. Using the pounce button in this mode will make Bubsy roll around even faster, reminding me of a certain blue animal again, maybe because it’s used a lot to travel through tubes and halfpipes. I may jest, but the sense of speed achieved in these parts is actually quite exhilarating and creates fun challenges to navigate around! In addition to all of that, Bubsy can also wall-jump and run up walls a bit. These tricks aren’t all that special, but they’re here and expand the roster of actions the Bobcat can perform. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-19.png) Source: PlayStation. In general, Bubsy’s move arsenal is just fun to play around with! You could approach any regular jump in a variety of ways; I was able to clear some distances with a regular jump, a short glide, a well-timed pounce, and finishing with a double jump. I could tell the developers didn’t intend for me to cross, these distances, and I love discovering tricks like this! There were also moments when my pounce overshot a platform, but I managed to hold onto the wall just before the game would count it as falling, and used the jump and glide to save myself. I felt like a damn genius pulling that off! It sure sounds like Bubsy’s well-equipped for this adventure. However, you may have noticed I said I overshot platforms. Well, read on. ## **The Bad** This is the most depressing part of this article for me. After giving legit praise to Bubsy’s moveset in this game, I now have to criticize the very same thing. The arsenal of moves Bubsy has under his paw is quite good, make no mistakem but it’s just not good enough. I mentioned the glide earlier, a staple of Bubsy’s since the first game. While it did save me plenty throughout the demo’s 3 levels, the glide itself isn’t all that useful after a second. You do gain more height before going into the glide, and it does cover a bit of distance, until Bubsy drops to the ground like someone attached a very heavy anchor to his paws. This is such a baffling choice because it hurts the use you could get out of the glide. Maybe because the pounce allows the players to quickly cover a lot of distance in the air, the developers didn’t see the need for a move with a similar function, which is slower. I guess I can understand that reasoning, but the pounce and the glide are two different things. One is used to jump over large chasms, while the other allows for better alignment when landing. The fact that Bubsy drops so quickly while gliding destroys the flow of his movement, which is such a shame since he actually does have a flow this time! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-20.png) Source: PlayStation. Actually, he might have too much flow because Bubsy can also be a bit slippery, even when running normally. For the most part, platforms are large enough to compensate for that, but other times I found myself sliding over the edge because the Bobcat slipped when my analog stick wasn’t moving. Maybe I just need to get used to the controls a bit more, so some time with the final game could change my feelings on this. This may also be the case with the new roll move, since I’m still not sure how it's supposed to work. When rolled into a ball and going through terrain that is designed for it, like a halfpipe or courses that go up and down, I could never figure out if Bubsy has actual momentum. Sometimes it seems like he does, as rolling from a standstill will be slow, and rolling downhill will make him go faster. Sounds pretty basic, right? However, as I mentioned earlier, pressing the pounce button in this mode will make Bubsy go faster. Now, obviously, rolling faster as a ball will make the control looser, I understand that. The issues start once the game requires you to alternate between regular rolling and fast rolling. Holding the button will immediately make Bubsy roll faster; there’s no rev-up or lead-in animation, he just goes fast regardless of the terrain. Letting go of the button causes him to slowly stop, and then he slowly speeds up when the button is pressed again. It’s a bit hard to explain how this works, but it doesn’t seem like Bubsy has any flow in this form. Button pressed = speed; button released = slow. The transition between the two doesn’t feel snappy enough to make the obstacle courses designed for it fun. If Bubsy were a car, imagine pressing the gas would have the car go at 100 MPH without any buildup, and hitting the brakes would stop it immediately. I'm not sure if it’s the best analogy, but that’s what I have. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-23.png) Source: Steam. ## **And the Bobcat** I’m torn: On the one hand, I see the great game that this could turn into! There’s a fun visual style, a great set of moves, a proven developer, and a genuine attempt at making a great platformer here. On the other hand, the slippery controls and inconsistency in the character's movement make me question my wording. After trying the demo for myself, Bubsy 4D interests me a lot more than I ever thought it would. I can definitely see myself having fun with the movement options, and I’m excited to see what challenges await in the later levels of the game. As a big fan of platformers, I’m always up for any test of my skills the genre can throw at me. I may joke about Bubsy’s state as a joke of a mascot who’s only kept relevant in memes, but if he can deliver a fun experience, I’m not going to complain! Then again, the demo does show some cracks in the veneer, and who knows how much worse those cracks could get later on in the game. At the time of this writing, the game is a month away. I don’t think it’s enough time for the developers to tweak the controls and fix the issues I’ve had with the demo. A patch is always a possibility, of course, but first impressions do matter for a game. Especially when the name “Bubsy” is involved. I don’t want them to miss the mark over small issues when the game launches. These tiny snags could knock the game off a few points, so I’d hope for the best. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-24.png) Source: Steam. As for me, I’m definitely cautiously optimistic about this title! I’m aware it can all blow up in our faces, and I know that this franchise doesn’t have a good track record. But this demo showed some promise, which is a lot more than I was expecting! Atari seems confident in this game, and personally, I find it kind of admirable. You have my attention, Bubsy. Now, instead of asking what could go wrong, let’s focus on what you can do right. ### Gaming Icons, Discovering Earth, and Good in Gaming URL: https://www.superjumpmagazine.com/gaming-icons-discovering-earth-and-good-in-gaming/ Last updated: 2026-04-22T02:39:31.000Z April 2026 edition _This post is for subscribers only._ ### The Legacy of Killer Instinct URL: https://www.superjumpmagazine.com/the-legacy-of-killer-instinct/ Last updated: 2026-04-25T17:05:00.000Z **Killer Instinct is one of the most underappreciated Xbox games, and a key launch title for Xbox One back in 2013.** Delivered in the style of a live-service title, the game only got better over time, improving substantially in gameplay, graphics, and content. It received future-proof updates to make it playable on Series X/S, but the future of the game, its development studio, and even the IP itself appear bleak. Still, despite the odds and competition, Killer Instinct persevered with its own unique brand of fighting and a graphical style unlike anything in the genre today. When Microsoft acquired Rare, a developer once synonymous with Nintendo, the possibilities for gamers everywhere seemed limitless. Looking back now, this potentially legendary partnership didn't quite leave a legacy of greatest hits for Xbox. There have been a few gems here and there, like Grabbed by the Ghoulies, Kameo: Elements of Power, and the highly imaginative Viva Piñata, but there were never quite enough hits to help Rare maintain the same reputation it enjoyed during its Nintendo era. Some of Rare's established properties attempted to find a new identity with the Xbox brand, but with limited success. Sure, there was Perfect Dark Zero, a sequel that launched with the Xbox 360 in 2005\. A remaster of the original N64 title came out in 2010, but that was followed by an announced Series X/S reboot that would ultimately be cancelled. There was even a Banjo-Kazooie sequel, which completely pulled the rug from under fans by making it more about driving than platforming. Then, when the time came to launch Xbox One, among the biggest titles announced for its launch lineup was a next-generation reboot of the iconic '90s fighter: Killer Instinct. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-17.png) Killer Instinct (2013). Source: IGDB. ## The Instinct to Kill Launching as a free-to-play and digital-only title, it received mixed reviews and only a modicum of fanfare, despite being a fundamentally solid game. The game experienced what would also befall Street Fighter V years later: an incomplete launch. Still, having a fighting game as revered and anticipated as a brand-new Killer Instinct at launch for Xbox One was a pretty cool sentiment nonetheless. The custom of having a fighting game ready for a console's launch is certainly a lost art form, as back in the day there were legendary titles like Virtua Fighter on SEGA Saturn, Battle Arena Toshinden on PlayStation, Tekken Tag Tournament on PlayStation 2, Dead or Alive 3 on Xbox (later Dead or Alive 4 on Xbox 360), Super Smash Bros. Melee on GameCube, and of course the biggest one of all: SoulCalibur on Dreamcast. An exclusive fighting game as a launch title doesn't quite carry the same weight anymore, but even in hindsight, this was pretty great. ****History of Killer Instinct on Nintendo** Before becoming one of the first members of the Xbox One library, the IP had a rich history with Nintendo as its publisher. Today, these releases can still be played via several avenues: Definitive Edition, Rare Replay, and the Nintendo Switch Online library of classic games. ****Killer Instinct (1994)** The look, the music, and the iconic announcer: this is where it all began. The arcade game used pre-rendered graphics that became the signature style of Rare as a developer, most notably in the Donkey Kong Country trilogy. Killer Instinct would swiftly receive an excellent 16-bit home conversion on SNES, complementing the console's already excellent fighting library that included Street Fighter and Mortal Kombat. Killer Instinct stood out with its unique combo system, which even developer Midway would emulate by the time Mortal Kombat 3 released. ****Killer Instinct 2 (1996)** The sequel took everything about the original and simply added more. The character sprites were richer, and the combos were as wicked as ever. Keeping up with the evolving genre norms, Killer Instinct 2 would also include Super Combos. The game more or less stayed true to the foundation and didn't try to reinvent the wheel, instead polishing up its sound fundamentals. While the SNES was more than up to the task of an arcade conversion, Nintendo, as the publisher, instead chose to delay the home release to give its next console a fighting game worth bragging about. ****Killer Instinct Gold (1996)** Compared to PlayStation and Saturn, the Nintendo 64 felt a little starved when it came to fighting games, so having Killer Instinct Gold as one of its launch-period exclusive releases helped scratch that fighting itch for platform owners. It may not have been comparable to the likes of Tekken on PlayStation or Virtua Fighter on Saturn, but it did enough to create a uniquely Nintendo fighting experience. It provided variety alongside the Mortal Kombat N64 conversions until Nintendo finally decided to do fighting games its own way with Super Smash Bros. ### Killing Season Killer Instinct was at the forefront of Microsoft's original all-digital and fully online vision for Xbox One. Though it was met with flaming torches and pitchforks in 2013, nowadays it's the widely accepted norm for consoles. As a free-to-play title with paid content passes, it understandably disappointed many gamers who were excited to get into a major fighting game on a new console. Since then, nearly every fighting game has fallen into this quasi-free-to-play model, with games like Dead or Alive becoming almost notorious for it, Mortal Kombat charging for expansions at the cost of a new RRP release, and Street Fighter V launching at full price with barely any content while pretending not to be a free-to-play fighter. The experience was empty and hollow at launch, though it at least provided players with a graphical showcase for their then-new Xbox One, and offered an utterly enjoyable fighting system. Not to mention, the art and presentation won fans over; even if they were upset about certain things, it was hard to stay mad for long when the music by Mick Gordon (who later composed the excellent score for Doom) was just so darn infectious. The digital season pass model has been a terrible development in fighting games, and it's a pain to see it become the accepted norm. Still, despite Killer Instinct receiving the initial flak for this, of all the aforementioned fighting franchises to have used this exploitative model, it was perhaps alone in creating a pro-consumer version of the controversial monetization scheme. Free-to-play and digital-only content expansions are objectively terrible, no doubt about it. Killer Instinct, however, demonstrated the most transparent and beneficial way this model can work for both developers and gamers. Microsoft and Xbox One may have gotten a lot of backlash for their digital online ambitions, but the vision they had for the digital fighting game model, and their respect for the community's expectations were things they followed through on with much success. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-15.png) Killer Instinct (2013). Source: IGDB. ### Past Becomes Present So the way the free-to-play model works in Killer Instinct is quite simple: you get the game and all of its modes for free; no exceptions or paywalls here. The only thing players end up paying for is the ability to own and use the massive roster of fighters (which even features guest characters from Halo and Gears of War) at their whim. Even then, the free version essentially rotates a free character on a daily basis. Honestly, this arrangement isn't terrible in the slightest, as anyone with the free version gets to enjoy all the features, including cross-platform (PC and Xbox) multiplayer. Not to mention, the majority of the content was given away for free on numerous occasions as part of the (then) Games with Gold promotion. And so, of all the ways a free-to-play fighting model could be achieved, this is perhaps the least offensive way to go about it. In 2016, Microsoft released the Definitive Edition: a full retail release loaded with all content and bonus features (including remasters of the classic arcade games). The packaging was great and was excellent value for money. It was fantastic for newcomers as they essentially got the complete game and more, but it was also worthwhile for dedicated fans to have a one-stop destination for the complete experience, even nicely rounding out the offering with the final Season 3.5 sendoff. Looking back, the Season updates were done really well. Going from the original 2013 incarnation to Season 2 was like going from Street Fighter II Turbo: Hyper Fighting to Super Street Fighter II: The New Challengers. It was a major jump; the game's graphics were substantially bolstered, and in fact, the evolution of the game's graphical prowess almost mirrored that of Xbox One as developers came to grips with the hardware. By the time Killer Instinct had wrapped up with its third and final (well, third-and-a-half) season, it was a 4K-powered monstrous showcase for the console. The title has remained a constant presence in the Xbox narrative, even transitioning to Series X/S with graphical optimisations and revamped network play. Killer Instinct, in a way, represents a rare instance of Microsoft following through on its vision despite apprehension and scepticism. The very ideas once met with protest have now become the industry norm, and while everyone was once adamant about owning discs for their Xbox One in 2013, it has become a complete non-issue in 2026, given the success of Game Pass (where the entirety of Killer Instinct can still be found, by the way). The cross-platform service completely changed how gaming is done on Xbox (whatever an Xbox even is these days), and most gamers still wouldn't have it any other way despite the recent price hikes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-18.png) ### Killer Legacy Killer Instinct also represents an exception to a disappointing trend on Xbox: it was perhaps the only "stolen" IP which managed to forge a new identity on the brand, far surpassing its previous iteration on Nintendo platforms. Microsoft certainly dropped the ball on many of its other major acquisitions: - Did nothing with Shenmue (yes, they owned it for a brief time before it landed back in Yu Suzuki's lap). - Created a Banjo-Kazooie game literally no one had asked for - Delivered a decent but ultimately inconsequential Perfect Dark sequel, followed by a cancelled Series X/S reboot And there's still a whole range of other properties sitting somewhere in Microsoft's dusty attic. It is also the only example of a project that managed to survive Microsoft's cancellation frenzy, even as the core development team had to change halfway through when Amazon purchased Double Helix (current developer Iron Galaxy is now also facing an uncertain future). Despite everything, the game outlived Microsoft's Kinect vision, the ambitions of SWERY's D4: Dark Dreams Don't Die, the once-promising Fable Legends, and it sure as hell outlived Scalebound. Just for that alone, I take my hat off to Killer Instinct. The game lived up to, and even surpassed, its incredible legacy in the arcade and on Nintendo platforms. This was unquestionably the most creatively charged first-party experience on Xbox One, thanks to a Mortal Kombat-sized lore and artistic direction simply brimming with imagination. It played great too, allowing complete newbies to string together combos like they were pros, and making use of the trademark Combo Breaker counter system that other fighting games could really benefit from. The soundtrack, above all else, is out of this world. When you get into the behind-the-scenes material included in the Definitive Edition, you appreciate just how much passion went into it as a long-term project, and just how many painstaking invisible details came together to bring its universe to life. Despite the initial controversy surrounding its release model, the game would evolve into a textbook "by fans, for fans" experience we rarely see from major first-party developers not called Nintendo. Today, it's available on [Xbox/Windows](https://www.xbox.com/en-US/games/store/killer-instinct-anniversary-edition/9N2HB4MWG7HM) and [Steam as the Anniversary Edition](https://store.steampowered.com/app/2625580/Killer%5FInstinct%5FAnniversary%5FEdition/), which launched back in 2023 to commemorate 10 years. It will be remembered as one of the Xbox One's defining games and, arguably, among the strongest fighting game releases of the last gaming generation. Today, the game offers its ocean-sized Pandora's Box for a low entry fee. Reflecting on the journey of Killer Instinct and the legacy of Xbox One is quite bittersweet in hindsight. It was an era where Microsoft gave up on its most well-intentioned ideas far too soon, a trend that unfortunately continues. At least we can look back and say Killer Instinct achieved everything it set out to do and so much more. ### PlayStation Vita: Our Love for a Dead Console URL: https://www.superjumpmagazine.com/playstation-vita-our-love-for-a-dead-console/ Last updated: 2026-04-21T19:09:38.000Z **First released in Japan, North America, and Europe on December 17, 2011, the Sony PlayStation Vita is a handheld video game console and the successor to the PlayStation Portable (PSP).** The Vita was designed to provide a home console gaming experience on the go. It introduced dual analog sticks, an OLED touch screen, remote play, and powerful specs never seen in a handheld. The console was ahead of its time, trying to compete with the success of the Nintendo 3DS and mobile gaming. ### The Game Library The console’s library is huge, featuring many indie games, JRPGs, fighting games, and more. Due to its power, some Vita titles look as visually pleasing as games on full consoles. Original titles such as Uncharted: Golden Abyss, Wipeout 2048, Killzone: Mercenary, and Gravity Rush still look astonishing today. If you had the Vita 1000 series, which featured an OLED screen, the games looked even more beautiful. Direct ports from the PlayStation 3/4 have been developed for Vita, including Ninja Gaiden Sigma, Dead or Alive 5 Plus, and Need for Speed: Most Wanted. Just a few PlayStation 2 titles were ported/remastered to the Vita, such as Final Fantasy X/X-2 Remaster and Persona 4 Golden, which required extensive reworking for their Vita iterations. ![a man holding a smart phone up to his face](https://images.unsplash.com/photo-1647804907418-6d5906bb30d6?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDEyfHxQbGF5c3RhdGlvbiUyMHZpdGF8ZW58MHx8fHwxNzc2NjI1NTM3fDA&ixlib=rb-4.1.0&q=80&w=2000) Photo by [Mathieu Improvisato](https://unsplash.com/@matoovisato) / [Unsplash](https://unsplash.com/?utm%5Fsource=ghost&utm%5Fmedium=referral&utm%5Fcampaign=api-credit) ### JRPG glory For the JRPG lovers (like me), there is a variety of games on offer. I’ve already mentioned Persona 4 Golden and the FFX/X-2 remaster, which are fantastic games with good gameplay, story, and characters. Other RPGs such as Ys: Memories of Celestia, Trails of Cold Steel 1 and 2, Odin Sphere: Leifthrasir, Disgaea 4: A Promise Unforgotten, Freedom Wars, and more are excellent choices too. You can even purchase PlayStation One and Portable Classics directly from the PlayStation Store. Final Fantasy VII, Castlevania: Symphony of the Night, Persona 2: Innocent Sin, Ys SEVEN, and more are available on the Vita. This console introduced me to JRPG’s, and for that reason, it remains one of my favorites. ### Fighting Games on the Go If you’re a fan of fighting games, you’re going to love this console too, because there are many great examples of the genre available on Vita. Want to play Street Fighter x Tekken outside? Of course, you can! Dead or Alive 5 Plus on the train? Definitely! Including the PS One and PSP titles, there are so many fighting games you can use to get your punchy-kicky fix. Guilty Gear, Street Fighter Alpha 2, The King of Fighters 97, and Marvel vs. Capcom 3 are not only great mobile fighters, but also some of the best fighting games ever on any console. Just like JRPG’s, this console introduced me to fighting games as well. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-13.png) PS Vita 1000 series and 2000 series. Source: [YouTube](https://www.youtube.com/watch?v=cvbDGiMZeyc). ### The Fall Though it advanced on the PlayStation Portable’s ideal of bringing console-quality video games, visuals, and experiences to a handheld, the Vita couldn’t get the attention that Sony wanted. This was partly due to the relatively low popularity of mobile gaming at the time, but the Vita itself had some problems as well. The price point was too expensive for many gamers, set at $249.99 USD at launch. It also came with some unnecessary features, like a touchpad on the back and a low-resolution camera, which didn't move the needle for gamers and would never really catch on in the games that used them. Sadly, the console features weren’t the only problem. Instead of using standard Micro SD cards or the Universal Media Discs (UMDs) used by the PSP, the Vita came with a proprietary memory card called the “PlayStation Vita game card”. Compared to Micro SD cards, those memory cards were much more expensive: A 16GB memory card cost $69.99 USD, which is bizarre compared to a SanDisk mobile 32GB card that sold for $21 USD at the time. An average Vita game size is between 1 and 2.5GB, so including save data, movies, and photos, there are very few games you can play digitally. It all combined to rob the Vita of the audience it deserved. Sony quickly lost faith in its console and began removing support, services, and more from the Vita starting in 2015\. In 2019, Sony officially ended the production and sales of the Vita in both Japan and Western countries, and in 2021, it stopped certifying new games for the console, officially ending its life. ### The Vita Jailbreak The PlayStation Vita was, in Sony’s eyes, a failure, yet it became more popular after being canceled. It’s been nearly 15 years since the Vita launched, and the community is still active. Nowadays, the most popular reason for buying a Vita is none other than modding/jailbreaking the console. This grants access to numerous things the Vita can offer, as it bypasses the operating system and gives full control of the machine. You can find a pre-modded Vita on eBay, or you can do it yourself, as there are tons of tutorial videos on YouTube. But what makes a modded Vita so great? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-12.png) Super Mario Bros 3 running on the Vita. Source: Reddit. With a hacked/modded Vita, you can do many things, the most important being emulation. This allows you to play games from different consoles, and essentially turn your Vita into a retro gaming system. You can play games from the SNES, Nintendo 64, Sega Genesis, Game Boy Advance, etc., all on the go by using a multi-emulator called “Retroarch”. Emulation is just one example of what you can do with a modded Vita. Also, thanks to modding, you can finally use Micro SD cards on your Vita instead of overpriced memory cards. With the help of a MicroSD adapter called “SD2Vita”, you can use a MicroSD card up to 256GB. You can download PlayStation Vita, PSP, and original PlayStation games on a modded Vita for free, giving you the ability to make your dream game library on the Vita. By using an app called “Adrenaline”, PSP and PS1 games support filters, savestates, and other features. You can even overclock your Vita, bringing its power to its limits. This can be useful for some Vita games like Borderlands 2, which runs at 15/20 fps. But thanks to overclocking, the game will hit the 30 fps mark. You can add your own custom Vita themes, and use it as a comics reader; the options are just endless. ### Fan Ports Thanks to the community of fans, the Vita has received ports of games that no one could have ever imagined. Back in 2021, the people who ported Resident Evil 3 and Resident Evil: Code Veronica made their Vita port of Grand Theft Auto: San Andreas. Even I could not believe my eyes. This may not be special for some, since you can play San Andreas on mobile phones, but the fact that such a big game was ported to the Vita is stunning. San Andreas wasn’t the only Rockstar game ported, however: you can play GTA 3, GTA: Vice City, GTA: China Town, Max Payne, and Bully on the Vita. Many other games like Doki Doki Literature Club, Higurashi, Doom, and Quake are also available. Source: YouTube. ### Remote Play One thing the console did well, even without modding, was an ability called “Remote Play”. It allows you to connect your Vita to your PlayStation 4 and stream those games on your Vita. Even if your Vita is outside your house, if it is connected to a solid WiFi network, you can play PS4 titles on the go. Games like Persona 5, Knack 2, God of War, Spider-Man, and more benefited from this feature. Since the Vita doesn’t have L2/R2 triggers, 3rd-party Vita cases with L2/R2 support have been invented to play the PlayStation 4 games with a more comfortable grip instead of using the back touch screen. It makes you feel like you are using a true PS4 handheld. ## Our Love for the PS Vita Surprisingly, even after “The Fall”, the community keeps growing to this day. People love the Vita so much that they are willing to buy a whole collection of every Vita game they can find. As you can see, the modders aren’t stopping making and porting games either. But why do people care about a 10-year-old console? Why are we so attached to the PS Vita? It’s me; I am a perfect example of why people love the Vita. ### My story I got a Vita in 2015, when I was 12-years-old. At that age, I only knew a few game franchises. Since I barely got any money at that time, I kept downloading demos. I played many games I’d never seen or heard about, and though I loved them, I couldn’t get my hands on the full versions. Physical games were most likely sold out, and my parents wouldn’t allow me to buy games very often. So I was stuck with a Vita with almost no games until I heard of the possibilities offered by modding/jailbreaking. The ability to get access to the whole library of Vita games was mindblowing for me at that time. After many failures, I finally hacked my Vita, and it was amazing. It wasn’t long before I was playing way more than ever before. Vita games weren’t the only ones I played, as I also enjoyed PSP and PS One titles. I was introduced to many gaming franchises, such as Final Fantasy, Persona, the Trails series, Ys, Street Fighter, Tekken, and more. I would never know those games if it weren’t for the Vita, and I don’t know where I would be without it. The Vita gave us many great memories that we will never forget. I’m proud to call myself a Vita owner and resident of Vita Island!! ### Booktrovert Arcade Shows Conflict Between Fun and Faceless Competition URL: https://www.superjumpmagazine.com/booktrovert-arcade-shows-conflict-between-fun-and-faceless-competition/ Last updated: 2026-04-19T20:19:19.000Z **You never know what you will receive when you love review copies of books, which are editions sent ahead of publication dates to bloggers and journalists.** I regularly review books that release early on NetGalley, but recently, its companion website, Booktrovert, messaged me about two online arcade games that were "in beta". They were asking for people to test out the games and give feedback on the newest additions to their Booktrovert Arcade. My honest thoughts are below. I haven't used Booktrovert much because I tend to truck more with its NetGalley counterpart. With that said, the website seems keen to gain a consistent audience and participation. The games are fun, and I do think we need more content inspired by literature. I felt an aura of judgment in how the computer times the amount of time you spend solving a challenge. It activates instincts in me that I don't like and adds a bit too much pressure for my liking. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-10.png) Cover Snap. Source: Booktrovert. ## Cover Snap I thought I was good at jigsaw puzzles as a kid. Then I tried my hand at puzzles with hundreds of pieces without a board of reference and gave up. Since then, I haven't trucked much with puzzles. Cover Snap has you assemble a digital puzzle based on a book cover, and it changes by the day. There are three modes -- Easy, Medium, and Hard -- and they vary the number of pieces as well as the arrangements. You can rotate your puzzle piece or flip it to place it correctly. As mentioned, I tend to suck at complicated puzzles. Having an Easy Mode helped a lot, and I gained confidence to try Medium and Hard. I'm thankful that Hard Mode didn't have five thousand pieces, since I probably would have quit. Fun takes priority with the game itself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-11.png) Plotlines. Source: Booktrovert. ## Plotlines If you thought Wordle (or the Connections games, also from The New York Times) was hard, try Plotlines on for size. This game requires you to associate four words with certain pieces of literature. Thankfully, you receive the summaries so you can get the gist. Still, sometimes one word can apply to many of the same works. It’s a case where knowing too much can work against you. You don't need to know the books to solve the puzzle. I recognized some of the books, but not all of them. Even if you know the books or have read them at least once, matching the right word to the particular prose takes a bit of trial and error. The game also gives you five chances, much like Wordle does. ## The Verdict I would play these games on days when I need a game that will wind me down, or if I am feeling the restless idling that doesn't allow me to focus on work or hobbies. I could probably stick with the puzzles if they would build confidence in that skill. The Booktrovert Arcade games, thankfully, aren't addictive and provide a fairly positive response. My concern is how the games are timed, and I couldn't figure out how to shut that off so I could relax. Being told how well I did compared to other players took away the joy of final completion; I'd like to find people to talk to within reading communities rather than compete with them. Booktrovert Arcade is worth checking out if you like books and NetGalley. I would just advise you not to let the pressure of other people's stats get to you. **I was given beta access to the Booktrovert Arcade in exchange for honest feedback.* ### Can Netflix’s FIFA Game Deliver Faster Real-World Sync Than EA Sports FC? URL: https://www.superjumpmagazine.com/can-netflixs-fifa-game-deliver-faster-real-world-sync-than-ea-sports-fc/ Last updated: 2026-04-16T11:21:04.000Z **FIFA’s return to gaming through Netflix marks a major shift in the football simulation market.** After ending its long partnership with Electronic Arts, the governing body confirmed that a new title will launch ahead of the 2026 World Cup. The game will sit inside the Netflix platform and will be available to subscribers without extra charge. Delphi Interactive will develop the project, which places FIFA back in direct competition with EA Sports FC. The wider question goes beyond branding. Football games now compete on realism and speed. Transfers, injuries, and rivalries shape the sport every week. Netflix now claims it can offer a fresh approach. The real test will focus on how quickly each title reacts to real football events across domestic leagues and international tournaments. ## Transfer Windows and Real-Time Squad Updates The transfer window often exposes how complex football politics can be. Moves are not decided by price alone. History between clubs, supporter pressure, and internal club policy can block a deal long before negotiations reach an advanced stage. That reality creates challenges for video game developers who aim to reflect the modern game accurately. Rivalries in the Premier League carry real consequences in the market. Manchester United and Liverpool rarely engage in direct business due to decades of competitive tension. When speculation links a former United player with a move across that divide, the reaction extends beyond simple transfer talk. Recent reports claimed that [Liverpool want McTominay](https://www.manchestereveningnews.co.uk/sport/football/football-news/man-utd-mctominay-transfer-liverpool-33303680), yet those same reports stressed that firm internal resistance would exist because of the rivalry involved. The suggestion was clear: friction between the clubs could outweigh football logic. A simulation that mirrors real football must capture that nuance. Updated squads alone do not tell the full story. A realistic system would include blocked negotiations, board-level refusal, or supporter backlash tied to rivalry history. Transfers shape narratives, and those narratives should influence gameplay decisions rather than sit outside the digital world. ## Netflix’s Infrastructure and Update Speed Netflix operates on a global streaming network built for constant content delivery. Its football game will run inside the Netflix app across mobile devices and selected televisions. This structure may allow centralised updates without traditional console patch cycles. If a major signing breaks late in the evening, a streaming-based title could update server data within a short timeframe. Ratings, squad depth charts, and tactical presets could shift without large downloads. That model [differs from EA Sports FC](https://twistedvoxel.com/ea-sports-fc-26-update-1-5-1/), which relies on scheduled updates across multiple platforms. Speed alone will not decide the outcome. Stability and licensing depth remain decisive factors. EA retains many official partnerships across leagues and competitions. Netflix must match that coverage to avoid gaps in authenticity. The competition will centre on how each company balances update frequency with technical reliability. ## How Modern Football Games Mirror Real Events Football simulations now operate as live services rather than static products. Player ratings shift across the season based on real match data. A midfielder who dominates games in August may see his attributes rise in September. A defender who struggles for form may drop in overall score. Developers track match statistics from top leagues and feed that data into performance models. Tactical trends also enter the system. If several Premier League clubs adopt high-pressure systems, in-game AI soon reflects that pattern. Career modes adapt to league tables and cup progress. Big results shape commentary lines and match atmosphere. Live scenarios have become common in recent years. A dramatic derby or title decider can appear as a playable match inside the game within days. This structure keeps simulations close to the sport’s rhythm. The closer the link between weekend fixtures and digital updates, the more credible the product becomes in a competitive market. ## The Road to 2026 and Competitive Pressure The 2026 World Cup sets a clear timeline for [FIFA’s return to gaming](https://www.netflix.com/tudum/articles/fifa-mens-world-cup-2026-game-on-netflix). Major tournaments often reshape how football titles present modes, squads, and global competitions. Developers tend to align updates and marketing cycles with these events because public attention shifts toward international football. EA Sports FC remains the dominant force in the market. The series kept a strong sales momentum in the UK after the name change. It still holds many official league and club licences, which gives it depth across domestic competitions. At the same time, other titles such as Football Manager continue to focus on tactical realism and database accuracy. Each game responds to real-world change in a different way. Some prioritise fast rating updates. Others adjust tactical systems or long-term career logic. Netflix enters this environment with a different distribution model and a clear global platform. That shift reflects a wider change in sports gaming. The debate no longer centres only on graphics or branding. It now centres on speed, authenticity, and consistency. A football simulation must track transfers, rivalry tension, and competitive balance without delay. The title that handles real-world change with greater precision will shape the next phase of the market. ### The Gameplay of Gacha URL: https://www.superjumpmagazine.com/the-gameplay-of-gacha/ Last updated: 2026-04-18T22:54:48.000Z **It's been a few years since I wrote** [**my book on Free to Play games**](https://www.routledge.com/Game-Design-Deep-Dive-Free-to-Play/Bycer/p/book/9781032207612)**, and gacha and free-to-play design continue to dominate on mobile.** Long-term successes like Marvel Contest of Champions (MCOC), Mortal Kombat Mobile, Fate Grand Order, and Dragon Ball Legends have had massive anniversaries. At the same time, games like Arknights, Reverse 1999, and Limbus Company boast impressive numbers that have allowed their studios to continue growing. Despite the falling out of the live-service model among console and AAA games, mobile design still popularizes gacha games, with many of the newer and not-so-newer titles getting official PC clients. From the outside, people tend to see gacha games as nothing more than slot machines for PNGs, but for the market and people who grew up with them, there is more to their appeal. ## The Power of the IP The first, and most easily explained point about gacha appeal is something that developers have been using since the 80s and the MMOG boom of the 2000s – popular IP. Everyone can play a fantasy game where they use "generic swordsman 3", but if you're a fan of Dragon Ball, One Piece, Marvel, or DC, being able to use a character that you love in your game of choice is a huge pull. The same reasoning is why there are so many collab events in games today: The Simpsons in Fortnite, the many horror characters appearing in Dead by Daylight, and increasingly more gacha games with limited-time collab events. If you can get a character you love in the game you love playing, that's a win-win for many people, no matter how much it costs to get that limited-time pull. ![gacha](https://game-wisdom.com/wp-content/uploads/2025/04/fortnite-adventure-time-1024x416.png) IP Collabs are massive deals for any game, and limited-time exclusives can bring tons of money. Source: Fortnite. That much is obvious, but we've seen plenty of these IP-rich games also end up going End-of-Service (EoS), which takes us to why the gameplay attracts people. ## Role Progression Games Gacha and RPG mechanics fit like a hand in a glove and have been the glue that has held these games together for years. The integration of leveling, upgrading characters, and building teams has been instrumental to the appeal of gacha games. It is the exact opposite structure that has become popular among competitive games and competitive design, which tend to favor making the experience as symmetrical as possible. In gacha design, you can have characters that have no comparable peers in terms of abilities. As you go up the rarity tiers, the best characters tend to be unique among everyone else. Games like Arknights have introduced six-star characters that just break the normal rules of the game. With MCOC, despite the limited interface for controlling characters, they have managed to make many original characters with their own playstyles over the years. This is on top of the means of leveling and upgrading characters to give them more stats and keep them relevant. Just having numbers is not appealing enough, and high-level play is all about mastering how to use these characters either alone or within team dynamics. Many gacha RPGs are all about team compositions and not just building one favorite character, but a team to dominate. Often, there is more to the planning and team building than there is to the actual interaction. ![gacha](https://game-wisdom.com/wp-content/uploads/2026/04/reverse-1999-1024x576.jpg) Teams and character design, are the basis for current gacha games. People want a variety of characters to collect, and have a use within the game. Source: Steam. And to that point, it's often where many mobile games have succeeded in gacha and live service design compared to AAA games that have tried to adopt gacha systems. Playing the best gacha games with the rarest characters won't (or shouldn't) be an automatic win as you get further in. Players who know the game inside and out can punch up with weaker characters, and there are plenty of content creators who love to do new account challenges with their favorite games. This also allows them a chance to potentially use characters they didn't get on their other account. The progression curve is similar to idle design – letting the characters grow in power such that they're not fundamentally changing, but their impact is. You do 10 points of damage, to 100, 10,000, a million, and so on. Due to the diversity of character design and the rate at which you can acquire them, players can have vastly different experiences depending on who they get. ## The Chase Much has been made over the years about the psychological aspect of gambling and how it relates to gacha design. Going after a new limited character or pulling on an anniversary banner has much of the same addictive qualities as playing a slot machine. The difference is that while there are gamblers who are in it simply to gamble, gacha design has a giant carrot on the end of the stick to get people to pay. Being able to get the hot new character can mean different things for different people. For a completionist, it's about having it all. For competitive players, that new character could fit perfectly into a team or be the next meta-breaking character in the game. What we've been seeing as well is tying special rewards and characters to high-end challenges. Returning to MCOC, many of the best and rarest characters can only be acquired by doing extra hard content or spending money during their debut. In my previous piece about MCOC, I mentioned "Deathless Thanos", who is one of the best champions in the game, and the hardest to acquire due to the conditions to unlock them. It was such a popular chase that they're doing it again with another character. As I've also discussed plenty of times, the fear of missing out (FOMO) plays a huge role in gacha games. If you miss that rare character, you may not be able to get them for months or years, if ever again, if it's a limited-time collab. Gacha games also add the appeal of summoning animations and making the whole thing a spectacle. ![gacha](https://game-wisdom.com/wp-content/uploads/2026/04/arknights-ava-collab.png) Arknights Ave Mujica collab featured characters from the anime and gave them unique mechanics to use. Source: Hyperglyph. With AAA games, just telling everyone “This is the best gun", or "this is the best character," reduces choice and makes it a battle between the haves vs. the have-nots. What's important to understand is that the previous sentence doesn't mean you should only sell cosmetics. Part of the appeal of gacha design is the very fact that someone can acquire that cool new character, and that there are always new characters coming. Just like with multiplayer games and keeping the meta from becoming stale, designers need to keep creating new reasons to spend money. As I'll talk about next, there still needs to be a reason to use those characters. This is where even the worst gacha games can excel at earning money, but what separates them from the successes like the HoYo-verse games is what to do with all those characters. ## Long Term Growth A gacha game can have amazing character design and all the budget in the world, but if it doesn't show signs of growth and new content, that game will be dying and/or dead within six months. This is a topic I've talked constantly about in the past – keeping people engaged with your game for days, weeks, months, and years at a time. This requires a plan for delivering short, mid, and long-term content to your game. There should be something new happening at least once a month. This can be reruns of popular game modes and stories, or mini-events, something that everyone can enjoy doing. Mid-term content is about adding new characters, seasonal play, major events, etc. With MCOC, they have been using "Sagas" as their version of seasonal play with specific rewards for participating. Lastly, long-term content adds brand-new systems and rules, and generally makes the game bigger and different from what it was before. Arknights has teased new game modes that show up from time to time, with some becoming permanent options due to their popularity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-8.png) The biggest gacha successes currently going. Source: Press Kits. It's common for mobile games to start relatively bare-bones in terms of late-game content, but the window for getting something out there is narrow. If you don't have a plan for players who have reached the current level cap by the end of the first month, you're in trouble. Likewise, new content has to fit with the game itself. And this is, of course, on top of designing new characters and banners for your game. Some games love to use sales as a driver for their monetization, such as MCOC does with regular and seasonal mega sales. You cannot just use sales and characters as your major game content; if people realize that doing everything in the game is still not enough to get remotely close to earning the character they want, they will stop playing and paying. While Marvel: Mystic Mayhem had everything going for it in terms of aesthetics and IP, free and low spenders were not able to get anywhere near the resources required to get characters on their debut banner and the associated equipment. Limbus Company is facing a bit of a problem with its endgame content: there really isn't anything in the game that stands out. Yes, the game has its seasonal "Refraction Railway," and the mirror dungeons, but the railway is a one-time play for rewards, and the dungeons become second nature to anyone who has been playing long enough. They're trying to raise the overall difficulty through the continued story content, but, as I'll discuss further down, that presents another issue. ![gacha](https://game-wisdom.com/wp-content/uploads/2025/04/arknights-ep15-1024x576.jpg) Arknight's continued story content and new events keep people coming back, with new seasonal content as well. Source: Hyperglyph. The more content you put out that is required for progression, the more of a commitment you are requiring from your player base. What eventually soured me on MCOC was that the game was asking more of my time when I was already committing to daily play. There's a difference between having a fun or a limited-time event that rewards bonus resources and an event with daily or weekly required elements to keep progressing. That takes us to one of the main reasons for the popularity of gacha design and the chase. ## Competition Competition in gacha design means different things based on the game in question. There are plenty of gacha games that are entirely single-player-driven, just as there are those with multiplayer and PVP options. Returning to FOMO, even in single-player games, players can compete with one another to see who can complete content the fastest, build the best teams, and acquire those amazing characters. Being able to become the #1 player in the game or on the server has been the start of many whale wars over the years. Games with fleshed-out competition modes further incentivize them with huge or unique rewards for participating. Player vs. Player content has been a major driver of competitive gacha games, even if the players aren't competing directly. Many games tie the best rewards and premium currency to their PvP. These modes also provide another benefit – giving the player more reasons to build teams and use characters. While the player base is waiting for new story content or events, they can hop into competitive play or do weekly guild challenges. This can also lead to the rich getting richer effect – the player spends a lot of money to get ahead and, using that advantage, can earn more resources, allowing them to keep growing. For free or light spenders, this can create a scenario where it's all but impossible to catch up, regardless of their skill. A good comparison is the mobile game Morimens, contrasted with MCOC. As I've talked about, MCOC puts all its best resources and rewards behind its PvP modes. If you have no interest in PvP, you are throwing away so many resources needed to progress and acquire new characters, even more so when you factor in alliance maps and challenges. Since everything is filtered through its PvP mode, it means character changes and imbalances are always factored by how something works in it. This can lead to a character getting nerfed due to PvP play that would not have any impact on someone who doesn't do those modes. ![gacha](https://game-wisdom.com/wp-content/uploads/2026/04/mcoc-serpant-1024x538.jpg) Balancing competition and normal play is always difficult. With MCOC here, the Serpent is by far one of the worst-designed and balanced characters I've ever seen, but can't be touched due to their role in PvP. Source: Kabaam. While Morimens has active PvP, it is instead designed so that every character in the game is completely different between the PvP mode and the single-player story and challenges. There is never a risk of something being nerfed that affects the entire game, as the two modes are completely separate from one another. ## The Peacock Another draw of these games is being able to show off, and there have been studies and discussions about the use of premium skins and their role in creating peer pressure. As a teen, how does it feel to be the only person in your group of friends who is still using the default character skin? Premium skins, cosmetics, shirts, belts, hats, etc., are huge drivers, allowing players to personalize their character, and are some of the biggest money-makers in games outside of gacha. This has become a big part of season passes, offering skins only for that one particular season. Being able to stand out from everyone else has become big business. Art and cosmetic assets are easier to produce than new game modes and full characters, providing an easy money-making opportunity if one or more of the assets blow up. For IP-focused games, being able to get your favorite costumes or versions of characters is another draw, and has been part of Marvel Rivals' success. A major monetization change that MCOC implemented in 2025 has been giving fancier profile pictures for people who pull a character during their debut run. This "First Edition" picture does not affect gameplay but provides another incentive for whales to spend money. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-9.png) MCOC. Source: Steam. ## Is Gacha Good? This is the major question I tried to answer in my design book. Gacha design exists on a spectrum – there are very manipulative examples, and those that are on the fairer side. However, even the best gacha games out there still operate using a system that is inherently designed to attract addictive personalities. The problem is that for these games to exist as they are, and continue to be supported, the gacha design is a necessity. I've used the phrase "money comes in, money goes out" in the past to describe working on a gacha game. Where AAA studios failed, and what most people outside of the market don't realize, is that gacha design is a never-ending development. Between new characters, new events, new standard content, and new monetization, a studio is in for the long haul when designing gacha games. Something I hear from a lot of fans and people who cover mobile games is that in order to understand gacha design, you need to realize that these games are always designed as gacha **first**, before the gameplay comes in. The reason is very simple -- no money means no ability to create new content. What people have failed to agree on is a standard for purchases and gacha. How much should a UR character cost? What about a weapon banner? What about pity systems? If someone doesn't have hundreds of dollars to spend, how long does it take to catch up? ![gacha](https://game-wisdom.com/wp-content/uploads/2026/04/endfield-banner-1024x539.png) Arknights Endfield is a game pulled between being a really great game that doesn't really have the drive for new characters, and the limited time to spend money and resources to get new characters (source: Game) People can defend the quality of the gameplay and story in games like Arknights and Limbus Company, but it's still important to point out how frustrating they can be for a new player. Limbus Company's biggest issue is that the developers are constantly increasing the complexity and challenge as the story progresses. If you're someone who is following the game from the beginning and has access to everything, then there's no problem. But good luck if you are starting the game in 2026 and get to the harder chapters before you get access to good characters. Arknights has gotten a lot better in recent years, but the early days could be rough before your collection has answers to some of the game's more specific maps. No one has yet defined what the average cost for playing a gacha should be, or what should be standard for F2P and light spenders. And when you have games on average earning $30-50 million dollars a month, *on the small side,* there isn't much incentive for developers to put limits. ## Banners and Big Business Gacha design is not going anywhere, barring a massive change in legislation around the world. For you, it's important to understand how much work goes into these games and the fact that the best ones are not thrown together. There is a lot of science and psychology that goes into making someone want to do that one more 10-pull on a limited-time banner. **For more about F2P Design, be sure to check out my book, and you can* [**follow me on BlueSky*](https://bsky.app/profile/gwbycer.bsky.social) ### OPUS and the Story of Earth URL: https://www.superjumpmagazine.com/opus-and-the-story-of-earth/ Last updated: 2026-04-16T21:32:09.000Z **Earth is ordinary to us, and we are far more interested in knowing if there is anything else out there, but it's worth stopping for a moment to realise how the very reality of our planet's existence is utterly unfathomable.** Just the idea of Earth itself sounds like something out of a Mesopotamian creation. Whether it’s religion or science, there’s no denying that Earth is a miracle in both the spiritual sense and the mathematical sense. It is fair for us to take it all for granted and not be in awe of it, but imagine for a second if the minuscule probability tipped the other way and none of us ended up on this blue planet at all. The story of Earth, and its scientific and metaphysical marvel, is the subject matter and fascination of the video games which make up the OPUS series. These are sci-fi epics developed by the [independent studio SIGONO](https://www.sigono.com/). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-5.png) OPUS: The Day We Found Earth. Source: Steam. ## The Day We Found Earth In OPUS: The Day We Found Earth, a little robot named Emeth (which means 'truth' in its Hebrew root) scans the galaxy using the most powerful telescope imaginable to detect some sign of Earth or even something like it within the vast cosmos. This is a mission he carries on for his long-departed scientist friend, Lisa. It's a fascinating idea for sure; when humanity and science are so hellbent on finding some shred of life existing somewhere other than our planet, what if someone out there were relentlessly searching for a planet like ours? Even as an ordinary Earthling, you can't help but admire the sense of awe and wonder, and perhaps even appreciate just how good we have it. One of the things we learn from Emeth's research, as he scans and documents one celestial body after the next, is how the conditions which miraculously came together to make up planet Earth were really a one in a \[insert some obscenely large number\] chance. As Emeth discovers planets highly similar to Earth, it becomes clear how, in meeting the criteria for an ideal planet able to sustain indefinite life, close enough is simply not good enough. Sure, some of these planets may have water, and some may support life in the short term, but even one deviation from Earth's optimum conditions can throw the whole balance off. This could be something as simple as having one moon too many, or just not being the exact right distance from a burning Sun-like star. As planets are discovered and named by Emeth, the eventual buildup to the finale is both touching and harrowing. As a gaming experience, it's really just about tuning into a sense of discovery and wonder, and being able to name the planets lets players have the same fun as NASA scientists do. With Earth being a myth in the world of OPUS, the humans of this unique setting have gone as far as to take their beliefs to the extent of forming the religion of Earthology. This faith helps them foster their hope of one day returning home to this perfect planet of their ancestors. Despite having the technology to traverse space, they barely make ends meet in less-than-ideal home worlds. Even in planets that somewhat have the conditions matching those of Earth, their capacity to sustain human life for the long term is always in question. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-4.png) OPUS: Rocket of Whispers. Source: Press Kit. ## Rocket of Whispers In the next game of the series, OPUS: Rocket of Whispers, Fei and John are two lone survivors on their dying planet that is now filled with ghosts of a long-gone human race. Where OPUS: The Day We Found Earth was more about space-age tech and researching planets, the religion of Earthology becomes the focus of OPUS: Rocket of Whispers as the main characters try to hold on to life in a lonely cosmos. One of the religion's lifecycle rituals is the space burial, which basically involves sending a rocket into space. This is an act symbolising a send-off to the restless ghosts and spirits as they go on to become one with the cosmos. John, being a cynical and weary survivor, harbors deep resentment toward the ghosts that persistently haunt his every waking moment. Fei is a Witch, and in the context of Earthology, this is essentially a saint who brings peace to departed souls. In this role, she serves both as a priest and one hell of a rocket engineer, too. 'The Rocket Nun'... now there's an idea for a movie. Where The Day We Found Earth followed the lonely journey of a robot as he tries to complete the mission of his late mentor, Rocket of Whispers is a spiritual journey of two unlikely companions as they preserve the traditions of their faith, persevering in a harsh, dying world. The connection between John and Fei avoids common tropes, and the nature of their relationship is left to the player's interpretation. Some may see the atypical romance, some a platonic friendship, and others may find a deeper, more nurturing relationship that is almost paternal in nature. Whatever the interpretation, seeing Fei and John navigate their circumstances and make sense of their purpose is an emotional ride. When their purpose and relationship intertwine towards a resolution, it is a moment of intimate absolution. John must traverse the treacherous landscape, long destroyed by disasters and plagues, as he gathers materials Fei needs to construct rockets for space burials. As John makes his way through the remnants of the human race, he finds many worn-out objects, things like books, badges, watches, and toys, but these abandoned belongings carry the memories of their respective owners, and it is these discoveries which are both harrowing and sentimental. Those objects end up being the only surviving witnesses to the humanity that once was. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-6.png) OPUS: Echo of Starsong. Source: Press Kit. The Day We Found Earth and Rocket of Whispers are completely different gameplay experiences, and yet share a cohesive spiritual sentiment. Here, the desire to venture into space is both a technological sci-fi marvel and an existential fantasy ideal all wrapped in one. OPUS melds sci-fi narrative devices with spirituality, certainly an uncommon feat in video game storytelling, the closest examples being Star Ocean and Phantasy Star. ## Echo of Starsong The next game is OPUS: Echo of Starsong, and while maintaining the same thematic tones and metaphors, it is a completely different style of game from its two predecessors. For developer SIGONO to create such unique designs for each of the OPUS games is a feat that shouldn't go unnoticed. The Day We Found Earth was a passive experience where a robot scanned planets across galaxies; Rocket of Whispers had an element of survival on a dying planet with the power of faith and companionship. Echo of Starsong ups the ante tenfold, yet incorporates design conventions and themes from its aforementioned predecessors. It has the galaxy exploration from the first game, and the character-driven exploration from the second game, integrating both ideas into something entirely new, and situating it in a far more immersive context. Where the prior games were largely intimate and mysterious in their world-building approach, Echo of Starsong literally shoots for the stars with its grandiose setup. Here we have lore and scale akin to Star Wars/Star Trek, along with multiple populated planetary bodies, warring empires, and all sorts of lore details to really build up an intergalactic landscape. Matching this ambition are revamped visual and graphical styles, making use of 3D alongside the signature OPUS artwork. It all comes together marvellously. The thematic tones are drastically different, too, with exploration, puzzle solving, and even an intense hostage situation. Despite these ambitions, Echo of Starsong retains the spirit of the series, with its heartfelt, emotionally charged characters. One of the main characters is Eda, a Witch with mystical powers and singing abilities. They portray a headstrong personality, a stark but welcome contrast to the timid, kind Fei from Rocket of Whispers. Its ambitious game design involving tactical strategy segments and action-focused exploration, bolstered by a revamped visual style. There’s expansive world-building, stunning music, and a unique presentation to bring it all together. Echo of Starsong feels like both a culmination and a dramatic evolution. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image-7.png) OPUS: Prism Peak. Source: Press Kit. ## Prism Peak The latest entry is OPUS: Prism Peak, and once again, developer SIGONO has decided to completely reinvent the wheel with their flagship series, and yet somehow still retain the core spirit of it. Prism Peak is less about the galaxies and all about its protagonist, Eugene. The game opens with his childhood as he spends quality time with his grandfather, learning the basics of photography, which essentially is the main gameplay mechanic. In Prism Peak, players see the world through the lens of Eugene's camera, a passion he chases most of his life, even when this passion doesn't love him back. His childhood was largely spent with his grandfather as his parents navigated a turbulent marriage and uncertain career paths; as time goes on, Eugene doesn't fare much better either, as he loses his career as a full-time photographer, followed by a cafe business that went bust, and a divorce to add further salt to these setbacks. The game picks up when he's 40 years old, having just attended his grandfather's funeral, with not much going on in his life. After barely surviving a fateful car accident, Eugene finds himself in an unfamiliar place where he meets a mysterious young woman who just so happens to be an amnesiac. Together, they embark on an adventure to seek out something that neither person is sure about. Along the way, Eugene uses his camera to help make sense of his surroundings, in particular the mysterious creatures and hauntingly serene backdrops. The game describes itself as a photo adventure with an emphasis on world-building by capturing and studying moments with a camera. --- Each game in this enigmatic sci-fi series is a stark departure from the others, and this speaks volumes about developer SIGONO and their willingness to embark into uncharted corners of their created universe. The OPUS series is a remarkably poignant insight into the complicated nature of human existence, and the very idea of Earth being the sole haven for humanity to sustain and even exist at all. Seeing the human race stranded from Earth to the point where the very idea of it is akin to having blind faith in a god is a motif these games deliver in a profoundly provoking way. The gameplay design is simple but achieves its intended purpose, and the presentation shines through with warm, comforting visuals and heart-wrenching music. As an experience, these games collectively build a world as large as the cosmos itself, one in which players can lose themselves in a metaphysical gaze. ### The Village of Dali and Loss of Innocence URL: https://www.superjumpmagazine.com/the-village-of-dali-and-loss-of-innocence/ Last updated: 2026-04-13T23:38:48.000Z **There is a moment in every JRPG that's intrinsic to the pacing and plot.** A calm narrative break, a storytelling technique that slows momentum, forcing the player to rest, reflect, and reduce tension, all within a cozy atmosphere designed to enhance emotional depth. These saccharine moments can often be more impactful than their story-heavy, action-driven counterparts. The necessity of balanced pacing is what creates memorable experiences in digital literature, giving the player time to see the characters as fleshed-out personages with agency. It might look like the party sharing a moment before a bonfire, or reconvening in a motel room, or sharing intimate words in a crumbling ruin. Even when these moments are exposition-heavy, they are irreplaceable boons to character and story. Final Fantasy IX takes this a step further by combining its moment of narrative repose with underpinnings of ludonarrative momentum. It creates one of the most memorable sequences in the series' history, setting the stage for every story beat that will unfold throughout the rest of the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/2019021808341400-835416945FAD6B2F21291A15D2F1790A.jpg) Image: Final Fantasy IX via Nintendo Switch. ### The Village of Dali Final Fantasy IX begins like a stage play. Perilous circumstances entwine Zidane and company, their agencies speared as purpose is interplayed against intent. Zidane is a thief, and Princess Garnet wishes to be stolen. Steiner is tasked with protecting the princess, but the princess no longer wishes to be barred behind the walls of her childhood. Vivi's desire to see *I Want To Be Your Canary* is his gateway into the wider world and the beginning of the rest of his life. Calamity befalls them. Down on their luck, the party must survive dark forests, freezing caverns, imperial plans, and wrathful monsters before they end up on a plateau overlooking the seemingly peaceful village of Dali, just a few miles by airship from the cogwork metropolis of Lindblum. As the party emerges from the chill of the caverns and into the fresh mountain air, Princess Garnet remarks on the picturesque quality of the scene, but also the bountiful nature of the world, so different and so far from the palace. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/2019021915551000-835416945FAD6B2F21291A15D2F1790A.jpg) Image: Final Fantasy IX via Nintendo Switch. The player is, intentionally, granted a moment of reprieve. We've made it through the danger. We look out across a verdant landscape of forests and farms, and peace is attained through the presence of relative safety. Even the cadence of the party changes for a moment, and during their juncture, Princess Garnet decides on a new moniker to separate herself from her imperial status: Dagger. The village of Dali presents itself as idyllic, yet another JRPG hamlet, a place of rest and recuperation between the adventure's larger and more important setpieces. > **Vivi:** *"Gee whiz, a windmill!"* > **Zidane:** *"Vivi, the inn is this way!"* > **Vivi:** *"Aw, do we have to? ...But I wanna go see the windmill."* > **Zidane:** *"I know. But let's get some rest first. We also need to decide what to do next."* It is a sharp, sudden contrast to the previous hour's boss fights, frightening monsters, and personal loss. The loss of innocence to come is wreathed in a saccharine familiarity, but small-town life has its own morays and schemes, which Zidane and company are ready to receive. Vivi's passing innocence is the most endearing. It is neither a play nor a trick, but the truth of his newness at life. Fans of Final Fantasy IX know Vivi's tragedy intimately, how he, as a prototype of Alexandria's Kuja-created Black Mage dolls, is made special by the unique circumstances of his adventure both before and during the game. ### Loss of Innocence Dali's dreamlike presentation is quickly undone for the player by the townsfolk's suspicious natures. There are a few visible adults in the town (an older woman on the outskirts of the farm, the mayor, and the sleepy innkeeper), and the remaining children seem unbothered by the fact that they are alone. JRPGs often define themselves by their approaches to coming-of-age narratives. The Persona series centers on tackling personal change and confronting uncomfortable or difficult subject matter at pivotal moments. Final Fantasy's characters must deal with inner personal turmoil while saving the world. This is a period of transformation; the character must segue from naivety to understanding, from ignorance to knowledge. Setpieces like the Village of Dali allow characters to confront themselves with lower stakes, creating a friction with less heat but no less growth. The player is lulled into a temporary calm. In true Final Fantasy style, the writing is impeccable, the Uematsu track is languid but somber, and the interplay between the party members feels rich and endearing. It will be shattered in a moment, but for now, the party's penchant for chaos and tragedy is paused, and they are given time to regroup within the confines of this idyllic pre-rendered atmosphere. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/2019022201052800-835416945FAD6B2F21291A15D2F1790A.jpg) Image: Final Fantasy IX via Nintendo Switch. Dali, a fief and local farm adjacent to the Alexandrian provincial kingdom, has become eroded by the demands of war. The player cannot stroll through the blue-toned village and its impeccable PlayStation-era layout without being reminded of its seedier undertones, and how the once-bustling village has been forced into remission by the cruelty of Kuja's Black Mage production. Once discovered, curiosity demands to know how many similar villages along the outskirts of Alexandria have also been repurposed for such nefarious use. Vivi finds that the mystery behind his parentage is a defining moment in his sense of self. Dali's cult-like transformation is burdened by a discoloration of childhood innocence, accelerating the "natural" maturation and metaphor of puberty. > **Vivi:** *"After you left, some men kidnapped me and brought me here. They told me to stay put. I was so scared... I didn't know what to do. They asked me, 'Why were you outside?'* ### Get Off Me, You Scumbag Loss of innocence narratives rely on seismic shifts in a young person's life, often related to trauma or major physical/emotional changes. One of the most celebrated examples might be Studio Ghibli's Spirited Away, which begins with Chihiro changing schools under protest and ends with her saving her family from grotesque physical transformation. Chihiro's growth involves intense physical and emotional friction, requiring might, ingenuity, and cooperation to resolve. Vivi is a child who never grows up, a Lost Boy whose Peter Pan is just as lost as he is; who must discover life along the way, and whose story is ultimately tied to the tragedy of limitation. While Vivi might be arguably the most powerful Black Mage in the series' history, Vivi is a candle burning at both ends, a figure forced to tackle Albert Camus' only philosophical problem while at the same time looking for ultimate meaning in his short life. When we get to the Black Mage Village, Vivi's priorities shift again—there is magnificent hope in camaraderie and in family. When you have something to protect, life's meaning becomes abundantly clear. Vivi's worldliness is earned mostly out of necessity. The discovery made at Dali is earth-shattering because it undoes our earned respite, backhanding this moment of calm. Towns in JRPGs are almost always elements of safety, though Final Fantasy IX doesn't rest on its laurels with Dali. This safety is stripped away by the game's narrative again and again: Cleyra, Lindblum, Alexandria. The lesson is learned again and again, until we no longer feel calm, but anticipatory dread. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/2019022300215900-835416945FAD6B2F21291A15D2F1790A.jpg) Image: Final Fantasy IX via Nintendo Switch. ### A Place to Call Home JRPGs like Final Fantasy IX are frequently character-driven. Needs, wants, goals, calamities, and subversions are placed at the feet of our cherished party. The discovery that Dali is only a front for Alexandria's war is a betrayal. Now co-opted by Kuja's Black Mage army, the player is shown that the airship-based delivery system now delivers weapons of destruction instead of goods and produce. The small-town feel of Dali is a lie, exacerbated by Dagger's unwitting participation and Vivi's tragic reveal. While towns may not be characters themselves, the bulk of the story in JRPGs often takes place in metropolitan locales, with the focus on drama often transforming a burg from a basic location into a fleshed-out character. Consider Kingdom Hearts' Traverse Town, Xenoblade's Colony 9, or Persona 3's Tatsumi Port Island. Players spend so much time visiting and revisiting these narrative anchors that they seem as impossible to remove as a party member. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/2019021916030100-835416945FAD6B2F21291A15D2F1790A.jpg) Image: Final Fantasy IX via Nintendo Switch. I return to Dali when I think of "cozy" towns in JRPGs because, despite its effect on the characters, the Village of Dali remains a quintessential hamlet. And while this narrative device is not uncommon in the genre (Final Fantasy VIII's Fisherman's Horizon, Xenogears' Lahan Village, Chrono Trigger's Zeal), it works time and again because we want to believe in the safety of idyllic, artisanal places. Despite Dark Souls' Firelink Shrine not being the friendliest of rest spots, seeing its historical ruin in Dark Souls III brings on emotional pangs. Final Fantasy IX reinforces again and again that there is no safety in physical locations; this sort of peace is only found in other people. **Game script referenced** [**here**](https://gamefaqs.gamespot.com/ps/197338-final-fantasy-ix/faqs/42207)**.** ### The Spectacular FINAL FANTASY VI URL: https://www.superjumpmagazine.com/the-spectacular-final-fantasy-vi/ Last updated: 2026-04-12T09:22:02.000Z **Dark clouds loom over a city of technological marvel.** Ancient magics that have lain dormant for over a thousand years begin to stir. Towns of all classes of people desperately repel an imminent imperial occupation. Arcane is grafted to steel war machines. A young woman finds her freedom as a mad jester finally succumbs to total insanity. This is Final Fantasy VI. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260116224341_1.jpg) The first act of terror. Source: Author. It is a common occurrence amongst spirited JRPG discussions to hear that Final Fantasy VI is someone's favorite game in the series, or even their favorite JRPG in general. While Final Fantasy VII may wear the popularity crown, the sixth installment would stand out as a top favorite in the zeitgeist of the Super Nintendo era for those fans who were either present for the game's release in the mid-90s or were brave enough to play a Super Nintendo game in the age of 3D graphics. When looking back at a game as old as Final Fantasy VI, public perception has become part of the experience as much as the actual game itself. This is especially true when a game is lauded as one of the best RPGs to ever exist. Naturally, I went in expecting nothing less than greatness. The first half of the game is a non-stop thrill ride. Each game in this series up to this point seems to add a little bit of identity to the franchise. It’s easy to tell that what this game contributes to that legacy is a commitment to pushing technical limitations and creating a carnival of visuals for the player. While Final Fantasy VI has dungeons, the early hours of the game focus more on having the player experience vignettes. These set pieces include fighting monsters while navigating whitewater rapids, escaping a haunted train full of vengeful spirits, and, most famously, becoming understudies in a full-scale opera. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260117222307_1.jpg) Just a silly guy. Source: Author. In this segment of the game, I was excited to come back for every session. Experiencing the next chapter in these characters' tale was intriguing and emotional. Here was a complex narrative woven between many different characters in a way that Final Fantasy IV could only attempt. Watching these heroes unite with the Returners and try to overthrow the Empire was the most exciting that a Super Nintendo game has ever been to me. Now, please excuse me while I recount some of my personal favorite segments of the World of Balance. ## Best of the Best Terra finding out that her birth was a product of love is the major plot of the first half. The flashbacks were pretty standard stuff: Terra’s struggles to find out if she could ever love anyone after what the Empire had done to her tug at the heartstrings. That she can find commonality with the other characters that have defected from the Empire adds these layers that you don’t often see in these early JRPG’s, where the struggle typically pits good against bad. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260205123120_1.jpg) Surely something normal is through these doors. Source: Author. The entire Sabin plot line, which sees him learning that Kefka has wiped out the Doman people by poisoning their water supply, is already a devastating development in the story. But to then see Cyan watch as his family boards the ghost train to the afterlife just cut me down, especially juxtaposed with suplexing a train, an easy highlight of the first half. The most complex plot thread throughout the narrative is easily Locke and Celes’ romance. As most of these older titles do, it is largely left to subtext and your imagination whether they actually get together. But in the scene at the opera house, just as Celes is about to go on stage, Locke catches her in her dress and mentions how good she looks. Celes responds with “Am I just a replacement for her?” and boy, can I tell you that I was a mess during that whole opera scene. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260129190607_1.jpg) You're my, uh, LINE! Source: Author. All of this is happening on top of a different spectacle: the combat. The unique abilities in Final Fantasy VI steal the show as I forgo most strategy to wail on opponents with Sabin’s fists or knock arrows into enemies with Edgar’s tools. The characters with the coolest abilities got to be in my party as much as possible, and I loved the new archetypes on display. I was really hesitant about the game using the character-swapping antics of Final Fantasy IV, and I thought it would quickly lead to my stress over leveling different characters and missing unique events. To my surprise, this game managed to neatly separate the characters into chapters so that when the game finally opens up, you feel like each character is at a good starting point if you decide that they get to grace your party. Funnily enough, I think that this pacing of an entire cast is mastered in Final Fantasy XIII, where I rarely felt that a character would be left behind. Final Fantasy VI remedies a lot of its event scripting by substituting some character dialogue with generic words said by someone in the group. This feels really out of place next to the game's typically great characterization. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260126220203_1.jpg) Is this also technically magicite? Source: Author. ## Not All Roses Like all good things, my fun had to end eventually. That may be a bit of an over-dramatization, but let me explain. The difficulty wall I hit when I reached the floating continent should have been a warning that I was meant to stop for just a minute. Final Fantasy VI has a reputation for being fairly easy, so it was surprising to me to discover that the Floating Continent would pose such a brutal challenge. I mean, this is the game with bosses that skip their turn as part of their regular attack pattern; it was supposed to be a walk in the park. I wasn’t skipping battles or running away from a fight, and I’d heard that grinding was entirely optional. But these enemies wiped the floor with me, so much so that I ended up turning on 4X experience on the pixel remaster and pretty much never turned it back off until I hit the credits. Final Fantasy difficulty spikes often happen in the same types of spots in the first 6 entries. The game finally gives you access to a large section of the open world via some vehicle, or you have just unlocked a new batch of jobs, or you are reunited with a large group of characters for the first time. All of these shifts come with the mindset that a guide is likely not being used, and what the player will have to do from there is explore and experiment. The player who spends time in awe of the new will naturally let their characters grow more than the player who has researched where to go and in what order. So when I made a beeline straight to the floating continent, I arrived woefully unprepared for the challenges ahead, and I really have nobody to blame but myself. In my time this past year playing 90’s JRPG’s, I’ve noticed that any game with meaningful depth will eventually challenge its player by asking them to learn its systems. This relationship demands respect and patience from the player, but it also requires that the player is having enough fun to give the game that respect. When I played Shin Megami Tensei this year, I hit the first major speed bump and had to admit that I was just not a monster-catching type of gamer. I gave up on that game, fully satisfied that I wasn’t having enough fun to sit and learn its ins and outs. Final Fantasy VI is a whole different type of apocalypse, however. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260217204742_1.jpg) Truly an imperial monstrosity. Source: Author. After letting the Ultima Weapon embarrass me on the floating continent, I was determined to make a comeback. I went to the equipment system wiki and learned exactly what equipment I should be prioritizing so I was always prepared. I used every exploit to my advantage and scraped through a win, finally beating the living counterpart to the Ultima Sword. Now I knew what would happen next, but to see it firsthand is a completely different experience. Kefka moves the triad, releasing their bond. The resulting energy causes seismic ruptures across the entire world, causing so much destruction that the game has to show you this scene from space. The gang narrowly escapes on the airship (with Shadow, of course), only for the Blackjack to shatter in its escape, sending our heroes scattered to the wind. We wake up one year later as Celes on a deserted island with only Cid there to take care of us. Cid eventually fades, leaving Celes all alone, and she surrenders to despair as she throws herself off the nearest cliff in one of the most heartbreaking scenes of the entire game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260217220447_1.jpg) I wish you would step back from that ledge my friend. Source: Author. I disliked a lot of the World of Ruin. I feel pretty confident in saying that when I put this section in contrast to the World of Balance. What was a game with steady set-piece pacing and even challenge turned into a disjointed scavenger hunt to find your lost party members. Each challenge to achieve this is not all that difficult (except you, Dullahan), but each is rather cryptic and hidden. I wouldn’t expect anyone to do this without a guide or a lot of patience, and I feel bad for anyone playing blind and scared of missing story beats. What really dampens this experience is that each of these new chapters is significantly shorter and takes place in the same spots as the original, story beats, which were much more exciting. The way you get a lot of these party members back is really interesting, and I like the story beats that go with them; they just feel a lot like epilogue clean-ups rather than true continuations of the story that we’ve been experiencing so far. Hell, Kefka is hardly even in this section. It is heavily implied that he is using the fear of the giant laser to subjugate the people, but for the most part, everybody is still living their own lives, similar to how you left them last. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260309213654_1.jpg) Truly the slowest way to fight this boss. Source: Author. ## FInishing Strong At this point in the game, I also realized that the Esper system hardly creates coherent builds as you make your way through. My characters are learning magic, but really only a choice few are utilizing it fully, and the others just fight over who gets to learn healing spells next. I like the idea that everybody is now given the opportunity to be a summoner, but I think I only ever used a summon on perhaps one or two bosses and totally forgot about it during every other encounter. It’s an inspired system; if characters were more attached to their espers, this could even be played like a Persona game (if I pick up this game again, that’s probably how I’ll play it too). I decided to also do some optional item hunting here for the Genji gear, the Miracle Shoes, and some auction items I was missing. I have never been one for gambling mini-games or game modes reli,nt on random chance; I even steer clear of Dragon Quest casinos. I would have some truly awful things to say about the auction house and the coliseum, but while Mog fought the coliseum dragon on auto-battle for about 2 hours I just set it down and watched Bridgerton season 4, so overall I actually had a pretty nice time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260321134934_1.jpg) Ah, the famous Cactuar in its natural habitat. Source: Author. I ended up fairly whelmed by the final dungeon of Final Fantasy VI. It contains a garbage dump maze, a reskin of a few older boss fights, the Warring Triad, and Kefka himself. I actually liked the 3-party split-up and the tension of hoping that your third-least leveled team will fight the least bosses. The attraction here is definitely Kefka as you climb your way up his mound of imperial junk to the source of the giant laser beam himself. I felt let down by where Kefka’s character went at this point. He gets a villain monologue where he explains that the despair of seeing the world turn to chaos, with any revolt resulting in destruction, should be enough to depress the characters into giving up in their fight. It’s well said, but we never really see Kefka outright subjugate any of the people outside of pointing the huge magic gun at their towns. I understand that he’s supposed to be a chaotic, evil, insane villain with no real agenda, but even a crazy person like that most assuredly would have found at least one more evil thing to do during the apocalypse. Kefka is a brilliant character earlier in the game; it’s just a shame that he loses steam after he achieves world domination. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260324210212_1.jpg) They gave him power but took his clothes. Source: Author. The final fight is an absolute masterpiece. Dancing Mad blares as your party faces a gauntlet of Esper avatars to get to Kefka himself, the clown made divine. I wish that some more of the fights in this game were like this last fight. The multi-phased fight with intro and outro moves for each phase lends nicely into the ATB system and made me consider who was going to attack at each moment more than I normally do. Kefka starts his phase by setting each character's life total to 1 and silencing them. This made me scramble, no matter how prepared I felt I was. It was a great finale to top off a great game. Final Fantasy VI is not the best JRPG ever made. I find it hard to even say I like it more than Final Fantasy V, mostly due to personal taste. Regardless, the innovation and grand scale of this entry are easy to appreciate. If I had been an English-speaking gamer in the 90s who played this game right after Final Fantasy IV, like so many others had, I would have thought that this was the greatest game ever made. But as a modern-day player having just finished a polished adaptation of Final Fantasy V, it feels like the series has split personalities warring between complex storytelling and deep combat. I love the story Final Fantasy VI tells, and the combat has become faster and flashier, but I can’t help grieve for the tuned challenge and satisfying progression system that we had in Final Fantasy V. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/20260324214904_1.jpg) Balance returns to the world. Source: Author. I love Final Fantasy VI; the story of this gang of heroes will stick with me as truly the first group of characters to root themselves into the identity of the series. Knowing a bit of what comes next in the series, it was exciting to see how this game re-invented JRPG storytelling and created a new standard in the genre. I’m not entirely sure if this game will warrant a replay, but the memories of the fantastical opera and Sabin suplexing a train will live with me for a long time. ### Upgrade Your Gaming Experience with Affordable Finds from Voghion UK URL: https://www.superjumpmagazine.com/upgrade-your-gaming-experience-with-affordable-finds-from-voghion-uk/ Last updated: 2026-04-08T11:23:19.000Z **Gaming has evolved far beyond just a console and a controller.** Today, it’s about immersion, performance, and creating a setup that feels uniquely yours. But here’s the challenge most gamers face—building that perfect setup without overspending. That’s where platforms like Voghion UK come into play, offering a practical solution for gamers who want quality without the premium price tag. Instead of chasing expensive, branded gear, many gamers are now shifting toward smarter buying decisions. It’s less about the logo and more about functionality, comfort, and value. ## The Modern Gaming Setup Isn’t Just About Power A high-end PC or console is only one part of the equation. The real experience comes from everything surrounding it—the responsiveness of your mouse, the comfort of your chair, the clarity of your headset, and even the lighting in your room. Think about long gaming sessions. A poorly designed chair or low-quality headset can ruin the experience regardless of how powerful your system is. That’s why gamers today are focusing more on *holistic setups* rather than just core hardware. This is where affordable marketplaces become relevant. Instead of spending heavily on a single item, you can distribute your budget across multiple upgrades that collectively improve gameplay. ## Smart Spending: Where Voghion UK Fits In Not every gamer wants—or needs—to spend hundreds on branded accessories. In fact, many mid-range or budget-friendly products now offer performance close to premium options. Platforms like [Voghion UK](https://uk.voghion.com/) allow gamers to explore: - Budget mechanical keyboards with solid tactile feedback - Ergonomic gaming chairs without inflated pricing - RGB lighting kits to enhance visual immersion - Affordable headsets with decent surround sound The key advantage isn’t just price—it’s **accessibility to variety**. You’re not locked into a few expensive choices. Instead, you can experiment, upgrade gradually, and build your setup over time. This approach aligns with how most real gamers operate. Upgrades happen step-by-step, not all at once. ## Building a Setup That Actually Improves Performance There’s a difference between aesthetic upgrades and performance-driven ones. The smartest gamers know how to balance both. For example, upgrading from a basic office mouse to a gaming mouse with adjustable DPI can immediately improve aiming precision in FPS games. Similarly, switching to a mechanical keyboard can enhance response time and reduce input lag. Affordable platforms help here by lowering the barrier to entry. You don’t have to hesitate before trying something new. Some practical upgrades that deliver noticeable impact: - **Mouse & Keyboard:** Better responsiveness, improved control - **Headset:** Clear audio cues in competitive games - **Monitor Accessories:** Stands or mounts for better ergonomics - **Lighting:** Reduced eye strain and improved focus These aren’t luxury additions—they directly influence how you play. ## Aesthetic Matters: Creating an Immersive Environment Gaming isn’t just about performance anymore—it’s also about atmosphere. Whether you’re streaming, playing competitively, or just relaxing, your environment shapes the experience. RGB lighting, desk organization, and themed accessories can make a huge difference. And the best part? You don’t need a massive budget to achieve this. Affordable marketplaces make it easier to experiment with: - LED strip lighting behind monitors - Minimalist desk setups - Cable management solutions - Decorative gaming-themed items The result is a setup that *feels* premium, even if it didn’t cost a fortune. ## Why Budget-Friendly Doesn’t Mean Low Quality There’s a common misconception that cheaper products automatically mean poor quality. That used to be true—but not anymore. Manufacturing has improved. Competition has increased. Many lesser-known brands now produce reliable gear that rivals bigger names in performance. The trick is knowing what to look for: - **User reviews and ratings** - **Material quality (not just appearance)** - **Feature-to-price ratio** - **Compatibility with your setup** Experienced gamers often mix premium and budget gear. For example, they might invest heavily in a GPU but save on accessories that still perform well. This balanced approach is what platforms like Voghion UK enable. ## Gradual Upgrades vs. One-Time Spending One of the biggest mistakes gamers make is trying to build everything at once. It’s expensive and often unnecessary. A smarter strategy is to upgrade in phases: 1. Start with essential performance gear 2. Improve comfort and ergonomics 3. Enhance aesthetics and environment Affordable marketplaces support this approach perfectly. You can pick up smaller upgrades without waiting months to save for expensive items. Over time, these incremental changes create a setup that feels high-end—without the financial pressure. ## The Role of Personal Preference in Gaming Gear No two gamers are the same. What works for one might not work for another. Some prefer lightweight mice, others want heavier ones. Some prioritize audio quality, others care more about visuals. That’s why flexibility in choice matters. Instead of being limited to a handful of premium brands, having access to a wide range of options allows you to: - Test different styles and configurations - Discover what actually improves your gameplay - Build a setup that matches your habits, not trends This freedom is often overlooked, but it’s one of the biggest advantages of shopping smart. ## Making Better Decisions as a Gamer At the end of the day, upgrading your gaming experience isn’t about spending more—it’s about spending wisely. Understanding what truly impacts your gameplay helps you avoid unnecessary purchases. It also allows you to prioritize upgrades that deliver real value. Platforms like Voghion UK fit naturally into this mindset. They don’t replace premium brands, but they give gamers an alternative—a way to build, experiment, and improve without overspending. ## Final Thoughts A great gaming setup isn’t built overnight, and it doesn’t have to drain your wallet. The best setups are often the result of thoughtful upgrades, smart choices, and a clear understanding of what actually matters. By focusing on performance, comfort, and personalization—and using affordable platforms strategically—you can create an experience that feels premium without the premium cost. As gaming continues to grow, the players who adapt their approach to spending will always stay ahead—not just in-game, but in how they build the world around their gameplay. ### Looking Back (and Forward) at the Success of Vampire Survivors URL: https://www.superjumpmagazine.com/looking-back-and-forward-at-the-success-of-vampire-survivors/ Last updated: 2026-04-09T23:17:39.000Z **It has been about four years since the release of Vampire Survivors (VS) blew up the indie space and created the “bullet-heaven” genre.** Developers have been chasing after the game's success ever since. With the latest DLC inspired by Castlevania, I jumped back into the game to see if the gameplay still works today in light of the many games I’ve played since. Surprisingly, it does, and has lessons to teach the games that are trying to vie for the crown. At this point, I don’t think I need to explain [what Vampire Survivors is](https://store.steampowered.com/app/1794680/Vampire%5FSurvivors/), and I want to skip to where it is today. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/04/image.png) The earliest version of Vampire Survivors included just a single map. Source: Steam. ## More Survivors, Fewer Vampires Vampire Survivors has come a long way in terms of its design. The original map was simply an empty field that stretched on infinitely. Now there are multiple maps, multiple characters, secrets, additional systems, and this doesn’t even include the latest map. Perhaps the most surprising thing about going back to VS today is that it still plays as one of the faster bullet heaven games on the market. When I last played, it had the option to increase the in-game speed so that 30 minutes became 20\. Now you can do it even faster, going down to 15 minutes — allowing someone to experience a full run quicker than any other bullet heaven out there. This gets at one of the biggest issues I have with a lot of other games: the developers keep messing up the speed. I’ve lost count of the number of these games where the very first run is slooooow — your character is slow, bullets are slow, enemies are slow; the entire game feels slow. I’ve had to institute a new rule — if I’m falling asleep before ten minutes are up in your game, I will end the run early. For the games in which I do manage to get to the end of a run, through death or completion, I’m surprised to find that I’ve unlocked nothing at all. If you’re going to do a game like this, there must be consistent upgrades to drip-feed progression. I’ve lost count of the number of games where the first upgrade takes multiple winning runs to unlock. ![An action-packed screenshot from the game, full of dragons and spells.](https://miro.medium.com/v2/resize:fit:929/0*UBMU8MCh29rngzfr.jpg) Vampire Survivors starts fast and then gets faster-er in the screen explosions. Source: Author. It’s this slowness that betrays a lot of the bullet heavens compared to Vampire Survivors. I'm willing to bet that these games have nowhere near the amount of content that VS has at this point, so slowing down progression keeps them from running out of things for the player to do. However, it’s that amount of content and the consistent rewards that keep someone engaged with VS. If I want to make progress in the game, I can go after a character challenge, weapon unlock, map unlock, or just go for gold that I’m going to be using for more meta unlocks. There is a puzzle to playing and mastering the many different items, tarot cards, and characters that isn’t present in the other games. It’s that next level of understanding that provides a lot of the replayability in Vampire Survivors — yes, you survived a run, now how do you break it? ## Vampire-Vania To that point, let’s talk about the newest map. The Castlevania/Symphony of the Night DLC is the closest fans have gotten to a celebration of the series in a long time, and definitely not from Konami themselves. Featuring remixed versions of popular songs, a buffet of characters from the series, the largest map to date in the game, and many different secrets to find. Each “adventure” map adds more features and elevates the original formula, but this one is the most expansive to date. It contains a lot more unlockable characters, bonus areas, and more nods to the entire Castlevania franchise. ![Another filled screenshot; Space Invaders-style characters move and are shot on a space backdrop.](https://miro.medium.com/v2/resize:fit:929/0*eLhtCVqEqMBit3sn.jpg) Picayune Dreams does things differently compared to other bullet heavens and doesn’t have to worry about being compared directly to Vampire Survivors. Source Author. What makes this one of the best bullet heaven experiences is the sheer number of secrets and places to explore, which does something I haven’t seen in any other bullet heaven to date — it makes me want more time to explore. There are so many new weapons, combinations, and permanent upgrades that you can unlock on the map that, despite Vampire Survivors being the first bullet heaven game to blow up, it still feels like one of the most progressive takes on the genre. It’s those details that keep Vampire Survivors on top of the subgenre and is the bar that other games must clear if they want to have any chance at exceeding the standard set by the king of the genre. ## Based Bullet-Heaven What continues to make Vampire Survivors the undisputed king is that it gets at what makes this kind of content so engaging. It’s not just about providing “things” blowing up on-screen, but letting the player have 15–30 minutes of rapid progression. The constant rewards and goals to go after provide a structure for players beyond just repeating for a high score or an unlock after hours of play. While the game does not have the more technical aspects of newer bullet heavens like Death Must Die, or the RPG aspects of Halls of Torment, it makes up for that with the sheer number of items and evolutions, allowing multiple play styles on a run-by-run basis. This is not a game that “hides the fun;” it only gets better the more you put into it. It is going to take something spectacular from a developer to beat Vampire Survivors at their own game. **If you enjoyed my piece and want to follow me,* [**I’m posting on Bluesky*](https://bsky.app/profile/gwbycer.bsky.social) *and you can find links to all my other works from there.* ### Streamer Support, Mental Health Gaming, Final Fantasy for Good, and the UVW: Good in Gaming Vol. 3 URL: https://www.superjumpmagazine.com/streamer-support-mental-health-gaming-final-fantasy-for-good-and-the-uvw-good-in-gaming-vol-3/ Last updated: 2026-04-07T21:31:39.000Z **Welcome back to Good in Gaming!** After a brief hiatus from this series, we're back with more stories about the kindness and goodness available in the gaming community, from streamers supporting their communities to mobile games that improve your mental health. Take a moment away from the constant crises and enjoy having something to smile about. ## Pokopia Brings the Cozy Gaming World Together Again by Cat Webling In an unexpected mirror to the release of 2020's smash hit Animal Crossing: New Horizons, Nintendo's release of Pokémon Pokopia seems to be exactly what the world needs right now. Full of adorable Pokémon, beautiful landscapes, fun challenges, and a fully customizable world, Pokémon Pokopia is an out-of-the-gate smash hit, even going so far as to drive sales of the Nintendo Switch 2 specifically to play the game! The joy from this cozy game goes far beyond excellent sales numbers and solid mechanics; the cozy gaming community has absolutely latched onto the story and lore with a fervor that's impressive even for the most fandom-heavy communities. Fan art has exploded for a selection of the game's roster, from your player character, Ditto, to a Snorlax covered in moss and a Pikachu that's lost its ability to produce electricity. The community has absolutely fallen in love with their stories, and the background story of the environmental crises that forced humanity away from the Kanto region, drawing haunting parallels to the current state of our world. Many players have taken the game as a delightful escape from reality, enjoying the sense of control it gives them in an unstable world. The community online in the r/Pokopia subreddit and on BlueSky, among others, have become incredibly welcoming places, giving out tips and tricks for new players. Builders who are making incredible cities and funny creations in the game are also shining with resounding praise. In a world where so much is dark and dangerous, it's lovely to see a community rallying behind a story of friendship, rebuilding, and social responsibility. ![Key art for Pokemon Pokopia, featuring a range of Pokemon in a bright, wooded world.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Pokemon_Pokopia_Key_Visual.png) Via The Pokemon Company. ## Professional Streamer Rashern Raises Money for the Trevor Project by Priya Sridhar On February 27, 2025, [professional Twitch gamer Rashern](https://www.twitch.tv/rashern) ran a 35-hour stream to raise funds for the Trevor Project. He also provided links to the nonprofit’s services in case viewers would need support. Although the initial goal was set at $500, Rashern ended up raising $1000 in donations during his stream. The Trevor Project is a nonprofit aimed at providing discreet support to LGBTQ+ children and adults, using trained counselors for suicide prevention and crisis intervention. It is named for a short film called Trevor, about the title character facing severe bullying for his queer identity and fascination with Diana Ross. Since its 1998 creation, the Trevor Project has provided services to more than 100,000 LGBTQ+ individuals. It has a toll-free hotline and the TrevorSpace social media site, while also offering 24/7 text and counseling services. Rashern chose to complete a 120-star run of Mario 64 during this stream, which ran for 35 hours, with occasional breaks for food or rest. His followers and viewers donated regularly, motivating Rashern to schedule similar events for 2025 onward. More streams followed; Rashern is particularly proud of his July 2025 run of Euro Truck Simulator 2, which ran for 36 hours. In addition to $6k in donations, the streamer's Discord became a safe space for LGBTQ individuals and fans to talk about their experiences. Rashern was happy to fade into the background; his intent was to have people come and learn about each other. "The explanation for wanting that is because I am a 39-year-old straight man," Rashern says. "I am an ally. I can and do say many, many things about the Trevor Project, urge young people to contact them, but in the end, I don't have the experience to share, the connection of needing the Trevor Project myself.... I have no idea how to properly say that . . . Everyone who came in the second day did. They could speak on a level that I couldn't." ![The Trevor Project logo in orange.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/The_Trevor_Project_logo.svg.png) Via The Trevor Project. ## The Mobile Phone Game That Rewards Good Mental Health Practices by Matthew Lawrence Finch is a self-care phone game that combines the classic elements of Tamagotchis with mindfulness practices and habit tracking to help improve the user’s mental health. When I was introduced to this app, I was skeptical of the idea of gamifying mental health, particularly since the app operates on a freemium model where certain aspects are locked behind a paywall. After using the app for quite some time, I was actually pleasantly surprised at how well the development team manages these aspects and would highly recommend giving this app a try. The point of the app is to encourage the player to complete good mental health habits and to provide a tangible reward for those practices. As the player completes goals, their Finch will grow, gain energy, and collect rainbow stones. Growing a Finch gives them additional customization options, while gaining energy allows them to go on adventures. These adventures will lead to the player’s Finch discovering new things in the world around them, helping to develop its personality. Rainbow stones act as the in-game currency and allow the player to purchase new clothes for their Finch, buy furniture for their nest, purchase dye for their feathers, or buy plane tickets to send them to different parts of the world. Rainbow stones are generously rewarded for completing goals and daily challenges, which I find a lot more fulfilling than grindy. Cosmetics, furniture, and plane tickets rotate daily, so there is always something for players to spend their rainbow stones on. The paid subscription ($10 a month or $50 a year) grants access to more cosmetic and furniture options in the shops. The premium version of the app, called Finch Plus, doubles the daily stock in the shops from six options to twelve and unlocks access to the premium rewards in Finch’s seasonal unlocks. That being said, these items are all still able to be unlocked in the free version; they are just randomized rather than providing a specific cosmetic or piece of furniture. In all, I found Finch to be a fun way to track my habits and promote good mental health practices. The app is completely ad-free, and the way that the premium aspects are handled feels respectful to the user by not restricting access to helpful mental health tools behind a paywall. I believe that the development team behind Finch has done a fantastic job of providing a wonderful resource while not commodifying the promotion of good mental health. ![Two cartoon penguins hug under the label, "Self-care is better together."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Finch-self-care-picture.jpg) Via Finch. ## The Final Fantasy V Four Job Fiesta Approaches by Nathan Kelly This year marked the first time that I had played Final Fantasy V. For the majority of that play-through, I hated every second of it. Only towards the end did the incredible job system click into place, and I admitted a fondness for the black sheep of the series. In Final Fantasy V, you are given a veritable toolbox made up of jobs and items. Throughout your play-through, you have free rein to combine these tools in whatever way you desire. This winning game design has cemented Final Fantasy V as the favored spot of JRPG veterans looking to play in its sandbox, with no other game (except perhaps Bravely Default) coming close to its throne. Even as I make my way through Final Fantasy VI, I'm plotting my return to Final Fantasy V and how I intend to give it the time and respect that it demands. As I looked towards my next play-through, a name kept coming up: the Final Fantasy V Four Job Fiesta. For fans of Final Fantasy V, this is not a new development. I am very behind the times. The Four Job Fiesta is first and foremost a challenge designed to spice up a session of Final Fantasy V by systematically randomizing the jobs (and in some cases items) that you are allowed to use. This was just a simple self-imposed challenge in the game, at least until Eric Koziol (aka RevenantKioku) organized this challenge into an annual festival (a fiesta, if you will) that continues to raise thousands of dollars for charities every year. All you need to join in on the fun is a copy of Final Fantasy V and a Google account. ### How Does It Work? As the event approaches and the time screen expires on the [Four Job Fiesta Website](https://www.fourjobfiesta.com/index.php), you just need to sign in to your Google account on the website, choose your flavor of randomization, and register for the event. When the event starts, your pal Gilgamesh will assign your classes, and when you beat Neo Exdeath (because of course you will, I believe in you), upload a photo or screenshot of you beating the game and become memorialized in the halls of [www.fourjobfiesta.com](http://www.fourjobfiesta.com) as long as you finish by the end of summer. Now you will notice that nowhere in there did any money get sent to any charity; That part is up to you. Will you count your deaths and donate $1.00 per total party death? Will you donate half now and promise to double it if you beat the final boss? The player is the primary target of this charity, and the challenge draws the crowd who are incentivised to donate. But don’t abstain from the fiesta because of the cost. You are encouraged to play even if you don’t donate anything, and some even find success in streaming their game so that others may donate to the cause as they watch. The general audience can also donate to raise the amount of Berserkers that are added to the random pool of jobs. This means that if you get a Berserker, your suffering is likely going to a good cause. Currently, that cause is the Palestinian Children's Relief Fund, though the charity could change by the time of the event. This year's Fiesta is a ways off, with pre-registration starting on June 1st. I bring this up now because it’s the perfect time to dust off those copies of Final Fantasy V, whether for the original PlayStation or Steam Deck, and familiarize yourself with the game a bit before the event. I also believe that this is a great opportunity to jump into Final Fantasy V for the first time. You are sure to come back wanting more by the end. Just remember to keep a wiki page open for those tough spots. Is Final Fantasy V not your game? You can join the [Four Job Fiesta Discord](https://discord.gg/CfdsKk8) to see their other monthly events that also go to a good cause. On the 16th of each month, they choose a new game that typically contains a job/class system to play for the same cause as the Final Fantasy V event. Currently, they are playing Dragon Quest 3 (Three Type Teaparty) and Bravely Default 2 (2 Bravely 2 Default). Hope to see you on the roster come June! ![The Final Fantasy 5 logo, featuring a stylized dragon.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/logo_en.jpg) Via Square Enix. ## At Game Developers Conference, Game-Workers Keep Unionization Hopes Alive by Leah Isobel At last year’s GDC, the Communications Workers of America announced the formation of the United Videogame Workers-CWA Local 9433\. The UVW is a direct-join organization that, according to organizers, is meant to provide a channel into activism and organizing for workers in a fragmented industry. In the intervening time between then and now, the industry has only continued to fragment; overall, layoffs are down, but stories like Rockstar UK’s alleged union-busting and the buyout of EA by the Saudi Arabian government (with help from Jared Kushner’s investment firm Affinity Partners) have created confusion, fear, and anger among industry workers. At this year’s GDC, both Anna C. Webster, an organizer with the UVW, and Aurelia Augusta, the UVW’s president, acknowledged the challenges facing the organization and the negative climate within the industry. But they also discussed the initiatives the UVW is working on, like securing access to health insurance for freelancers, assisting with in-progress unionization campaigns, and their upcoming Game Workers’ Conference in May. They pointed to the recent news that the indie studio Heart Machine had unionized as evidence of the drive towards better conditions for industry workers, and Augusta said that the UVW’s membership had grown significantly in its first year. “There is a strong understanding that this is a movement that needs to exist, and exists to help us all, as game workers, get what we deserve,” Augusta said. After the UVW hosted a panel discussion at the conference, the group led a march to the nearby Yerba Buena Gardens park, shouting slogans and earning cheers from passersby. Organizers hosted an impromptu rally at the park’s bandshell, which then evolved into a town hall as the organization shared the first draft of its proposed Game Workers’ Bill of Rights. Developers offered their feedback and support, helping to shape what the future of game labor will look like. To learn more, [read the full story at 48 Hills](https://48hills.org/2026/03/at-gaming-conference-game-workers-keep-unionization-hopes-alive/), and follow the UVW on [Bluesky](https://bsky.app/profile/videogameworkers.bsky.social) and [Instagram](https://www.instagram.com/videogameworkers/). ![The UVW logo in white and red.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/UVW-logo.webp) Via United Videogame Workers. ### Indie Monthly: March 2026 URL: https://www.superjumpmagazine.com/indie-monthly-march-2026/ Last updated: 2026-04-06T00:53:37.000Z **March saw the long-awaited release of Slay the Spire II.** Doing a conventional review of this game seems a pointless endeavor, as anyone who's even considered buying it already has. This is something I learned (as did many of you, I'm guessing) when consumers overloaded Steam for several hours, making it a struggle to purchase or download the game. To be honest, I had a lot of reservations about this one. The deckbuilder has evolved enormously since the release of the first game. There are the obvious changes - the introduction of dice and other card alternatives, the shift toward alternative genres - but there are also less obvious tweaks in some of the more recent titles. Even by roguelike standards, Slay the Spire could be a punishing game, with a huge element of luck in the early game that put some people off. More recent games have dialed back on the difficulty in an effort to be more accessible. Slay the Spire II is still a punishing game, but one that has certainly changed for the better. As with most sequels, the marketing focuses on "more" - new characters, new cards, new enemies, and the increasingly obligatory co-op mode. What's more interesting are the subtle changes, the tiny but detectable alterations to the overall design principles. It's a game where the player feels more in control of decision-making, a game with fewer unfair surprises and more avenues for discovery. The game is likely to remain in Early Access for a good long while, with plenty of room to sand down the remaining rough spots. I can only hope that Mega Crit listens to everyone's feedback, not just the comments from the people who've spent the past month running calculations and making spreadsheets detailing optimal runs. I could, of course, go on at length about the cultural niche that this game occupies, the life cycle that has seen Slay the Spire go from the young punk with an idea no one believed in to the veteran everyone is trying to imitate and then outmaneuver. I could ramble on about the China connection, the evidence of the game's dominant success in mainland Asia, and the ensuing vote brigading that has become standard for any indie game that succeeds there. However, other games came out this month. With so many people focused in one direction, they might not have noticed these. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/HomuraHimeA.jpg) [Homura Hime](https://store.steampowered.com/app/1820000/Homura%5FHime/). Source: Author. ## [Homura Hime](https://store.steampowered.com/app/1820000/Homura%5FHime/) Homura Hime is an anime-inspired action RPG centered on a sword-wielding exorcist's quest to purify Japan of archdemons. It mixes up the usual ARPG formula by adding elements from other genres, most notably shooters. The game progresses through a series of mostly linear levels featuring a mix of gameplay types. There are a few parkour-style platforming sections and a handful of puzzles, but the bulk of each level is centered on combat. The system is parry-based, with the usual collection of combos based around light and heavy attacks, as well as a low-power ranged attack needed to break the shields used by some enemies. Homura also gains a few special attacks that are powered by landing hits and parrying attacks. Homura is relatively fragile, going down in a few hits against most enemies, but the parry window is very forgiving. That's appreciated when fighting bosses, which need to be finished with a series of consecutive, well-timed parries. In general, a player who can keep a simple rhythm can consistently avoid most regular attacks. The most distinctive feature of combat is the barrages, a special attack mode used by some regular enemies and all bosses. A barrage consists of waves of spheres that can't be parried, only dodged. Barrage spheres do less damage than other attacks, but the enemies compensate by firing lots of them. Against bosses that unleash screen-filling waves of barrage spheres alternating with regular attacks, this can turn the game into a 3D bullet-hell shooter. As you might imagine, barrages - specifically those massive boss versions - are the game's hardest sequences. What stops them from being frustrating is the low damage and lack of stun, which makes mistakes less devastating. While it's by no means an easy game, Homura Hime is designed to be gentler on less experienced players. Aside from the large parry window, the game is also generous with checkpoints, even including them between phases of a major boss fight. A player who inches through the regular combat section only to make a mistake during a barrage or parry sequence won't have to play through the entire fight all over again. Overall, Homura Hime has enough variety in its gameplay to make it stand out from the usual suspects in the ARPG space, and the difficulty curve is fair enough to appeal to a wide range of players. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/GGuardianA.jpg) Source: Author. ## [Genome Guardian 2](https://store.steampowered.com/app/4130120/Genome%5FGuardian%5F2/) Genome Guardian 2 is a twin-stick shooter in the ACGT series of games. We've previously featured a related game, [Cell Command](https://www.superjumpmagazine.com/indie-monthly-june-2025/), and while the genre is completely different, both share the same aesthetic and a similar focus on customization. The core game mode is a standard shooter. The player controls a main unit - either a fixed turret or a mobile tank-like machine - with the goal of surviving against enemies that come in 30-second waves. Between waves, the player has the opportunity to purchase new weapons, weapon upgrades, or more general boosts. The main distinguishing feature is the weapon customization. Depending on the starting loadout, the player has up to four weapon slots, each of which can accept up to four weapon types and four mods. By default, all of the weapons fire at once, and there's never a need to switch between them. Weapon types are named after nucleotides and carry basic attributes. For example, cytosine grants a weapon with long range, high accuracy, and a slow fire rate. Adding additional weapon types to the same slot will mix their traits. Putting a cytosine in the same slot as the shotgun-like guanine will yield a spread blast with a tighter choke and longer range. Three- and four-nucleotide combinations begin to yield more unusual weapons with variant firing modes and effects, while mods can further tweak stats or add even more effects. As with Cell Command, the striking variety in the weapon customization system is both a plus and a minus. The end of any run is a mad spectacle with the player unloading on enemies with a baffling array of overpowered weapons - but that's if everything ends well. Adding a new nucleotide to a weapon can have unpredictable effects, potentially turning a powerful attack into a strange gimmick weapon. The game tracks all discovered combinations, but until the player has seen every combo, upgrades can be a serious crapshoot. Unpredictability aside, Genome Guardian 2 offers a lot to a player willing to learn the ins and outs. There are copious unlockables, including variant gameplay modes. The challenge level is also fair, and it never feels like the player is a victim of bad luck. Overall, Genome Guardian 2 is a solid shooter with a lot of depth, but the learning curve might take a while to overcome. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/RubatoA.png) Source: Author. ## [RUBATO](https://store.steampowered.com/app/2244030/RUBATO/) RUBATO is a physics-based 2D puzzle platformer with a surreal story and aesthetic. Despite its early '90s appearance, the design is rooted more in the collectathons of the fifth generation. The game follows a group of cosmic corporate lackeys who, after a tragic mishap involving a giant cue ball, have to reconstruct the shattered planets of the Solar System. Rubato, the frog with the miracle tongue, is tasked with recovering the planetary fragments. It's a task made harder by the mysterious villain who's protecting the pieces - a villain whose presence suggests that the destruction of the Solar System may not have been an accident. RUBATO is divided into a series of themed worlds, which are subdivided into several discrete rooms. Each room contains a certain number of planetary fragments, some of which are out in the open, while others need to be revealed by completing an objective. Collecting fragments permanently increases Rubato's health and also reveals and unlocks the boss door. Aside from the usual platformer abilities, Rubato can also use his tongue to manipulate the world. Markers on certain physics objects indicate that Rubato can attach his tongue to them. Depending on the object, this will either let the player move it around or cause the object to propel Rubato through the air. The tongue isn't Rubato's only tool - beating bosses unlocks additional weapons and devices. While there are a few minigames to add variety, the core gameplay of Rubato is pretty barebones, and the game isn't all that difficult. The puzzles are very straightforward and there aren't too many technical jumping challenges. It's much more exploration-driven, truly following in the collectathon spirit. The game is at least generous enough with the planetary fragments that the player won't have to resort to desperately scraping through old levels trying to advance. Overall, RUBATO is a solid nostalgia title for fans of '90s platformers, but there isn't a lot that really stands out. --- That wraps up our look at the indie games that caught our attention in March! As always, be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Now Playing at SUPERJUMP: Issue 39 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-39/ Last updated: 2026-04-04T20:26:54.000Z **We're back with a brand-new Now Playing!** As usual, our team has been playing a wide variety of games, loving both the big titles and under-the-radar indies alike. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-70.png) DigDigDrill, Source: Nintendo. ## Cat Webling ### [DigDigDrill](https://store.steampowered.com/app/2916770/DigDigDrill?snr=1%5F7%5F15%5F%5F13) I recently had the great privilege to get a Nintendo Switch key for DigDigDrill from Toorai, and I'm having the absolute time of my life! This adorable game, which came to PC in 2024, has a simple premise: you operate a drill, and your goal is to drill! You forge new drills, explore the earth, dig up ores, retrieve treasure, and upgrade your machine to get further and further down, aiming for level 999\. I can't say enough good things about this game, especially the [Switch port](https://www.nintendo.com/us/store/products/digdigdrill-switch/?srsltid=AfmBOoqRpyL3llgp6uGzTIHLlh8KEK90R6iTHMmD9ffZWPU405I%5Fyfsw). The music is jaunty and fun with retro flair, the mechanics are simple but addictive, and the reward system is consistent enough to keep you playing for hours and hours and hours. I'm happy to sink ten minutes or three hours into a play session, digging as deep as I can go. One of my favorite aspects is the drill forging; the Tetris-esque mechanics are an interesting puzzle to explore and encourage you to find more kinds of ores so you can fill out more shapes. If you're in the mood for a fun, silly digging game, DigDigDrill is available on Steam for $3.99 or on the Nintendo e-Shop for $9.99. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-69.png) Digimon Story: Cyber Sleuth – Hacker's Memory. Source: Steam. ## C.S. Voll ### [Digimon Story: Cyber Sleuth – Hacker's Memory](https://www.playstation.com/en-us/games/digimon-cyber-sleuth-hackers-memory/?) I finished Hacker's Memory. In total, it took me around 140 hours to finish both Cyber Sleuth and its expansion. It was a fun ride. Hacker's Memory fine-tunes many of Cyber Sleuth's systems. The story is so much stronger, perhaps because it focuses on a small, close-knit bunch rather than a larger cast. Its depth surprised me, too; You don't expect a Shonen franchise to tackle concepts like identity and mortality, but that's exactly what it did. It was quite an important game for the franchise as a whole. One aspect of the game pays tribute to Kōji Wada, the singer responsible for performing the Japanese opening theme of the Digimon Adventure anime series, and who sadly passed away in 2016\. The game was also released in the franchise's 20th-anniversary year. The developers probably felt the pressure, but they produced something that does the franchise justice, in my opinion. Cyber Sleuth felt a little empty and grey, but Hacker's Memory definitely has a vibrant personality. Many players complained about the environments feeling samey in the first title, but Hacker's Memory is a big improvement on that front, and the backdrops are just beautiful in some places. They kept the RPG mechanics from the first game (why fix something that isn't broken, right?). It can be a grind, like the first one, but it's also rewarding and deep. This time around, I didn't feel as overwhelmed, perhaps because I had learned how to navigate the system in the first game. Above all, what drew me back time and time again was the growth of the characters. That's Digimon's strength, too. The franchise isn't afraid to show how people grow up and change, which is refreshing in a world obsessed with preserving characters in amber. It's a story of a group of flawed people trying their best. I wouldn't have it any other way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-71.png) Rayman 30th Anniversary Edition. Source: Steam. ## Jahanzeb Khan ### [Rayman 30th Anniversary Edition](https://store.steampowered.com/app/4094670/Rayman%5F30th%5FAnniversary%5FEdition/) Rayman might be the most ported platformer ever made, with Rayman 2 not far behind. You can quote me on that. I love it when video game releases just drop; Nothing excites me more than 'Available Now'. That's how AAA games should be released: if it's good enough for Beyonce, then it's good enough for Resident Evil, too. Rayman gets the royal Digital Eclipse treatment for his big 30th. The extensive documentary and developer insights are the real highlights here, but there's also plenty of gameplay value with all the major ports of Rayman; everything from Atari Jaguar to Game Boy Color is represented here. Rayman is a true platforming classic, and while it might be a little on the difficult side by modern standards, it's well worth diving into its beautifully hand-crafted game worlds. This platformer was clearly built to last. It's just too bad they had to redo the music. ## Nathan Kelly ### Shin Megami Tensei The very first game in the storied Shin Megami Tensei series was given a fantastic port onto the Game Boy Advance in the early 2000s. This would be a Japanese localization, however, that wouldn’t stop fans from taking this version West. The iOS English-localized version of Shin Megami Tensei has long since been discontinued, but a dedicated patch has preserved that official translation and applied it over the GBA version. This is the version of Shin Megami Tensei that I played. I got around 10 hours into Shin Megami Tensei before falling off. The beginning sections of the game are incredible to play. The first person dungeon crawling in its minimalist modern aesthetic makes me feel like I’m trapped in the back rooms. Every political and religious zealot trying to convince you of a promised land in an ideal world speaks with succinct and almost eerie prose. The end is coming, and I couldn’t get enough. I was addicted to exploring Tokyo, only having to look up a real map of Tokyo maybe once or twice to find out where I should be going. The story told in the first act is intriguing and shockingly adult for a game of this era and genre. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Nate-Kelly-SMT-pic-1.jpg) Shin Megami Tensei. Source: Author. When the end of the world happens around 7 hours in, the game's difficulty spikes semi-drastically. That's not really a spoiler; in each SMT game, the world's ending is pretty expected. Regular enemies start chunking your health, basic enemies arrive in much larger numbers than you are prepared for, and the encounter rate shoots up drastically. It’s kind of awesome; you really feel like you’ve teleported from the cushioned Tokyo city life into a wasteland apocalypse, and you have to adapt. I played a little of this section, but as with all games that demand your respect in learning its systems, you, as the player, must be having fun with the system to give it that respect. I was simply not interested enough in this very simplified demon-hunting and team-building game to experiment and have fun learning to play. But I’ve never been super interested in monster-gathering games like Pokémon or other similar styles of JRPG. It was very cool to see the beginnings of Shin Megami Tensei, and I have undoubtedly fallen in love with its moody tone and world-building. In this specific case, I can say that since this game was released, the developers' efforts to bring this series to a wider audience with games like SMT Nocturne and Persona have captured my attention more and made me a fan. Even though I’ll probably stick with the modern iterations of the formula and pass on the older titles, I’m glad that I was able to give the classic game a try. ## Rachel Alm ### [Pokémon Legends: Arceus](https://www.nintendo.com/us/store/products/pokemon-legends-arceus-switch/?srsltid=AfmBOorA4e-mFw07s8TFqi29qK%5FMqD%5FnPjunioCSI50TAFuPJIeyHWoR) I recently grabbed Pokémon Legends: Arceus for a long-haul plane ride in hopes it would ease my flight anxiety, and that's exactly what it did. The last game I bought in the series was Sword, and I didn't really love the new mainlines all that much, but Arceus was a wonderful little glimpse of an open-world, Pokémon Go-esque concept that works well enough, even given the blander environmental design. I always get excited to see the Pokémon I love, and was happy to be able to skirt along tall grass trying to lob a ball at a Raltz or Ponyta, or tempt them with berries, or battle them as is the tradition. It gives much more flexibility in catching style, and while I didn't think I'd like the change at first, I ended up loving it. Pokémon has always been a sanctuary game series for me, in that whenever I had tough days or high stress, I could always return to the low-impact world of Pokémon. It is, by design, a kind world, where villains are usually small-time, and people are good. It's a game world I adore existing in. PL: Arceus, while not exactly painting a rosy picture of the human-Pokémon relationship, being that this is the onset of it, still manages to reassure us that all will be well. Sometimes that soothing gameplay is really sorely needed. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-65.png) BallisticNG. Source: Author. ## Ben Rowan ### BallisticNG DLC: Maceno Island & Outer Reaches I had to eat a little humble pie recently because my [BallisticNG article](https://www.superjumpmagazine.com/meet-the-dark-souls-of-racing-games-ballisticng/) back in December confidently claimed there was no paid DLC, only for the BallisticNG Discord to politely (and very quickly) inform me I was wrong. So, naturally, I did the only sensible thing and grabbed both paid packs, Maceno Island and Outer Reaches, partly to correct the record and partly because this game already has a ridiculous amount of content and I clearly wasn’t done. Between the two expansions, you get 12 new tracks (all playable forward and reverse), plus new campaigns and liveries, and what’s kind of hilarious is how naturally it all slots into a game that already feels almost bottomless in terms of content. Together, both packs give you more of the same at an even higher level of quality, while also trying, for better or worse, to push this WipEout-shaped formula into uncharted, off-world territory. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-66.png) BallisticNG. Source: Author. Maceno Island is the easy favourite, mostly because it’s bright, warm, and relentlessly pretty, like someone siphoned WipEout’s DNA into a tropical holiday postcard but kept all the edginess and futuristic sheen. My three favourite tracks of the bunch are Maceno Bay, which leans into a neon-coastal vibe with turns that feel playful rather than cruel; Maceno Interchange, which goes for rain-soaked commercial sprawl and fast tunnels where the speed creeps up on you, and Maceno Peak, the showstopper, with huge mountain bends under a sunset glow and wind turbines towering over the track. It’s still pure BallisticNG, just in a setting that makes you want to replay events for the scenery alone, whether you’re running any of the game’s plethora of modes like standard races, eliminators, or time trials. Outer Reaches is where the developers get more experimental, pushing the game far beyond Earth to Mars, Titan, and the Kuiper Belt with low-gravity and even zero-gravity tracks where you’re literally flying through space and weaving between asteroids. While I respect the ambition and some of those long, flowing bends look incredible, it does drift away from the flavour I’m here for. I play WipEout/BallisticNG for cramped cyberpunk cities, narrow tunnels and chicanes, sharp unforgiving bends, and that insane sense of speed. Outer Reaches often feels bigger, floatier, and sometimes literally untethered, which makes it a DLC worth mentioning for pushing the concept somewhere new, just not towards my preferred kind of future. ## Matthew Lawrence ### Red Dead Redemption This month, I dusted off a classic for the Xbox 360 to give it a try using the Xbox Series X backwards compatibility mode. While it has received a handful of facelifts via recent ports to newer consoles, the version I have been playing is the original. I first played RDR around fifteen years ago, shortly after it was first released. I enjoyed it immensely, but hadn’t touched it since, especially as Red Dead Redemption 2 satisfied any cravings I had for a game about cowboys and outlaws. It has been a blast to replay, but it definitely feels different than it did the first time around. The most obvious difference is that the character animations are certainly showing their age. That might sound obvious since the game is over a decade and a half old, but this isn't something I noticed about its contemporaries, like 2008’s Grand Theft Auto IV. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-72.png) Red Dead Redemption. Source: IGDB. One other aspect that feels different, which can’t be blamed on technological advancements making it feel dated, is the story. On the whole, it is still extremely enjoyable, but it does get rough from a narrative aspect once John Marston sets foot in Mexico. This portion of the game, constituting roughly one-third of the story, feels completely disjointed. The player arrives in Mexico during a fictionalized version of the Mexican Revolution and begins to do missions for both the Mexican government and the revolutionaries simultaneously. Although playing factions off one another isn’t anything new in a Rockstar game, there isn’t necessarily much depth to this from a narrative perspective, and it instead feels shallow and out of place. These caveats aside, I have still really enjoyed replaying the game. Having played RDR2 since the last time I enjoyed RDR provides some great detail into John Marston's backstory, which was otherwise only hinted at when the game was originally released. I think viewing RDR2 as a prequel makes replaying RDR1 more satisfying, as it feels like a complete story rather than the continuation of something unseen. ### **Microsoft Flight Simulator 2024** On a completely different note, this month I’ve also been playing Microsoft Flight Simulator 2024 on the Xbox Series X. I recently began a new job located near an airport, allowing me to watch low-flying planes come in and out of the city. It has reignited an interest in aviation I’ve had since playing Microsoft Flight Simulator X (2006) as a kid. My favorite part of MFS24 so far is the career mode. While mods are available for previous MFS games offering the ability to be a career pilot, I was excited to see this as a built in feature. After playing around with it a little, I have found it to be enjoyable, but not without its problems. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-73.png) Microsoft Flight Simulator 2024\. Source: Microsoft. One of the most immediate things players will encounter in career mode is Microsoft’s reliance on AI voice acting for passengers and instructors. This isn’t necessarily new to the Flight Sim series, as air traffic controllers (ATCs) in previous titles have also been voiced by text-to-speech AI, but using AI voices outside of the context of ATCs feels jarring. It’s one thing to have AI provide no-nonsense take-off and landing instructions, but it’s a completely different thing to have them try to express wonder and awe. The AI voices passengers and instructors use in MFS24 lack any inflection you would expect from an actual person and instead sound more akin to Microsoft Sam. As such, it actually feels really immersion-breaking in a game which is otherwise extremely immersive. It also doesn’t help that the lines the AI passengers speak are really poorly written, full of grammatical errors, and not how people talk. One other quibble I have is that the rating the player receives after each career mission seems largely arbitrary, which is unfortunate because it makes it hard to tell if what you are doing is right or wrong. The place where I have noticed this the most is when it comes to landing. I have made some extremely rough landings and the game will still give me a positive rating. Alternatively, I’ve made some very smooth landings and received poor ratings as a result. If these ratings were just for show, it would be fine, but you unlock different missions depending on how well you can land your plane, so the inconsistency is frustrating. These gripes aside, the game is extremely enjoyable and looks stunning. The integration of constantly updating satellite imagery, a carryover from MFS20, makes the game incredibly immersive. The addition of changing seasons is also very immersive and makes the simulation feel alive. Overall, I look forward to continuing to progress in my virtual pilot career and exploring the variety of different missions available. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-68.png) Cairn. Source: Steam. ## Bryan Finck Since I last participated in an issue of Now Playing, I've enjoyed a lot more gaming than I can usually cram into a few months. I started by reviewing two games for the fine folks over at [Seasoned Gaming](https://seasonedgaming.com/). The first was [Cairn, a fantastic mountain-climbing survival game](https://seasonedgaming.com/2026/02/17/review-cairn-survive-the-climb/) that provided some of the tensest experiences I've ever had with a game. After that, I took on [Starship Troopers: Ultimate Bug War!, a really fun boomer shooter](https://seasonedgaming.com/2026/03/17/review-starship-troopers-ultimate-bug-war-im-doing-my-part/) based on the beloved '90s sci-fi movie. For my personal gaming, I finally bought Resident Evil 4 Remake (after playing RE2 and RE3 Remakes), and I'm happy to say it continues Capcom's hot streak on the comeback from near-irrelevance. The original RE4 was one of my favorite games ever, and this version looks even more amazing while thankfully eliminating the nefarious tank controls. Every gamer should experience these revamped classics; they're just that good. RE4 left me in a mood for more horror, so I picked up another remake of a classic, Dead Space. I somehow missed the series completely during its PS3 origins, but I'd heard enough great things to want to give it a go, and I'm so glad I did. The action is intense, the blood-soaked *USG Ishimura* creates an incredible atmosphere, and there are just enough jump scares to keep you on your toes. This is another highly recommended experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-67.png) Dead Space Remake. Source: Press Kit. Since I wrapped up Dead Space, I've been working through a lot of backlog stuff, including the shmup Sine Mora, CRPG classic Divinity: Original Sin 2, Borderlands 3, and I am Setsuna. I've settled into Borderlands 3 when I'm on PC, and it's more of the enjoyable Borderlands formula. If the classic FPS from Gearbox does it for you, this may be the peak of that franchise's prowess. If you've not been a fan of the series in the past, however, you won't find anything different here to change your mind. When I can get over to my PlayStation, I've decided to see I am Setsuna through to the end. I'm not too far in, but I find it to be a really chill RPG with a good cast of characters. It's a traditional experience, with Active Time Battle and menu-based attacks, but it's a comfortable experience that makes me regret the closure/absorption of developer Tokyo RPG Factory by Square Enix. It's been delightful to enjoy such a wide range of games recently; I can only hope to keep up the pace the rest of the year. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Hidden Gems of Game Design Volume 46 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-volume-46/ Last updated: 2026-04-01T19:31:26.000Z **Plenty of amazing games go unnoticed and not widely played, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## Josh Bycer ### Freeride (2025) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-55.png) Source: Steam Games where the player can make choices can often feel like a marketing point, and it's rare for a game to go all in with the concept. Freeride manages to make this work by focusing more on tying it to the story as opposed to the gameplay. You play as a boy who is whisked away on a magic train that transports people through the afterlife, but when the conductor mysteriously disappears, you stumble upon what could very well be the end of the universe as we know it. The game is split into different chapters, each with choices both large and small. The small ones are there to define your personality, which the game will do after each chapter and at the end of the game. The large ones are what steer Freeride into different directions, because the subsequent chapter will be affected by the choices you made prior. By seeing a plot point all the way to its conclusion, you'll start to unlock the items needed to see Freeride's true ending. The different stories are all well done; characters who were friendly to you in one story chain will actively hate you in another. As for the gameplay, you are free to explore areas and pick up and fling just about anything around. This is used for combat and puzzle-solving, which, unlike the story, has only one way through. For players looking for a challenge, there are optional, hidden boss fights that hide some of the deeper meanings of the story in each chapter. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-56.png) Source: Steam There is a great story going on with Freeride, dealing with topics like redemption, what power and choice mean, and the many regrets someone can have about their life in the end. While the game explores some heavy topics, it never does so from a place of nihilism. Where the game falters is the one area most important for a game that wants you to play it multiple times - making it feel good to replay. There are no internal notes or ways of tracking story progress outside of the different endgame symbols. Each time you play, you are required to go through all the same events and situations until you get to the branch point, and I don't find the gameplay strong enough to justify repeating the game multiple times. I would have liked the option to just skip to the specific paths that I haven't done. A single play of Freeride is about 4-5 hours, faster once you start doing replays, but it can feel like a lot of work for minimal payoff. If you're in the mood for a fantastic story and don't mind a bit of repetition, then this is one ride worth taking. ## **Ben Rowan** ### Blazing Beaks (2017) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-fa1c90f9-8ef1-4a5c-a78b-1da20d304c38.jpeg) Source: **Screenshot by author.** The best runs in [Blazing Beaks](https://store.steampowered.com/app/585710/Blazing%5FBeaks/) move with the satisfying rhythm of a well-tuned roguelike. Your movement is clean, rooms are clearing out at a decent clip, and the loot situation is looking good. Then an enemy drops an artifact, and before you've even fully processed what it does, you're already picking it up. Not because it's safe, or smart, but because of what you might be able to trade it for later, once you've suffered through whatever it's about to do to you. That little tug-of-war is pretty much the core Blazing Beaks gameplay loop in a nutshell. Developed by [Applava](https://www.youtube.com/Applava) and released back in May 2017, it's a top-down twin-stick roguelite that keeps its priorities refreshingly uncluttered with sharp movement, compact single-screen arenas, and runs that survive almost entirely on the choices you make while something goopy is actively trying to kill you. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-ddb03609-1081-40be-9cc6-810bd62e2517.jpeg) Source: **Screenshot by author.** If you've spent time with the legendary 2015 roguelike [Nuclear Throne](https://store.steampowered.com/app/242680/Nuclear%5FThrone/), this rhythm is going to feel immediately familiar. Encounters flare up fast, the screen gets busy in a hurry, and the game is completely unapologetic about punishing lazy positioning. There's not much in the way of meta-progression here to soften the blow either, which means improvement comes the old-fashioned way: getting good. You learn how enemies move, sharpen your dodges, refine your aim, and go in a little bit cleaner every new run. Part of what stops that loop from going stale is the roster. There's an obvious goofy charm to the whole "anything with a beak gets a gun" premise, but it's not just a gimmick. There are ten playable characters to work through after unlocking them all, including a duck, a chicken, and my favourite, a very cute platypus. These let you bounce between genuinely different play-styles whenever a run ends in disaster, which keeps things feeling fresh longer than I expected. The game's best idea by far is the artifact system I mentioned earlier. Enemies have a chance to drop cursed artifacts that actively make your run worse while you're carrying them, the kind of modifiers that take a comfortable flow and turn it into a stress test. Maybe your fire rate tanks. Maybe you start bleeding coins every time you take a hit. Maybe every enemy you kill turns into a steaming puddle of acid. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-e650bb84-69e4-488e-b6bb-a29981ef2926.jpeg) Source: **Screenshot by author.** The key thing is that these curses aren't just punishment for punishment's sake. When you finally reach the shop, you can trade them for stronger rewards, which means every single artifact pickup becomes a weighty decision. Do you keep things stable and manageable, or do you accept a tougher few rooms in exchange for showing up to the next boss with something more effective than the pea-shooter default gun? On Switch specifically, it’s also an easy game to play with friends. Local co-op makes the chaotic campaign feel a bit more survivable, and Tournament mode lets you redirect that chaos to your shoot friends when you’re in the mood for something a little more bloodthirsty. It’s not the greatest local multiplayer indie on Switch (that honour still belongs to [TowerFall](https://store.steampowered.com/app/251470/TowerFall%5FAscension/)), but it’s a damn good time. Blazing Beaks isn't obscure in a ‘nobody on Earth has played this’ kinda way, but it's absolutely the kind of hidden gem that slips past people until it's already sitting on their console quietly waiting to get its hooks in. And once it does, it's surprisingly hard to stop thinking about the next run. ## **Hiero de Lima** ### **Caravan SandWitch (2024)** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-57.png) Source: Steam Colonialism is one hell of a drug. Even from my upper-middle-class ivory tower, as a Brazilian, the child of a mixed Black/Indigenous man who grew up in poverty and a woman of Italian-Spanish heritage whose ancestors were incentivised to come here so they'd whiten the population (exact way the government put it), I am inherently chained to the whole affair. When I played Caravan SandWitch with one of my first-ever press review copies, the skies of São Paulo, my hometown, were marred by gray coming from a human-wrought attack on the Amazon — and it felt hauntingly fitting. This lovely little open-world story-based puzzler takes place in Cigalo, an alien planet colonised by humans and modeled on the Provence region of France. As Sauge, a young girl coming home from a long season in the big city, you set out to find your sister Garance, long thought to be dead, but the apparent sender of a distress signal just recently. You also take the opportunity to reckon with the state of the place you'd left behind as a child. No one resents you for leaving, is the thing. Rather, they're all curious about what life under the warm embrace of the Conglomerate was like. Was the ravaging of Cigalo worth the cushy life you get to live in the metropolis compared to the colony? Blatantly inspired by France's occupation of Haiti in the 1800s, Caravan SandWitch asks hard-hitting questions about the human cost of the practice, all while keeping the atmosphere light enough that it doesn't become soapboxy or vapid. As a video game, it's also a sweet ATV-led journey across a small open world that values curiosity and presents rewarding little puzzle boxes all around. Clocking in at around 9 to 10 hours, it's a great game to chip at for a while, available on PC, PlayStation 5, and Nintendo Switch. ## Priya Sridhar ### Clean Up Earth ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-71b97019-97b6-4e8c-9603-4efd11ddd296.png) source: Steam Though the full game won’t release until next month, I can 100% recommend Clean Up Earth based on the demo. The premise is simple: you have to clean up different areas, removing plentiful amounts of garbage and pollution. You can also repair ecosystems and revive desolate spaces. Co-op mode provides options for team players, and large enough cleanups in that mode may also trigger micro-donations to real-life environmental organizations and projects. It felt liberating to press a button and clean up the waste that somehow ends up in our oceans and beaches. (We need to have a talk with whoever does this dumping on a regular basis). I’ve done clean-ups as a kid and a teen in real life and am looking at some events in my city. Getting trash off the beach and invasive plants out of the Everglades requires gloves, elbow grease, and occasionally sharp tools. But it also requires a team; one person will burn out trying to clear an area without any backup. Cleaning up solo in a game feels cathartic, especially when you can see the visible fruits of your labor. And honestly, it makes me excited for the full game, especially knowing a story is underneath all the trash. ## Anonymous ### Battle for Troy (2004) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-58.png) source: Internet Archive If reading an Iliad translation before Nolan’s Odyssey adaptation sounds like a chore, a video game might be an easier entry point. Battle for Troy doesn’t trace the Greek hero’s journey, but its real-time strategy battles still tackle an era largely unexplored by games. Gold, the game’s sole resource, is acquired by defeating soldiers, raiding camps, and holding objectives. Spending it on buildings and troops is well-trod RTS territory. You’ll find the typical array of soldiers, archers, and healers assisting you in a numbers game against your opponents, be it the invading Greeks or defending Trojans. Heroes, cavalry and catapults join the menu in the campaign’s latter portions. Its uninspired levels boil down to waiting to accumulate a large army before sweeping the map clean. Stat bonuses from relics and god powers bring some flavor to largely vanilla battles. However, the inability to save mid-mission means you’ll have to beat them in a sitting. On the bright side, the visuals are fairly detailed, from rocky and grassy environments across towns and ruins to varied unit models and textures, especially at night. Iffy pathfinding and units blocking each other mid-fight made combat less intuitive than WarCraft. Bringing troops over to subsequent missions helped build a sense of attachment over the course of Battle for Troy’s campaigns. Middling gameplay loop aside, it’s worth playing if you dislike trial-and-error and combat optimization. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### Shadow Labyrinth Won't Be Consumed URL: https://www.superjumpmagazine.com/shadow-labyrinth-wont-be-consumed/ Last updated: 2026-03-31T00:17:34.000Z **I don’t think there’s any new kind of recontextualization going on, to be honest.** The thing is, every piece of art is recontextualized through every person engaging with it. When you actively influence its outcome, as is usually the case with those things we call video games, that context is even less rigid. Of course, watching a movie when you have a cold will change your perception of it, but the movie will remain the same. Playing a game when you have a cold is a different beast entirely. It will resist your advances, and as your spatial awareness suffers and the brain fog makes it harder to gauge timing, you may not even be able to advance. It’s also arguable how much intellectual prowess and literacy are needed to be able to “advance” on movies and books, but they are, mostly, uncaring. The pages will be there, the scenes will advance. Your presence is irrelevant. For games, though, solipsism is kind of the key. There are even games that only move when you do! How odd is that? Why is your presence so important? It is because your context as a player matters. Your mood, your skill set, your time, your culture. Every game is recontextualized by the player inhabiting it. In that sense, it was never stable enough to possess a single context to begin with. Therefore, rebranding is not recontextualization: playing is. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-54.png) Source: Author. When Shadow Labyrinth was announced, as a kind of recontextualization of Pac-Man, and people spoke, and spoke deeply, and had less-than-graceful opinions about the concept, I was kind of confused. Is that really far from the original? I always thought the original Pac-Man’s ethos was something so abstract that it was very possible to apply any aesthetics to it successfully. Pac-Man 2 was already a corporate recontextualization; Hell, even Pixels was one. Were people just thinking that Pac-Man has always been Pac-Man World-adjacent? Why was Shadow Labyrinth treated differently? Is it because it takes itself seriously? What I’m getting at is: [what do you mean you have never thought about geopolitical tensions when playing Pac-Man?](https://pacpoem.com/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-40.png) An example of a poem created on pacpoem.com. This project, by poet Stephanie Fernandes and coder/knitter (very similar crafts, really) Mayara Stelmaschuk Melo, plays with the idea of Pac-Man navigating a maze while thinking (speaking? consuming? creating through consumption?) a poem that (can be) about eurocentrism, and colonialism, and love, and excuses to invade other countries, and excuses to never believe in anything. There are no ghosts - of course, the idea of geopolitics is haunting enough - and there are no walls - of course, there are enough walls in geopolitics - there are only words, and Pac-Man, and your will to eat all of the excerpts and derive meaning from them. Stephanie told me the idea evolved from another project she had, one about using train tracks as the synthetic construction of poetry. The need was to use a pre-existing technology to sublimate the poem - something that can be observed from things as simple as writing with a pencil (a piece of technology as well) - because humans also created that existing technology, "An obvious concept that is being distorted by extractivist A.I." she noted. Mayara, then, told her that she thinks the dynamics of Pac-Man were similar to immigration, and so things evolved through an Excel sheet, and then, finally, to Touch Designer; more intertwining tools, shaping the piece. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-52.png) Shadow Labyrinth. Source: Author Shadow Labyrinth is a game about people who had their whole planet brushed off as collateral in geopolitical warfare, of the "galaxian" kind, not the "continental" kind. It explores a lot of lore regarding [Bandai Namco's decade-spanning UGSF history](https://ugsf-series.com/en/), and it does that by using one of their most recognizable brands - Pac-Man. The idea of Pac-Man being part of a universal "canon" is fun enough, but apart from references to the history of Namco (and, by extension, videogames themselves) as idols to be rewritten, it is very much a free-form narrative tackle that aims very high on its aspirations. Its opaqueness (somewhat alleviated by post-release patches that tone down its difficulty a bit) was much to its commercial detriment (a good sign for art, a bad sign for art that wants to keep existing), but its aesthetics were its main detractor. Not even in its "graphics" or "visual" side, although on that too, but mainly its pure conceptualization. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-59-1.png) Ana Linnemann, Dead-Ending-Painting 2, 1958\. Photo source: Author. The "edgy reboot" is scrutinized as the usual procedure. I think that the problem runs a little deeper, here, however - what a piece of art *means* is not usually what it *is.* Pac-Man may as well have meaning about immigration, of course, but it isn't *necessarily* about immigration. What Sontag argues in Against Interpretation holds true: > *Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, comformable.* > **Against Interpretation - Susan Sontag (1964)** The great beauty of art lies in the clashing of possibilities and in the way our baggage interacts with it. The True Meaning is something that will never be achieved (even with the author's intentions clearly stated), so interpretation can never be factual. Decoding is something akin to playing as well - even outside of videogames - and play is a tool of learning, something that will be reinterpreted by the subject's own synapses. It is, therefore, very contextual! And so, every different interpretation is a recontextualization. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-53.png) Rules for the PAC-MAN Poetry project, by [Christian Bok](https://x.com/christianbok/status/684224785501425664/photo/1) Where I believe the issue with the (un)popular reception of Shadow Labyrinth lies is in *implication.* The possibility that something suggests a different grandeur than its previous iterations is seen as an interpretation that became Fact, a victory of presumptuousness, and, therefore, an iconoclastization of the simplicity that people fell in love with. It takes - or creates - one of the many interpretations of the original Pac-Man and builds a different set of ideas on top of them. Games usually don't afford that kind of distance, but Shadow Labyrinth is very honest about it. Pac-Man - PUCK, in this version - needs you. They need your body to travel, and they follow you, and it assigns meaning through you. It's not by mere chance that it is a kind of Isekai story - someone was playing Pac-Man, and now there is only their portable gaming device lying on the floor. At the same time, a body awakens within the fiction, and a yellow ball gives them enough power to swing a sword. Following Sontag's postulation - the fear that interpretation *replaces* art instead of *showing* it - it is understandable that there would be some trepidation around the idea of Pac-Man "becoming" its Shadow Labyrinth version, as if every previous version, every recreation, every pizza with 7 slices left, would be forever tainted by those same big aspirations, in retrospect. The fact that it is an Official Product**®** makes it seem as if there's no other way around it, as if this particular interpretation had been sanctioned as a correction, a fear that the simplicity of Pac-Man was now allowed to be read as naive or lacking meaning. Therefore, the rejection is, actually, preservation: keeping the object of Pac-Man intact. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-51.png) Willys de Castro - Painting 167\. Circa 1956\. Photo source: Author The object was never intact. To keep something intact alludes to a physicality that is not its full existence axis. It, contrary to Sontag's argument (although feeling as if it's actually in favor of it), is what replaces art. It funnels meaning into what is supposed to be a true reading of the object - maintaining its integrity - instead of allowing it to flourish through other people's eyes. The approximation of an object's true essence is not necessarily the simpler one, nor are the more complex ones. The object's essence is elusive, which leaves the player in an impossible position: the engagement with the original Pac-Man, whatever Pac-Man it was, was already intervention. It already creates the instability that Shadow Labyrinth brings to the forefront. The fantasy of untouched play is false. Everyone already recontextualized Pac-Man whenever they played it. The fear of tainting reveals itself as a desire to believe that one has never already done so. As time passes and memory crystallizes, we start forgetting that we also moved Pac-Man through our own strategies before, as we keep believing that we were powerless in the face of a piece. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/1000026531.jpg) A tree showing how different languages influence each other at the Portuguese Language Museum. Photo source: Author. Using play as interpretation, it becomes clear that a fear of imagination plagues nostalgia. Shadow Labyrinth is also not immune to interpretation. It contains multitudes, much like the original, and, of course, it can direct players through specific means of reading. As previously mentioned, there are hints of colonialism, hard sci-fi, it has tons of fun with its references and names, it talks about family, it critiques and embraces technology, etc. You will definitely come out of it with different texts that you will acquire through play. And at the end of the argument, using play as the means of teaching and allowing interpretation, we get an embarrassingly simple question: how does Shadow Labyrinth play? You navigate a maze, back and forth, collecting power-ups that allow you to defeat enemies. Everything has always been there. ### SEGA at 65 URL: https://www.superjumpmagazine.com/sega-at-65/ Last updated: 2026-03-28T22:14:52.000Z **There's never been a more drastically evolved and persistent mainstay in the video game industry than SEGA.** The company is now 65 years young and has been a huge part of video game history (and pop culture history in general). So many childhoods were defined by SEGA, whether it was the instant appeal of their still-beloved arcade hits like Daytona USA or being part of a household that had a *Sega* lying around with a copy of Streets of Rage or Sonic the Hedgehog 2. As it did for so many other gamers, the Mega Drive console made SEGA a huge part of my life and remains a source of immense nostalgia. Their arcade cabinets during the '90s were a fixture, because no matter where you were in the world, you could always count on seeing a Daytona USA cabinet somewhere. As a console manufacturer, the company left a mark on the industry. In most cases, they were perhaps too far ahead of their time. Now that they have transitioned to a third-party software developer, it just means a larger library of more diverse games for more platforms. As cool as it was to have a dedicated system, I think gamers are now much better off having SEGA's games on the platform of their choice. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Sega_Office2.jpg) SEGA HQ (Building 1). Source: Wikimedia Commons. --- > To me and most fans, it's all about the hardware and games, and that's how I'm going to take this trip down memory lane. --- The commemoration of the 65th anniversary didn't result in a game-changing announcement. There was no Dreamcast 2 (seriously, give up on the ghost...I mean *dream*), nor was there a Saturn Mini or Dreamcast Mini (a matter of time perhaps), and there certainly was no SEGA Series X system (good effort to whoever spread that rumour fire). Not that SEGA needed to do any of those things; the company and brand are thriving, with a movie franchise and no shortage of well-known IP. Still, maybe it's time SEGA stopped taking crazy risks and did things with a sound business sense, which certainly seems to be how they've set their game plan for the new decade. A cinematic universe would have been a pretty crazy idea ten or twenty years ago, but the successful silver screen debut of Sonic the Hedgehog has brought the Blue Blur back in style like it was 1992 all over again. Despite the skepticism and poor track record of video game films, Sonic, alongside Jim Carrey of all people, broke a stereotype and set the scene for many other films to come. Whether it was the arcade, their own consoles, or any platform where you can play games, SEGA has made a lasting footprint nearly everywhere you look. The actual formation of the company formerly known as Service Games is an interesting one: for one thing, the origins are not entirely Japanese! Without getting too much into the historical account, I'm here to celebrate 65 years as a lived experience, and I have been around for 37 of those. To me and most fans, it's all about the hardware and games, and that's how I'm going to take this trip down memory lane. Normally, it would make sense to start with, well, Genesis...but unlike the good book, in the beginning, there was not a Genesis or Mega Drive; instead, there was the Master System. ### Table of contents ###### - [Master System: Before Genesis](#MS) - [Mega Drive: The Genesis of 16-bit](#MD) - [Saturn: Dual Processing Ambitions](#Saturn) - [Dreamcast: The Dream Lives On](#DC) - [SEGA After Dreamcast](#SAD) - [SEGA's Most Influential IP](#Influential) - [SEGA Goes Hollywood](#SGH) ## Master System: Before Genesis The Master System was the global re-release of the earlier Mark systems that were available only in Japan. I don't have much of a history with or nostalgia for the platform, but it was a huge deal in some territories, including Brazil and, surprisingly, Australia too. It went head-to-head with the Nintendo Entertainment System, and much of its library of games consisted of watered-down ports of arcade hits. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Sega-Master-System-Console-FR.jpg) SEGA Master System (first generation). Source: Wikimedia Commons. ### Wonder Boy III: The Dragon's Trap ###### *THE DEFINING PLATFORMER* Wonder Boy is one of those games that follows you around and somehow ends up on your TV screen, even when you don't actively seek it out. My first encounter with Wonder Boy was the arcade classic where a chubby island kid wearing leaves rushed through some tightly designed platforming action. Monster Land would be an action RPG of sorts, and eventually, both series would merge to become Wonder Boy in Monster World. It's a fascinating but strange video game franchise for sure, and its urban myth origin story is part of the appeal. I played the series on and off over the years, dabbling in most of the main titles: the NES port of the arcade Wonder Boy, the Master System port of Wonder Boy in Monster Land, Wonder Boy in Monster World on the Mega Drive, and even the highly ambitious Monster World IV, which pushed SEGA's 16-bit console to its absolute limits. I appreciated the series and its impact on video games, but I don't think I ever really loved it as much as most people did because, unlike most diehard fans, I never actually got around to playing Wonder Boy III: The Dragon's Trap (1989). Like many, I first played Dragon's Trap thanks to the excellent and faithful Lizardcube remake. Wonder Boy: The Dragon's Trap is a perfectly preserved remaster of a classic game, with few changes aside from some streamlined menus and controls. The new visuals are literally painted over the original code, and the new music sounds great; both can be changed to their original versions with just a flick of a button. The base game was left untouched, not because of the old "preserve the original vision" excuse that most developers use when remastering archaic classics, but simply because the game didn't need any improvement Wonder Boy III: The Dragon's Trap is a masterclass in level and world design, where all the sections and set pieces come together seamlessly in a logical fashion. It's not often in gaming that the player simply knows where they need to be and what they need to do next, without needing hints and cues. This sort of scaffolding in game design was apparent in the seminal console hits of the 80s, back when games simply clicked with the player at a subconscious level and offered a meaningful challenge. The Dragon's Trap has an organic and logical flow in its pacing, which didn't require in-game tutorials or looking things up on the internet. Not that the game is easy; as a platformer RPG, it puts you through some challenging levels and bosses, and you also need to put in some hard yards to earn powerful equipment. The various monster forms are simple and logical, and it becomes clear which parts of the game world are accessible as you unlock new monster forms. This style of game design is all but absent in modern gaming, where developers take the easy route by throwing in excessive hints or hoping some YouTuber records a walkthrough. ## Mega Drive: The Genesis of 16-bit Like most gamers in my age group, the SEGA Mega Drive (known as the Genesis in North America) was where it all started for me. More than just a newly discovered hobby, the impact this seminal SEGA console had on me has lasted to this very day, and undoubtedly will continue for the rest of my life. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Sega-Mega-Drive-JP-Mk1-Console-Set.jpg) SEGA Mega Drive (first generation. Source: Wikimedia Commons. Despite having been introduced to Nintendo systems beforehand (the NES, SNES, and even the Game Boy), it wasn't until I met the sleek black Mega Drive that I fell in love with video games. More than 30 years later, that passion is stronger than ever. The Mega Drive and its catalogue remain on my active play rotation, largely due to the plethora of collections and compilations released over the years. I try to own each and every one of them, as it certainly is handy having Mega Drive games on everything from PSP to Xbox One. Not to mention, those mini consoles are excellent too, and it's worth hunting them down before they become too rare. ### Ghouls 'n Ghosts ###### *A STEP ABOVE THE ARCADE* When it came to home ports of Capcom arcade titles, Nintendo's SNES almost always got the superior conversion (best example: Street Fighter II), and in some cases, the Mega Drive would simply be deemed unworthy of a port at all (like Final Fight, for which SEGA ultimately had a better replacement with Streets of Rage). But in one exceptional case, Mega Drive actually got the superior version: Ghouls 'n Ghosts. Ghouls 'n Ghosts (known as Ghosts 'n Goblins in arcades) was perhaps Capcom's most notoriously difficult arcade action game. It received a pretty accurate port on SNES, but when Mega Drive got the honours, the entire game was retooled and redesigned from a gameplay and level design standpoint. The end product was a game vastly different from the arcade source, and better off for it. Ghouls 'n Ghosts on the Mega Drive was still a tough game, but the difficulty pacing and scaffolding had a far more organic flow and design, where mastering each of the ingenious levels became a rewarding and satisfying feat for all players. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Mega-Drive-Streets-of-Rage-2-1024x784-1.png) Streets of Rage. Source: How to Retro. --- > Mega Drive always had the edge over SNES, with games exhibiting more style and personality, and Streets of Rage had a style and presentation which simply made Final Fight look uncool by comparison. --- ### Streets of Rage ###### *BEAT 'EM UP WITH A BEAT* Beat 'em ups were the hottest genre after fighting games during the '90s, because there was nothing more entertaining than teaming up with a friend to beat up a bunch of thugs and freaks on the streets. Capcom's Final Fight was the smash hit in this genre, surpassing even Double Dragon, and while most consoles at the time received a Final Fight conversion, the Mega Drive was simply left hanging. Not to be snubbed, SEGA did one better by creating their own beat 'em up, which would do things Final Fight and Nintendidn't. That game was Streets of Rage. Mega Drive always had the edge over SNES, with games exhibiting more style and personality, and Streets of Rage had a style and presentation which simply made Final Fight look uncool by comparison. The infectious '90s cop movie soundtrack by now-legendary composer, Yuzo Koshiro, was the edge Streets of Rage needed to become one of the biggest SEGA games and beat 'em ups of its time. ### Dynamite Headdy ###### *THEATRICAL PRODUCTION VALUES* Back in the '90s, Treasure was perhaps the most adventurous and experimental game developer, and any console which scored one of their titles as an exclusive was better off. Treasure had the word-of-mouth cult status, which only the most informed gamers had the privilege of appreciating. Their games were filled with zany art direction and vibrant personality, creating some of the most innovative shooters and action platformers. On the Mega Drive, it was Gunstar Heroes which became their most cited and celebrated work, but in my mind, their finest hour was the action platformer Dynamite Headdy. The visual presentation and graphics were easily the best seen on the console; even today, they hold up extremely well, on par with, if not better than, most modern 2D games. Visual ecstasy aside, the gameplay variety in Dynamite Headdy was simply unfathomable at the time, chock full of fun mini-games and an endless selection of power-ups. The game design was ambitious too, presenting a semi-open world filled with inventively devious boss battles. ### Earthworm Jim ###### *ANYTHING BUT TANGERINES* During the '90s, platformers were the leading genre, and it wasn't enough to have a unique protagonist mascot; they needed to have '*tude*, and there was no such thing as having too much. When it came to sheer, unfiltered, limitless 'tude, no mascot could come close to Earthworm Jim. A worm in a super-suit armed with all sorts of guns and explosives was easily the coolest, most unfathomable depiction of 'tude during the '90s. The character design was so successful that it launched merchandise and a TV show to boot. As a game, Earthworm Jim was among the strongest action games of that era, with superb production values featuring sprites which animated like a cartoon, and a challenging game design which tested players with both platforming and gunplay. The sense of humour was definitely in a league of its own, mostly steering towards Ren and Stimpy-style toilet humour, but also managing to sneak in plenty of shrewdly masked innuendo. No video game personifies '90s pop culture quite like Earthworm Jim. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/sonic-and-knuckles-megadrive-055-1.png) Sonic & Knuckles. Source: The King of Grabs. --- > Sonic & Knuckles achieved something which remains revolutionary to this day; apart from being a strong adventure in its own right, it featured a lock-on cartridge technology which would be retroactively compatible with prior Sonic games. --- ### Sonic & Knuckles ###### *THE ULTIMATE EXPANSION CARTRIDGE* The sole reason why I was enamored with the Mega Drive was Sonic the Hedgehog, and my lifelong obsession with the video game medium is owed solely to The Blue Blur. If I was being completely honest, my Mega Drive list would just be all the Sonic games, as 90% of my childhood was spent religiously playing and replaying any Sonic game I could get. If one game encompasses the entire Mega Drive era of the franchise, it would have to be Sonic & Knuckles. The release of Sonic & Knuckles was perhaps the very first video game launch hype I followed with intense anticipation, and playing it the first time is a feeling I can still relive every time I replay it. In a world where downloadable content, season passes, and expansion packs are the norm via countless online updates, Sonic & Knuckles achieved something which remains revolutionary to this day; apart from being a strong adventure in its own right, it featured a lock-on cartridge technology which would be retroactively compatible with prior Sonic games. Sonic & Knuckles didn't require a paid subscription or internet access to pull off this feat, as right out of the box, it added brand-new content in the form of levels, characters, and bonus stages when attached to its prequel cartridges. It had the foresight and ability to retroactively upgrade its own predecessors. To this day, the idea and its execution still amaze, making it the greatest value proposition in the 16-bit era. ## Saturn: Dual Processing Ambitions To this day, the Saturn remains the final haven for hardcore gamers and perhaps the very last time console gaming was all about gameplay first and foremost. It remains SEGA's most elusive library of games, because while the Mega Drive and Dreamcast have consistently and proactively been preserved for future generations, Saturn remains a relic lost in time, and only those willing to dig through the trenches will discover its unsung brilliance. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Sega-Saturn-Console-Set-Mk2.jpg) SEGA Saturn (MK2). Source: Wikimedia Commons. Saturn's complicated hardware architecture is still a marvel of gaming technology. I once had the chance to take apart my aging unit, and I was amazed at just how intricately everything was assembled. Saturn was a beast of a unit made up of multiple dedicated processors (separate for 2D and 3D graphics), all held together in a beautifully complicated circuit board. The original PlayStation was rather economically designed, which made it an easy target for hackers and piracy. As for the Saturn, it wasn't until 2016 that the hardware and its security were finally cracked. Modern gaming consoles are more or less assembled with the same outsourced parts, but back in the day, consoles really stood out for their hardware architecture, and none were as uniquely designed as the Saturn. This unique architecture design translated into the games as well, making use of hexagons instead of polygons for its 3D output, and the 2D graphics were cutting-edge for their time. Even now, Saturn's 2D catalog looks mighty impressive, and it's only in hindsight that we can appreciate just how much more advanced it was than PlayStation and Nintendo 64. ### Virtua Fighter 2 ###### *HIGH RESOLUTION 60 FPS* Virtua Fighter 2 did for 3D fighting games what Street Fighter II did for 2D, serving as the foundational blueprint for that era, while it remains eternally playable itself. Virtua Fighter 2 is simple, clean, and hard-hitting for sure, with a level of mechanical depth and polish that genre rivals could only achieve a decade later. The Saturn port was a technical masterpiece showcasing what the console could do, reaching a blistering 60 FPS during a time when such a feat was practically unheard of on home consoles. Virtua Fighter 2 survives as an Xbox Live port, which remains active thanks to the backwards compatibility of Xbox One and online servers that are still intact for some PvP. If you pick up one of the recent Like a Dragon games, then a fully playable Virtua Fighter 2 arcade cabinet can be found within the bustling game world. For the Saturn, this was the very best fighting game the system could have hoped for, and alongside SEGA Rally Championship, it was a critically acclaimed bestseller worldwide. Tekken may have had fancy cinematic scenes and a nonsensical story, but when it came down to core gameplay and fighting presentation, AM2's revolutionary classic simply had no peer. Its fluid gameplay would even go on to lay the foundation for the Dead or Alive series. ### Panzer Dragoon ###### *THE POWER OF ART IN WORLD BUILDING* If I could pick one defining IP which uniquely encompassed everything the Saturn was about, then it would have to be Panzer Dragoon. This franchise launched with the console and would see two other games to make up an ambitious and artistically charged trilogy of shooting action games. The debut entry was a perfect Saturn launch title, followed by Panzer Dragoon II Zwei, which pushed the console's untapped 3D capabilities to the edge. Finally, the ever-elusive and legendary Panzer Dragoon Saga transformed the rail-shooter into a sprawling RPG epic. This trilogy not only defined SEGA's 32-bit machine, but brought out its very best from a gameplay, technical, and artistic standpoint. This Saturn trilogy would be succeeded by Panzer Dragoon Orta on Xbox, and after a major hiatus and a spiritual spin-off in Crimson Dragon on Xbox One, the series came back in the form of a remake of the original Panzer Dragoon for Nintendo Switch. The original Panzer Dragoon, even in the presence of bigger and more ambitious sequels, persists as a master class in sublime on-rails shooter game design. Much like Space Harrier and Star Fox, the seminal Panzer Dragoon is a game that holds up no matter how many years go by, evident in the remake, which leaves the soundly designed adventure untouched. What it also did, unlike most rail shooters or games of the time, was achieve a level of world-building most RPG epics still struggle to achieve. This game was backed by an epic mythological lore, complete with its own language, and for a 1995 rail shooter, it was an incredible feat to make players feel like they were situated in an epic and fully realised fantasy setting. Over time, the lore expanded so quickly that by the third game, it had enough rich material to fuel an RPG epic. The combination of unique art and music, which created a distinguished surrealist presentation, has allowed the game and the series in general to remain in the collective consciousness of gaming for decades. Creating a surrealist game world larger than itself was something Panzer Dragoon achieved during a time when video games were still not taken seriously as a narrative medium. As an on-rails shooter, it was sublimely designed, and as a technical showcase, it pushed the hardware to its outer limits, whether it was Saturn or even later on Xbox. Panzer Dragoon demonstrates the ability of video games to bring abstract worlds to life and the artistic richness they can achieve, irrespective of gameplay genre. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Sonic-Jam-screenshot-1-1.png) Sonic Jam. Source: Infinity Retro. --- > The selection of all the materials relating to the games and their history were presented in a 3D museum called Sonic World, which also served as a 3D platformer level, almost providing a tech demo of what would eventually become Sonic Adventure on Dreamcast. --- ### Sonic Jam ###### *GREATEST HITS ON ONE DISC* Saturn never got the Sonic game it needed, with Sonic X-Treme going through development hell before cancellation (a subject which continues to fascinate SEGA historians). Thus, the console had to get by with makeshift Sonic games in the form of the Project Sonic trilogy: Sonic 3D Blast, Sonic R, and Sonic Jam. Each of these was enjoyable in its own right, especially the legendary Rick Astley-style soundtrack of Sonic R. Collectively, these games somewhat filled Saturn's Sonic void in a less-than-ideal manner. Out of these, Sonic Jam was perhaps the strongest release, by being not only the most complete compilation of Mega Drive Sonic games with extras to boot, but also providing a glimpse into what a true 3D Sonic adventure on Saturn could have been. As a compilation, Sonic Jam is still a strong exemplar of how to do a retro collection right: instead of hasty emulations, it fully ported over the Mega Drive classics with additional features. The selection of all the materials relating to the games and their history were presented in a 3D museum called Sonic World, which also served as a 3D platformer level, almost providing a tech demo of what would eventually become Sonic Adventure on Dreamcast. Saturn may not have had its own 3D Sonic epic, but Sonic Jam and the other projects did a decent job in keeping the spirit and vibe of Sonic alive as he slowly transitioned into his Dreamcast debut. ### Street Fighter Zero 3 ###### *2D FIGHTING PERFECTION* Saturn was the absolute peak of 2D graphics in video games, with sprites so intricately designed and drawn that they put modern flash-based 2D graphics to shame. Modern 2D games simply can't match the graphical fidelity and intricate detail that the games on Saturn possessed. 3D games from that era have aged rather poorly, but Saturn's 2D catalog has aged like fine wine. At the time, the gaming world was a little shortsighted in backing the ugly 3D horse, as it is only in hindsight that we appreciate just how impressive the console was as a 2D powerhouse. There are many great examples to cite, especially in the 2D fighting space, but Street Fighter Zero 3 is a fine testament to just how overlooked and underappreciated Saturn's 2D capabilities were. Street Fighter Zero 3 was released for Saturn after the PlayStation and Dreamcast versions, and yet it ended up being the definitive home edition of the arcade hit. In addition to featuring all of the modes and extras the Saturn version performed perfectly thanks to the 4MB expansion cart, if not even better than its 128-bit GD-ROM counterpart on Dreamcast. The Saturn controller alone made it a sublime fighting experience, and the experience as a whole came together perfectly thanks to the pixel-perfect 2D animation and unaltered sprite density. As one of the last games released for the system and also arguably the best Street Fighter game ever made, Street Fighter Zero 3 is a true testament to Saturn's boundless 2D potential and why it was the ideal home for 2D fighting games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/65f84d40bf3f5c265d9ba09e34244541_1280x720_1x-0-1.jpg) Grandia. Source: SEGA. --- > Grandia remains the most enjoyable RPG to jump right into, and from a design standpoint, it has the appeal to be played over and over, each time just as enjoyable and entertaining as the first. --- ### Grandia ###### *RPG WITH BIG HEART* Final Fantasy VII is influential, but to my mind, the best RPG of that era was unquestionably Grandia. The polygons of most 32-bit RPGs have aged rather horribly, but Grandia played to the strengths of Saturn's hardware by providing stunningly detailed 2D graphics seamlessly situated in a 3D game world. The carefully compromised fusion of 2D and 3D has allowed the game to age far better than its contemporaries, with the visuals shining through in the recent HD remaster for Nintendo Switch. Grandia is one of those RPG adventures that is easy to come back to again and again, and I can't say this for many RPGs I've played in my life. Even now, when I revisit this innocent adventure on the Switch, I still feel the same sense of awe and wonder as I did the very first time I experienced it on Saturn. Given that the original Saturn source code is lost, the remastering effort was done using the PlayStation port code, but the game was rebuilt with the Saturn version running side by side to make the remaster as complete and authentic as possible. It may be better known in the Western world as a PlayStation game, but Grandia was lovingly and thoughtfully crafted for Saturn's unique specifications, and is as much a SEGA RPG as Phantasy Star or Shining Force. Grandia is a timeless adventure about discovering and chasing a dream, a theme that resonates closely with players in any generation. Importantly, it has a dynamic turn-based combat system more involving and entertaining than most other menu-based slogs. To see it finally preserved in an HD remaster is a great thing, given how it's now more accessible than ever, but at its heart and soul is an iconic Saturn RPG that no one can ever duplicate. The game's unorthodox graphical style alone was something only the Saturn could create with its complicated architecture, and for this reason, both Grandia and Saturn deserve credit for being adventurous and decidedly unique, especially during a time when the rest of the gaming world was heading in a safer, more mainstream direction. Landing towards the end of 1997 on SEGA Saturn, Grandia came out during a time when Japanese RPGs had reached the pinnacle of their popularity among gamers all over the world, largely due to the worldwide success of Final Fantasy VII. There were certainly many Japanese companies attempting to make a game like Final Fantasy VII, but Grandia was brave enough be its own adventure. That's ultimately why it, and the series itself, has stood the test of time, because it dared to be itself in an industry where there is pressure to safely emulate the success of others. The essence of its originality doesn't just shine through in gameplay and design, but in the unique intangibles which make up the cast of characters and the game world. In an age where gaming was heading towards polygons and CG-animated cut-scenes, Grandia went against the trend and instead chose to perfect the visual style of yesteryear by fusing traditional 2D sprites seamlessly into a game world which was very much in 3D. Grandia had all the right ingredients of a true Saturn video game, and at the time, it was the single most talked about and desired Japanese video game among the elite importers. To import and sit through Grandia without knowing a word of Japanese is a rite of passage few of us have taken, and to me it remains my fondest memory as a gamer. The coverage by SEGA Saturn UK Magazine is a thing of legend now, whether it was their beautifully presented previews, hyped-up review, or the fully illustrated walkthrough for those willing to jump through hoops to play Grandia outside of Japan. Grandia had received an incredible amount of hype and anticipation, and over time, its status as one of the most important JRPGs has only become more widespread. What Grandia does so well is portray the innocence of a brand-new adventure, sincerely and authentically. It manages to be authentically charming with its cast of children bravely taking on the world (almost in the same vein as the Goonies). It has the charm of a Disney and Studio Ghibli film, where it takes on childish and innocent themes without insulting the intelligence of its audience. No matter how old you are or when you are playing Grandia, something about it speaks to the player in terms anyone can relate to. At its core, it is a story of chasing a childhood dream, a story of childlike awe and wonder somehow triumphing over grim truths, and above all, a classic coming-of-age story which will always ring true no matter where we may be in our lives. Grandia presents a beautifully realised fantasy world which is almost steampunk in nature, but melds together all sorts of contrasting elements such as pirates, robots, and traditional fantasy devices to create a diverse yet wholly cohesive setting. It's a vibrantly rich and colourful world for sure, one that feels far more grandiose than the technical limitations of its time should have permitted it to be. The presentation and art style have a strong steampunk yet tribal aesthetic, where the simple character designs have an instantly memorable charm. The incredibly diverse and atmospheric soundtrack brings the game world and its presentation to life, experimenting with all sorts of instruments and musical arrangements. Some of the most memorable tracks are simply tribal instruments being played in their true, raw form without overdubs. Grandia remains the most enjoyable RPG to jump right into, and from a design standpoint, it has the appeal to be played over and over, each time just as enjoyable and entertaining as the first. It still has the most unique battle system in the genre, which was a natural evolution of the battle mechanics introduced by its spiritual predecessor, Lunar. Although it features turn-based style combat at its core, battles feel dynamic and engaging, especially in the manner in which attacks are chained together, and how the characters intuitively move around the battle map depending on their fighting style. There is never a dull moment during battle as the combat flow feels seamless and uninterrupted, even when cycling through the efficiently designed battle-command menu. It also helps to have a catchy battle theme no one can ever grow tired of, but will certainly struggle to get out of their head! ### Wachenröder ###### *TACTICAL RPG COMBAT TO SAVE THE ENVIRONMENT* In an alternate universe, everyone would have known about Wachenröder, and by now we would be seeing a high-definition remake. This could have been SEGA's Final Fantasy VII had history played out differently, but alas, this is now among the most obscure of SEGA's rich tapestry of video game IP. Wachenröder was a steampunk strategy RPG with a strong environmental message and featured music from Ian McDonald. The connection of the famed progressive rock icon isn't all that random when you appreciate just how huge King Crimson remains in Japan, a mainstay on the storefront of most music shops in the country. There's no easy way to play this game, given it's on Saturn and in Japan only, but anyone who puts in the effort to jump through some hoops will discover a true hidden gem in Saturn's treasure chest. ## Dreamcast: The Dream Lives On Choosing a PlayStation 2 over a Dreamcast was unquestionably a wise move in the year 2000, even more so as SEGA's catalogue was subsequently ported to PS2, Xbox, and GameCube. Still, as SEGA's final foray into the console wars, Dreamcast will forever stand the test of time as a true trailblazer, setting the ground for gaming innovations and trends we take for granted today. Dreamcast did many things we now enjoy at a much larger scale in console gaming: online gaming with public and private servers, downloadable content, voice communication, operating systems, and all the other multimedia features we'd expect from an Xbox One. It couldn't, however, play DVDs, which is where the PS2 got all the edge it needed to outsell its competition. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Dreamcast-Console-Set.jpg) SEGA Dreamcast. Source: Wikimedia Commons. SEGA may now be one of the leading Japanese developers with games on nearly every known gaming platform, including the Apple gaming service, but the Dream still lives on in the hearts of SEGA fans all over. Whether it is the surprisingly regular release cycle of indie Dreamcast games or nostalgic retrospectives such as this one, SEGA's days in the sun as a leading console manufacturer are still fondly remembered. ### Street Fighter III ###### *THE FUTURE OF 2D FIGHTING* In pop culture, people claim they want change, but also want things to be just as they remember them; there's no winning, really. Such was the case with Street Fighter III, which sported new graphics, jazzier music, and a new generation of world warriors. Yet, people still wanted another Street Fighter II even though they claimed they'd had enough of it by Super Street Fighter II X: Grand Master Challenge. Street Fighter III was an exciting and fresh beginning for the series, oozing with charisma and meticulously animated 2D graphics. It wasn't until the Dreamcast that the trio of titles finally found a home on console, and have since been ported numerous times, including the excellent 30th Anniversary Collection. Dreamcast may have wanted to be the cutting edge of 3D at the time, but much like the SEGA Saturn before it, SEGA's 128-bit swansong could still produce incredible 2D games. Street Fighter III opened a floodgate for the likes of Guilty Gear X, Mark of the Wolves, and Capcom vs SNK. ### Soulcalibur ###### *BETTER THAN ARCADE PERFECT* Soulcalibur might be among the greatest launch titles gaming has ever seen, neck and neck with the likes of Halo: Combat Evolved, Super Mario 64, and even Breath of the Wild as the greatest opening acts in console gaming. To this day, the original Soulcalibur remains the blueprint and gold standard for 3D fighting games, and at the time, provided the Dreamcast the stunning showcase it needed. Sequels were bigger and apparently better as each new entry added shinier graphics, new characters, new moves, and more inventive ideas for gameplay modes than the last. Yet, when all is said and done, not even Soulcalibur VI can match the sublime simplicity and flawless execution of the original fighting mechanics on Dreamcast. Sometimes less is more so no matter how good the 4K assets may be, they will never click and engage a player quite the same way as the seminal fighting hit on Dreamcast. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/crazy-taxi-original-gameplay-1.jpg) Crazy Taxi. Source: TheGamer. --- > The thoughtfully designed and entertaining gameplay systems were complemented by vibrant visuals and a soundtrack that has become a legend in its own right. --- ### Crazy Taxi ###### *GAMES JUST WANNA HAVE FUN* No one did arcade gaming better than SEGA, an art form all but gone in most parts of the world, though it remains a thriving culture in Japan. The company's last global arcade hit was a game about driving a cab around a bustling American city, where the goal was to get each passenger to their destination in record time and by any means necessary, road and traffic laws be damned. This was Crazy Taxi, and as an arcade game combining score attack, action, and racing sensibilities, it was the perfect arcade experience, even more so when it found its perfect home on Dreamcast with a literal crazy box of extras to boot. Crazy Taxi will always, always be a fun video game, for all player types at any time, keeping them coming back for more. The thoughtfully designed and entertaining gameplay systems were complemented by vibrant visuals and a soundtrack that has become a legend in its own right. Punk rockers The Offspring had no shortage of fame and recognition back then, and yet their music became synonymous with Crazy Taxi in a way where we simply can't imagine one without the other. Crazy Taxi on Dreamcast remains the best way to experience this arcade classic, as recent ports and remasters no longer have the original music license. Yeah, yeah, yeah, YEAH! ### Shenmue ###### *ART IMITATES LIFE* As much as I adore video games, I've never once felt addicted to them, and even my most cherished of games have never taken over my life. I did my homework, got the grades, handed in the dissertation, and showed up to work. Yet, if there was one video game which I truly felt overpowered by, it was Shenmue. No game had ever made me feel genuine separation anxiety until I escaped into Shenmue and experienced what felt like a second life. Shenmue also daringly gave its players tough love by teaching them that sometimes you just need to let things be and go with the flow. If someone told you to show up at a certain time and place tomorrow, then you really had no choice but to kill some time playing Hang On or throwing darts until it was time for bed. There was nothing like it at the time, and perhaps even to this day, there are hardly any games that match its living, breathing world. A lot of Shenmue's ideas can be found in open-world gaming epics today, but it is still mind-boggling just how staggeringly detailed this Dreamcast adventure was. When it was part of an HD remaster pack, Shenmue still had a level of immersion and attention to detail that modern games could only hope to achieve. Ryo Hazuki's quest in the sleepy suburb of Yokosuka still provides an incredible sense of escapism, a level of immersion so overpowering that stepping away from it can be difficult and scary. Despite Ryo's revenge motives, it was a safe and calming escape from reality for the player. Like a Dragon may provide more entertaining activities in its bustling city backdrop, but Shenmue was a home away from home you just didn't want to leave. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/sonic-adventure-dreamcast-art-banner-1.jpg) Sonic Adventure. Source: TheGamer. --- > It may not be held in the same esteem as Mario's legendary 3D epics, but this Dreamcast classic wowed players at launch and still remains a sound blueprint for an engaging and balanced 3D Sonic game. --- ### Sonic Adventure ###### *BIG ADVENTURE AMBITIONS* Sonic the Hedgehog had a very bumpy transition into 3D during the Saturn days, and even now, a modern 3D Sonic release is met with utmost cynicism and disdain. Yet, as a much-needed launch title for Dreamcast, the original Sonic Adventure ticked all the right boxes as the Blue Blur's true transition into 3D gaming. This ambitious project went in guns blazing to be the most epic 3D platformer gaming had ever seen, and at the time, it succeeded on all fronts. As the title suggests, Sonic Adventure situated its action-platforming stages in an open RPG-style world with quests and character dialogue. The production values were just what it needed to give Dreamcast its quintessential launch title, from its then-astounding 3D graphics to the rocking soundtrack. As a 3D platformer, it executed all of its ideas soundly, owing much to Sonic's effective homing attack. There were other playable characters too, and while at this point we've all had enough of Sonic's friends, back then they were welcome and brief distractions from the primary gameplay design. Sonic Adventure featured a sound and purposeful design we haven't seen in subsequent 3D Sonic games, including the super-charged sequel Sonic Adventure 2, which most people prefer. As for me, there was something clean and simple about the original Sonic Adventure, making it a game I find myself revisiting just as frequently. It may not be held in the same esteem as Mario's legendary 3D epics, but this Dreamcast classic wowed players at launch and still remains a sound blueprint for an engaging and balanced 3D Sonic game. It is an underrated and underappreciated 3D platforming classic for sure. ## SEGA After Dreamcast When the company exited the hardware race, software became its number one focus, and their top priority was to find a new home for ideas that were basically Dreamcast projects. ### Shenmue II ###### *THE SAGA CONTINUES ON XBOX* For the longest time, Xbox was the only place to play Shenmue II, due to a very limited international release of the Dreamcast version. For a moment in time, Microsoft actually owned the IP, but ended up doing nothing with it. At the time, experiencing Shenmue II on Xbox was one of those surreal next-gen gaming moments, as the city of Kowloon provided an incredibly immersive and interactive game world. The story may have ended on the longest cliffhanger that Shenmue III barely resolved, but it's all about the journey here. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/panzer-dragoon-orta-episode-2-screenshot-1.jpg) Panzer Dragoon Orta. Source: Panzer Dragoon Legacy. --- > It remains the absolute pinnacle of the now nearly dead 3D on-rails shooter genre, and not only was it an ambitiously epic shooter, but the scope of its lore and world building rivalled, if not surpassed, most RPGs. --- ### Panzer Dragoon Orta ###### *CUTTING EDGE OF ART* This was the game that made me, with a PS2 on my shelf, envy Xbox owners. By the time Panzer Dragoon Orta landed as an exclusive, it was only a matter of time before I had to jump to the dark side. This is a stunning and timeless on-rails shooter, and even now it has not aged a day when played via One X Enhanced backwards compatibility, with its stunning graphical engine bringing the game's surrealist artwork to life. It remains the absolute pinnacle of the now nearly dead 3D on-rails shooter genre, and not only was it an ambitiously epic shooter, but the scope of its lore and world building rivalled, if not surpassed, most RPGs. ### Bayonetta ###### *THESE BOOTS WERE MADE FOR WALKING* We live in a very different world now, especially when it comes to video game culture, where the games themselves are less of an escape and more of a social statement. I find that Bayonetta was the last example of a time when a video game was uncompromisingly and confidently sexy. There is nothing to fault here, because Bayonetta as a protagonist is as badass as they come, and in fact represents a fine balance which we don't really see anymore. We either see the Senran Kagura or the Gone Home, but we don't see the sweet balance in-between like Bayonetta anymore. What's more important is that Bayonetta was a major kick in the rear for the action genre because Devil May Cry, Ninja Gaiden, and God of War had started to grow very stale. Bayonetta rejuvenated the genre by being uncompromisingly grandiose in its action set pieces and fluidly entertaining in its combat system. The bodacious presentation was memorable too, with its smooth, jazzy soundtrack and a wealth of clever SEGA references thrown in for good measure. ## SEGA's Most Influential IP The company's influence in nearly all realms of entertainment and pop culture can be attributed to the lasting and growing legacy of its properties. Certain names and characters are just recognisable, even among non-gamers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/be7695009fc21a1e07aa4cc846eaf5ddf8b4_1920xt1080_S1000-1.jpg) Virtua Fighter 5\. Source: SEGA. --- > When the original Virtua Fighter was released, it became the premier 3D fighting game, and by the time Virtua Fighter 2 came out, the graphical technology had jumped leaps and bounds in a very short time. --- ### Virtua Fighter ###### *TRUE PIONEER OF TOURNAMENT FIGHTING* 3D fighting games have become a mainstay of the industry and a major part of the big money competitive gaming scene, for better or for worse. Whether it's Tekken 8, SoulCalibur VI, or Mortal Kombat 11, all 3D fighting games today can trace their DNA to the pioneering Virtua Fighter. The Virtua brand of arcade games were the pioneers and cutting edge of 3D arcade gaming back in the '90s. Whether it was Virtua Racing, Virtua Cop, or Virtua Fighter, these games took established genres successfully into the realm of 3D. When the original Virtua Fighter was released, it became the premier 3D fighting game, and by the time Virtua Fighter 2 came out, the graphical technology had jumped leaps and bounds in a very short time. It is unreal that these two games are part of the same hardware generation, because the leap in gameplay, graphics, design, and technology was positively mind-boggling back then, unlike the incremental resolution/texture improvements we see between modern video games. By the time Virtua Fighter 3 hit arcades, the fabled Saturn port never quite reached fruition due to several corporate reasons. Once the Dreamcast version arrived at the console's launch, there were far more attractive alternatives available, primarily the groundbreaking Soulcalibur, which also launched with the system. Much like Street Fighter III, the home version of Virtua Fighter 3 was a case of too little too late, and while it may have enjoyed a measure of success in the arcades, the home version didn't quite reach the audience it deserved. For a long time, it was only playable on an arcade cabinet or a SEGA Dreamcast, and only recently became a playable mini-game in Like a Dragon: Infinite and Like a Dragon: Pirate Yakuza in Hawaii. The Japanese release of Virtua Fighter 3 came packaged with an exclusive Project Berkley video disc; this bonus disc provided a world premier look into a game which would eventually become Shenmue. It's a shame how Virtua Fighter 3 is often forgotten, even among the most diehard of Virtua Fighter fans. The game was daring and experimental in its design, retaining the same fighting system which made Virtua Fighter 2 such a polished experience, whilst situating those fighting mechanics in an innovative setting. The third game is innovative, introducing interactive, dynamic 3D arenas in which to battle. This was a trend that games like Dead or Alive 2 and Tekken 4 would follow, by attempting to make the fighting experience feel more alive than simply having two combatants battle in flat stages. The arenas in Virtua Fighter 3 varied in terrain, and the locations were adventurous as fighters would battle in places like train stations and islands, all featuring interactive elements that added unique layers of strategy to 3D fighting. The visual presentation was strong too, and so it felt like a brave step forward to make 3D fighting games feel more like experiencing an action movie fight-scene firsthand. Sadly, these innovative ideas did not translate well into competitive play, where only perfectly polished fighting mechanics mattered, and things like interactive environments would impede competitive balance. Since then, only Dead or Alive has continued to further evolve its stage and arena design, while Virtua Fighter (and even games like Tekken and SoulCalibur) continued to play it safe by tournament standards. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/ss_4a5bf7c449c327a828e6e38f79668b01c4ea0730.1920x1080-1.jpg) Phantasy Star Online 2 New Genesis. Source: Steam. --- > Phantasy Star Online 2 as a whole is just utterly cathartic, and not only because of its charming SEGA presentation, but also because of its thriving community of like-minded fans. --- ### Phantasy Star ###### *GALAXIES, ONLINE, AND BEYOND* The original 1988 Phantasy Star was not only a planet-hopping galaxy-sized sci-fi RPG epic, but also featured a genuine female protagonist decades before it became a political trend. As a sci-fi RPG, it had more than enough originality and style to distinguish itself from Final Fantasy or Dragon Quest, and when it became one of the first console MMOs on Dreamcast, the series had set a new benchmark. Today, it still thrives as the hugely successful Phantasy Star Online 2, which provides an intergalactic MMO alternative. MMORPGs are now the most commercialised form of video games, a genre that has seen extortion and money laundering committed through them in recent years; but there was once a time when the very idea of an online RPG was the most magical thing anyone could dream of. Phantasy Star Online (PSO) on Dreamcast was the first time console gaming had fully ventured into MMORPGs, a domain once in the exclusive possession of the more internet-ready PC. While it didn't attempt to be the next EverQuest by any stretch, what PSO did achieve was creating the most console-friendly online RPG experience, rather than emulate the juggernauts of PC gaming. This proved to be the greatest strength for what was one of the most successful games on Dreamcast, as players could enjoy a fun and engaging combat system, whilst experiencing a sense of wonder exploring an intergalactic setting with the rest of the world online. By the time PSO2 rolled in, MMORPGs had become a far more competitive and cluttered genre on console, especially once Final Fantasy stepped in as a hugely successful Japanese MMO alternative to World of Warcraft. Still, where most games in the genre gravitated towards a fantasy backdrop filled with orcs and fairies, there weren't many games venturing into the galaxies for a full sci-fi adventure. In this sense, PSO2 still satisfied a niche. In the first eight or so years of its existence, the chances of the game receiving an international release were slim to none, as SEGA chose to keep it exclusive to Japan and some parts of Asia. This was a source of anguish for fans in the rest of the woprld, as they patiently awaited the year they could finally join in on the fun. The fact that the game was on PlayStation Vita could have done wonders for Sony's oft-forgotten handheld, as having a portable MMORPG playable on an international scale would have been a groundbreaking feat. Alas, it wasn't to be, and so beyond Japan, PSO2 became a niche experience for anyone willing to jump through some hoops, and make use of fan-made translation patches. In 2019, Microsoft announced that it was going to be the one to not only bring Phantasy Star Online 2 to Xbox, but also to all audiences worldwide, and so by the time 2020 rolled in, the game finally launched in most major regions as a free-to-play title. Yes, like other games sporting the deceptive "free-to-play" model, PSO2 is also guilty of having an offensive amount of paid content to lure unsuspecting players, but for those looking to just have some fun without taking things too seriously, then there's really no push to spend any real money here. SEGA will always have a distinct charm, and it's one of those things where many intangibles come together to create a wholly unique experience. Phantasy Star Online 2 captures the same charm and magic one gets from inserting a token into a Daytona USA arcade cabinet; it's an instantly vibrant tour de force which sweeps players in with a unique presentation only SEGA can create. From the character designs to the music, and the overall presentation and pace, there is really nothing quite like PSO2, even in a gaming landscape where there is no shortage of online service games. PSO2 works on a fundamental level because it plays like a decent action game backed by deep MMORPG systems. The combat system has enough versatility here to allow players to come up with new combination attacks as new skills are acquired, and so it's always a cathartic experience just to beat up a horde of enemies. What shines through, more than the atypical loot-gathering and team expeditions, are the boss battles, which have a distinctly iconic SEGA appeal in their presentation and design. Taking down these behemoths by figuring out their distinct patterns is easily the most rewarding aspect of the whole experience. Going back to the arcade gaming comparisons, Phantasy Star Online 2 has the appeal where it is generally quite easy to get into, yet the difficulty curve is just right to give players a sense of satisfaction. As easy as some of the bosses can be, taking them down still feels rewarding thanks to their larger-than-life presentation. But to say PSO2 is a simple game would be inaccurate; what it does is allow the player to make the experience as easy and fun as they want it to be. For those who enjoy more depth and complexity, they will certainly find more than they bargained for, given the endless gameplay customisation systems, each drowning in an ocean of menus. For lack of a better term, when you get right into it, PSO2 can feel very bureaucratic, almost like an unintentional satire on the deep-seated culture of bureaucracy embedded in Japanese society. Just in the main lobby alone, you will find an army of admin officers, each with some specific role to play. There are manuals to read, training modules to complete, forms to fill out, and even licenses to obtain. It is certainly a lot to take in, and that's even before getting into all the deep character customisations and crafting systems. Then there are all these badges and coins, which I'm still not quite sure about. Thankfully, PSO2 doesn't necessarily force players to indulge in these things unless they really want to engage with (and enjoy) intense micromanagement. Some of us, though, just want to jump in and have a bit of fun by going back to a simpler time when online gaming on console was still a novel idea. Phantasy Star Online 2 as a whole is just utterly cathartic, and not only because of its charming SEGA presentation, but also because of its thriving community of like-minded fans. Many of these grew up as SEGA fans playing Phantasy Star on Mega Drive or spending countless hours on the then-groundbreaking Dreamcast MMORPG. In one expedition, I found myself trapped in a barrier which would have taken me ages to break out of. Then, along came a stranger to break me out and say, *"Hang in there, you're doing great!"* Then there are other little moments, such as the concerts that occur in the lobby, even featuring musical appearances from the cast of Shin Megami Tensei: Persona. It's really a combination of all these little memorable moments which make the journey into this online sci-fi universe so welcoming and comforting. In 2021, Phantasy Star Online 2 New Genesis came along, taking the intergalactic adventure to new cosmic heights. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Like-a-Dragon-Infinite-Wealth_2023_10-25-23_001-1.jpg) Like a Dragon: Infinite Wealth. Source: DotEsports. --- > The eighth game in the mainline Yakuza series, Like a Dragon, gave us a new hero, a new storyline continuity, and above all, a completely new genre. --- ### Like a Dragon ###### *THE YAKUZA HAVE FEELINGS TOO* If Shenmue laid the foundation, then Yakuza: Like a Dragon was the one to take it into the future. It is a crime drama wrapped in one hell of an open-world beat 'em up. The Yakuza series encompasses nine mainline games alongside spin-offs and remakes; this is the franchise that defines SEGA for a wide audience, and with no signs of slowing down, this will certainly be the company's defining IP for the foreseeable future. Crime doesn't pay, but it can certainly be fun if there are plenty of mini-games to try and hostess cafes to spend Yen on. There was also that one time when the roster of New Japan Pro Wrestling made an appearance. The franchise is a modern gaming icon in the truest sense. Where most developers dare not poke something that still sells and reviews extremely well, SEGA were daring enough to make some radical changes to their reliable franchise. The eighth game in the mainline Yakuza series, Like a Dragon, gave us a new hero, a new storyline continuity, and above all, a completely new genre. An alternative to the wild beat 'em up, the series moved to becoming a turn-based Japanese RPG, but still situated in the vibrant craziness of the open world design. It is a breath of fresh air to a series that was never really short on innovation in the first place. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/sonic-frontiers-1.jpg) Sonic Frontiers. Source: SEGA. --- > SEGA and Sonic go together like Disney and Micky Mouse... --- ### Sonic the Hedgehog ###### *KEEP GOING FAST* SEGA and Sonic go together like Disney and Micky Mouse; in fact, the original code name for the Blue Blur was Needlemouse. At one point, it was supposed to be Alex Kidd who would be the poster mascot for the company, but despite some solid yet viciously difficult platformers, it was Sonic who provided SEGA the timeless gaming icon and franchise they needed to become a global household name. Even now, Sonic as a series continues to be adored by fans both old and new, and while video games continue to be the main crux of the Sonic experience, it appears a Hollywood career will define the future of this fast-moving and evolving hedgehog. The release of Sonic Generations in 2011 felt like the culmination of my life as a gamer, which began at the age of five when I first played the original Sonic the Hedgehog. In fact, my entire gaming life has been about searching for an experience that would bring me the same amount of unbridled joy as Sonic the Hedgehog 3 on the Mega Drive; it's this hope that has kept me going. I still regularly play those classic Sonic games, and the newer games aren't always great (far from it), so Sonic Generations truly was a full circle moment for the franchise and for me personally. The review I wrote for it was a peak writing career highlight, and at the time, I felt it was the best way to go out. Obviously, I'm still playing games and still writing about them too, but it's only really just a habitual continuation of a lifestyle, the only way I know how to live in this big, bad world. Since then the game has been expanded and remastered as Sonic x Shadow Generations, and honestly the higher frame rate enhances the experience a fair bit! They turned Sonic into a werewolf, which really sucked, and then they turned Sonic into an open-world epic. The weirdest part is, it actually worked, too. Sonic Frontiers wasn't made for the lapsed and grizzled fan. Don't get me wrong; I loved what I played of it, and it's crazy to me how a 20-hour adventure worked for the fast-paced platforming action. Is it for me? Honestly, no. Sonic Frontiers did enough to pay homage to the past, even as it paved the path for a bold new future. I don't think I will stick around for what comes next. I'm happy with just revisiting Sonic Origins and whatever compilation of classics they do next, but a future where Sonic games are RPG-sized epic adventures, it's just not the same game I fell in love with back in 1992\. That's okay, because imagine being a kid and Sonic Frontiers is your first one. Good for you, new Sonic fans. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/daytona-usa-capa-1.jpg) Daytona USA. Source: GameBlast. --- > No video game captures the energy and excitement of arcade gaming quite like Daytona USA, irrespective of the genre of its arcade peers. --- ### Daytona USA ###### *PEAK SEGA ARCADE* No matter where you are in the world, no matter how small or remote a town, chances are you will find a Daytona USA arcade machine plugged in somewhere. You can't find Pac-Man arcade cabinets anymore, but you are almost guaranteed to find SEGA's energetic arcade hit, whether in outback Australia or a bar in the United States. No video game captures the energy and excitement of arcade gaming quite like Daytona USA, irrespective of the genre of its arcade peers. As an arcade racer, it has yet to be topped, with pretenders continuing to emerge to this very day. From the iconic vocal songs to the simple yet challenging driving model, Daytona USA was a case of less is more. The experience was amped up with vibrant visuals and an unforgettably cheesy, yet utterly charming, selection of vocal songs. The songs alone have taken a life of their own, and the soundtrack has, independent of the game, become a legend in its own right. No home version ever did this classic justice, and even the excellent XBLA and PSN release has been delisted, but that’s fine, because this is a game that simply must be experienced firsthand on an old, rundown machine. My fond memories of playing this coin-munching game were with a machine they had at my local KFC, so every Sunday it would be Zinger burgers and a few races of Daytona USA. I can't chow down Zingers like I used to, but I won't hesitate to be that one weird guy who's playing the spider web-covered Daytona USA machine. ## SEGA Goes Hollywood As the first true movie adaptation of the franchise, Sonic the Hedgehog in 2020 exceeded expectations, and the sequels did good business too, with another film on the horizon. The Sonic movie was rightfully made for a new generation of fans, and yet, for lifelong fans who were around when the video game launched on the Mega Drive, this felt like a full-circle closure moment. For those of us who played the 16-bit games back in the day, a lot of the backstory had to be filled in by our own imagination, based on whatever vague information was printed in the game's instruction booklet. Sure, we had the Archie comics continuity later, but that one got a little ridiculous, and it continues to be so. Seeing my childhood imagination and wonder come to life on the Hollywood screen was better than anything I could have dreamed up even as a kid. The casting, the story beats, all of it stayed true to the source material, and smoothly integrated so many themes and devices from the franchise's overarching lore. From Sonic and Tails establishing their lifelong friendship, to Sonic and Knuckles going through the ups and downs of being frenemies, these are three of the most iconic characters from the franchise, and I don't think they could have been portrayed any better than what we saw in these films. Jim Carrey was absolutely manic and creative with his uniquely improvised take on Robotnik/Eggman; he turns it all the way up to 11, all while flawlessly metamorphizing into the video game likeness with flying colors. I now can't imagine the evil genius as any depiction other than what Jim Carrey has created here, who was practically destined for the role. Jim's comedic timing and nefariousness as Eggman were always on point, and his tone shifted with the mood of the situation. I think what the films did so well was recapture a sense of innocence, the proverbial lightning in a bottle that made those classic games so endearing to us in the first place. There was also the sense of discovery and wonder, whether it was Sonic and Tails navigating an adventure for the first time, or Sonic and Knuckles duking it out in a battle most of us wished we could have witnessed in our own childhoods. Playing Sonic the Hedgehog 2 for the first time on the Mega Drive is a vivid childhood memory I will always hold near and dear to my soul, a moment where I was dazzled by the explosion of vibrant colours, imaginative character designs, and energetic music; all these amazing elements came together to complement the adrenaline of the action platformer gameplay. This was a trailblazing moment, giving us characters and a style of fast-paced gameplay no one else has been able to duplicate. The films recreated this sentiment eloquently; they had everything from Chaos Emeralds to a full-fledged final boss battle sequence, the latter being the most thrilling climax to all of the action. As for the trio of heroes, it was a real joy to see my favourite characters come to life the way they did here. It needs to be said just how perfect Idris Elba was in his next-level portrayal of Knuckles, even scoring a spin-off mini series. The red echidna has long been the cool alternative to Sonic in the games, and here we see an intensely unique personality for the character, one with surprisingly swift comedic timing, too. The depiction is badass and yet charmingly naïve. Moving forward, it's hard to imagine Knuckles in any other way. Keanu Reeves as Shadow the Hedgehog couldn't have been a better match either. [![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/sega_logo_remake__restored___by_s2nnov2022_dfvbpsn-fullview-1.jpg)](https://www.deviantart.com/s2nnov2022/art/Sega-Logo-Remake-RESTORED-959607383) SEGA logo. Source: DeviantArt. ## SEGA Does It's a pretty cool feeling to be a part of such a pop culture mainstay, gaming and beyond. What the next century holds for SEGA is anyone's guess, but as long as they keep doing what no one else does, I'm sure we will see this company leave a mark on the gaming and entertainment industries for years to come. ### From Scratch to Space: Interviewing Max Trest About Astrolander URL: https://www.superjumpmagazine.com/from-scratch-to-space-interviewing-max-trest-about-astrolander/ Last updated: 2026-03-25T14:27:40.000Z **There’s a myth that game creation begins with a big, cinematic moment, a lightning strike where a developer suddenly just knows what they’re meant to do.** But most of the time, it starts somewhere quieter: tinkering with tools that initially feel like toys, until one day they start feeling like real instruments of the craft. It’s easy to talk about games like finished products and forget how many of them began as small, half-working experiments. Then, every so often, one grows into a game that keeps people coming back decades later. At just sixteen years old, developer Max Trest is already working in ways that matter, staying hands-on and relentlessly focused on the one thing players actually feel: whether the game is fun. He designs with clarity in mind, making sure ideas land the instant you pick up the controller, then polishes the moment-to-moment gameplay until it can carry you to the end. What he's building could be a standout hybrid of 2D and 3D platforming: his debut game, Astrolander, is slated for release on [Steam](https://store.steampowered.com/app/4353450/Astrolander/) and [PS5](https://store.playstation.com/concept/10009270) later in 2026. Astrolander Gameplay Trailer. Source: Playstation Japan. ### SUPERJUMP Thank you for joining SUPERJUMP for this interview, Max! You’re now sixteen, but you started Lost Cartridge Creations at just thirteen years old. Can you take us back to the moment when you first realised that you didn’t just want to play games, but actually make them? ### Max Trest Thank you for doing the interview with me! I’ve never been much of a “gamer” myself and have always preferred working on my own projects. From a young age, I loved experimenting and building things, and 3D modeling and programming felt like the next step in that journey. I started learning game development with a tool called Scratch when I was nine years old. It’s a simple, block-based programming language that taught me the basics of coding. Around the release of Blender 2.8, I began 3D modelling, following the famous ‘donut’ tutorial. Eventually, I moved on to Unity and started building larger projects, which ultimately led to my work on Astrolander. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations4.png) Astrolander. Source: Lost Cartridge Creations. ### SUPERJUMP You’ve mentioned being fascinated with retro computers and consoles. What was it about those older machines that captured your imagination, and how does that influence the games you’re making today? ### Max Trest I feel many developers forget the impact classic computers and consoles have on modern games. The video game industry is still relatively new and has evolved rather quickly. Even so, every game today borrows ideas from titles released in the '70s or '80s. Astrolander is a game about a robot named Feedback, and was originally started as a modern take on Atari’s Lunar Lander from 1979, until I expanded the game with Feedback’s platformer sections. Some sections of the game, such as the Kodama (golems) and Kedama (furry creatures), are inspired by classic arcade games like Donkey Kong, but brought into 3D and modernized, while adding my own spin. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations6.png) Astrolander. Source: Lost Cartridge Creations. ### SUPERJUMP The original Astrolander prototype you built at age 12 ended up in a museum exhibit. Tell us about that, and how it felt seeing something you created recognized like that so early in your journey? ### Max Trest It was very exciting to have Astrolander installed at the Museum of Pop Culture (MoPOP) in Seattle! The museum was founded by Paul Allen, so it was such an honor to have the prototype featured there. I remember going to see the exhibit for the first time in person and watching people have so much fun playing the game. ### SUPERJUMP Many developers start by trying to copy their favourite games. At what point did you realise you wanted to create something distinctly your own, rather than just recreating the classics you love? ### Max Trest From the beginning of working on Astrolander, my goal has always been to create a unique experience. When I started working on Feedback’s platformer sections, I wanted to avoid copying what platformers of the past have already done and instead try to push the genre forward. For the PS5 version, I also integrated the DualSense in a way that wouldn’t overwhelm players, but would complement the experience. Many games don’t use the controller features at all, or they overuse them and end up distracting players. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations7.png) Astrolander. Source: Lost Cartridge Creations. ### SUPERJUMP Astrolander has been compared to games like Mario and Astro Bot, but it clearly has its own identity. What do you think defines the “Lost Cartridge Creations” style? ### Max Trest Lost Cartridge Creations is about creating distinctive experiences. Once people have a chance to try Astrolander, they understand what makes it so different. From the revolutionary blend of 2.5D and 3D, to the co-op mode, to the bumper boat battles and races, each level introduces something new. I also wanted to push the graphical fidelity of platformers, an area where I feel the genre has fallen behind. ### SUPERJUMP When you’re designing a new mechanic, what comes first for you: the technical idea, the gameplay feel, or the imagination of a world it belongs in? ### Max Trest The most important question I ask before designing a mechanic for Astrolander is simple: Would it be fun? I think many developers overlook this question or get distracted by more obvious technical issues. Obviously, not every fun idea is technically practical or fits the game, but it’s a good starting point. Even if the idea isn’t implemented directly, it can still inspire other ideas! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations9.png) Astrolander. Source: Lost Cartridge Creations. ### SUPERJUMP You handle programming, 3D art, and technical work on the project. How do you balance all those roles without getting overwhelmed? ### Max Trest It’s always a challenge! The most important part of managing all these roles is having a plan and making sure it’s practical. I keep a list of ideas for mechanics, but I understand that some would simply be impossible for a team of two to implement. I do believe that if a mechanic is too technically complicated for the developer, it’s probably too complicated to explain to the player. There are also advantages to being a small team and being able to pivot so quickly! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations12.png) Astrolander. Source: Lost Cartridge Creations. ### SUPERJUMP What tools or engines have been the most important in helping you bring Astrolander to life? ### Max Trest The game engine I’m using to develop Astrolander is Unity. The Unity team has been very supportive of the project. This is a bit technical, but Unity has two “render pipelines.” Most games are built using URP (Universal Render Pipeline), but for Astrolander, I’m using HDRP (High Definition Render Pipeline). This allows me to access tools that improve the visual quality of Astrolander. All the models for the game are created in Blender and textured using Adobe Substance Painter. This workflow is common in AAA game development, but it isn’t often used by indie game developers. ### SUPERJUMP Looking back at the early prototype you built years ago, what’s the biggest thing you’ve learned about game development since then? ### Max Trest The biggest lesson I’ve learned over the years is how important it is to take the right feedback from players. There’s a talk by Mark Cerny from DICE Summit 2002 where he mentions game testing. The biggest takeaway is: don’t just listen to what players say, watch what they do and how they react when playing parts of the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations5.png) Astrolander. Source: Lost Cartridge Creations. ### SUPERJUMP Every developer hits moments where things just don’t work. What’s been the most difficult technical or creative challenge you’ve faced while building Astrolander? ### Max Trest As mentioned earlier, taking feedback on the game is a difficult process. It’s important to think about who the target market for your game is. Unfortunately, it’s almost impossible to make a game that will appeal to everyone, so knowing your target market is key. With Astrolander, I’m trying to balance giving players a challenging platformer with the understanding that making the game too difficult will alienate some audiences. It’s about finding the right balance. ### SUPERJUMP As a young developer entering an industry that can sometimes be tough to break into, what has surprised you most about the game development world? ### Max Trest I was surprised by how supportive many of the people in the game development industry are. Even though the game industry is so big, it’s a very tight-knit community where lots of people know each other. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations11.png) Astrolander. Source: Lost Cartridge Creations. ### SUPERJUMP Many indie developers talk about chasing a particular feeling: curiosity, challenge, wonder, nostalgia. What emotion do you most want players to feel when they play your games? ### Max Trest Fun. I always go back to this when working on Astrolander. Will this mechanic be fun? When testing at shows, is the player having fun? When exhibiting demos at events, I love seeing the excitement on players’ faces when a new mechanic is introduced, and I want to make sure every moment of gameplay in Astrolander feels like that. ### SUPERJUMP Platformers have existed for decades. What do you think still makes the genre exciting today? ### Max Trest Because the core of platformers has existed for so long, the genre offers developers a chance to experiment with out-of-the-box ideas. From creative stories like Psychonauts 2 to nostalgic adventures like Astro Bot, platformers still have plenty of space to innovate! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations8.png) Astrolander. Source: Lost Cartridge Creations ### SUPERJUMP The games industry is evolving rapidly with new technology, distribution platforms, and development tools. Where do you think indie developers have the greatest opportunity right now? ### Max Trest The audience for indie games has never been larger than it is today. One of the biggest issues I see facing indie developers is the amount of AI slop being posted on platforms such as Steam, but I think this also provides indie developers with an opportunity to create unique experiences. Especially today, people are looking for unique and thoughtful experiences created by fellow humans. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Astrolander-Superjump-Interview-Max-Trest-Lost-Cartridge-Creations3.png) Astrolander. Source: Lost Cartridge Creations ### SUPERJUMP If you imagine yourself ten years from now, what would success look like for you? Is it building a bigger studio, making dream projects, or simply continuing to create games that people love? ### Max Trest I already have ideas for a sequel to Astrolander! I want to continue expanding Lost Cartridge Creations and building more ambitious projects. At the same time, I want to stay focused on creating fun games that introduce something new to players. ### SUPERJUMP Max, thank you for sitting down with us and talking so openly about what it’s like to build a game! For our readers who want to keep up with Astrolander, you can wishlist it on Steam and PS5, and there’s a [gameplay trailer](https://youtu.be/HvPuR73fSU4?si=pIfhKUfrtCr-6VDD) out too via PlayStation Japan if you want a closer look at how all those ideas actually move. **If you enjoyed the article, feel free to check out more of my work on SUPERJUMP* [**here*](https://www.superjumpmagazine.com/author/benrowan/) *and follow me on social media* [**here*](https://linktr.ee/launchcannon)**. Thanks for reading!* w ### The History of Portable Tactical RPGs, Part 2: Game Boy Rivals (1989–2006) URL: https://www.superjumpmagazine.com/the-history-of-portable-tactical-rpgs-part-2-game-boy-rivals-1989-2006/ Last updated: 2026-03-27T16:50:58.000Z **Gunpei Yokoi not only designed the Game Boy, the handheld console that laid the foundation for the portable tactical RPG market, but he also designed its main rival in Japan, the WonderSwan.** This and other Game Boy rivals allowed for an expansion of the tactical RPG genre, as well as innovations in level design and audiovisual elements. This is Part 2 of a series of stories about the history of portable tactical RPGs. Although this story is self-contained, it is recommended that [you read Part 1](https://www.superjumpmagazine.com/history-of-portable-tactical-rpgs-part-1/) beforehand so that you are familiar with the tactical RPGs available on the dominant handheld console during roughly the same historical period as the games covered in this Part 2. [Part 1: Game Boy (1989–2003)](https://www.superjumpmagazine.com/history-of-portable-tactical-rpgs-part-1/) Two criteria were used to qualify a video game for this chapter: 1. The title was released for an original handheld console that competed with the Game Boy family and sold over one million units, including the Atari Lynx (1989–1995), TurboExpress (1990–1994), Game Gear (1990–2002), Neo Geo Pocket/Neo Geo Pocket Color (1998–2001), WonderSwan/WonderSwan Color/WonderCrystal (1999–2003), and Nokia N-Gage (2003–2006). 2. The title is a turn-based RPG whose main gameplay sessions are in grid-based scenarios, in which the player can move the units of a party or battalion. Although in some cases the player can control a single unit, combat primarily takes place against a coordinated party or battalion, not monsters that spawn or inhabit the world with relative independence. This is not a universal definition for tactical RPGs, but rather a functional definition of the genre for Game Boy rivals. #### Table of Contents ****I. Hardware features** I.i. Game Gear I.ii. Neo Geo Pocket / Neo Geo Pocket Color I.iii. WonderSwan / WonderSwan Color / WonderCrystal ****II. Major tactical role-playing games** II.i. Shining Force Gaiden II.ii. Faselei! II.iii. SD Gundam G Generation GATHER BEAT II.iv. Digimon Adventure: Anode/Cathode Tamer II.v. Super Robot Taisen Compact II.vi. Super Robot Taisen Compact 2, Part 1 ****III. Minor tactical role-playing games** ****IV. Chronology** ****V. Honorable mentions** ****VI. Generation shift** ## I. Hardware features While the Game Boy line can be strictly defined by the Game Boy and its direct variations (Game Boy Pocket, Game Boy Light, and Game Boy Color), the Game Boy family is a concept that can also encompass the Game Boy Advance and its variations, including the Game Boy Advance SP and Game Boy Micro. Since the release of the original Game Boy in 1989, many competing companies have emerged with rival handhelds to the Game Boy family; the last one, the Nokia N-Gage, was discontinued in 2006\. Here, we consider rival handhelds, not just any handhelds from competing companies, but those that sold at least 1 million units ([Wiki](https://en.wikipedia.org/wiki/Handheld%5Fgame%5Fconsole)), approximately: - Atari Lynx (+II) (≈3 million) - TurboExpress (1.5 million) - Game Gear (10.6 million) - WonderSwan (1.55 million) - Nomad (≈1 million) - Neo Geo Pocket (<2 million) - WonderSwan Color (1.95 million) - N-Gage (+QD) (3 million) Since Nomad is a portable version of a home console rather than an original handheld console, its games are not considered here. Among the other Game Boy rivals, the only ones that have tactical RPGs in their libraries are the Game Gear, WonderSwan, and Neo Geo Pocket lines. Therefore, these are the only hardware systems we present in this topic. The first tactical RPG released on a handheld console in the West was Farselei!, in June 2000, in the United Kingdom. Additionally, this was the only tactical RPG released in the West on a Game Boy rival. In terms of the tactical RPG genre, the true battleground on handheld consoles was Japan. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-8395cfcb-6c7b-447a-a30c-e368c5d4ac0d.png "Chart") Statistical comparison of total hardware sales in Japan for consoles in the Game Boy family (GB and GBA), Game Gear (GG), and the WonderSwan (WS) and Neo Geo Pocket (NGP) lines. This chart is based on data from the last month with the number of sales recorded in the [Game Data Library](https://sites.google.com/site/gamedatalibrary/hardware-comparer). In the case of WS, there is a discrepancy with the official data. Source: Game Data Library/Authors. In terms of accessories, the Neo Geo Pocket line also used connection cables with a function similar to the Game Link cable of the Game Boy family. For the Game Gear, there was a more peculiar accessory: the TV Tuner with a whip antenna inserted into the cartridge slot, turning it into a portable television. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-9b7e2cbf-565f-4743-ac7f-b40d8473d364.jpeg) A Game Gear with TV Tuner. Source: Wikicommons/Authors. Although the Game Gear and Neo Geo Pocket lines had hardware features that directly influenced tactical RPGs on those platforms, the WonderSwan line had a wider variety of those games in its library. It offered an interesting innovation for the control and viewing experience on a portable console: the ability to play in both horizontal and vertical orientations. In some games, this versatility was explored in unique experiences, but unfortunately, it remained practically unexplored in tactical RPGs. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-2acab714-84ef-4dde-a2a1-f84dadac4cfc.png) Artwork depicting grid-map movement in a style typical of tactical RPGs on a WonderCrystal. Source: Authors. When it comes to general tendencies in the games, it was notable that most tactical RPGs on the Wonderswan and Game Gear used the same sort of transitions as were common in Super Robot Wars, Shining Force, and Fire Emblem. Unlike the Game Boy, some Wonderswan titles implemented isometric grids, including Dark Eyes: Battle Gate, Digimon Anode/Cathode Tamer, the Front Mission port, and Blue Wing Blitz. On the Neo Geo Pocket, Faselei! had a unique command-based system that made it a beast in its own league, forcing players to understand how to chain multiple actions together for a good outcome once the turn “played out”. 0:00 /0:18 1× Shining Force: The Sword of Hajya (GG) via Mednafen. Source: Sega/Authors. 0:00 /0:29 1× Faselei! (NGPC) via Mednafen. Source: SNK/Authors. 0:00 /0:40 1× Digimon Anode/Cathode Tamer: Veedramon Version (WSC) emulated via Mednafen. Source: Bandai/Authors. ### I.i. Game Gear (1990) - CPU: Zilog Z80 (8-bit) - Clock: \~3.58 MHz - Display: 160 × 144 pixels; 32 simultaneous colors (from a palette of 4,096) - Graphics Model: Tile-based backgrounds (8 × 8 tiles) with hardware sprites - RAM: 8 KB system RAM; 16 KB VRAM - Sound: 4-channel PSG - Power: 6 × AA batteries Despite significantly higher color capability than the Game Boy, the Game Gear retained a tile-based graphics model, making it structurally well-suited to grid-based tactical maps. However, high power consumption and a bulky form factor limited long-form, turn-based play, constraining the platform’s viability for sustained tactical RPG sessions despite its architectural compatibility. The Game Gear is known for its short battery life, lasting only 3 to 5 hours with six AA batteries due to its power-hungry fluorescent screen. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-6daa2c95-02c3-45dd-b958-f461e0e985a7.png) Shining Force: The Sword of Hajya (GG, JP: 1993, NA: 1994) on Game Gear. Source: Authors. ### I.ii. Neo Geo Pocket (1998) / Neo Geo Pocket Color (1999) - CPU: Toshiba TLCS-900H (16-bit) - Clock: \~6.14 MHz - Display: 160 × 152 pixels; monochrome (NGP) / color (NGPC) - Color Capability (NGPC): 4,096-color palette; up to 146 colors on screen - Graphics Model: Tile-based backgrounds with hardware sprites - RAM: 12 KB system RAM; 16 KB VRAM - Sound: 6-channel sound system - Power: 2 × AA batteries The Neo Geo Pocket family combined efficient tile-based rendering, excellent battery life, and high-contrast displays, creating near-ideal conditions for tactical RPGs. This balance directly supported precise spatial reasoning, readable interfaces, and longer sessions. While it uses two batteries compared to the WonderSwan's single cell, the NGP/NGPC is power-efficient, often providing up to 40 hours of gameplay. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-4b10d85b-0283-4309-93c5-e329c09acc2f.png) Faselei! (NGPC, JP: 1999, UK: 2000) on Neo Geo Pocket. Source: Authors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-d2a75b4c-7c3f-452c-99e9-1d449b1bc706.png) Faselei! (NGPC, JP: 1999, UK: 2000) on Neo Geo Pocket Color. Source: Authors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-27a41292-3a19-4b24-a01f-4ed2e313f231.png) Monochrome options in Neo Geo Pocket Color for Neo Geo Pocket games. Source: Authors. ### I.iii. WonderSwan (1999) / WonderSwan Color (2000) / WonderCrystal (2002) - CPU: NEC V30MZ (16-bit, 8086-compatible) - Clock: \~3.07 MHz - Display: 224 × 144 pixels; monochrome (WS) / color (WSC) - Color Capability (WSC): 4,096-color palette; up to 241 colors on screen - Graphics Model: Tile-based backgrounds with sprites; dual-orientation support - RAM: 16 KB system RAM; 16 KB VRAM - Sound: 4-channel audio - Power: 1 × AA battery Designed under Gunpei Yokoi’s low-power philosophy, the WonderSwan emphasized clarity, efficiency, and flexibility of orientation. Its tile-based architecture and exceptional battery performance made it particularly suitable for long gaming sessions in tactical RPGs. It used a non-backlit reflective screen, allowing for extraordinary battery life, with some models lasting over 20 hours on a single AA battery. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-2719c1ec-a54e-4ed9-bf25-ab4e3813c7ab.png) Super Robot Taisen Compact (WS, JP: 1999) on WonderSwan. Source: Authors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-8db3938a-6ebb-4cfc-9fa2-251c135b08b2.png) Super Robot Taisen Compact (WS, JP: 1999) on WonderSwan Color or WonderCrystal. Source: Authors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-d42103cb-d99c-4a6b-8c48-34c148bf3e1b.png) Digimon Anode/Cathode Tamer: Veedramon Version (WSC, JP: 2001) on WonderSwan Color or WonderCrystal. Source: Authors. ## II. Major tactical role-playing games As in Part 1, we say that a tactical RPG (TRPG) is "major" when it satisfies *at least one* of the following criteria: 1. The title has an average score of 35/40 or higher on some review aggregator (EGM or Famitsu); 2. The title sold more than 100,000 copies 3. The title is part of a main series 4. The title is the first in a subseries 5. The title was significantly influential in the development of later major titles. In chronological order, this topic presents all the major tactical RPGs from the Game Boy rivals, including narrative introduction, gameplay, and critical and commercial reception. Each game is accompanied by cover art plus 1 to 6 screenshots from the game: 1. Tactical battle grid 2. In-game dialogue (if any) 3. Transition to combat (if any) 4. World map (if any) 5. Exploration (if any) 6. Cutscene without in-game graphics (if any) ### II.i. Shining Force Gaiden (GG, JP: 1992) Shining Force Gaiden: Ensei – Jashin no Kuni he (known simply as Shining Force Gaiden) is a 1992 tactical role-playing game developed by Camelot Software Planning and published by Sega exclusively for the Sega Game Gear. It was released on December 25, 1992, as the first portable offshoot of the Shining Force franchise, set 20 years after the events of the original Shining Force and introducing a new generation of characters tied to the legacy of the earlier heroes. The story centers on Nick, a visitor from Guardiana who becomes the leader of a new Shining Force on a mission to save Queen Anri, who has been imprisoned by a dark spell, and rescue kidnapped soldiers, while confronting the Kingdom of Cypress. In terms of gameplay, Shining Force Gaiden adheres closely to the turn-based tactical RPG formula established by its predecessor, but tailored to the limitations of the handheld Game Gear. Players control a squad of units on grid-based battlefields, moving characters, initiating combat, casting spells, promoting units at higher levels, managing resurrected allies between scenarios, and sometimes buying and selling weapons and healing items. The battle objectives are quite simple: kill all the enemies or kill the enemy leader. The structure alternates between short cutscenes and discrete battlefield engagements, with limited menu interactions compared to its console counterparts. These design simplifications defined the Shining Force Gaiden sub-series, which opts to sacrifice the world exploration found in the Sega Genesis (or Mega Drive) titles and emphasizes battlefield tactics and party composition. 0:00 /0:24 1× Shining Force Gaiden emulated via Mednafen. Source: Sega/Authors. Both Shining Force Gaiden I and II were unified into a remake, Shining Force CD (JP: 1994, NA: 1995), for the Sega CD. There is no officially documented public information regarding the approximate sales figures for Shining Force Gaiden. Critical reviews at the time were mixed in Japan (Famitsu [issue 211](https://archive.org/details/weekly-famitsu-no.-211-january-1st-1993/Weekly%20Famitsu%20-%20No.%20211%20January%201st%201993/page/n52/mode/1up): 25/40), but the game achieved relative success in its niche, inspiring successors on the same console and laying the groundwork for the first portable versions of Shining Force. > “Although it is scaled down from the 16-Bit big brother version, this one keeps almost all the same elements. There are several hours of game play in this one, with the music and graphics taking first chair.” Full review: [Electronic Gaming Monthly issue 62](https://archive.org/details/ElectronicGamingMonthly%5F201902/Electronic%20Gaming%20Monthly%20Issue%20062%20%28September%201994%29/page/n39/mode/1up) (September 1994) > “The major difference between the Gaiden games and the Genesis or Saturn Shining Force games is that in this one you can not visit towns... It may sound weird like this but one quickly gets used to it. Instead you get to enter either your headquarters, a shop or exit town and enter the next battle. \[...\] The animations are good and look a lot like the first Shining Force. \[...\] The Game Gear was a machine that had low quality sounds and music. However this game offers enjoyable tunes and the sounds aren't that bad.” Full retrospective review: Doom\_Infinite, [GameFAQs](https://gamefaqs.gamespot.com/gamegear/562785-shining-force-gaiden/reviews/42776) (2002) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Ensei--Jashin-no-Kuni-e--Japan--2026-03-09-10-29-54-2.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Ensei--Jashin-no-Kuni-e--Japan--2026-03-09-10-26-07-2.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Ensei--Jashin-no-Kuni-e--Japan--2026-03-09-10-30-54-3.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Ensei--Jashin-no-Kuni-e--Japan--2026-03-12-15-48-42-2.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Ensei--Jashin-no-Kuni-e--Japan--2026-03-12-15-15-02-2.png) Shining Force Gaiden emulated via Ares. Source: Sega/Authors. ### II.ii. Faselei! (NGPC, JP: 1999, UK: 2000) Faselei! was developed by Sacnoth (later known as Nautilus) and published by SNK for the Neo Geo Pocket Color during the system’s brief but creatively ambitious lifespan. This title was directed and written by Matsuzo Machida, with character designs by Miyako Kato and music by Yoshitaka Hirota. These developers would later be key collaborators on the Shadow Hearts series. The game presents a post-apocalyptic science-fantasy setting in which factions battle using giant humanoid machines. Following the Third World War, Ishtar, a small country in the Middle East, attempts to restore peace, but is engulfed in civil war after the first king of Ishtar is assassinated by one of his sons, Aerbel. The country split into two rival factions: one supporting Aerbel and the other rebelling against the injustice of his reign. The mercenary group Faselei sympathizes with the Rebel Army's cause. They are hired by Prince Kein to restore order and overthrow his brother's corrupt rule. From a gameplay perspective, Faselei! is a turn-based tactical RPG where, instead of controlling multiple characters, each with a single action per turn, you control a single character (a giant mech) to perform several actions. The chosen actions form a list of commands that are applied as a counterpoint to the enemy's list. The weapons have varying ranges, limited ammunition, and require manual reloading. Each chosen action is based on a CHIP that you can collect. In turn, the list of commands is based on the fact that your mech (or Toy Soldier, TS) has a CPU with limited memory capacity, which can be upgraded. Initially, the CPU can memorize 5 actions, and can be upgraded to queue 6 and, later, 7 actions. 0:00 /0:29 1× Faselei! emulated via Mednafen. Source: SNK/Authors. Critically, Faselei! has come to be regarded as one of the most ambitious titles on the Neo Geo Pocket Color, despite its limited commercial reach due to the platform’s small install base. Critical reviews at the time were relatively negative in Japan (Famitsu issue 578: 24/40) and positive in the US (EGM [issue 130](https://archive.org/details/ElectronicGamingMonthly%5F201902/Electronic%20Gaming%20Monthly%20Issue%20130%20%28May%202000%29/page/n155/mode/1up): 32/40); in retrospect, it is frequently cited as a late-era highlight of SNK's handheld output. The game was included as one of the titles in the 2010 book *1001 Video Games You Must Play Before You Die* (2010), edited by Tony Mott. > “The story is fairly intriguing and the graphics above par, but it's Faselei's battle system and TS tinkering that makes this one a winner.” Full review: Jay, The Gonzo Gamer, [Game Informer Issue 85](https://archive.org/details/game-informer-issue-85-may-2000/page/n57/mode/2up) (May 2000) > “\[...\] certainly everyone with an interest in strategy games should spend a weekend completing it once. It’s a wonderful little game. But it’s sad that a great concept didn’t receive wider recognition or a sequel.” Full retrospective review: John Szczepaniak, [Hardcore Gaming 101](http://www.hardcoregaming101.net/faselei/) (2012) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Faselei-Gameplay-Neo-Geo-Pocket-Color--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Faselei-Cutscene-NGP-Color.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Faselei---Europe--2026-03-12-16-07-12.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Faselei---Europe--2026-03-12-15-56-42.png) Faselei! emulated via Ares. Source: SNK/Authors. ### II.iii. SD Gundam G Generation GATHER BEAT (WS, JP: 2000) Developed by Vanguard, directed by Tomonori Sugiyama and Takashi Matsuda, and published by Bandai, this is the first game in the G Generation series with a crossover storyline, combining characters and events from multiple Gundam anime into a single campaign. It is also the first G Generation game to use the three-man squad formation that would become standard for handheld games. Within the franchise, the campaign is relatively modest in terms of the number and variety of missions, but it's adequate for the handheld's standards. Most missions follow relatively repetitive patterns; each mission presents a map with military objectives, which usually consist of eliminating all enemy units or defeating a commander, while the player controls mobile suit units shown in a "super deformed" (SD) style. The gameplay innovates with a squad system: units can be grouped into small teams of up to three mobile suits in the same space on the map and attack in sequence. The game also allows the capture of enemy units, surrounding an opponent, and the use of carriers that function as launch platforms and support for the mobile suits. 0:00 /0:40 1× SD Gundam G Generation GATHER BEAT emulated via Mednafen. Source: Bandai/Authors. There is currently no complete fan translation for SD Gundam G Generation Gather Beat. The game received a relatively positive critical reception in Japan: 29/40 (Famitsu issue 604). The game had reasonable sales, 62,012 units ([vgsales](https://vgsales.fandom.com/wiki/Gundam#cite%5Fnote-1)/Nicher Barrier), successful enough to justify a numbered successor, as well as an expanded remake, released for the GBA: SD Gundam G Generation Advance (JP: 2003). > “Nothing has changed. The rule that ‘if you’ve seen one game in the SRT or SD Gundam series, then you’ve seen them all’ still holds true, and in almost 30 years there have only been a few exceptions. The rest are almost entirely about moving little blue figures across hexes or squares and taking out the red ones.” > > \[А ничего не изменилось. Правило “если видел одну игру из серии SRT или SD Gundam – значит, видел их все” всё так же в силе, и исключений из правил за почти 30 лет лишь несколько. Остальные – практически поголовно передвижения маленьких синих фигурок по гексам или квадратикам и вынесение фигурок красных.\] Full retrospective review: StormReaver, [JRPG](https://www.jrpg.org/reviews/bandai-wonderswan/sd-gundam-g-generation-gather-beat/?utm%5Fsource=chatgpt.com) (2020). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat--Japan--2026-03-12-16-31-47-2.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat--Japan--2026-03-12-16-29-09-2.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat--Japan--2026-03-12-16-44-15.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat--Japan--2026-03-12-16-55-27.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat--Japan--2026-03-12-16-28-40.png) SD Gundam G Generation GATHER BEAT emulated via Ares. Source: Bandai/Authors. ### II.iv. Digimon Adventure: Anode/Cathode Tamer (WS, JP: 1999; WS, JP: 2000; WonderSwan Color, AS: 2001) One of the few Wonderswan games to receive an English translation, Digimon Adventure: Anode/Cathode Tamer is a compilation of the tactical RPGs Anode and Cathode Tamer. Developed by SIMS, the games were the starting point of a series that provided a cross-media perspective for Digimon, connecting itself to the animations from the original Adventure all the way to Tamers. In the games, Ryo Akiyama would have the chance to partner up with multiple Digimon to try and save the Digital World from a major crisis (and eventually meet his nemesis Millenniumon), in which villains from the first anime series have come back. Summoning multiple allies, he fights his way through grid-based battlefields that open up when he enters dungeons, having to handle consecutive battles to advance the story and power up his allies. The game featured connectivity between Wonderswans for players to battle each other as well as a unique system of unlockable skills called “Variable Moves”, which can show up depending on the player’s choice of up to three units for a given battle. 0:00 /0:40 1× Digimon Anode/Cathode Tamer: Veedramon Version emulated via Mednafen. Source: Bandai/Authors. Altogether, Digimon Adventure: Anode/Cathode Tamer sold 212,462 units ([vgsales](https://vgsales.fandom.com/wiki/Digimon)). While critical reviews for it are hard to come by, the game has a strong presence in the fandom due to its connections to other media, being seen as a “missing link” for Western fans willing to dig deeper into Digimon lore. In his personal blog, writer James Thompson comments: > “Do I recommend it? Well, kind of. I can only really recommend this game to two kinds of people: Those who love Digimon and Ryo, and those who love tactical RPGs. While you can easily skip this game in favor of future games, I do suggest at least trying it. It does introduce the hero and villain of this series and is fun for an hour or two, but that’s about it.” Full retrospective review: James Thompson, [Syrup With A Side Of Writing](https://syrupwithasideofwriting.wordpress.com/2017/06/05/sweet-as-syrup-digimon-adventure-anodecathode-tamer-veedramon-version-review/) (2017). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Digimon---Anode-Tamer---Cathode-Tamer-Battle-Movement--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Digimon---Anode-Tamer---Cathode-Tamer---Veedramon-Version--Hong-Kong---En--2026-03-12-17-04-45.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Digimon---Anode-Tamer---Cathode-Tamer---Veedramon-Version--Hong-Kong---En--2026-03-12-17-07-15.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Digimon---Anode-Tamer---Cathode-Tamer---Veedramon-Version--Hong-Kong---En--2026-03-12-17-05-33.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Digimon---Anode-Tamer---Cathode-Tamer-Cutscene--1-.png) Digimon Anode/Cathode Tamer: Veedramon Version emulated via Ares. Source: Bandai/Authors. ### II.v. Super Robot Taisen Compact (WS, JP: 1999; WSC, JP: 2001) Though the Super Robot Taisen series started in 1991 on Game Boy, by 1999 it had already spread to many systems, with the franchise reaching over 20 releases by the end of that year. The first entry on the Wonderswan was Super Robot Taisen Compact, which would be expanded upon with four sequels and an enhanced WonderSwan Color edition that had some gameplay revisions and changes based on its successors. The games were made by TOSE and published by Banpresto. As the big crossover series it is, the game included characters and robots from multiple Gundam animations: Mazinger (Z and Great), Getter Robo (original, G, and the Shin manga), Daitarn 3, L-Gaim, Aura Battler Dunbine, Brave Raideen, Daimos, and Dancouga. Super Robot Taisen Compact followed up on the more involved story elements brought to the franchise ever since Super Robot Taisen 2 (NES, JP: 1991) and some of the graphical improvements from Super Robot Taisen 3 (SNES, JP: 1993\. These included more detailed animations and backgrounds for the battle sequences, even though it was shown on a monochrome screen, and chiptune versions of classic anime songs. It also introduced a Free Route system, which let players choose the order of the scenarios they’d like to play instead of following a linear structure, opening up plot divergences and secrets that added replay value. 0:00 /0:33 1× Super Robot Taisen Compact emulated via Mednafen. Source: Banpresto/Authors. Super Robot Taisen Compact would go on to sell 143,729 copies ([Super Robot Wars/Sales Data](https://akurasu.net/wiki/Super%5FRobot%5FWars/Sales%5FData#:~:text=Just%20a%20collection%20of%20SRW%20Games%20sales,a%20text%20file%20on%20my%20hard%20drive.)/Famitsu), becoming the system’s best-selling entry in the franchise. Its WonderSwan Color version would only reach 14,873 units sold ([Super Robot Wars/Sales Data](https://akurasu.net/wiki/Super%5FRobot%5FWars/Sales%5FData#:~:text=Just%20a%20collection%20of%20SRW%20Games%20sales,a%20text%20file%20on%20my%20hard%20drive.)/Famitsu). > “This game offers alot of replay value, with alot of strategy and amount of robots to choose from that you can use. Although it is anally hard, the fun factor of the game is welcome by many.” Full review: AhKenshi, [GameFAQs](https://gamefaqs.gamespot.com/wonderswan/562901-super-robot-taisen-compact/reviews/4503) (1999). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-Battle-on-Wonderswan--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact--Japan---Rev-2--2026-03-12-17-52-27.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact--Japan---Rev-2--2026-03-12-17-12-11.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact--Japan---Rev-2--2026-03-12-17-48-43.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-Cutscene-on-Wonderswan--1--1.png) Super Robot Taisen Compact emulated via Ares. Source: Banpresto/Authors. ### II.vi. Super Robot Taisen Compact 2 - Dai-1-bu - Chijou Gekidou Hen (WS, JP: 2000) Following the first Super Robot Taisen Compact, Banpresto decided to make a trilogy out of the second game, with each arc sold separately. Super Robot Taisen Compact 2 was divided into three parts: “Chijou Gekidou Hen” (“Earth Crisis Chapter”), “Uchuu Gekishin Hen” (“Cosmoquake Chapter”), and finally “Ginga Kessen Hen” (“Galactic Showdown Chapter“). The games would later on be remade as a single PS2 title called Super Robot Taisen Impact, released back in 2002 exclusively in Japan (as usual for the franchise). Super Robot Taisen Compact 2’s first chapter was the debut of mecha series Dangaioh and Ninja Senshi Tobikage (known in the west as Ninja Robots). The trilogy is regarded as having very tough combat, to the point that the criticisms of Compact 2 and Impact led the developers to make Super Robot Taisen MX (PS2, JP: 2004) extremely easy. It imported most of its gameplay elements from its predecessor, such as the Free Route system, but it also added the feature to keep some data from one game to the next, giving returning players some advantages in the next chapters of Compact 2. 0:00 /0:36 1× Super Robot Taisen Compact 2 - Dai-1-bu - Chijou Gekidou Hen emulated via Mednafen. Source: Banpresto/Authors. To this day, no patch has been released that fully translates the game into English. While its successors didn’t fare as well, Super Robot Taisen Compact 2 - Dai-1-bu - Chijou Gekidou Hen still managed to sell 114,164 units ([Super Robot Wars/Sales Data](https://akurasu.net/wiki/Super%5FRobot%5FWars/Sales%5FData#:~:text=Just%20a%20collection%20of%20SRW%20Games%20sales,a%20text%20file%20on%20my%20hard%20drive.)/Famitsu). This game barely received any reviews when it was released. The remake of the trilogy would go on to sell 632,536 units on the much more popular PlayStation 2 ([Super Robot Wars/Sales Data](https://akurasu.net/wiki/Super%5FRobot%5FWars/Sales%5FData#:~:text=Just%20a%20collection%20of%20SRW%20Games%20sales,a%20text%20file%20on%20my%20hard%20drive.)/Famitsu). > “Super Robot Taisen Compact 2 is an absolute pillar of the WonderSwan game library, not just because of its unusual three-part structure, but because it really shows off what these games can be when the team behind them is firing on all cylinders. It’s incredibly ambitious both in scope and how it uses lesser-known hardware features of the WonderSwan, and it’s pretty impressive that they pulled it off.” Full retrospective review: Yanik Magnan, [YouTube](https://youtu.be/zr4Kp5VRRWY?t=719) (2023). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-1-bu---Chijou-Gekidou-Hen--Japan--2026-03-12-18-03-01.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-1-bu---Chijou-Gekidou-Hen--Japan--2026-03-12-18-01-46.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-1-bu---Chijou-Gekidou-Hen--Japan--2026-03-12-18-03-28.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-1-bu---Chijou-Gekidou-Hen--Japan--2026-03-12-18-00-03.png) Super Robot Taisen Compact 2 - Dai-1-bu - Chijou Gekidou Hen emulated via Ares. Source: Banpresto/Authors. ## III. Minor tactical role-playing games Not all tactical RPGs released for these non-Game Boy handhelds were prominent in their time, but all deserve their place in the chronology. Below, we present the minor tactical RPGs released for the Game Boy's rivals. ### Shining Force Gaiden II: Jashin no Kakusei / Shining Force: The Sword of Hajya (GG, JP: 1993, NA: 1994) Shining Force Gaiden II is a direct sequel to the first; the story takes place two months after the events of the original Shining Force Gaiden, and features identical gameplay. Reviews of this game in Japan were mixed (Famitsu [issue 238](https://www.uvlist.net/game-43867-Shining+Force+The+Sword+of+Hajya+Shining+Force+Gaiden+II+II): 25/40) and relatively positive in the US (EGM [issue 62](https://archive.org/details/ElectronicGamingMonthly%5F201902/Electronic%20Gaming%20Monthly%20Issue%20062%20%28September%201994%29/page/n39/mode/1up): 27/40). See more details in this retrospective review: Damien McFerran, [Nintendo Life](https://www.nintendolife.com/reviews/3ds-eshop/shining%5Fforce%5Fthe%5Fsword%5Fof%5Fhajya%5Fgamegear) (2013). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force---The-Sword-of-Hajya-Battle-Movement--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force---The-Sword-of-Hajya-Cutscene--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force---The-Sword-of-Hajya--USA--2026-03-12-20-21-59.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force---The-Sword-of-Hajya--USA--2026-03-12-20-37-37.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force---The-Sword-of-Hajya--USA--2026-03-12-20-20-59.png) Shining Force: The Sword of Hajya emulated via Ares. Source: Sega/Authors. ### Shining Force Gaiden: Final Conflict (GG, JP: 1995) Despite identical gameplay, the plot of Shining Force Gaiden: Final Conflict is not connected to the story of the other two Shining Force Gaiden games, but rather to the plots of Shining Force and Shining Force II for the Sega Genesis. Like its predecessor, it's difficult to estimate sales figures, but Japanese reviews of the third title were relatively positive (Famitsu issue 342: 29/40). This game has a [complete fan translation](https://fantasyanime.com/shining-force-final-conflict/downloads). See more details in this retrospective review: [Fantasy Anime](https://fantasyanime.com/shining-force-final-conflict/game-review). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Final-Conflict--Japan--2026-03-12-20-41-28.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Final-Conflict--Japan--2026-03-12-20-40-43.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Final-Conflict--Japan--2026-03-12-20-42-13.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Final-Conflict--Japan--2026-03-12-20-45-35.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Shining-Force-Gaiden---Final-Conflict--Japan--2026-03-12-20-38-51.png) Shining Force Gaiden: Final Conflict emulated via Ares. Source: Sega/Authors. ### Front Mission (WSC, JP: 2002) Front Mission was developed by G-Craft and published by Square, exclusively in Japan, as a portable version of Square's iconic tactical RPG of the same name, originally released for the Super Famicom in 1995\. As expected, the handheld version suffered a downgrade in sound quality, but the music still sounds decent. The adaptation simplifies the menus and presentation to suit the handheld display, but preserves the complexity of equipment optimization, terrain effects, and positioning tactics. Unlike the original version, this specific version never received a full fan-made translation patch. The WonderSwan Color version of Front Mission was a niche release; it sold approximately 7,989 copies ([SwanofWonders](https://swan-of-wonders.weebly.com/sales-data.html#:~:text=WonderSwan%20hardware%20sales,source:%20Famitsu/Enterbrain%29.)/GameDataMuseum). Reviews in Japan were relatively positive (Famitsu issue 915: 30/40). See more details in this retrospective review: [Hardcore Gaming 101](http://www.hardcoregaming101.net/front-mission/) (2011). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Front-Mission--Japan--2026-03-12-21-00-34.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Front-Mission--Japan--2026-03-12-20-47-42.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Front-Mission--Japan--2026-03-12-21-00-52.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Front-Mission--Japan--2026-03-12-21-01-29.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Front-Mission--Japan--2026-03-12-20-53-33.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Front-Mission--Japan--2026-03-12-20-53-46.png) Front Mission emulated via Ares. Source: Square/Authors. ### Blue Wing Blitz (WSC, JP: 2001) Produced by Akitoshi Kawazu (SaGa series) and developed by the Front Mission Team, Blue Wing Blitz emerged with a different premise from usual TRPGs, focusing on aerial battles with customizable aircraft. This game features memorable character design by Nobuyuki Ikeda and the first soundtrack composed entirely by Kumi Tanioka in her career. The story takes place in an unnamed fictional world, beginning in the Republic of Esk, where the group of playable characters attempts to repel the invasion of the militaristic empire of Ordia. Similar to Front Mission, each unit can be damaged in different parts. There are also ground units on the grid-map that can only be destroyed by bombers. Limited ammunition and fuel are resources that need to be accounted for in missions. The game was not very commercially successful, selling only around 20,000 units one year after its release. ([Square](https://web.archive.org/web/20060506043311/http://www.square-enix.com/jp/ir/j/data/fs/download/0405-200206200000-01.pdf)). Interest in this game has grown in recent years, as evidenced by discussions on Reddit since 2022, but due to its complex script, it lacks an English fan translation, and there doesn't seem to be any organized project for that purpose. There is only one review available on [GameFAQs](https://gamefaqs.gamespot.com/wsc/581503-blue-wing-blitz/reviews). See more details in this Japanese retrospective review: [w.atwiki](https://w.atwiki.jp/gcmatome/pages/2896.html) (2021). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Blue-Wing-Blitz--Japan--2026-03-12-21-09-44.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Blue-Wing-Blitz--Japan--2026-03-12-21-09-30.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Blue-Wing-Blitz--Japan--2026-03-12-21-11-04.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Blue-Wing-Blitz--Japan--2026-03-12-21-25-46.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Blue-Wing-Blitz--Japan--2026-03-12-21-15-16.png) Blue Wing Blitz emulated via Ares. Source: Square/Authors. ### Arc the Lad: Kishin Fukkatsu (WSC, JP: 2002) Alongside Front Mission, the Arc the Lad series is one of the two main franchises created by Toshiro Tsuchida. In this spin-off, directed by Masaki Yamada, Elc returns as the protagonist alongside Finia, a mysterious girl sent from the future to his time due to a hostile robotic invasion that occurred in her era. Based on this premise, the plot revolves around seven playable characters who attempt to prevent the resurrection of the Machine God, events that take place after Arc the Lad III. The battlefields are small, flat, and contain few units, and the gameplay is simple and similar to previous entries in the series. In terms of exploration design, you can move freely and flee from any battle except against bosses, and there are maps where you can fight the same battle repeatedly. There is no reliable data on critical reception or sales of this title. There is currently a fan translation in progress. See more details in this retrospective review by aln03: [GameFAQs](https://gamefaqs.gamespot.com/wsc/567546-arc-the-lad-kishin-fukkatsu/reviews/88906) (2005). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Arc-the-Lad---Kishin-Fukkatsu--Japan--2026-03-12-21-27-31.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Arc-the-Lad---Kishin-Fukkatsu--Japan--2026-03-12-21-27-53.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Arc-the-Lad---Kishin-Fukkatsu--Japan--2026-03-12-21-28-40.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Arc-the-Lad---Kishin-Fukkatsu--Japan--2026-03-12-21-32-09.png) Arc the Lad: Kishin Fukkatsu emulated via Ares. Source: Bandai/Authors. ### Langrisser Millennium WS: The Last Century (WSC, JP: 2000) Alongside Shining Force, Langrisser is one of the most traditional TRPG series on Sega consoles, although it's not a first-party intellectual property. A year after the conclusion of the main series, Langrisser V: The End of Legend (Sega Saturn, JP: 1998), Masaya Games published a spin-off, Langrisser Millennium, for Dreamcast, which attempted to reinvent the franchise. Its story takes place centuries after the events of the classic series, when the world has already undergone many political and technological transformations. From a gameplay perspective, this game became a real-time SRPG rather than a tactical RPG. Developed and published by Bandai, Langrisser Millennium WS: The Last Century emerged as a prequel to Langrisser Millennium, returning to the classic TRPG style of the main series, but with reduced maps and other simplifications due to the limitations of the handheld console. It is a minor title in the series, with little information about its sales or reviews, and to this day, no English translation is available. See more details in this review by \_Faust\_: [GameFAQs](https://gamefaqs.gamespot.com/wonderswan/577052-langrisser-millennium-ws-the-last-century/reviews/12318) (2000). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Langrisser-Millennium-WS---The-Last-Century--Japan---Rev-1--2026-03-12-21-52-59.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Langrisser-Millennium-WS---The-Last-Century--Japan---Rev-1--2026-03-12-21-55-08.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Langrisser-Millennium-WS---The-Last-Century--Japan---Rev-1--2026-03-12-21-41-54.png) Langrisser Millennium WS: The Last Century emulated via Ares. Source: Bandai/Authors. ### Royal Stone: Hirakareshi Toki no Tobira (GG, JP: 1995) Royal Stone was developed by Media Rings and published by Sega for the Game Gear, exclusively in Japan, during the system’s late commercial phase. Although short and mechanically simpler than genre benchmarks like Shining Force or Fire Emblem, Royal Stone has a clarity and rhythm that give it a certain personality within the Game Gear library. The game received a full [English patch](https://aeongenesis.net/projects/royalstone) (2013) created by the Aeon Genesis group. The title was a low-profile release and has no publicly available sales data from Famitsu or Sega. In Japan, reviews were positive within the Sega ecosystem ([Sega Saturn Magazine](https://segaretro.org/index.php?title=File:SSM%5FJP%5F19950301%5F1995-03.pdf&page=133): 34/40), but not when considering the broader context of the 1995 releases (Famitsu issue 324: 23/40). See more details in this retrospective review: Ken Horowitz, [Sega-16](https://www.sega-16.com/2016/06/royal-stone-hirakareshi-toki-no-tobira/) (2016). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Royal-Stone---Hirakareshi-Toki-no-Tobira--Japan--2026-03-12-21-57-44.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Royal-Stone---Hirakareshi-Toki-no-Tobira--Japan--2026-03-12-21-57-04.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Royal-Stone---Hirakareshi-Toki-no-Tobira--Japan--2026-03-12-21-58-38.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Royal-Stone---Hirakareshi-Toki-no-Tobira--Japan--2026-03-12-22-01-14.png) Royal Stone: Hirakareshi Toki no Tobira emulated via Ares. Source: Sega/Authors. ### SD Gundam G Generation GATHER BEAT 2 (WSC, JP: 2001) Like the first game in this subseries, SD Gundam G Generation GATHER BEAT 2 is similar to the Super Robot Wars series: linear campaigns, an original crossover narrative, and relatively compact tactical battles adapted to the portable format. The game expands on the gameplay systems introduced in its predecessor, released for WonderSwan, but the migration to the WonderSwan Color allowed more detailed sprites, colorful graphics, and more elaborate combat animations. However, this sequel was less successful, with 35,842 units sold ([vgsales](https://vgsales.fandom.com/wiki/Gundam#cite%5Fnote-1)/Nicher Barrier). There is scarce review data, and SD Gundam G Generation: Gather Beat 2 does not have a known fan translation. See more details in this review: KingZora, [GameFAQs](https://gamefaqs.gamespot.com/wsc/581509-sd-gundam-g-generation-gather-beat-2/reviews/26725?utm%5Fsource=chatgpt.com) (2001). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat-2--Japan--2026-03-16-18-13-27.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat-2--Japan--2026-03-16-18-03-38.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat-2--Japan--2026-03-16-18-10-47.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Gather-Beat-2--Japan--2026-03-16-18-07-22.png) SD Gundam G Generation GATHER BEAT 2 emulated via Ares. Source: Bandai/Authors. ### SD Gundam G Generation MONOEYE GUNDAMS (WSC, JP: 2002) Compared to the other SD Gundam G Generation games, MONOEYE GUNDAMS had a unique setting focused on original characters instead of sticking only with popular figures of the franchise. The game was included as a bonus for SD Gundam Cross Rays in Japan. The story follows former Zeon pilot Siegfried Wedner as he steals an experimental mobile suit called Sisquiede from the Titans around the same time as Kamille steals the Gundam Mk-II. His story would eventually be told again as part of SD Gundam G Generation DS (JP: 2005), though the game featured new original characters and events as well. There is scarce review data for this game. There is no known fan translation for SD Gundam G Generation: Monoeye Gundams. The game would sell only 18,470 units ([vgsales](https://vgsales.fandom.com/wiki/Gundam#cite%5Fnote-1)/Nicher Barrier). See more details in this retrospective review: Takashi Yonezawa, [Dengeki](https://dengekionline.com/article/202407/11279) (2024). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Mono-Eye-Gundams--Japan---Rev-2--2026-03-16-18-17-47.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Mono-Eye-Gundams--Japan---Rev-2--2026-03-16-18-17-12.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Mono-Eye-Gundams--Japan---Rev-2--2026-03-16-18-19-17.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam-G-Generation---Mono-Eye-Gundams--Japan---Rev-2--2026-03-16-18-16-58.png) SD Gundam G Generation MONOEYE GUNDAMS emulated via Ares. Source: Bandai/Authors. ### Super Robot Taisen Compact 2 - Dai-2-bu - Uchuu Gekishin Hen (WS, JP: 2000) The second part of the Super Robot Taisen Compact 2, also known informally in the west as Cosmoquake, is well-known for its difficulty spike close to the end and contributing to making the trilogy a hard entry in the series. Data from completing the first game would let players obtain money and parts, though no unit upgrades or pilot levels carried over. It would sell about 53,515 units ([Super Robot Wars/Sales Data](https://akurasu.net/wiki/Super%5FRobot%5FWars/Sales%5FData#:~:text=Just%20a%20collection%20of%20SRW%20Games%20sales,a%20text%20file%20on%20my%20hard%20drive.)/Famitsu), but specialized reviews from media back in the day are not available and it never received an English translation through official means or fan patches. See more details about the whole trilogy in Yanik Magnan’s [YouTube](https://youtu.be/zr4Kp5VRRWY?t=719) retrospective review (2023). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-2-bu---Uchuu-Gekishin-Hen--Japan---Rev-4--2026-03-12-22-15-48.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-2-bu---Uchuu-Gekishin-Hen--Japan---Rev-4--2026-03-12-22-15-35.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-2-bu---Uchuu-Gekishin-Hen--Japan---Rev-4--2026-03-12-22-16-41.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-2-bu---Uchuu-Gekishin-Hen--Japan---Rev-4--2026-03-12-22-14-42.png) Super Robot Taisen Compact 2 - Dai-2-bu - Uchuu Gekishin Hen emulated via Ares. Source: Banpresto/Authors. ### Super Robot Taisen Compact 2 - Dai-3-bu - Ginga Kessen Hen (WS, JP: 2001) Completing the Compact 2 trilogy, Ginga Kessen Hen promised an epic finale, increasing the scale of the combat to a galactic context. Like its predecessor, it would work within the frame of its mechanics, and the same data could be carried over from them. However, it would only be possible to reach the true final battle by using this system and having reached the ending before Turn 777\. Only 47,358 units of the third chapter would be sold ([Super Robot Wars/Sales Data](https://akurasu.net/wiki/Super%5FRobot%5FWars/Sales%5FData#:~:text=Just%20a%20collection%20of%20SRW%20Games%20sales,a%20text%20file%20on%20my%20hard%20drive.)/Famitsu); reviews from back in the day could not be found during this research, and, just like its predecessors, it has not received an English translation to this date. See more details about the whole trilogy in Yanik Magnan’s [YouTube](https://youtu.be/zr4Kp5VRRWY?t=719) retrospective review (2023). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-3-bu---Ginga-Kessen-Hen--Japan---Rev-2--2026-03-12-22-22-49.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-3-bu---Ginga-Kessen-Hen--Japan---Rev-2--2026-03-12-22-21-00.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-3-bu---Ginga-Kessen-Hen--Japan---Rev-2--2026-03-12-22-22-35.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-2---Dai-3-bu---Ginga-Kessen-Hen--Japan---Rev-2--2026-03-12-22-19-28.png) Super Robot Taisen Compact 2 - Dai-3-bu - Ginga Kessen Hen emulated via Ares. Source: Banpresto/Authors. ### Super Robot Taisen Compact 3 (WSC, JP: 2003) Unlike its predecessors, Super Robot Taisen Compact 3 was created with the Wonderswan Color in mind, giving it more leeway in the visual department. The game would introduce the option to skip animations, not something available in previous games. Compact 3 also added other quality-of-life features like mid-conversation saving, as dialogue scenes could be very long. Coming very late in the WonderSwan lifespan, Super Robot Taisen Compact 3 would only reach sales of 10,688 units ([Super Robot Wars/Sales Data](https://akurasu.net/wiki/Super%5FRobot%5FWars/Sales%5FData#:~:text=Just%20a%20collection%20of%20SRW%20Games%20sales,a%20text%20file%20on%20my%20hard%20drive.)/Famitsu). Just like its predecessors, there are no means to play the game in English and unfortunately, review data from specialized media back in the day are scarce. See more details about the game on a review from a player back in the day: Mykas0, [GameFAQs](https://gamefaqs.gamespot.com/wsc/917599-super-robot-taisen-compact-3/reviews/61015) (2003). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-3--Japan---Rev-6--2026-03-12-22-24-24.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-3--Japan---Rev-6--2026-03-12-22-24-36.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-3--Japan---Rev-6--2026-03-12-22-25-37.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Super-Robot-Taisen-Compact-3--Japan---Rev-6--2026-03-12-22-25-06.png) Super Robot Taisen Compact 3 emulated via Ares. Source: Banpresto/Authors. ### Dark Eyes: Battle Gate (WSC, JP: 2001) Developed by Nextech and published by Bandai, Dark Eyes: Battle Gate was a tactical RPG based on the company’s 1999 MMORPG for the Dreamcast, which multiple sources, including [GameFAQs](https://gamefaqs.gamespot.com/dreamcast/577270-dark-eyes/data), point out as having been cancelled before release. This game, which features an isometric perspective that wasn’t so common for portable tactical RPGs at the time, also had two main characters with different stories within the same world. More data about it, including sales information from back then, was not found during research. There are no known English translations for the game, and reviews are also very hard to come by, with only a general outline of its interesting traits on the Japanese site [Console Dictionary](https://consoledictionary.com/page.php?t=games&pid=5693) (2025). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Dark-Eyes---Battle-Gate--Japan--2026-03-12-22-40-03.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Dark-Eyes---Battle-Gate--Japan--2026-03-12-22-29-03.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Dark-Eyes---Battle-Gate--Japan--2026-03-12-22-39-54.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Dark-Eyes---Battle-Gate--Japan--2026-03-12-22-32-17.png) Dark Eyes: Battle Gate emulated via Ares. Source: Bandai/Authors. ### Gransta Chronicle (WSC, JP: 2002) Developed by Megatron and published by Omega Micott, Gransta Chronicle mixed exploring a fantasy world like in a turn-based RPG with grid-based tactical combat. The title was one of the very few Korean-developed games that made it to the Wonderswan, and its battle system menu had a stylized ring format akin to Mana’s ring menu. Players would choose magic or attacks in that menu after positioning themselves in the grid. Once again, ress reviews and sales data were hard to find, and there are no English versions. Still, it’s possible to check a short retrospective article about it in the Japanese blog [GameFlame](https://gameflame.seesaa.net/article/201505article%5F23.html) (2015). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Gransta-Chronicle--Japan--2026-03-12-23-00-24.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Gransta-Chronicle--Japan--2026-03-12-22-59-59.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Gransta-Chronicle--Japan--2026-03-12-22-59-44.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Gransta-Chronicle--Japan--2026-03-12-22-59-31.png) Namco Super Wars emulated via Ares. Source: Omega Micott/Authors. ### Namco Super Wars (WSC, JP: 2002) Years before Namco and Bandai merged, the two collaborated on a tactical RPG called Namco Super Wars. The idea for the game revolves around exploring various worlds, gathering Namco characters from games like Valkyrie no Densetsu, The Tower of Druaga, and Dig Dug. The concept of crossovers with Namco characters would eventually return in Namco x Capcom, released on PS2 in 2005\. According to [Game Data Library](https://sites.google.com/site/gamedatalibrary/game-search?authuser=0), Namco Super Wars would go on to sell 4,979 units in its first week, but never appeared again in subsequent weeks in the collected data in Famitsu. The search for more information about the game did not find any press review data. There are no English versions of the game, but a short retrospective review by a player was preserved thanks to the Wayback Machine: [Retrogame he no Mougen](https://web.archive.org/web/20190918112106/http://naige.gg-blog.com/wonderswan/namco%5Fsuper%5Fwars) (2013). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Namco-Super-Wars--Japan--2026-03-12-23-09-13.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Namco-Super-Wars--Japan--2026-03-12-23-12-14.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Namco-Super-Wars--Japan--2026-03-12-23-09-47.png) Namco Super Wars emulated via Ares. Source: Bandai/Authors. ### SD Gundam: Emotional Jam (WS, JP: 1999) SD Gundam: Emotional Jam was a unique tactical RPG within its franchise, created as part of a celebration for [Gundam’s 20th anniversary](https://gamesdb.launchbox-app.com/games/details/27875-sd-gundam-emotional-jam). Along with featuring multiple mobile suits and characters from its various animation series, including the U.C. chronology and those of alternate universes, its big feature was multi-layered combat. By selecting a unit and an enemy on the grid, the player would then move to yet another tactical grid to deploy allies, making it a meta-tactical experience. The game would go on to sell at least 79,995 copies in Japan, according to [Game Data Library](https://sites.google.com/site/gamedatalibrary/game-search?authuser=0), but no dedicated media reviews from the time could be found. There are no English releases of the game, officially or otherwise. More details on it can be found in this video retrospective review, CGR Undertow, [YouTube](https://youtu.be/Mj51B6wvJIc) (2013). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam---Emotional-Jam--Japan---Rev-3--2026-03-12-23-23-22.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam---Emotional-Jam--Japan---Rev-3--2026-03-12-23-26-19.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/SD-Gundam---Emotional-Jam--Japan---Rev-3--2026-03-12-23-27-49.png) SD Gundam: Emotional Jam emulated via Ares. Source: Bandai/Authors. ### Crystal Warriors (GG, JP: 1991, NA/EU: 1992) In Crystal Warriors, the Jyn Empire has taken control over Arliel and three of the four crystals that kept the world balanced. Avoiding the worst-case scenario, Princess Iris of Arliel has taken one of the crystals, and now she must fight alongside her warriors against the forces of Emperor Grym. The title features a system in which attacking a unit on the grid leads to multiple combat options, letting players use magic, attack, or try to escape before the second hit. No data about its sales was found. Upon its release, the game received some good Western reviews, including 4/5 from American magazine GamePro, 80% from German magazine Mega Fun, 80% from French magazine Player One, and 91% from the Swedish publication Sega Force. The game was also later rereleased on the 3DS, receiving a much less favorable 5/10 review by Damien McFerran in 2013, which can be found on [Nintendo Life](https://www.nintendolife.com/reviews/3ds-eshop/crystal%5Fwarriors%5Fgamegear). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Crystal-Warriors--USA--Europe--2026-03-12-22-06-18.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Crystal-Warriors--USA--Europe--2026-03-12-22-07-47.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/Crystal-Warriors--USA--Europe--2026-03-12-22-05-54.png) Crystal Warriors emulated via Ares. Source: Sega/Authors. ## **IV. Chronology** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-9beab5a0-2517-4398-8068-3d805a731d37.png) Source: Authors. ## **V. Honorable mentions** Other 4th–6th generation handhelds with little commercial relevance: - Gamate (Bit Corporation) - Game Master (Hartung) - Watara Supervision - Mega Duck (Welback Holdings) - Design Master Senshi Mangajukuu - Game.com (Tiger Electronics) - Cybiko - GP32 (Game Park) - P/ECE (AQUAPLUS) - GameKing - Tapwave Zodiac The list below includes titles released for the Game Boy rivals between 1989 and 2006 that do not strictly fit the definition of a tactical RPG, but are close to or share important affinities with it. Titles that receive an honorable mention satisfy one of the following three criteria: 1. It is a strategy role-playing game (SRPG), but not a tactical role-playing game (TRPG); 2. It is a tactical game, but not a tactical RPG; 3. It is a grid-based, turn-based game that may at first glance be confused with our definition of TRPG in this section. Here’s the full list of honorable mentions: - Ogre Battle Gaiden: Prince of Zenobia (Neo Geo Pocket Color, JP: 2000) - Pathway to Glory (Nokia N-Gage, 2004) - Armored Unit (Wonderswan, JP: 1999) - Chaos Gear: Michibi Kareshi Mono (Wonderswan, JP: 1999) - Chocobo no Fushigi na Dungeon for Wonderswan (Wonderswan, JP: 1999) - Last Stand (Wonderswan, JP: 1999) - Nobunaga no Yabou for Wonderswan (Wonderswan, JP: 1999) - Sangokushi for Wonderswan (Wonderswan, JP: 1999) - Sangokushi 2 for Wonderswan (Wonderswan, JP: 2000) - SD Gundam Gashapon Senki Episode 1 (Wonderswan, JP: 1999) - Uchuu Senkan Yamato (Wonderswan Color, JP: 2001) - Hunter X Hunter: Greed Island (Wonderswan Color, JP: 2003) - Kidou Senshi Gundam - Gihren no Yabou - Tokubetsu Hen - Aoki Hoshi no Hasha (Wonderswan Color, JP: 2003) - Zan Gear (Game Gear, JP: 1990) - Taisen-gata Daisenryaku G (Game Gear, JP: 1991) - Dragon Crystal (Game Gear, JP: 1990, NA/EU: 1991) - Head Buster (Game Gear, JP: 1991) - SD Gundam: Winner’s History (Game Gear, JP: 1995) Generally speaking, the Wonderswan and the Game Gear had various tactical/war simulation games that did not have enough elements to be classified as RPGs. Meanwhile, the Neo Geo Pocket had the strategy RPG Ogre Battle Gaiden: Prince of Zenobia, which isn’t structured on a grid and features real-time movement on the mission map. SD Gundam Gashapon Senki Episode 1 and SD Gundam: Winner’s History combine the battlefield grid with action combat and no RPG elements. There were also a few games with grid format that were actually “Mystery Dungeon” roguelike RPGs like Chocobo no Fushigi na Dungeon for Wonderswan and Dragon Crystal. A very unique inclusion worth mentioning is Armored Unit, which has the player navigating through a grid to find the enemy. The game plays with the concept of fog of war, which is an important element to the tactical genre, while having the player search for the hidden enemy in a way similar to the classic tabletop game Battleship. Despite its fascinating nature, it doesn’t have RPG elements, and movement on the grid is actually not turn-based but rather real time, making it not suited for the tactical RPG categorization. ## **VI. Generation shift** At a time when tactical RPGs were an almost exclusively Japanese genre, the handheld console lines created by Gunpei Yokoi (Game Boy and WonderSwan) were the portable homes of tactical RPGs during the last decade of the 20th century and the first years of the 21st century. 26 of the 32 portable tactical RPGs during the 4th and 5th generations of handhelds were released either for some version of WonderSwan (53.1%) or for some version of Game Boy (28.1%). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/data-src-image-9d45d002-786c-451e-bfd1-de112167d6d9.png) Chart of tactical RPGs released for Game Gear and for the Game Boy, WonderSwan, and Neo Geo Pocket handheld console lines. Source: Authors. Despite the importance of the WonderSwan line to tactical RPGs in Japan, the only rival to the Game Boy line that sold over 10 million units was the Game Gear (about 10 times less than the Game Boy line); all other relevant rivals sold between 1 and 4 million units. After the discontinuation of the Game Boy Color in 2003, the Nokia N-Gage was released a few months later and remained in production until 2006\. It couldn't compete with the Game Boy line's generational successor, the Game Boy Advance, which sold almost 30 times more than Nokia's handheld. Nintendo's pioneering spirit and commercial success in the early history of handheld video games shaped the history of portable tactical RPGs. From the release of the Game Boy Advance onwards, most developers in the genre focused on developing tactical RPGs for Nintendo's handheld hardware, and Nintendo itself invested directly in the genre through its Fire Emblem franchise, which found its new home on the Game Boy Advance and its successors. Stay tuned for Part 3 of The History of Portable Tactical RPGs! ### The Joy of Replaying: Why We Go Back to Old Games Again and Again URL: https://www.superjumpmagazine.com/the-joy-of-replaying-why-we-go-back-to-old-games-again-and-again/ Last updated: 2026-03-22T03:42:14.000Z **There's something strange and wonderful about returning to a game you've already finished.** You know how it ends. You've seen the credits. And yet, somehow, sitting back down with it feels just as compelling as it did the first time – sometimes more so. Replaying old games is one of the most common habits among dedicated players, and it says something interesting about what games actually give us that other media doesn't quite replicate. ### The Access Question that Makes Replaying Possible Before getting into the why, it's worth acknowledging that replaying has never been easier. Physical collections, backward compatibility, digital storefronts, subscription services, and emulation have all expanded access to older games dramatically. Platforms like Steam, GOG, and console digital libraries mean that games bought years ago are still sitting there, ready to run. Handheld devices and[ gaming mini PCs](https://www.geekompc.com/mini-pcs-for-gaming/) have made it easier to play older titles on modern hardware, often with improved performance and the flexibility to use them in different settings. The friction between "I want to play this again" and actually playing it has shrunk considerably. That accessibility matters. It changes replaying from an occasional act of nostalgia into a natural part of how people engage with their game libraries. ### Familiarity as a Feature, Not a Flaw The most common reason people give for[ replaying a game](https://gameinformer.com/b/features/archive/2018/04/18/the-rewarding-benefits-of-replaying-video-games.aspx) is comfort. There's a specific kind of ease that comes from returning to a world you already know – where the controls are second nature, the characters feel like old friends, and the pacing is familiar. This is particularly true of open-world RPGs and long narrative games. Returning to a world like Hyrule or Tamriel feels less like repetition and more like revisiting somewhere you've been before. The familiarity doesn't diminish the experience; in many cases, it deepens it. Games that felt overwhelming on a first playthrough often become genuinely enjoyable on a second, once you're no longer processing everything for the first time. Mechanics click into place. Story threads you missed the first time become visible. The whole experience changes shape. ### Noticing Things You Missed the First Time Most players aren't especially attentive on a first playthrough – and that's fine. There's too much to take in all at once. Replaying gives you the chance to actually look at the things you rushed past before. Environmental storytelling, hidden dialogue, foreshadowing in early cutscenes, background details in level design – a lot of care goes into these elements, and they often go unnoticed until you already know the outline of the story. On a second run, you're not racing toward answers. You can stop and look. Some games are clearly built with this in mind. Titles with branching dialogue, multiple endings, or morality systems are designed to reward repeated playthroughs with genuinely different experiences. But even linear games tend to reveal new layers when you return to them with more context. ### Playing Differently on Purpose Replaying also offers the chance to make completely different choices. In games with character builds, skill trees, or class systems, a first run tends to reflect uncertainty as much as preference. A second run lets you be deliberate. Playing as a different class in an RPG, making opposite story choices, or setting a higher difficulty can make a familiar game feel substantially new. Some players treat each replay as a specific challenge – a no-damage run, a pacifist playthrough, or a restricted loadout. These self-imposed constraints change the way the whole game is read and experienced. It's one of the things games offer that other media genuinely can't. You can reread a book or rewatch a film, but you experience them the same way every time. In a game, agency means that replaying isn't just revisiting – it's reshaping. ### The Games That Earn a Permanent Place Not every game gets replayed. The ones that do earn it through some combination of strong fundamentals, depth, and a world or tone that continues to resonate long after the credits roll. There's a reason certain games get replayed decade after decade while others are played once and forgotten. The ones worth going back to tend to have something to say, or something to teach, or simply a feel that holds up. They age well not because they're technically impressive but because they're well-made. ### Old Games, New Perspectives Going back to a game years later – after life has changed, after you've played hundreds of other games, after you've simply gotten older – is a different experience than the original. You bring more to it. The game hasn't changed, but you have. That's perhaps the most surprising thing about replaying: sometimes the game you return to isn't quite the one you remember. It's better, or more complicated, or resonates in ways it didn't before. And that's reason enough to go back. ### Hyrule Warriors: Age of Imprisonment Takes Dynasty Warriors to New Battlefields URL: https://www.superjumpmagazine.com/hyrule-warriors-age-of-imprisonment-takes-dynasty-warriors-to-new-battlefields/ Last updated: 2026-03-23T21:59:37.000Z **I remember the hype and previews leading up to the launch of the PlayStation 2 and its initial lineup of titles; each promised to change gaming in ways never seen before.** Among these titles was Dynasty Warriors 2, a game that would take players right into the heart of the battlefield as they fought against hundreds upon hundreds of soldiers, all appearing on screen at once in real time. When the game finally launched, it proved to be the technical showcase exactly as promised and advertised. The new gaming hardware was used to accomplish previously unthinkable design feats, all in full 3D. The only other precedent was SEGA Saturn's Dragon Force, which achieved a similar design feat, albeit in stunning and yet largely unappreciated 2D. When the PlayStation 2 launched, most gamers were still living with the assumption that better graphics created better gameplay experiences, but it didn't take long for the early library of Sony's second console to challenge those beliefs. Gamers had smartened up, and behind the glossy graphics, there really wasn't much gameplay substance; Dynasty Warriors 2 was definitely one of the sore points of the library for this reason. On the surface, Dynasty Warriors 2 had it all: the next-gen graphics and presentation, a huge cast of characters, and a gameplay design that hadn't been done before. Players who picked up the game upon release all had more or less the same experience, with 20 minutes of sensory excitement and the thrill of mowing down many hundreds of enemy troops. For those 20 minutes, everyone felt like they were Tak Fuji at E3 2010\. But then, the game just got.... Boring. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-47.png) Dynasty Warriors 2\. Source: IGDB. No doubt the game was successful; it was followed by sequel after sequel after sequel, even branching out with side-series like Samurai Warriors, but the core gameplay loop remained the same, and the repetitive monotony of the combat was inevitable. Yet, there was a strong enough fanbase that enjoyed the meditative rhythm of mowing down wave after wave of foot soldiers, and each sequel did add new ideas and gameplay gimmicks, from horses to elephants, and more characters to expand the fighting styles. Yet the core foundation was still more or less what was set in Dynasty Warriors 2\. The series tried to expand its game design, and when the time came for the ninth instalment, there were good intentions to create the biggest and most ambitious title yet. It would feature a fully open world, real-time battles, quests, real-time strategy elements, and even pandas. The ambition and scope were there, but the final release proved to be a ballooned mess of unfinished ideas with game design that simply lacked purpose and direction. Even the core combat system got lost in the mess of it all, thus making Dynasty Warriors 9 the worst entry in the franchise and one of the worst games released that year. The game buckled under its own weight and almost killed the franchise, too. But while Dynasty Warriors struggled to find its magic, the actual Warriors branding fared better elsewhere. While the initial blueprint was stale, there was potential to add layers of gameplay substance to it, and so Warriors benefited when other developers and publishers essentially adapted the signature trademark design with enough development freedom to make it their own. This level of collaborative trust may have been what rescued the Warriors IP despite disasters like Dynasty Warriors 9\. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-48.png) Dynasty Warriors 9\. Source: Steam. Among the most notable of these collaborative outputs were titles like Dynasty Warriors: Gundam and later One Piece: Pirate Warriors. The source material of these popular anime IPs not only gave the Warriors experience a fresh visual facelift but also new ideas in terms of characters, combat, and the game design setting. The experiences were also an easy sell to longtime anime fans, captivated by the stunning graphics and fun arcade-style gameplay. These collaborations even gave players a spin-off from major RPGs like Persona and Dragon Quest, each contributing its own RPG intricacies to the Warriors' gameplay loop. As interesting and enjoyable as these spin-offs were, the real game-changer was when Nintendo got involved. The nearly-stale Warriors design was used to expand the universe of The Legend of Zelda, and later even Fire Emblem, but it all started with Hyrule Warriors. It did far more than just present a typical Warriors experience with a different coat of paint. In fact, it wasn't typical at all: it adapted the Warriors template into an experience worthy of the Nintendo branding, and became a notable entry in Nintendo's adventure canon. Hyrule Warriors achieved two things: it gave players a new way to experience their favourite franchise, and it revitalised hack-and-slash gameplay by introducing layers of depth to combat and compelling variety in level design. You felt like you were in an epic battle set in Hyrule, with characters from the Zelda universe each providing new gameplay perspectives that otherwise would not have been part of the main series design. It proved to be among the best titles in the small library of the short-lived Wii U console, later warranting an enhanced Switch port before receiving a sequel titled Age of Calamity. A lesser-known port for the NEW 3DS was even commissioned, a rare highlight in one of Nintendo's few console missteps. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-49.png) Hyrule Warriors: Age of Imprisonment. Source: Nintendo. The Switch 2 has not seen a new Zelda yet, but to whet the appetite, we now have a new Hyrule Warriors entry called Age of Imprisonment. The game takes place in the Breath of the Wild continuity as a canonical prequel where players dive into the rich history of the setting, starting with Princess Zelda herself meeting the original founding rulers of Hyrule. This is the sort of deep dive that fans of Zelda lore dream about, and presenting unique aspects of the main storyline using a radically different game design proves effective here. It reaches a point where the otherwise mere spin-off starts to feel like an integral part of the main series. Using a radically different game design allows Nintendo to do things they otherwise wouldn't with the main series: a multi-party system making use of all the unique playable characters and a dynamic combat system featuring elaborate combination attacks. Nintendo took the Warriors template and turned Zelda into an epic action RPG with a combat system that had ample room for character growth and learning new tricks. This was Nintendo's contribution to Warriors: it gave it meaningful gameplay substance by incorporating the best elements of action-RPG design. It offers depth without getting bogged down in stats and numbers, and yet offers enough dynamic, evolving gameplay variety to keep the entire experience fresh and engaging from start to finish. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-50.png) Hyrule Warriors: Age of Imprisonment. Source: Nintendo. Warriors, as a franchise, didn't just learn from its own past and its many, many missteps; it also learned from developers who were given complete trust and freedom to interpret the core experience. In many ways, the Warriors franchise got a new lease on life thanks to what it gained from Nintendo's contributions; the inspiration from it and other developers led to the ultimate game in the main series, Dynasty Warriors: Origins. The tenth instalment is both a narrative and game design reboot, and in many ways, is the game both developers and fans were anticipating and envisioning when Dynasty Warriors 2 first launched on PlayStation 2 with all those lofty promises. ### High On Life 2: Give Me More of This Revolution Story URL: https://www.superjumpmagazine.com/high-on-life-2-give-me-more-of-this-revolution-story/ Last updated: 2026-03-21T16:31:45.000Z **I noticed that podcasters and streamers I follow had disdain for the Rick and Morty humor in the first High On Life game.** This was unsurprising, as online commentary throughout this decade has been quick to call messy humor "cringe" or "edgy." I don't mind it; different styles of humor should be allowed to exist as long as they aren't pushing destructive bigotry. Justin Roiland, the creator of Rick and Morty, was not involved with High On Life 2, understandably, due to his multiple abuse allegations. However, there is still a crass and obnoxious humor that runs throughout the game, and it is *necessary*for what the story is tackling: a revolution against the corrupt rich, a story that needs to be told more often. I'd argue the premise, however, needed to be pushed further. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/hol_politician.jpg) Source: Steam. ## Squanch Games Delivers the Laughs High On Life 2 persists as a very colorful, cartoonish, gross, and even adorable sci-fi comedy FPS in an alien galaxy. Due to the player-character's fame and chaotic events of the last game, the dialogue (told through your equipped weaponry Gatlian friends) is a bit subdued in the beginning. I was worried the story would become too serious or grounded. In High On Life 2, you're a bounty hunter on a mission to eliminate rich elites who run the pharmacy corporation Rhea Industries, which harvests humans to make drugs. Humans are also, ironically, looked at as a lesser species. Of course, both of those story plots speak to me on a personal level as a US American who sighs and rolls their eyes daily. I want more than anything for High On Life 2 to have that silly sense of humor. Fortunately, every aspect of the game exudes humor and fun as you fight against the Big Pharma establishment and rival bounty hunters. Social commentary about humans being primitive due to their modern conservative views stood out the most, but the humor within the dialogue varies; sometimes it is dry and witty, other times repetitive, gross, very random, and so on. It's refreshing to see a world with such an urgent story not take itself seriously. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/hol_knifey-1.jpg) Source: Steam. ## The Best Friends Hate Billionaires You fight using your wisecracking Gatlians, who come in different forms of guns with special abilities. This includes freezing time, chaining enemies together, creating dimensional holes, and more. The weapons are all so enthusiastic about helping you murder billionaires while keeping a friendly eye on you from your FPS view, and several have their own motivations for why they shoot stuff with you on your journey. When an enemy's health is low, you can finish them off with Knifey - you guessed it, that's your knife Gatlian - and doing so replenishes some of your health and shield. Knifey is used to swing from obstacles, too, essentially turning High On Life 2 into a Doom Eternal-esque shooter. Gatlians are also used to solve puzzles akin to Portal throughout levels. The action has a lot of options with color and personality to hunt down the elite rich and bounty hunters. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/hol_fishguns.jpg) Source: Steam. ## An Engaging World That Oozes Humor You traverse through vast environments, some inspired by other video games, convention events, and more. You'll use your skateboard to grind on rails, power lines, up walls and ramps, and while in combat. When you aren't fighting rich people and bounty hunters, you can relax at the headquarters where your ragtag team of anti-corporate terrorists resides. It's a rundown arcade, and yes, you can play classic arcade games and upgrade your weapons, armor, and shield. You'll also explore different city hubs, find hidden valuables, go on quests for the city locals, race in skateboard trials, participate in comedy clubs, and more. Speaking of locals, High On Life 2 does a nice job of visualizing the diverse alien people just hanging out. You'll see blue, orange, and purple human-like aliens of different shapes and sizes, snails, and even teddy bears watching television and eating lunch. The textured environments and colorful characters create a naturally living universe, and it's all accompanied by experimental music produced by TOBACCO. ## A Celebration Of Rebellion In High On Life 2, you help lead a revolution to save humanity, teaming up with aliens and hunting down Big Pharma, a journey filled to the brim with so much style. While the story is disturbingly relatable to Americans, the game handles it using obnoxious humor and cartoonish characters. It's an awesome way to parody modern politics and corruption, something that game developers and society as a whole should be more comfortable talking about. People can become more informed when communicating about these topics today in a genuine way, instead of taking a hands-off approach. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/hol_sladepolicon-1.jpg) Source: Steam. ### Gross Is an Aesthetic Choice Part of what makes up the game's humor is gross imagery. It isn't over-the-top throughout the entire experience, but it's there for all to see nonetheless. It also caused me to stop playing the game before I got to the end. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-39.png) Spoilers contained in this section of the article (ends at What Holds the Story Back header). Upon obtaining Slade, the yellow Gatlian with blue hair, I noticed he had a pulsating orifice on the side of his body. It was a bit unsightly to me, but it's covered up once you upgrade the weapon. The Gatlian named Creature gives birth to blue, grenade-sized aliens that emerge from his back. Seeing the animation for the first time grossed and freaked me out. I got used to it, however, and I found the blue babies with sharp teeth adorable. It was the Resident Evil-inspired level, where the player character is saving their father from a cult in Wyoming, that put me over the edge. The cult members become monsters, dressed in gross, fleshy matter throughout the level. Several monsters threw flying leeches that clung to my character's face in first person. I found myself shielding my face and anticipating more of those same enemies the moment I saw anything flying in the sky. That was definitely my limit. So when it was time for me to explore the body of a dead dragon, I had to cut the journey short. I don't consider those grotesque moments to be flaws that hold the game back, though. As in horror games, gross imagery is deliberately chosen to elicit a reaction for the sake of entertainment. I still enjoyed my experience, and one day I *will* venture into the carcass of that adorable blue dragon. ### What Held the Game Back I say the humor could have gone further because after defeating a boss, many of whom are billionaires, it's not that dramatic. Sometimes I saw colorful dust, other times they just fall dead on the floor somewhere, and that's it. I'd expect a billionaire or top-ranking bounty hunter to cling desperately to life, doing everything in their power to maintain their status. It would've been so satisfying and hilarious to see billionaire cartoon aliens struggle. I also expected the Gatlians to talk so much more trash to the billionaires. You already use these weapons to attack enemies in so many creative ways. I imagine Squanch Gamesdesigned High On Life 2 to be such an ambitious sequel that the dialogue between bosses and Gatlians probably took a hit. Sadly, the PC version through Steam has the usual Unreal 5 syndrome of spec requirements being far too high. There have also been many game-breaking bugs that halted my progression, especially after patches were released. Nevertheless, I still argue that we need more stories like this in video games, especially during current times where hyper-capitalism and fascism are at their peaks. ### Thoughts on Being a First-Time Game Design Consultant URL: https://www.superjumpmagazine.com/thoughts-on-being-a-first-time-game-design-consultant/ Last updated: 2026-03-19T21:33:20.000Z **I've had many projects and plates spinning these days between writing books, the YouTube channel, and all these design articles I've written.** Another challenge I took on in late 2024 and through 2025 was offering my expertise as a consultant for a smaller indie company, Honor Games. [Their first release, Charge!](https://store.steampowered.com/app/3903980/Charge/), is out now, and they allowed me to go over my thoughts on observing a game development cycle for the first time in my career. ## My Role Honor Games reached out to me in 2024 after seeing my [article on Command & Conquer](https://www.superjumpmagazine.com/command-conquer-through-the-years-a-retrospective-analysis/), wanting me to help them with an RTS project. However, after hearing about my skill set and knowledge with other genres, they asked me to consult on two other projects, one that's still in early development and their shooter, Charge!. My job was to put my encyclopedic knowledge of game design to help them move the design along, assist with playtesting, and see the game through to completion. As a point of clarification, I have not been paid by Honor Games to promote the game, and any payment for my time would be based on the game's profits. This kind of structure is a popular one for many newer development teams, but it does lead to some problems that I'll discuss further down. ## The Early Steps As someone who frequently plays games directly from developers, I've seen games at various stages of completion, though usually it's either "consumer-ready" or just at the friends-and-family stage. And as a lifelong gamer, it is a bit jarring to see a game with no assets whatsoever, then seeing things take shape over the following months. Looking at the footage I took one year ago compared to just before release, it is a night-and-day difference. That's also why it's so important for anyone interested in talking about design to speak with developers and see the process, which will come into play in a topic a bit later. When I signed up, the game had a test room, a basic prototype, and a design doc with some early thoughts. Over the year and into 2025, I was able to play-test the game at different stages and see the Graphical User Interface (GUI) development and design. What I had seen in past consultations, however, were the issues that arose from trying to take the early ideas further. ![game design](https://game-wisdom.com/wp-content/uploads/2026/03/ss_3cd836783b7f67f53f0b4a659db7aca6b03ee796.1920x1080-1024x576.jpg) The game's visual design really came together in the project's final months. Source: Steam. ## Building and Rebuilding Part of the reason I was brought on was my expertise in the game dev process and FPS structure. While the throughline of Charge! was "multiplayer shooter," the kind of shooter changed many times, which took up a lot of time in 2024\. The original concept was to make the 'eSports title of the future', complete with seasonal play, microtransactions, leagues, etc. This was scrapped due to the cost and time to develop, and a smaller scope was eventually agreed upon. This is a good lesson, as the design doc I first read gave an overall framework of the game, but did not go into detail about the actual mechanics of play. There were many ideas and brainstorming, but nothing that could be used as a starting point. A lot of the notes in the design doc were centered on a project that was already figured out – it detailed steps 4 and beyond, but they hadn't done the first 3 steps. For designers reading this, when you are thinking about your game at the point that you're going to build it, you need to decide what exactly your mechanics mean. This doesn't mean that every game development project requires a fleshed-out design doc on Day One, but you need to be able to tell someone, including your team, what someone does when playing your game. Source: YouTube. So many developers struggle with the idea that the first game is going to be "it" for them. They spend the time trying to create that one perfect game, without often having the experience of working on previous full-scale projects. From the outside, I saw for the first few months that no one could answer the question, 'What does a match in this game look like?' Parts of the design doc referenced systems that were confusing or didn't have enough detail to let them start building. An important lesson for designers is that you must be able to balance what you want to make with what you canmake. That became a bottleneck for the team, as a few weeks went by in this cycle: - Talk about what we wanted to do - Come up with an original idea - Fail to iterate on it and think about another option This returns to the fact that the core gameplay loop took months to settle on. Saying, "My game is a first-person shooter," does not describe the actual loop. I've spoken with novice developers outside of Honor Games who also have that issue – they don't understand the difference between saying what their genre is vs. the gameplay loop of their title. One of my first suggestions was for the team to draw a line in the sand by which point they could accurately state what it looked like to play their game. A big example that went through multiple iterations was the use of mirrors and mirrored surfaces. The original idea was that there were mirrors set up whereby players could angle shots at others. Then there was an entire point of having utility grenades that could do different things, like making walls and surfaces mirrored. Eventually, this was scaled down to a "reflection" power-up which led to some amazing footage that was used in the marketing. I've seen plenty of novice and first-time developers struggle with this point – not setting their core gameplay loop, dancing around the point while working on everything else. You cannot put the cart before the horse in this respect, as it always leads to wasted time, energy, and often getting burned out on the entire project. ![game design](https://game-wisdom.com/wp-content/uploads/2026/03/ss_7542bdc7e01a2d1f57fae7a864d8a50ce90871a2.1920x1080-1024x576.jpg) You can see me in this shot, probably about to be shot at. Source: Steam. ## Hands Off Part of the problem that led to lost time and delays was due to an unfortunate facet of this team's structure. No one at Honor Games was receiving a paycheck, which meant there was no incentive to push for rapid changes and decisions. It took months of hemming and hawing before people were brought onto the team who could push changes and lock in design decisions. Part of this was hiring a designer to assume the lead role, after which the project began to have a path forward. I feel some of this had to do with the mindset of going from being a modding team to a complete game development team. Honor Games' first foray into game development was attempting to make a conversion mod for Command & Conquer 3\. Working within an already developed framework and assets is different from making everything from scratch. As the switch was made from modding to their new iteration, no one was occupying the role of project manager for the first year. I felt that no one wanted to be the "bad guy" to tell everyone what to do, and with no money at stake, no one wanted to take on the additional responsibilities. Much like the lead designer, a manager was brought on to help guide the game's development. When the project ended, I asked the manager for their thoughts on working with the dev team: > Working with Honor Games for the short time I was there allowed me to grow more in my production skills. In the beginning, my production mentor mentioned I should join an indie game to get a new project under my belt and surprisingly, a few days later, Eric Chou (CEO of Honor Games) reached out to me asking if I could be a Producer for Charge! > One interview later, I landed the revenue-share role and I joined a team that wanted to produce a fun, laser tag inspired arena game. > Since it was volunteer hours, I would do what I could after my job's hours and help where I was needed: Roadmap to game’s completion, launch demos/game on Steam, run meetings, take notes, update the CEO, check in with the leads, social media posting, post-production (check sales, update team, stream, roadmap for future development), etc. > I’m thankful for Honor Games for giving me a chance to prove I can work with a team and help them deliver their game Charge!. Retrospectively, it helped me grow stronger and see areas that need improvement and what areas I’m strong in on a team. If Honor Games gets the funding it deserves, I would love to join the company again since it was great to work with everyone there and with Eric. – Kelsey ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-42.png) Source: Steam. Having tried my hand at working with friends and locals in the past, I saw the same issues here that I did with trying to make a game without stakes or management. Everyone loves to give ideas and talk about how great something will be *when it's done*, but very few people want to get down to work and do it, especially for a small project, and even more so when there is no pay. Small projects can turn into endless labor, with people either getting burnt out or just tired of working without pay and leaving. Thankfully, the additions of the development lead and project manager gave Charge! a structure and, more importantly, an endpoint to shoot for. Everyone knew at that point the game wasn't going to be the next Call of Duty, but at the same time, with the project finished, no one was going to lose a house over this game. ## For Honor (Games) Win or lose, having a finished game under your belt is a huge deal for everyone involved. For me, it means I can now definitively say that I've done consulting work for a finished game project and will be happy to keep working with Honor Games. For the rest of the team, they also got to experience the joy and nightmare of taking a game idea from nothing but a thought to its finished state. While it might not be what everyone wanted from the original concept, if the team wants to keep working together, they will be in a better place for it. Now that Charge! is available on Steam, the team deserves praise for having an end product. Everyone must start somewhere, and getting your first game done isn't (and shouldn't be) the end of your career, but the beginning of something new. Lastly, here are some thoughts from Eric Chou, the owner of Honor Games: > Hello, > > I’m Eric, Executive Producer on Charge! Upon reflection on the project’s development and release, the biggest lesson and takeaway I have is the importance of vision. I had a very basic vision for the project: laser tag with mirrors. The vision was too basic, and there were countless questions in terms of nitty gritty design that demanded and needed definition., which I was not ready for at the outset. Where I intended freedom, others saw a lack of structural design. > > As this was our first commercial release, we as a team all learned a lot. Everyone stepped up to the plate, and we delivered a polished product that has a lot of potential. We shall see if we will release updates and further iterations, but as of now, we have no plans on doing so. It’s also important to remember, we were largely a volunteer based team, which I think we’ve done very well with the constraints we had. > > I want to thank everyone who has participated, and hope more players can enjoy our debut title. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-43.png) Source: Steam. I am available for consulting work on game projects. Feel free to reach out to me any way you can. If you're interested in my talks on game design, be sure to [follow me on Bluesky](https://bsky.app/profile/gwbycer.bsky.social) ### The Architecture of Play: How Minecraft Server Hosting Shapes Creative Worlds URL: https://www.superjumpmagazine.com/the-architecture-of-play-how-minecraft-server-hosting-shapes-creative-worlds/ Last updated: 2026-03-16T09:54:49.000Z **Minecraft is not just a sandbox.** It is a global design movement powered by technology. With more than 140 million monthly active players reported by Microsoft, its digital landscapes expand every day. Behind this creative explosion stands one invisible force: reliable server hosting. Complex house blueprints Minecraft demand performance. Each wall, stair, and window generates data. Without stable infrastructure, even the most detailed Minecraft house-building ideas can suffer lag or data loss. Smooth gameplay depends on more than imagination. As Henry Ford once said, “[Quality means doing it right when no one is looking](https://www.brainyquote.com/quotes/henry%5Fford%5F106096)”. Yet it defines the entire experience. ## Why server hosting determines creative limits Ambitious builders often follow house ideas step by step to construct villages, castles, or modern villas. Many players search for the [best hosting solutions for Minecraft servers](https://www.reddit.com/r/MinecraftServer/comments/1i1zl4s/best%5Fminecraft%5Fserver%5Fhosting/) to ensure stable performance, reliable backups, and safe multiplayer sessions. Strong hosting provides: - Low latency during peak hours - Automatic backups for large builds - Mod and plugin compatibility - DDoS protection for security - Scalable memory for expanding worlds Research shows that latency above 150 milliseconds reduces responsiveness and player satisfaction. Even small delays interrupt the building rhythm. According to hosting industry benchmarks, 99.9% uptime results in less than nine hours of downtime per year. That consistency protects creative investment. When designing house blueprints in Minecraft, builders test layouts, lighting, and materials. Farms and storage networks increase data load. A weak server limits ambition. Albert Einstein observed, “[Creativity is intelligence having fun](https://www.ool.co.uk/blog/creativity-is-intelligence-having-fun/)”. When worlds run smoothly, imagination flows freely. ## From blueprints to living multiplayer cities Reliable hosting transforms Minecraft house building ideas into lasting digital architecture. Players no longer build alone. They collaborate across continents. Below is a clear comparison of critical hosting features: | **Feature** | **Benefit for Builders** | | ------------------- | --------------------------------- | | SSD Storage | Faster chunk rendering | | High RAM Allocation | Supports complex redstone systems | | Automated Backups | Prevents accidental loss | | Global Data Centers | Reduces lag worldwide | Following house ideas step by step becomes smoother when servers handle simultaneous actions efficiently. Large survival servers often host dozens of active users building at once. Stable infrastructure ensures no interruption. Statistics reveal that multiplayer communities with consistent uptime retain players up to 40% longer. Stability encourages return visits. Walt Disney famously said, “[If you can dream it, you can do it](https://www.goodreads.com/quotes/24673-if-you-can-dream-it-you-can-do-it-always)”. In Minecraft, dreams require both imagination and technical strength. House blueprints Minecraft often evolve into complex neighborhoods. Roads connect homes. Structures have decorative landscaping. High-tech Minecraft house construction concepts are the secret basements, roof gardens, and glass domes. Meanwhile, online tutorials show players the ideas on houses step by step, showing simple cottages to a world of architectural marvels. Hosting stability makes sure that learning is not wasted in case of a crash or corruption. ## Hosting as the silent architect A strong server acts like a digital foundation. It supports expansion. It protects the time invested. It enables experimentation with texture packs, shaders, and gameplay plugins. Consider these additional advantages: - Secure admin controls maintain order - Scheduled maintenance prevents surprise outages - Easy world migration allows upgrades - Monitoring tools track performance in real time Industry reports show that servers with SSD storage can reduce world loading times by up to 50% compared to traditional drives. Faster loading keeps momentum alive. Well-designed hosting also supports educational use. Schools increasingly use Minecraft for collaborative learning. Structured environments depend on stable connections and secure access controls. ## Conclusion The success of any Minecraft world is based on two pillars, namely, creativity and infrastructure. House blueprints, Minecraft transforms ideas into form. House ideas step-by-step guide progress with clarity. Minecraft house building ideas inspire communities to think bigger. Yet imagination alone is not enough. Reliable hosting safeguards effort, reduces frustration, and empowers collaboration. Performance becomes the silent architect behind every thriving server. Strong foundations allow bold designs. Stable systems protect creative freedom. When hosting performs flawlessly, digital worlds flourish without limits. ### Feastopia Is Both Adorable and Intimidating URL: https://www.superjumpmagazine.com/feastopia-is-both-adorable-and-intimidating/ Last updated: 2026-03-17T14:28:10.000Z **In Feastopia, you’re tasked with constructing a city entirely for the purpose of producing food offerings to appease the insatiable appetite of your god.** As this god grows in power, it changes shape and begins to make increasingly difficult demands for more complex varieties of food. This premise may sound Lovecraftian and slightly sinister, but worry not. You’re not feeding an unknowable Old One with the souls of the damned; instead, you’re feeding Swiss rolls, candy, and milk shakes to a bib-wearing baby divinity. Developed by [White Star Studio](https://www.whitestarstudio.org/), Feastopia describes itself as a ‘rogue-lite culinary city builder." This is a simulation game with an incredibly cutesy art style, one that belies a surprisingly brutal difficulty level. There are a lot of variables that you’ll need to keep in mind to develop an efficient infrastructure for your city and ensure you’re preparing perfectly punctual meals for your pre-school aged patron. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/1-1.jpg) Source: Feastopia. Media Kit. ### Rogue-lite snack You might be wondering what makes Feastopia a ‘rogue-lite’? Well, rather than spending your time gradually developing a single city, you’ll build up a series of them under increasingly difficult circumstances. After every attempt, you’ll unlock upgrades that make your next try a little bit easier. You spend several hours on each level in Feastopia, about as long as you’d spend attempting to meet all of the objectives of a scenario in Rollercoaster Tycoon. You finish every level by crossing a certain threshold of points. These points are earned by keeping your citizens happy and ensuring that you always meet the demands of the hungry god napping away at the heart of your city. As a progression system, this works nicely. Early on, you don’t require many points to pass each level, meaning that you’ll never need to cook up any cuisine that’s too complex, and you’ll have some wiggle room to learn and experiment with the game’s systems. The more you advance, though, the more strictly you’ll need to optimise your time and the resources you spend. As everything gets harder, you’ll need to begin approaching every new chapter with a plan in mind, because placing buildings down thoughtlessly will quickly result in a divine tantrum and a subsequent Game Over. Currently, there’s no free build mode to let you construct and cook at your own pace, although White Star Studio has announced that this is a planned future feature. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/3.jpg) ### Tantalising Tech Tree Every time you break ground on a new city, you'll begin with just a small selection of available structures. Over time, you unlock blueprints that open up more buildings, and with them, options to prepare increasingly refined dishes. Tying Feastopia’s tech tree to increasingly advanced recipes makes your progress feel both intuitive and rewarding, as your chefs gradually hone their craft. At first, you can only offer basic snacks grown on farms or produced from animals grazing at pastures. Your citizens will need to grin and bear it through the early game as they munch on a diet of onions and cucumbers. Those same onions can later be used to garnish a pizza, though, ensuring they stay relevant both in the early and the late game. Unlocking Italy’s signature dish in Feastopia is the capstone of hours of intensive effort and research. To get the cheese you’ll need for it, you first have to upgrade your pastures so they can accommodate cows, and then you need to build a stockyard where you can milk them. You’ll also need to grow grain, and then send it off to a mill to get flour to form the doughy base of the pizza that you’re dreaming of. It’s very satisfying to scale up your goals as the game goes on, and to slam together different ingredients, sourced from a wide variety of sites across your city, to produce something new and fresh. The blueprints system that unlocks new buildings is semi-randomised, so you can’t directly plot where your epicurean ambitions will take you. You’ll need to be adaptable and ready to cook something tasty with the cards that you’re dealt. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/4-1.png) Source: Feastopia, Media Kit ### A difficult dish While there’s definitely a clash between Feastopia’s adorable presentation and how hard it can be, it’s undeniably rewarding to overcome those challenges. Racing in a panic to cook up as much chiffon cake as possible, because you’ve only got two minutes before mealtime, adds a frantic energy to proceedings that can’t be found in many simulation games. The constant need to improve the culinary creations you can offer, and to have enough ready when it’s time to eat, lights a fire under you to be constantly motivated to keep on cooking. The only time that this difficulty can feel arbitrary is when the game’s weather system comes into play. Most of the time, you don’t need to worry about the weather. Mild conditions are fine, and even the fires that break out on baking hot days, and the spirits that roam the land when the fog rolls in, can be kept under control if you’ve developed the right infrastructure. Sometimes, though, tornadoes strike, and there’s nothing you can really do. To some degree, this makes sense. It shouldn’t be easy to deal with the fallout of a natural disaster. The way that these tornadoes tear through your carefully laid plans is a deliberate demonstration of the disruptive power that they possess. The problem is that Feastopia doesn’t do a great job of notifying you when these disasters begin, and which specific buildings they destroy. This means that if you can’t remember what used to occupy all of the vacant plots that have been left in the storm’s wake, you’re in trouble. There’s a beauty in how several different overlapping systems need to hum together for Feastopia’s economy to function. When one part of this process is abruptly ripped out by an unplanned act of nature, however, it can be a major setback that’s difficult both to diagnose and to repair. While they’re not exactly common, these tornadoes strike slightly too frequently, adding an extra layer of disaster management to a game that’s already very challenging. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/6.png) Source: Feastopia. Media Kit. ### Cooking up a conclusion If you’re looking for a city builder that’s simultaneously colourful, cheerful, and challenging, Feastopia will suit your palate nicely. Make no mistake, this game is as difficult as its art is endearing. At times, the challenge can be overbearing, but handling the heat in this kitchen reveals a truly appetising experience. [Feastopia is available on Steam](https://store.steampowered.com/app/3085910/Feastopia/). A review code was provided by the developers. ### Behind the Magic of Game Design URL: https://www.superjumpmagazine.com/69b4eceea37adf0001d1c128-2/ Last updated: 2026-03-14T09:36:01.000Z March 2026 edition _This post is for subscribers only._ ### The Loneliness of Friendslop URL: https://www.superjumpmagazine.com/the-loneliness-of-friendslop/ Last updated: 2026-03-15T19:39:55.000Z **"Friendslop" as a genre term has piqued my interest for as long as gamers and game critics have been arguing about its use.** It was a strange moment where hyperviral Gen Z TikTok slang breached containment, and the term started to be used by more "serious" game writers and critics. These games promise social connection but end up producing loneliness; the best ones turn that feeling into something meaningful. Despite how it may sound, Friendslop no longer refers to games in that genre in a derogatory manner; it now just refers to any multiplayer—usually co-op—game of relatively low budget. I get why [some game writers are mad](https://www.avclub.com/not-every-co-op-game-is-friendslop) that a term like *slop,* which is now heavily associated with AI content of low effort and value, is being used to categorise games with real artistic value. But, as Lotus [writes in a post on her blog](https://dialedindie.net/p/friendslop), these arguments are made as if we could choose how gamers refer to games. We, as critics, can call these types of games whatever we like. We can even choose not to categorise them at all and consider each one as an individual piece of media, but the people who actually play them will still end up calling them friendslop. That said, friendslop games grabbed my full attention as a critic for another reason, or more precisely, because of a specific feeling: loneliness. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-31.png) Lethal Company. Source: Steam It’s unavoidable, and after asking my friends, I found that they feel the same. In one moment or another, thanks to the proximity chat mechanic (where you can only hear your squad if they are near you), you make a turn, fall behind, or slip down a cliff, and suddenly, you don't hear anyone. You spend the next 5 or 10 minutes in complete silence, not knowing if your friends are even alive, their sweet voices now only a memory. A melancholic feeling of solitude presses on you. This is fine, even cool sometimes, but there's a specific game where it just feels wrong. And I think I know why. YapYap is one of the newest entries in the genre. It's a game where you and your friends play as a team of wizards summoned by a greater wizard/entity/spooky-moon-guy(?), to wreak havoc in enemy wizards' towers. You get three attempts to infiltrate a tower filled with monsters out to kill you and meet the quota of chaos required to pass the level. The more stuff you break, burn, piss on, or fill with mucus, the more chaos you earn. Other missions are assigned after every three attempts, which gives you extra chaos points upon completion. More importantly, you can only cast spells by using your voice to say the enchantment words out loud. So, if you have a wind wand and say "*aero*", a gust of wind flows from you, violently pushing all things forward, and if you have the piss wand and you say "piss yuck", you expel a stream of piss that gets farther the louder you scream. Fun, right? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/YAPYAP_scr_01.png) YapYap. Source: Press Kit The truth is, the novelty wears off pretty quickly. As I mentioned, proximity chat is one of the characteristic mechanics of friendslop games. In PEAK, for example, it is used for comedic effects, where you can hear your friend's voice getting fainter and fainter as they plummet towards the void. But because you have to say the spells out loud in YapYap, most of what you hear from your mates is the same words repeated over and over, so communication can get pretty frustrating. The problem is that there's no real incentive to communicate with your friends anyway. In PEAK, [it's crucial that you stick together](https://www.superjumpmagazine.com/peak-climbing-and-falling-with-friends/) to reach the summit, as there are different mechanics a player can use to make their friends' climb easier. In other horror co-op games, such as Lethal Company, there are more complex options for collaboration, such as opening doors on the ship or giving directions through the walkie-talkie. In YapYap, the richest mechanic for cooperative strategy is combining the spells from different wands, and even then, a player can have more than just one wand, making the presence of another player practically unnecessary. You can be revived, too, if someone from your squad grabs your corpse and performs a ritual at a specific altar. But none of these mechanics are as fun or as interesting as the ones I could find in other, more thought-out examples of the genre. Consequently, you often end up completely separated from your pals. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/ScreenshotCaldera.png) PEAK. Source: Press Kit Therefore, loneliness. In friendslop, there is the slop part, which refers to the low-budget, rushed development to cash in on the trend; and the friend part, which is what started attracting a whole lot of gamers and non-gamers alike after the pandemic-mandated physical isolation. In the original tweet where the term was coined, @wooosaaaahhhhh mentions—semi-jokingly—that these games' sole purpose is "friendfarming". But therein lies my main frustration with YapYap and the friendslop genre: I don't think they're even particularly good at providing a fun time with your friends. I mean, of course, you have fun when you play with your friends, but you get that for free by virtue of the 'playing with your friends' thing! Most of these games rely on moments of emergent gameplay to be entertaining, which makes them ideal for streamers and clip compilations. So the mechanics with which the players interact must be designed with these funny moments in mind—PEAK and Lethal Company, for example, are really good at physical comedy. But when the core gameplay loop isn't as strong, like in YapYap, it just feels like a game that makes communicating with your friends harder, without giving anything fun or interesting to do in return. I found this strange, considering the lack of originality in YapYap's premise. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/YAPYAP_scr_04.png) YapYap. Source: Press Kit However, the feeling of loneliness itself is not YapYap's fault: it's inherent to the genre, somewhat paradoxically. It's just that other games capitalize on that feeling. In Lethal Company, when I'm alone, I start to sweat when I hear footsteps, not knowing if it's a friend or a monster. In PEAK, when my fellow climbers go another route or fall, and I'm on my own, my climb suddenly means more; it turns into an epic solo ascent filled with obstacles that are way harder now that I don't have anyone on the other side to lend a hand. I think that speaks to how both games use their environments to enhance their mechanics. Although YapYap has an art style that fascinates me, it still feels more like an amalgamation of aesthetics, with monsters lifted from horror games, and cute player avatars reminiscent of PEAK. So, in the moments I'm alone, and I stop listening to my friends hollering up spells, the game doesn't do anything for me besides the cool-looking graphics. I only keep casting spells, burning furniture, and trying to find my way through the confusing, repetitive, and uninteresting maps. At that moment, I might as well play a single-player game while in a Discord call. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-29.png) Mage Arena, which as a similar premise and art style to YapYap. Source: Steam There's another multiplayer game where you play as wizards and must use your voice to cast spells: Mage Arena, which I find a bit more fun. The difference is that it has PvP: it's really easy to create emergent moments of gameplay in PvP games, because it depends more on your ability to mess with your friends and less on the mechanics. I've lost count of the times I've almost died with laughter playing Gang Beasts, Stick Fight: The Game, or Duck Game, all really simple PvP games. I guess it's easier to feel closer to my friends when I'm fighting them than when I'm trying to mindlessly collect or destroy things in a map to reach a quota. I'd have loved it if YapYap's beautiful artistic direction were accompanied by equally interesting mechanics, and if the devs could've taken a little more time to design a more unique gameplay loop. Ultimately, YapYap confirmed what I feared most about the friendslopgenre when not handled carefully: that a genuinely charming-looking game with a funny mechanic could end up feeling... sloppy, even with friends. ### The Games of Not This Year - 2025 Edition URL: https://www.superjumpmagazine.com/the-games-of-not-this-year-2025-edition/ Last updated: 2026-05-03T13:06:57.000Z **The NoTY Awards are back for their second year, and I had so much fun with it in 2024 that we've made this a team project, just like our** [**Games of the Year piece**](https://www.superjumpmagazine.com/2025-games-of-the-year/)**!** Seems I'm not the only one whose yearly playlist has a lot of games from prior years, so let's jump right into all the gaming goodness! ### Select a game to begin #### - [Baldur's Gate 3](#BG3) - [BlazBlue Entropy Effect](#Blazblue) - [Cassette Beasts](#CassetteBeasts) - [Chained Echoes](#ChainedEchoes) - [Costume Quest 2](#CostumeQuest) - [Crazy Taxi: Fare Wars ](#CrazyTaxi) - [Digimon Story: Cyber Sleuth – Hacker's Memory](#Digimon) - [Final Fantasy Pixel Remaster](#FFPixel) - [Final Fantasy XVI](#FF16) - [Frostpunk](#Frostpunk) - [Telltale's Guardians of the Galaxy](#Guardians) - [Hypnospace Outlaw](#Hypnospace) - [Metroid Fusion](#Metroid) - [Mouthwashing](#Mouthwashing) - [Ms. Pac-Man Special Color Edition](#MsPacMan) - [Ori and the Blind Forest](#Ori) - [Pacific Drive](#PacificDrive) - [Pokémon Emerald](#PokémonEmerald) - [Resident Evil 4 Remake](#RE4) - [Shin Megami Tensei: Strange Journey Redux](#SMT) - [The Elder Scrolls V: Skyrim](#Skyrim) - [Star Wars Battlefront II](#Battlefront2) - [Steins;Gate Ø](#SteinsGate) - [Stranglehold](#Stranglehold) - [Super Mario World](#SuperMarioWorld) - [Suzerain: Kingdom of Rizia](#Suzerain) - [Transistor](#Transistor) - [Wildermyth](#Wildermyth) - [Wrestling Empire](#WrestlingEmpire) - [Zenless Zone Zero](#ZZZ) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/BG3-Feat-Image.png) Baldur's Gate 3\. Source: Steam. ## Baldur's Gate 3 ### [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/) I've been going through 2023's GOTY, [Baldur's Gate 3](https://baldursgate3.game/), with a friend for the better part of this year. We've...taken our time (mostly because I'm turning on all the candles and lamps in any given room) and I haven't been able to 'bag a baddie', as they say, even though my drow ranger has been hopelessly pining for Wyll. Dance with me, already! I've been playing on my own as well, on a different save, and while I get that romance isn't the point, it is my point; it's the first game I've found myself eager to see the romantic endgames of all of the characters. Baldur's Gate 3 is, of course, an extremely beloved game, and now I can safely say I know what the fuss is about. We just hit act 3 in our joint playthrough, but in my own individual one, I've scraped some progress back a little so I can properly romance Astarion. He's not my favorite, but he is going to be my half-elf warlock's favorite. The party character stories are the most compelling to follow because each companion has a 'hook' to their overall backstory, and each of these hooks is different and interesting. As a fairly incurious explorer, I also adore BG3's open narrative approach. It's a semi-open world, sure, but most of the flexibility comes from your decision-making. Do you want to give a saucy response or a serious one? There have been moments where I'll ask my friend if any one response is the right one. Sometimes, if it's really pivotal, she'll nudge me. Other times – well, we're just seeing what happens! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-4.png) BlazBlue Entropy Effect. Source: Press Kit. ## BlazBlue Entropy Effect ### [Ben Rowan](https://www.superjumpmagazine.com/author/benrowan/) I stumbled onto [BlazBlue Entropy Effect](https://store.steampowered.com/app/2273430/BlazBlue%5FEntropy%5FEffect/) on Steam after spotting the obvious Dead Cells DNA, and I was hooked almost immediately. As I’ve [said elsewhere](https://www.superjumpmagazine.com/now-playing-at-superjump-issue-36/), Dead Cells sits comfortably in my top ten most-played games, so anything built around that same Metroidvania-meets-action-roguelite structure gets my attention fast. The game was [developed by 91Act](https://91act.jp/en/), a studio founded in Chengdu in 2014, and even their name tells you exactly what they’re about. It's a pun on the Chinese phrase “Jiu Yao ACT,” which basically translates to: 'we only want to make action games'. Yokohama's Arc System Works is in the mix too, lending the BlazBlue roster and that unmistakable anime-fighting-game flavour, with a line-up of characters built for room-clearing combos and stylish special moves. Structurally, it sticks to the classic genre formula: tight, bite-sized stages, branching choices, and that addictive “one more run” loop. During runs, the cannon fodder mobs rarely threaten you, but they’re incredibly satisfying to demolish as you clear each zone with stylish combos and specials. Then the game throws you into a button-mashing, health-bar-for-days boss fight that demands every upgrade you’ve earned. To be honest, I’d love slightly tougher warm-ups and slightly less punishing bosses, but it’s still loads of fun. The real draw is the match-made-in-heaven pedigree: it plays like a mash-up of Dead Cells with a BlazBlue fighting game, paired with some gorgeous animation and excellent music. Familiar characters come loaded with distinct moves, so swapping heroes keeps runs fresh, even when the stage layouts start to blur together. If you enjoy roguelite crossovers or anime brawlers, this is an easy recommendation. For me, it was one of the coolest games I played in 2025. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-5.png) Cassette Beast. Source: Press Kit. ## Cassette Beasts ### [Lawrence Adkins](https://www.superjumpmagazine.com/author/lawrencea/) [Cassette Beasts](https://www.cassettebeasts.com/) did something for me that I had never considered in my nearly 20 years of playing Pokémon games — it made me think about the monsters, outside of my personal relationship with them or how cool they looked. I thought about the context of the monsters, where they were from, and how they got to be here. Cassette Beasts takes place on an island between realities called New Wirral, and the monsters that exist here seem to be a manifestation of joint cognition of the denizens of New Wirral. Most of the NPCs in this game claim to be from a different variation of Earth. Some people have never seen animated cartoons before; others are unaware of landmark historical events, some even coming from realities based on books. That said, the monsters in this game seem to represent the similarities between these parallel worlds, highlighting the strange and mundane facets of reality that bind the people together. Take, for instance, Traffikrab, a small plastic crustacean with a red traffic light for an eye and an orange traffic cone for a shell. In a world where nearly everyone relies on cars to get anywhere, there's a layer of irony in seeing that dreaded red light appear as the first thing to impede your progress in this game. Why does it have to be so cute, too? Since rolling credits on Cassette Beasts in 2025, any time I've played another monster-catching RPG, I've found myself studying the animals. I see how they fit their environment, which monsters NPCs may be using, and what stories they might tell. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-6.png) Chained Echoes. Source: Steam. ## Chained Echoes ### [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) Revisiting [Chained Echoes](https://store.steampowered.com/app/1229240/Chained%5FEchoes/) a few years after its release is interesting; indie games age much differently than their bigger genre counterparts. Chained Echoes still feels like an old-school RPG in the very best ways, combining ideas and inspirations from Xenogears, Final Fantasy XII, and Chrono Trigger to create a memorable experience with its own flair. While the story itself falls apart a bit in the latter half, Chained Echoes remains one of the most entertaining original JRPG-style games in years, made more impressive by its solo development. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-7.png) Costume Ques 2\. Source: DoubleFine ## Costume Quest 2 ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) [Costume Quest 2](https://www.doublefine.com/games/costume-quest-2), in many ways, is an improvement over the first game. Double Fine implemented some quality-of-life updates that make the gameplay much smoother. Combat is quicker, where you can initiate two attacks at once on your enemies, and you can use the creepy treat cards as additional buffs during battle, like being able to choose which party member avoids attacks during a given turn and gaining more experience after a battle has concluded. There are plenty of new costumes to find, each with its own abilities, like a werewolf, a clown, and a superhero, among others. I appreciate how the story revolves around our two main characters, Wren and Reynold, as they try to prevent a bitter dentist, Dr. Orel White, from banning Halloween for good. There’s plenty of time travel shenanigans going on as both our heroes try their best to save the holiday, along with having additional help like having their friend’s kids as a companion or getting a younger version of Orel on their side. It’s a short, simple RPG that’s not demanding in its combat, with an engaging story that will make you chuckle. It’s worthy of a playthrough, especially if you enjoyed the first Costume Quest. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-8.png) [Crazy Taxi: Fare Wars](https://www.ign.com/games/crazy-taxi-fare-wars). Source: IGDB. ## Crazy Taxi: Fare Wars ### [Jahanzeb Khan](https://www.superjumpmagazine.com/author/virtuamuser/) It's shocking to me that not only have we not seen a new entry in SEGA's inventive arcade racing score attack, but that none of the classic games have been readily available on modern platforms in a way that does the experience justice in high definition. Even now, the most definitive edition of the game is the original Dreamcast port, as it has all the Pizza Hut references intact and the excellent soundtrack featuring The Offspring. I love collecting games for the PlayStation Portable, and [Crazy Taxi: Fare Wars](https://www.ign.com/games/crazy-taxi-fare-wars) has been one of my favourites to jump back into time and time again. Despite the hardware limitations of the PSP, the game is functional and highly playable, though some of the music and references have been changed. Still, every time I pick it up for a round, it only makes me yearn for a new Nintendo Switch port even more. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-9.png) Digimon Story: Cyber Sleuth. Source: Steam. ## Digimon Story: Cyber Sleuth – Hacker's Memory ### [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/) Although I enjoyed it, I struggled to care about some of the characters in the original Digimon Story: Cyber Sleuth. This definitely isn’t the case for its sequel, [Hacker's Memory](https://en.bandainamcoent.eu/digimon/digimon-story-cyber-sleuth-hackers-memory), which integrates some of the original’s story beats and characters into its own plot. The characters feel more multi-dimensional than many of the first game’s cast. Coming across some of the references to the events of the first title is a really rewarding experience, too. The interesting Digimon Story: Cyber Sleuth RPG mechanics are still there, too, thankfully. You still digivolve and de-digivolve your Digimon through various digivolutions to get to the form you really want. It’s a gruelling process, but with a little patience (and the help of some PlatinumNumemons and Tactician USBs) it can become a rewarding one. The side quests are more entertaining as well. In fact, some have surprisingly ingenious setups and resolutions, which really got me thinking about some deep issues, like how technology depersonalizes humans. The familiar fetch quest makes a return, too, but they aren’t mandatory, and I skipped most of them. One gameplay addition I really enjoyed was the Domination Battles. Some might disagree with me, but I liked this tactical match type, and it’s fun to play with other characters’ Digimon teams, while also learning about their personalities along the way. My one quibble is that I would have liked to see more variety in the different Domination Battles. The development team reduced the backtracking in this game, which I’m thankful for, because the first one felt like a marathon simulator at times. It seems the team listened to some of the player feedback and improved in many key areas; the result is an eccentric creature collector with a heart. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-11.png) Final Fantasy Pixel Remaster. Source: Square-Enix. ## Final Fantasy Pixel Remaster ### [Nathan Kelly](https://www.superjumpmagazine.com/author/nathanielkelly/) I played through the first five [Final Fantasy titles last year via their Pixel Remaster](https://finalfantasypixelremaster.square-enix-games.com/en%5FUS/) versions. The one that has stuck with me the most by far is the very first title. The story of the four warriors of light that just happened to have some rocks in their pocket is not the part that I love about this game; It's the feeling that it is truly a tabletop RPG system adapted for a computer. It feels like a playground of spells and abilities with monsters to use them on. It is easily the game that I am most excited to return to via both the PSP and GameBoy Advance versions. It's short and straightforward nature make it a great game to relax and progress through while watching a show or playing next to a partner. It's a cozy RPG; after you've seen the challenge once, it becomes less intimidating as you become familiar. There is a decent difficulty spike right at the beginning of the game, up until the Earth Crystal fight. This is a barrier to entry, and when you pass it, you are rewarded with another 12 hours of snowballing up until the final boss. Older RPGs can be intimidating; they don't have the quality of life features that developers add to all of these modern remasters. I would give this game to anyone interested in getting into retro RPGs. With a little patience and the willpower to get a little lost and get back up after getting knocked down, anyone could beat this game and have fun doing it. I play this on my retro handheld during my work lunch break now, and I don't plan to stop anytime soon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/FF16-NoTY-image.png) Final Fantasy 16\. Source: Square-Enix. ## Final Fantasy XVI ### [Ben Macready](https://www.superjumpmagazine.com/author/benjaminmacready/) The new [Final Fantasy set for Magic: The Gathering](https://magic.wizards.com/en/products/final-fantasy) got me back into the series in a major way, so I decided to check out its latest installment. [Final Fantasy XVI](https://na.finalfantasyxvi.com/) doesn't feel much like a Final Fantasy game; its gameplay is so action-oriented that I would hesitate to describe it as an RPG at all. Its story has a lot more in common with A Song of Ice and Fire than it does with the adventures of Cloud Strife, Lightning, or Zidane Tribal. Fortunately, I'm always up for some explosive real-time combat, and I'm a massive fan of the writings of George RR Martin, so all of this came together nicely for me. Final Fantasy XVI succeeds at adopting a darker tone targeted at mature audiences. This is no small feat, and many other series have faltered in such attempts (why did Sega give Shadow the Hedgehog an assault rifle?). Fundamentally, the game’s writers know that the key to telling a mature story isn’t trying to be excessively edgy or indulging in grimness for its own sake. Instead, the game offers a deeply character-focused narrative where the cruelty of the world is matched by the characters' perseverance to challenge its injustices and change it for the better. It also reimagines the familiar roster of Final Fantasy Summons as clashing kaiju, with boss battles that deliver an earth-shattering degree of spectacle. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-13.png) Frostpunk. Source: Steam. ## Frostpunk ### [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/) I was up until the wee hours one night playing Frostpunk. This was exceptionally abnormal for me; I'm a recovering night owl adjusting happily to my fiancé's much healthier sleep schedule. I also rarely play resource-management sims or city builders, but there is something about a post-apocalyptic ice world that just calls to me. When I was a kid, I'd traipse down our country road on blizzard-warning days, sometimes to sled with friends, sometimes just for the heck of it. I had some well-meaning cops pull up on me once and ask why I was out during a state of emergency. 'It's not so bad,' I'd said, weighed down by the downy white like some wretched snow creature. This isn't to say 70-degrees-below-zero sounds fine, but I'm endeared to the climate of snow in a way that makes the game exceptionally addicting, especially in a narrative sense. You have so much to balance mechanics-wise, and the game itself is described as fairly brutal, as you sink or swim based on a lot of little factors. Getting wood, steel, coal, and food eventually evolves into balancing hope and discontent and a myriad of other factors – do you go all-in with religion, or establish regimented order (or, perhaps, legalize child labor)? You can take these to their extreme conclusions and become a theocratic leader or hammer them all with authoritarianism, but the fun part has been in managing everything successfully, even under the pressure of increasing cold. It's one of those games, similar to Blue Prince, where each time I start anew, I have a different way of tackling a past challenge. I know to start thumping coal early, or to serve soup initially – it's ruthless, but it's satisfying too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-15.png) Telltale's Guardians of the Galaxy. Source: IGDB. ## Telltale's Guardians of the Galaxy ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) Many people would forget that Telltale made a Guardians of the Galaxy game. It plays very similarly to many of the developer's other games. There are quick-time events sprinkled throughout, along with the occasional opportunity to walk around and talk to the various members of the Guardians while solving puzzles to progress the story. Along the way, you will have to make various dialogue choices that will shape the story with dramatic consequences that will affect your relationships with the other characters. The story zeroes in on the Eternity Forge, an object with the power to bring someone back from the dead. Each episode of the 5-part series would focus on a particular team member, examining their struggles and the issues they want to overcome. You primarily play as Star Lord, where your choices will determine the story as it plays out. The only downside with this game is that you can’t connect to the servers to see what your choices are like compared to others. Otherwise, if you happen to like some of Telltale’s other work, like The Walking Dead or The Wolf Among Us, then you will surely enjoy this underrated gem. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-16.png) Hypnospace Outlaw. Source: Game Website. ## Hypnospace Outlaw ### [Charlotte Huston](https://www.superjumpmagazine.com/author/crystar/) On June 21, 2025, it was announced that the intended sequel for [Hypnospace Outlaw](https://store.steampowered.com/app/844590/Hypnospace%5FOutlaw/), titled 'Dreamsettler', would be cancelled. The lead developer of both games, Jay Tholen, looked heartbroken in the video he made discussing the cancellation. He reasoned that they "overscoped" their ambitions for the project. When aspects of Dreamsettler had to be cut to stay under budget, much of Jay's motivation also went along with that absence. It was a shame to hear this, especially with how unique and odd Hypnospace Outlaw is. The throes of pure creativity were poured into Hypnospace Outlaw, but like many other indie titles, it also held a bevy of messaging that was really sobering. Hypnospace Outlaw is a time capsule of the early internet, particularly the 1990s era. In the game, the player explores a simulation of this era of the internet while exploring things of humanity woven throughout. The most striking aspect of the game is how positively human it feels. There's an overwhelming, sobering sense of nostalgia that resonates in a bittersweet way. When you see how colorful the retro internet actually was and how much personality was injected into every single web page, you start to wonder how the internet lost its way. Why has it lost so much flavor and individuality? We've become too one-note with our social media platforms, and cannot express ourselves freely the way we likely should or even want. To that end, Jay Tholen's meticulously crafted experience here is excellent, and one wishes the best for his motivation to create another such an experience in the future. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-18.png) Metroid Fusion. Source: Nintendo. ## Metroid Fusion ### [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) The Metroid series is no stranger to horror elements. I remember Metroid Prime absolutely terrifying me as a child, forcing me into oppressive spaces to fight against gnarly enemies while wild, frenetic music played in the background. [Metroid Fusion](https://www.nintendo.com/us/whatsnew/metroid-fusion-is-now-available-for-nintendo-switch-online-expansion-pack-members/?srsltid=AfmBOooufP5JKp-yCa8SW-jXjP40HG9u1S2uSQMFR2HbcBof3nJOBvjZ) introduces its own stalker enemy, the SA-X, a clone of Samus that follows her through the space station, creating memorable encounters against an unstoppable foe. Metroid Fusion itself is a bright, beautiful game from Nintendo's pixel-art era, and a monumental moment in forwarding the Metroid lore by introducing the X virus. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-19.png) Mouthwashing. Source: Steam. ## Mouthwashing ### [Nathan Kelly](https://www.superjumpmagazine.com/author/nathanielkelly/) I hate horror games. The tension of hiding from some monster you stand no chance of ever beating is not my definition of fun. I couldn't tell you what drove me to give Mouthwashing a try at the beginning of 2025, but I sat in my room and played the entire game on Steam Deck from start to finish and couldn't put it down. The game has expertly translated the growing tension from classic horror films into three-dimensional, explorable space, keeping me on the edge of my seat for its entire 3-hour runtime. All the way through its insane plot twist and psychotic finale sequence, Mouthwashing is a thrill ride that never lets up as you investigate the events of the destitute space transport. I recommend this indie game to everyone, regardless of their proximity to the horror genre. It's a must-play and one of the greatest games you could ever play in one evening. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-20.png) Ms. Pac-Man Special Color Edition. Source: IGDB. ## Ms. Pac-Man Special Color Edition ### [Jahanzeb Khan](https://www.superjumpmagazine.com/author/virtuamuser/) I love seeking out Game Boy ports of classic games. Although there are countless ways to play the Pac-Man games on portable devices, the Game Boy ports are still special in their own right and make for great collectables, too. Ms. Pac-Man Special Color Edition makes great use of the hardware as an effective and addictive way to play the classic. I love the zoomed-in mode as it adds a layer of surprise and challenge, but the game allows the full table view tool. Unique to the release are difficulty settings to spice up the maze action. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-21.png) Ori and the Blind Forest. Source: Moon Studios. ## Ori and the Blind Forest ### [Bryan Finck](https://www.superjumpmagazine.com/author/bryanfinck/) I had started Ori years ago, but bounced off of it due to my love/hate relationship with Metroidvanias. I remember it being more open-ended and difficult, but it really isn't either of those things. It is quite linear for the genre, and the now-common Hollow Knight-inspired difficult bosses are nowhere to be seen. The biggest challenges came in escaping each portion of the forest once the goal was achieved, and they did feel spikey in their difficulty, but it was never a deal-breaker. I truly appreciate a game that offers a straightforward path, a story that the developer wants to tell, and a world that feels complete without requiring too much from the player. Sometimes I want to go on a journey without the overwhelming feeling of needing to discover it all myself. I loved everything about the game, and nearly a decade after its release, it still stands tall among the best of the crowded genre to which it belongs. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-22.png) Pacific Drive. Source: Ironwood Studios. ## Pacific Drive ### [Matt Lawrence](https://www.superjumpmagazine.com/author/matthew/) Pacific Drive is a unique roguelite game that scratches a specific gaming itch for me. I am a huge fan of the game STALKER: Shadow of Chernobyl, as well as the source materials which influenced it, the book “Roadside Picnic” by Arkady and Boris Strugatsky, and the movie “Stalker” by Andrei Tarkovsky. The setting in the US Pacific Northwest, an area I have always found to be beautiful, made me even more interested in giving it a try. The game takes place in a fictionalized version of Washington’s Olympic Peninsula following a cataclysmic disaster, leaving the region riddled with strange SCP-like anomalies and plagued with dangerous storms. This area, referred to as the Zone, is as beautiful as it is mysterious. The relationship between the beauty and mystery of the Zone and its inherent dangers is demonstrated by the pace of the game. At times, the player cruises along, almost leisurely, as they search for documents and logs that help to fill in the backstory of the Zone and the characters inhabiting it. At other times, the player is left to put the pedal to the metal with total abandon as they sail their station wagon through woods and across rivers in an effort to make it back to safety in one piece. A deep sense of suspense permeates exploration; it is never far from the player’s mind that it's only a matter of time before you’ll have to outrun the Zone’s storms. By combining the elements of driving simulators and roguelites, Pacific Drive creates an experience that gamers of both genres will enjoy. These elements, coupled with an intriguing story and deep lore, make Pacific Drive my favorite game I played in 2025\. ### [Bryan Finck](https://www.superjumpmagazine.com/author/bryanfinck/) The early reviews for Pacific Drive were underwhelming, so I waited for a sale, and happily, it came to PS Plus in November. Very quickly, I realized this was going to be one of my favorite games of the year, as it is quite unlike anything I've ever played. At its heart, Pacific Drive is a mix of survival horror and extraction-type gameplay. Your job is to take your car into the Zone, collect all kinds of loot from the remains of the government experiments and various flora and fauna they created, and get out with your car and your body intact. Whatever you bring out with you goes toward souping up your car (and maybe some new threads for you, too); new gear, like lead-lined doors and armored bumpers, will help you survive as you delve deeper into the zone. It gets crazier and scarier as you go, and there's a compelling story to keep you pushing forward. The action is fantastic, with really compelling discoverability and great driving mechanics. The extraction parts at the end of each level can be incredibly tense, and I routinely found I was holding my breath until I made it safely out. I hope a lot of folks play this through PS Plus, because I'd love to see what developer Ironwood Studios can pull off with their next game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-24.png) Pokémon Emerald. Source: IGDB. ## Pokémon Emerald ### [Lawrence Adkins](https://www.superjumpmagazine.com/author/lawrencea/) When Pokémon Brilliant Diamond and Shining Pearl came out in 2021, I found myself in the minority. As someone who only ever experienced the Sinnoh region through the lens of Pokémon Platinum, this revisit felt fresh to me, not only in some of the core gameplay differences, but in the fact that I played it as a Nuzlocke. Having finally obtained an authentic cartridge copy of Emerald, I took it upon myself to experience the Hoenn region similarly, playing an Avatar Mode Nuzlocke. These take the traditional Nuzlocke rules but add type limitations to represent each element of the show; I chose Earth, only having access to Ground, Rock, Steel, Fighting, Normal, and Bug type Pokémon. Not only did this limit my encounters greatly for this run, but it also bolstered my creativity with how I built my team. Spinda and Illumise were suddenly the saving grace for my battle against Norman, Numel had immense value with its access to Fire-type moves, and failed encounters meant so much more. I ended up losing the battle against Winona, ending my run, but I look back on such a unique experience and want to replicate it in some way. This wacky first playthrough of Pokémon Emerald deserves its spot as one of my NoTYs. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-26.png) Resident Evil 4 Remake. Source: IGDB. ## Resident Evil 4 Remake ### [Bryan Finck](https://www.superjumpmagazine.com/author/bryanfinck/) Capcom's resurgence over the last 9 years, starting with the release of Resident Evil 7 in 2017, is nothing short of miraculous. The storied developer looked on the edge of creative death after years of disappointing releases, leaving fans to dream of a return to the good old days. Thankfully, Capcom has been on a roll ever since, and the remakes of their most loved franchise are leading the way. RE2 and RE3 Remakes were both fantastic, having never played them before, so I expected RE4 to be even better, as it was one of my GOATs from its original release on PS2\. I was definitely not disappointed; it took everything I loved about the first game - fear of chainsaws included - and brought the archaic tank controls into the modern day to truly perfect the experience. I hadn't remembered as much about the game as I thought; there were a lot of surprises I was overjoyed to experience again for the first time. The massive upgrade to the visuals and soundscape - including the main characters' re-recorded voice acting, which toned down the original's campy style *just enough* \- allowed the action to shine brighter than ever before. RE4 adjusted the survival-horror formula just a bit more to the action side, which I loved, so having the gunplay and combat be even more at the forefront here is a tremendous improvement. Play it, play them all, and please, Capcom, let's get that official reveal for Code Veronica Remake soon! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-27.png) Shin Megami Tensei: Strange Journey Redux. Source: IGDB. ## Shin Megami Tensei: Strange Journey Redux ### [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) Atlus re-released Strange Journey on the 3DS with improved graphics, additional features, new characters, and a secondary plot that adds even more to this SMT spin-off title. While Strange Journey does feel like a prototype for SMT IV and Apocalypse, it carries its own brand of the SMT formula, challenging the player on a brutal mission that requires some very old-school RPG patience. Every fight feels earned in Strange Journey, and while the atmosphere and difficulty may feel oppressive at times, it's a worthy SMT title that comes close to contending with its numbered series brethren. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-28.png) Skyrim. Source: Steam. ## The Elder Scrolls V: Skyrim ### [Lawrence Adkins](https://www.superjumpmagazine.com/author/lawrencea/) Skyrim seems to be one of those games that's impossible to really pull away from. In my efforts to engage with replaying games in different fashions, I took the time this year to finally start role-playing in Skyrim instead of just going with the motions. This would also be my first time engaging with the Survival mode that hadn't existed the last time I played this game, and all of this new context really bolstered the experience for me. I had to manage my money, learn recipes for meals when I needed to eat, or be forced to buy the cheapest food to keep me from going hungry. Inns finally had a utility outside of the Dark Brotherhood questline. I couldn't just steal from NPCs because it wasn't what my character would do. I played as a sellsword Redguard, trying to learn magic to earn more coin while embarking across the strange, cold forests and mountains of the north. What added some comedy to this was how fast news tends to travel in Skyrim. Keeping track of the calendar showed me how it only took a few days to become Thane of Whiterun, or a little over two weeks to get a letter from the Jarl of Falkreath. While this poked some holes in the storytelling, it didn't harm the experience at all. If you're out there and contemplating a replay of Skyrim while we all wait for TES VI, I can't recommend this approach to the game enough. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-29.png) Star Wars Battlefront II. Source: Steam. ## Star Wars Battlefront II ### [Charlotte Huston](https://www.superjumpmagazine.com/author/crystar/) The resurgence of Star Wars Battlefront II was truly a sight to behold around the midpoint of 2025\. This is a game that had its support cut off by EA in 2020 to shift all focus at DICE towards Battlefield 2042\. It had a disastrous launch filled with microtransactions and tons of missing content. Yet, its player base stood behind the developers who continued working on the game. Soon enough, those microtransactions became cosmetic-only. You no longer needed to acquire in-game currency to unlock heroes as they became playable by default. DICE's team added iconic Clone Wars Era content in the form of Geonosis, heroes Anakin and Obi-Wan, and much more. One can only imagine what DICE could've accomplished if they were given the opportunity to work on it longer. Star Wars Battlefront II, even before its comeback, provided real authenticity to the Star Wars setting. Sound design is visceral, immersive, and resoundingly well-fitted to the universe. The photogrammetry technique used to make the battlefields feel movie-authentic is incredible. If you're purely looking to exist within the universe for a small amount of time, Battlefront II accomplishes that with flying colors. It is why the sudden and somewhat random resurgence it had in May 2025 was really wonderful to witness. People were enjoying Star Wars again, stemming from Season 2 of Andor as well as the re-releases of Revenge of the Sith in theaters. What better way to simply enjoy Star Wars than a game such as Battlefront? This game, which essentially remained dormant for five years, had finally been acknowledged by the general public once more; the work DICE did to improve it post-launch was finally appreciated for its excellence. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-30.png) Steins;Gate Ø. Source: Steam. ## Steins;Gate Ø ### [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/) Although the anime adaptation is much maligned, the game has much more breathing room to tell its introspective, dark tale. It was ahead of its time in 2015, too, as it anticipated many of the troubles we’re facing approximately ten years later. Steins;Gate Ø is my 2025 Game of Not This Year! It was able to make me care about a story that already had a resolution — quite a feat. It did that in some intelligent ways. By adding some interesting characters that enhance the backstories of established characters, the new characters didn’t take away too much of the spotlight, which also makes you forgive some of the characters. The story explored facets of the story we didn’t see much of in the first game, like the dystopian future that hung over proceedings for a long time. After seeing that world line, my admiration for Okabe’s gumption and resolve only grew, and my mind kept going back to one particular storyline that dwelled on some topics, such as imposter syndrome, that you don’t see too often in a narrative. The soundtrack is also amazing. It built on the old melodies, but also added its own twists, like a version of Gate of Steiner with vocals sung by Eri Sasaki, which is sure to draw a few tears from players. Do I like it more than Steins;Gate, though? I played the original last year, so it couldn’t be in contention for these awards. The fact is, Steins;Gate Ø interlocks with the original, so in my mind it is very hard to split the two from each other. Both are great examples of storytelling at its best. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-31.png) Stranglehold. Source: IGDB. ## Stranglehold ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) Stranglehold is a third-person shooter that plays like a Hong Kong action film, with bullet-time mechanics like Max Payne. The story is set after the events of John Woo’s Hard Boiled, where you play as Chow Yun-fat’s character, Inspector Tequila. You travel to various places, including Chicago and Hong Kong, taking down criminal gangs to get Tequila to reunite with his wife and daughter. You use various weapons like pistols, submachine guns, shotguns, and rocket launchers as you perform stylish kills that will increase your combos, giving you more stars, which in turn gives you energy to perform powerful moves called Tequila bombs. These, like Precision Aim, let you fire your weapon in slow motion with precise movement to take out a single enemy. There’s a meter that lets you use as much slow motion as you can to kill the enemies in your path, like with the Max Payne series. Some gripes that I have with the game are that aiming can be difficult to manage with the camera and that certain sections can be brutally difficult at times, even on the normal setting. While Stranglehold doesn’t look particularly lovely, I feel that's due to the game's use of Unreal Engine 3\. That version of the game engine was known for a desaturated, brownish color palette, prevalent in many games that used it. Otherwise, if you are looking for a fun, action-packed game with excellent gunplay, I would recommend you add a copy of Stranglehold to your collection. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-32.png) Super Mario World. Source: IGDB. ## Super Mario World ### [Ben Rowan](https://www.superjumpmagazine.com/author/benrowan/) In 2025, more than 30 years after first playing it as a kid, I finally committed to finishing [Super Mario World](https://en.wikipedia.org/wiki/Super%5FMario%5FWorld). I first played it back in 1991, not long after it launched on the SNES, and I was completely floored. I still remember picking it up at my best friend’s place, the SNES box freshly unwrapped, the kind of Christmas gift every ’90s kid dreamed about. But sadly, I never actually stuck with it long enough to see the final credits. The spark to revisit Mario's 16-bit debut came from watching the brilliant YouTube documentary, The [Story of Super Mario World](https://youtu.be/s2bTQK6vbKI?si=HUbEf0FEZ4%5F4dzEP) by The Gaming Historian. It’s a lovingly crafted deep dive into how Shigeru Miyamoto and team shaped this pivotal launch title, and how confidently they nailed the fundamentals. Watching it made me want to experience Mario’s seminal journey again, and finally see it through to completion. I’ve been playing via Nintendo Switch Online, and it’s the perfect setup. Handheld mode means I can pick it up anywhere, and the quick-save feature has been a no-stress lifesaver on the tougher stages. Every session I play reinforces how close to a perfect 2D platformer this is: the variety of levels, the playful mechanics, the cape, the fireballs, Yoshi, and all those hidden exits and puzzles. There’s so much brilliance here, and it’s wild to think this incredible game was a launch title for Nintendo’s iconic console. I also adore the world map. It almost makes it feel like an open-world title, and in some ways, it truly is. For a 1991 game, the pixel art still pops, the sound effects are a joy, and the music never gets old. One of my best games of 2025 wasn't released this year, or even this century, but my word, Super Mario World is undoubtedly one of the best games of all time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-33.png) Suzerain: Kingdom of Rizia. Source: Steam. ## Suzerain: Kingdom of Rizia ### [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/) While I do love the original Suzerain, I just think Kingdom of Rizia improves on some key gameplay and design aspects. The characters, for one, are more memorable, and I feel like they are more complex this time around. It’s still cruel; still unforgiving — but the new systems do a better job of telling you why you might be having a tough time. Without the challenges, the victories wouldn’t taste as sweet, either. The inclusion of romance storylines also adds another layer of complexity to an already great mix. Many of the character interactions feel more fun and informal, sort of like real people. By the end of my first playthrough, I was surprised by how much I cared about the citizens within my kingdom, and that’s due in large part to the strong writing. Playing through it, you can also uncover secret storylines, schemes, and more information about the world’s history and culture. It gives you more freedom, too, because in this entry, you can command your armies, and it makes it easier to track your resources and implement laws, allowing you to shape Rizia in certain ways. Being a king in this game really feels different than being a president. Kingdom of Rizia is a game that might not appeal to everyone because of its slow pace and difficulty, but I really enjoyed my time with it. I actually completed a couple of playthroughs to see how my choices affected the storylines. Unlike some games, the choices in Suzerain aren’t just superficial, and one mistake can have massive ramifications. The game’s concepts are so intriguing that all I can say is, “More, please”. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-34.png) Transistor. Source: Supergiant Games. ## Transistor ### [Charlotte Huston](https://www.superjumpmagazine.com/author/crystar/) Supergiant has received a lot of praise for its more recent games, namely Hades and its 2025 sequel. They're both fantastic games, but with Supergiant proving to be so excellent as a studio, some curiosity grew over their previous entries. Going back to the first game a studio produced and then subsequently playing through them in order is a unique and interesting experience. Bastion was a lovely game for its time, and very candid about giving you explanations on almost everything. The DNA that would shape future Supergiant titles was there from their first game. Transistor was a reversal of that notion, a game that strives to be entirely the opposite. It explains a minuscule amount, for better or worse. It has a plot that is much easier to digest without spelling out a plethora of exposition for the player. Transistor arguably has the most unique combat system Supergiant has done to date, taking many cues from the VATS system of the Fallout series. Entering a turn of combat fills an action bar for each action the player queues up while time is frozen. The actions chosen then play out once the player unfreezes the game. It is a wonderfully bittersweet experience, from the tone down to the story itself. Even if one can argue that it is not Supergiant's best game, Transistor nonetheless has a strong case for it. It resonates as a very special game, cut from its own cloth in a way that lets it stand on the same footing as Hades, which is completely remarkable considering this was only Supergiant's second game as a studio. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-35.png) Wildermyth. Source: Game Website. ## Wildermyth ### [Nathan Kelly](https://www.superjumpmagazine.com/author/nathanielkelly/) Wildermyth was a rare find for me. It caught me when I was searching for a tactics game to really sink my teeth into. What I thought was another attempt at Final Fantasy Tactics, or Wartales, was actually a sneaky indie game with simple rules and a unique aesthetic. I was hooked from the first campaign. I think that anybody who has played this title will tell you that it's the writing that will grab you if nothing else. The art is stylish and definitely an eye catcher (although I've seen some people turned off by the aesthetic), and the combat, although fast, is a bit too simple during extended play. What raises this game to greatness is the prose and emotion in the writing here; it's unmatched in its genre and in gaming at large. You randomly create characters in this game that look like any other people in its world: colored pencil-designed faces plastered on top of class-specified body models. As the story unfolds, you will bemoan deaths and injuries, you will cheer at magical transformations and loves blossoming, and you will grit your teeth as characters stand amongst hordes of creatures with one health remaining. Later, once you have established the lives of some heroes, the game allows you to start the game with some of your legacy characters from other games, a feature that I dearly love. One of the huge draws of the game is the feeling that you are creating this extended universe of stories, where famous heroes guest-star in the origin stories of the next generation. Any person who has ever wished they had the time to world-build or create layered stories is going to find that itch gently but satisfyingly scratched after a few hours in Wildermyth. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-36.png) Wrestling Empire. Source: IGDB. ## Wrestling Empire ### [Jahanzeb Khan](https://www.superjumpmagazine.com/author/virtuamuser/) At this point, I might as well call Wrestling Empire my 'Game of the Forever'. It first launched on the eShop back in January of 2021, and from the first boot-up on my Nintendo Switch, it has constantly been in my play rotation. In my Nintendo Switch Year in Review for 2021, Wrestling Empire topped the list as my most-played title. Since then, it has topped my Year in Review every single year to date, including 2025\. I doubt this will change in my 2026 Review, but Animal Crossing Switch 2 Edition will likely give it some competition in the wrestling ring. I don't think any video game in the last decade has constantly and consistently captivated my imagination quite like Wrestling Empire. The experience speaks to me both as a gamer and as a tragic fan of professional wrestling. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-37.png) Zenless Zone Zero. Source: Xbox. ## Zenless Zone Zero ### [Ben Rowan](https://www.superjumpmagazine.com/author/benrowan/) OK, I’ll confess: I’m a HoYoverse fan, and I love playing Genshin Impact. Exploring Teyvat’s massive world, unlocking new regions, and soaking up that Genshin vibe is one of my guilty pleasures. So when I decided to give [Zenless Zone Zero](https://zenless.hoyoverse.com/en-us/) (ZZZ) a proper go, I was a little apprehensive, as I knew it wasn’t going to offer those same open vistas. Still, when the lead-dev said Street Fighter 6 was one of their biggest influences, curiosity won out. Thankfully, what I discovered was genuinely thrilling: ZZZ is laser-focused on action, and it looks, feels, and sounds incredible. Instead of a sprawling open world, you fast-travel around the futuristic Tokyo-style city of New Eridu. When it’s time to throw down, you dive into a parallel dimension called the Hollows, which exists almost purely to serve up an endless stream of stylish combat encounters as you fight ethereal demons, corrupted robots, and military tech gone rogue. Between Hollow runs, you drift around New Eridu taking on commissions, farming resources, and dipping into limited-time events, all wrapped in an off-the-wall, Persona-ish storyline told through comic-style panels and occasional cutscenes. By day, you’re an unassuming video store clerk grabbing buffs from ramen and coffee, then you’re right back into the Hollows for the next job. It’s like a metaphor for gaming itself: you clock off, head home, sit at your gaming PC, and jack into a parallel reality to save the world. Sure, the combat isn’t complex like Devil May Cry, but it doesn’t need to be. Built for touch, it feels incredible on a controller: fast, fluid, and gloriously overpowered. The depth comes from team builds, synergies, and timing, not complex inputs. With huge ultimates, slick animation, and killer music, it feels like Street Fighter on steroids. Free to play, full of style, and easily one of the best games I played in 2025. --- Are you a NoTY gamer? Tell us in the comments about the games you loved in 2025 that came out earlier, and stay tuned to our pages for the best gaming coverage in 2026! ### Hidden Gems of Game Design Vol 45 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-45/ Last updated: 2026-03-11T14:37:03.000Z **Plenty of amazing games go unnoticed and not widely played, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## Vítor M. Costa ### Spooky Express (2025) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/data-src-image-e84edb71-46e7-4c45-91cc-714f418d3f41.jpeg) Comics like this sometimes appear during level transitions. Source: Draknek & Friends/Author. After [Thekla](https://x.com/Thekla%5Finc) (makers of Braid and The Witness), Draknek & Friends is perhaps the puzzle studio that best understands how to teach without speaking. The developers of Spooky Express are masters of clarity and elegant puzzle design, achieving an impeccable sense of pedagogical progression here. Although it shares its core mechanics with Cosmic Express, Spooky Express is markedly superior in terms of difficulty pacing, aesthetics, and interactivity. In scope, it is not as ambitious as A Monster’s Expedition, though its concept is executed with minimalism, brilliance, and near-perfection, further proof of the talent of Lucas Le Slo (level designer), who also worked on 2025's [Lab Rat](https://store.steampowered.com/app/1304610/Lab%5FRat/). Beyond its cute, spooky visuals, Spooky Express is a railway route-building puzzle game with over 200 levels. Each level presents a small, limited grid space in which you must lay train tracks so that all the children can be transported safely to their destination, while also handling the transport of frightening creatures along the way. Each creature has its own destination: vampires must be taken to their coffins, while zombies need to be delivered to their tombs. 0:00 /0:22 1× Solving a puzzle involving a child, a vampire, and a necromancer. Source: Draknek & Friends/Author. These mechanics are taught intuitively and gradually in the opening sets of levels, but the game becomes especially interesting once two intermediate elements are introduced between the creatures and the children: necromancers and spaces where passengers can be temporarily dropped off and later retrieved. A human left next to a vampire is bitten and becomes a vampire; when left next to a zombie, they become a zombie. This applies to both children and necromancers. Necromancers, however, are not ordinary humans: when left on a summoning circle, they transform into demons capable of reducing any nearby character to ashes. To eliminate a demon, it must be led back to the summoning circle. This carefully constructed hierarchy between characters, combined with the meticulously calculated spatial constraints of each puzzle, makes the game increasingly challenging while remaining consistently enjoyable. The designers also implemented an effective hint system that highlights a crucial decision needed to solve a puzzle, offering help without undermining the satisfaction of working through the remaining steps on your own. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/data-src-image-6242eea6-d741-420f-aed8-2cc53c3434f9.jpeg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/data-src-image-5ceb155f-837a-4ec8-87c6-7ba86f60f8f0.jpeg) Left: Map showing the progression of the initial levels; Right: the green train track is an example of the use of the hint system. Source: Draknek & Friends/Author. It seems that relatively few players have given Spooky Express a chance so far: the game has only a handful of reviews on [Steam](https://store.steampowered.com/app/3352310/Spooky%5FExpress/) and a single [Metacritic](https://www.metacritic.com/game/spooky-express/) entry (a 9/10 from Edge). I wholeheartedly recommend it to any fan of puzzle games. And while you’re at it, be sure to explore other titles from [Draknek & Friends](https://www.draknek.org/), who recently released a collection ([Steam](https://store.steampowered.com/bundle/3556/Draknek%5F%5FFriends%5FPuzzle%5FBundle/)/[Switch](https://www.nintendo.com/us/store/products/draknek-and-friends-puzzle-bundle-switch/)) featuring all of their games except Spooky Express. ## Josh Bycer ## Jail Dice: Roll to Break (2025) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-38.png) Source: Steam. For my pick this month, I turn to one of the strangest combinations of genres I’ve seen yet. Jail Dice: Roll to Break is (*takes a deep breath)*, a turn-based puzzle, real-time combat, extraction shooter, roguelite. You are trapped in a giant dungeon piloting a dice ship. To get out, you need to collect resources to power up and become strong enough to defeat the warden. Here’s where it gets confusing. Your ship moves one tile at a time, and different die faces will affect your abilities. The six-face grants a shield, while the one-face lets you shoot out a laser beam. Resources earned are based on how you kill enemies, and your mission is to get as much out of each stage as possible. The meta progression unlocks game-changing powers and quality of life features, but it also increases the difficulty based on what’s unlocked. If you’re not careful, you can make the game too hard too fast. This comes into play with elemental debuffs for which there are cures on the perk tree; without the cures , they are nasty. Some enemies can give other enemies elemental buffs, and stages quickly fill with all manner of bots trying to gun you down. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-39.png) The perk tree is your only means of progressing in the game. Source: Steam. Once you’ve reached the top of the perk tree, the final boss has a chance of showing up after a stage is over, and you need to either kill them, retreat, or face the game’s penalty system. When you die, your next run will start you at 1 point of health, and resource drops are increased. Die again, and you lose all equipped upgrades. This is incredibly punishing, and if you’re not prepared, you can end up soft-locking your game by not being able to restore your upgrades while the game is at its hardest point. The best tip I can give you is that you must unlock the final perk the moment it becomes available, as that is your ability to retreat from a stage. Jail Dice is one of the most original games I’ve played, and if you are looking for something very different, you’re not going to find anything else like it. ## Ben Rowan ### Rick Henderson (2021) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/data-src-image-b8e7477a-dec4-448e-b694-f35804b0fd09.jpeg) Source: Screenshot by author. Most rogue-*lites* will soften the blow when your run comes to a crashing end. Even when you wipe out, you usually walk away with at least something: a perk, an unlock, a small stat-bump that makes you feel like it wasn’t all a waste of time. But [Rick Henderson](https://store.steampowered.com/app/1023790/Rick%5FHenderson/) is a rogue-*like*, so it doesn’t really do that. When you die, you’re back at square one. The only thing you keep is whatever skills your brain picked up during the last run. On paper, it’s an endless, 16-bit-inspired horizontal shmup from[ Fat Pug Studio](https://www.fatpugstudio.com/), but it’s also the kind of game that wears its influences right on its sleeve. It’s had a pretty public development arc for something that still feels like it slipped through the cracks: years of visible progress, an IndieGoGo campaign, Early Access in 2020, then a full Steam launch in 2021.[ Eastasiasoft](https://www.eastasiasoft.com/) handled the console versions in 2022, and the Switch is where I’ve been playing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/data-src-image-9da3fd6f-c3d2-4337-836b-04f3cd60ced1.jpeg) Source: Screenshot by author. If you’ve spent any time with the classic roguelike shmup[ Steredenn: Binary Stars](https://store.steampowered.com/app/347160/Steredenn%5FBinary%5FStars/), which I covered way back in [Hidden Gems: Volume 2](https://www.superjumpmagazine.com/hidden-gems-of-game-design-part-2/), you’ll feel that lineage instantly. Call it an homage, call it a riff, call it straight-up *taking a good idea and running with it*. I’m fine with any of those characterisations of Rick Henderson’s originality, because Steredenn always felt like it was begging for a follow-up anyway. Sure, Rick Henderson isn’t as tightly refined as Steredenn, but it scratches the same itch, and scratches it *well*. Every run is its own little pressure cooker; there’s no meta-progression, no safety net, and no long-term build to hide behind. It’s just your skills, your decisions, and whether the random upgrade drops decide to play nice this time. When you die, you’re dumped back at the start like you just hit Game Over on an arcade cabinet. The good news is that runs can snowball in really satisfying ways. Power-ups drop after each boss, steadily powering up your ship as you push into deadlier territory, and regular enemies spit out gems for your score alongside the practical stuff like shields and ammo refills. Weapon variety is enough to make runs meaningfully different, the sound effects have weight, and the pixel art looks like it was carved out of old console hardware: chunky sprites, high-contrast colours, and just the right amount of bullet-hell. The cosmic backdrops are gorgeous too, which sounds like a small thing until you realise how much they help the game feel like a proper trip through space instead of just a looping arena. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/data-src-image-eef81dbd-a70c-46e4-bd8f-f4df2f48be5a.jpeg) Source: Screenshot by author. And the soundtrack is where Rick Henderson really pulls ahead of its influences. I liked Steredenn’s intro theme, but the rock-heavy score during runs never quite landed for me. Rick Henderson makes the smarter call with a pulsing techno soundtrack that matches the action and tension perfectly. When you’re truly in that bullet-hell flow, the hypnotic beats are the ideal sonic backdrop. A live global leaderboard helps too. I’m sitting at 319th on Switch, just outside the top 300, which is close enough to feel personal. It’s the kind of ranking that keeps pulling me back for another attempt. And the game performs great without dropping a frame, even on an OG Switch, which is exactly where I’ve been losing hours to it. With only a couple of dozen Steam reviews, Rick Henderson is an easy pick for hidden gem status. For shmup fans, especially anyone who likes score-chasing and pattern dodging amidst bombastic pixel-art and a pumping soundtrack, this one’s an easy recommendation, especially when it goes on sale for the price of a coffee. ## Anonymous ### Champions of Regnum (2007) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-40.png) Source: Steam. Formerly Regnum Online, Champions of Regnum (2007) is a deeply flawed MMO. Its perpetual realm vs realm fort wars remain an impressive sight, especially by 2007 standards. In 2015, a book by Concordia University professor Mark J. P. Wolf credited NGD Studios with running Latin America’s biggest MMORPG. Back when I was too young to own a PC, a friend got me to join his realm. Regnum’s visuals were dated for its time, but that didn’t stop it from having diverse biomes with interesting low-res vistas. Icy Alsius sat in the northwest, the deserts of Ignis were to the northeast, and Syrtis’ forests lay to the south. Early on, a quest tasked me with crossing my realm and entering the war zone, a free-for-all battlefield where high-level players sieged forts to steal relics and cripple an opposing faction. Running into one such player showed me I had a steep ladder to climb. My arrows bounced off their armor as they hacked me to ribbons. As they say, there were levels to this. Sixty, to be specific. Getting strong enough to face real players meant grinding Regnum’s stale PvE quests of two kinds: killing foes or talking with someone. Buggy servers delayed your hits and skills as you took on beasts scattered across dull environments. Many of the game’s flaws melted away when you played with friends. The simple loop of picking up quests and chopping up every monster in the area was a great opportunity for conversations. Having a healer in your party fixed Regnum’s worst flaw: healing potions that cost real money. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-41.png) Source: Steam. Champions of Regnum still has enough players to make its [large-scale fort skirmishes](https://forums.mmorpg.com/discussion/493004/letting-people-know-of-1-000-player-wars-in-champions-of-regnum-now) interesting, with attackers charging in formation on colorful mounts toward foes lashing out with spells and arrows. Once a fort gate went down, the objective switched to capturing a flag to hold the fort, flipping the armies’ duties. Aside from sating your curiosity, the only real reason to play Regnum is its passable Linux support. Having to pay to access healing potions and a mount, taking a hit to your stats on death, and spending your earnings on repairing weapons are sins that no longer plague the genre. It’s a “so bad it’s kinda good” experience that shows you how far MMOs have come in the past 20 years. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### Performing In and Out of the Studio: Interviewing Supergiant Games’ Darren Korb URL: https://www.superjumpmagazine.com/performing-in-and-out-of-the-studio-interviewing-supergiant-games-darren-korb/ Last updated: 2026-03-09T17:20:56.000Z **On a snowy weekend in mid-January, fans and industry veterans alike trudged through the snowy streets of New York City.** Their purpose was to pack into the SVA Theater, just down the street from the historic Flatiron Building. The occasion? [The 15th annual New York Game Awards](https://nygamecritics.com/awards/). The eventful weekend was hosted by the New York Videogame Critics Circle, a non-profit of experts across gaming, journalism, tech, and more who advocate for the underserved in their community, educate students, and connect them with opportunities in gaming media. The brand-new [GG Fest](https://nygamecritics.com/gg-fest-schedule/) kicked off the awards weekend with a stacked lineup of panels, an extremely welcoming atmosphere, and capped off the night with a live concert. The Pokémon Company was there in force, and how could you *not* snag a pic with Pikachu and Eevee when presented with the opportunity? The entire day was a celebration of art, creation, and the people who help make the games we love. A new event this big deserved a big headliner – or rather, a Supergiant one. The crescendo of the night was the “Supergiant Games: Unplugged” live concert, performed by musical duo Darren Korb and Ashley Barrett. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/GGMarquee-cropped.JPG) The SVA Theater in New York City. Source: NYVGCC official photographer Charles Anthony Davis from DreamSmith LLC. Korb and Barrett treated the audience to a 90-minute performance spanning all of Supergiant’s soundtracks from Bastion to Hades II, and even brought a couple of highly talented friends on stage for a few select tracks, to the audience’s delight. For fans of any of Supergiant’s games – and let me assure you, the theater was *packed* with ‘em – it was a blast, made more so by the relaxed and friendly nature of everybody on stage. For almost 17 years, Darren Korb has managed all things audio at Supergiant Games as Audio Director and Composer. From directing voiceover and voicing Zagreus and Skelly himself in Hades and Hades II, to creating every single musical track in all of their award-winning games and performing live all over the world, Korb has been a creative force in and out of the studio. SUPERJUMP reached out to Korb via email to talk about his Unplugged concert at GG Fest and the catalogue of music he’s created over his career at Supergiant Games. The following conversation was held over a video meeting and is lightly edited for clarity and flow. ### SUPERJUMP Thank you again for taking the time today. It was an awesome experience seeing you and Ashley perform live at GG Fest at the New York Game Awards. ### Darren Korb Cool, yeah, yeah, that was fun. ### SUPERJUMP You had mentioned that you were there for the very first New York Game Awards; was that the first time performing an unplugged set of Supergiant songs? ### Darren Korb Yeah, so that one was maybe our first live performance of Supergiant songs, actually. Basically, I think we did “[Build That Wall](https://www.youtube.com/watch?v=o3SZee4YZX8)”, “[Setting Sail](https://www.youtube.com/watch?v=g60bPpXEq9Q)”, like the mixture of the two. I think that was the very first time because it was the end of 2011, the game came out in 2011, so it was really our first opportunity to do anything like that. Yeah, that’s wild. We’ve done a bunch of those since, over the years, acoustic sets and stuff. We used to do them more frequently, but I think that was the first time we did that. ### SUPERJUMP That setlist must’ve grown quite a bit over the years, huh! ### Darren Korb *\*Sipping from a Mario-themed water bottle\** Mmhm! ### SUPERJUMP At GG Fest, there were about 20 or so songs on that setlist? ### Darren Korb Yeah, about 20, 21, it was 90 minutes, and I mean – *there’s more songs*! Like we could’ve played more songs! But we had to pick and choose a little bit. That was a good time. That was the longest set we’ve ever played, especially in the acoustic format. It was a lot of tunes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Darren_Ashley1.jpeg) Darren Korb and Ashley Barrett performing live at GG Fest. Source: NYVGCC official photographer Charles Anthony Davis from DreamSmith LLC. ### SUPERJUMP Oh yeah, and you do have quite a discography at this point. You use a lot of different instruments on your tracks, from baglamas to mandolin, to… autoharp? ### Darren Korb Yup yup yup yup yup autoharp yup ### SUPERJUMP What was the process like to try to arrange your music into just an acoustic set when you use so many different instruments? ### Darren Korb You know it’s interesting, it’s sorta like, I’m just trying to distill the instrumental part down to just the essential bits. And I’m not someone who is particularly adept at making really complex acoustic guitar arrangements. I’m not doing like crazy finger-style stuff *\*\*begins to mime finger-tapping the neck of an air guitar\*\** with voice leading and the bass, I’m not doing classical guitar style arrangements that are more complex, so I’m generally trying to just do a fairly bare-bones guitar arrangement, and a lot of times it’s just whatever the part is that I’m playing on the record, you know, and sometimes it’s really spare. But sometimes I find that it serves the song pretty well just to have the guitar part and the vocal part together, even if there’s a lot more stuff going on with the album version, on the studio recording. Sometimes I’ll do a new arrangement, and sometimes I’ll modify it accordingly. Like for “[We All Become](https://www.youtube.com/watch?v=f9O2Rjn1azc)” for example, we have kinda like a more folksy arrangement of that tune, which we have done it before where it’s more true to the vibe of the recording, and I prefer – when we do it acoustically I prefer to do it the way we did it which is more like changing the vibe accordingly to match the instrumentation. ### SUPERJUMP You and Ashley have this tangible comfort and harmony when performing together. Over the years, as a performing musical duo, how have you both developed or grown in performing live? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Darren_Ashley2-pjw.jpg) Korb and Barrett harmonizing in their unplugged set. Source: Author ### Darren Korb I think the shared experience of having done it a bunch now, having prepped a bunch of sets and played a lot of these songs for 15 years together. Yeah, I think it certainly increases the comfort, and we’ve had the opportunity to play some really wild gigs \* *\*laughs\*\** in really pretty nutty scenarios. So I think that shared experience of like – playing [The Game Awards with Imagine Dragons](https://www.youtube.com/watch?v=0WXSR0x%5FNVQ), and playing the [Hollywood Bowl with an orchestra](https://www.youtube.com/watch?v=AuVCnWWDDuc), doing all these pretty out there scenarios, [singing live with an orchestra at Abbey Road](https://www.youtube.com/watch?v=LwUw7L%5FgAoI), all these sort of wild things that I don’t think either of us could’ve imagined when we started doing this. So I think having those shared experiences certainly gives us some comfort too, and I think once you do that kind of thing it’s kind of like well, \* *\*raises hands and smiles\*\** ya know, the stakes just don’t seem *quite* as high as when you’re doing that kind of stuff, so it is easier – a little bit easier – to be a little bit more comfortable. Even though the acoustic set thing is really exposed and really, just, you know… all the mistakes are sort of *\*\*splays hands\*\** they’re right there! You can’t hide! So it is a very vulnerable format, especially playing something where it’s a really friendly crowd, like the New York Game Awards, we felt comfortable to do kind of a relaxed-feeling performance, and hopefully that came across. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/GG-Concert-Crowd.jpeg) The audience enjoying the Supergiant Games: Unplugged concert at GG Fest. Source: NYVGCC official photographer Charles Anthony Davis from DreamSmith LLC. ### SUPERJUMP It absolutely did! And those gigs you were talking about, those are quite a few bucket list items, I imagine. ### Darren Korb Yeah, pretty nutty, yeah, *\*\*chuckling\*\** I don’t know how any of that stuff happened. It’s all like... an opportunity somehow arises, and it’s just a matter of not saying "no". You know? Just like, “Yeah! Okay! That sounds cool! I’ll try that!” ### SUPERJUMP You said 15 years you’ve been at Supergiant now? ### Darren Korb Jeeze, it’s gonna be 17 in September, so yeah, it's been 16 and a half at this point. ### SUPERJUMP That’s quite the journey. And with five games underneath your belt, is there any specific soundtrack so far that holds a special place in your heart – or is that kind of like being asked to choose a favorite child? ### Darren Korb I mean, they all have their own sort of specialness to me, and each one presented its own sort of unique set of challenges and unique set of pleasures. And for me, it’s always the most recent one that I’m sorta the most passionate about, but they all have special significance to me for different reasons. [Bastion](https://www.supergiantgames.com/games/bastion/) was the first one, so it has a special place for that reason. And [Transistor](https://www.supergiantgames.com/games/transistor) was one where I really felt like I pushed myself outside my comfort zone pretty hard, and so that one was really rewarding in that way, creatively. And [Pyre](https://www.supergiantgames.com/games/pyre) was like… at the time, it felt like probably closest to my own sort of taste, you know, so that’s something that was really exciting and had its own set of challenges because of the way I wrote the stuff for that one. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/SongsofSupergiantGames.jpg) The album art for "The Songs of Supergiant Games: 10th Anniversary Orchestral Collection", recorded at Abbey Road Studios in London. Source: [Supergiant's Bandcamp](https://supergiantgames.bandcamp.com/). And then, of course, [Hades](https://www.supergiantgames.com/games/hades), I got to express my “inner rocker” more than I ever had before – that was really delightful. And for [Hades II](http://www.supergiantgames.com/games/hades-ii), it just had such a huge breadth of styles, and I got to write so many songs - I got to do so many wild, kind of out there things - I got to really play with synthesizers more than I had before, which is a lot of fun. So there are just a lot of reasons that each one has its own set of delights and challenges. ### SUPERJUMP I’ve noticed that over time, your soundtracks seem to be trending longer, from Bastion having 20 or so tracks to Hades II having 50\. What kind of factors over the course of a game’s development lead to a longer album? ### Darren Korb I think, directly, the games for the most part have just increased in scale over time, and so the soundtrack by necessity sort of reflects that. Also, I think I’ve just gotten more efficient at making things, so even if I were to make the music for a Bastion-sized game again, I bet it would have a little more music than Bastion did, you know what I mean? Just because if we see an opportunity for a unique piece of music, chances are I’ll be able to create one a little bit more quickly than I could at that time, just because my workflow’s improved since then. ### SUPERJUMP You’ve leveled up the abilities over the years. ### Darren Korb Yeah, to some degree for sure. ### SUPERJUMP For Hades and Hades II, since those were developed in Early Access, what was it like to try to balance your creative instincts vs. what you’re hearing from the player and the community? ### Darren Korb You know, it’s interesting because those things aren’t really at odds. I’m happy with – whatever I’m putting out in the game, I’m happy with. And I feel good about it existing in the world. It’s more like, I just sort of get confirmation – like a lot of times it’s the things I think people are gonna really gravitate towards that they end up gravitating towards. And it’s nice confirmation, like, 'Okay, cool, I can kinda double down on this stuff and lean into it.' So it ended up being more like that for me, where I was able to just get reinforcement and wind in the sails, be like 'Okay, cool, I’m gonna do the thing I thought I was gonna do, but let’s do it real hard, and go ham.' *\*\*laughs\*\** ### SUPERJUMP That’s gotta feel nice to get that, since it must be a very vulnerable space – putting your work out there and it’s not quite *finalized* – I don’t know if that’s the exact right term there – Early Access, so I know things can change. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/hades2_apr30_01.jpg) Hades II. Source: Supergiant Games. ### Darren Korb Yeah, the Early Access process was funky in that way where… all the stuff that I released musically, I treated as final, I treated it as “I don’t want to revise this later.” Like these pieces of music, I think this is how I want them to exist, and so I made sure I was happy with everything at the release of the Early Access, of the singles, and throughout Early Access. But yeah, Early Access in general is kind of a funky process because there is stuff that will be subject to change, and you want to be able to take feedback on certain things, but for me, I kind of saw the process – my part of that process – just a little differently, at least with the music. I wasn’t really expecting to get notes and then change the music, you know what I mean, as part of that process, and that’s not really what ends up happening realistically either. The way I treated it was, I want to put out things that I see as complete, and then take the opportunity to make a bunch more stuff throughout the process and put that out. ### SUPERJUMP Absolutely, because I imagine at that point you’ve already worked with the writers on how to weave that into the setting and character narrative and everything like that, right? ### Darren Korb *\*\*Affirmative “Mmhm” while sipping water\*\** ### SUPERJUMP It was cool to discover that you have some sheet music out there, too, on the Supergiant merch store. Has there been any thought to releasing full-on songbooks of your soundtracks? ### Darren Korb It’s one of those things where… when I make the music, I don’t write anything down. None of the music has charts or anything ‘cause the way I compose it is I just record it and play it. With the exception of the stuff we’ve done for orchestra, where I’ve worked with [Austin Wintory](https://www.austinwintory.com/about) and made these actual arrangements for these musicians to play, and made the charts for them to play. So it would require a concerted effort to generate all these things. And there’s not a lot of redundancy over here, so if it’s going to take me off whatever we’re working on and it’s sort of like an ancillary thing, sometimes I gotta pick and choose those battles, you know? ### SUPERJUMP It’s not quite as easy as a copy & paste from one document into another. ### Darren Korb *\*\*Smiling\*\** Right ‘cause again it doesn’t exist, so we’d have to make it exist. And we have a handful, like we did a [chart for Bewitching Eyes](https://www.fangamer.com/collections/supergiant-games/products/supergiant-games-sheet-music) that we put up, and we’ve got all the instruments charted out on that one, so that’s one! ### SUPERJUMP I was excited to find that one! ### Darren Korb Yeah, but it’s tricky to make those; you gotta find the right collaborators to bring that stuff to life. ### SUPERJUMP I’ve seen some people online take it into their own hands - I found a tab for Rage of the Myrmidons from Hades, and so I noodle a little bit on my guitar with that one. ### Darren Korb Yeah, some of those are pretty accurate, and some of ‘em are a little… *\*\*shakes his head from side to side\*\** questionable; you know, it’s all good. ### SUPERJUMP Speaking of Bewitching Eyes, you had said something along the lines - during your performance at GG Fest - how you couldn’t believe it was your job to write a power ballad *(Darren laughs).* Could you remember a specific point in time where you first had a thought like that at Supergiant? And does that still happen from time to time? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/FullBandGG3-pjw-1-1.jpg) The full band performing "Bewitching Eyes", including Judy Alice Lee (voice of Melinoë in Hades II). Source: Author ### Darren Korb Yeah, it absolutely happens! I mean, it happened on Hades 2 while I was writing that song! I love that I get – I mean, my job is so insanely fun, and I realize how sort of… rare that is as a thing for a job to be, you know? To be an exciting, fun thing to do, so I’m always really appreciative of that, especially – I’ll have those moments where I’m like… 'I’m recording an orchestra at Abbey Road and like, \* *\*arms out wide and looking around enthusiastically\*\** "This is my job guys! *This is work*!” Or I’m eating a scotch egg at the commissary at Abbey Road and like, “This is my lunch break at work!” And yeah, it’s certainly wild, I have those moments from time to time,as recently as writing *\*\*chuckling with a smile\*\** an 80’s power ballad for Hades 2\. I was like, “This is my job! That’s ridiculous!” ### SUPERJUMP That’s the dream right there! And it's got a very tasty guitar solo. I mean, the whole song is excellent, but I love the guitar solo. ### Darren Korb Ohh, thank you, thank you very much. That’s a fun one, yeah I was doing my best to channel the sort of *\*\*sweeps his hand up into a clenched fist\**\* style of the 80’s power ballad guitar solos of the day, like “Alone” by Heart in particular has a great solo and that was one that I looked at and all that, and so definitely like I was trying to sort of evoke – not copy – but evoke the vibe of those guys. ### SUPERJUMP I think you nailed it. That song gets me amped. ### Darren Korb Aww, thanks so much. ### SUPERJUMP I want to be respectful of your time, so final question – is there anything else that you’d like to add, or plug, anything at all? ### Darren Korb I’ve got a couple of shows coming up which I’m excited about. I’m playing during [GDC](https://gdconf.com/), there’s some fun stuff going on. I’m gonna be doing a thing in the GDC concert, and then on that Thursday night I’m playing with [Premium Vintage](https://premiumvintage.bandcamp.com/) at the [DNA Lounge](https://www.dnalounge.com/calendar/2026/03-12.html) – we’re gonna do some Hades tunes, so that’s gonna be fun. And then [June 27th in London](https://gamemusic.net/events/ballads-of-the-underworld-featuring-music-from-hades-and-hades-2/) I’m gonna be playing with the full orchestra at Royal Festival Hall, doing a bunch of tunes from Hades and Hades 2 and some other games, so that’s gonna be really wild. If you happen to be in London, come check it out! We'd like to thank Darren for participating in this interview. You can check out all the games he's worked on at [Supergiant's website](https://www.supergiantgames.com/) ### Palmon Survival Needs Less Building, More Story URL: https://www.superjumpmagazine.com/palmon-survival-needs-less-building-more-story/ Last updated: 2026-03-07T21:23:14.000Z **I started playing Palmon Survival as part of a Swagbucks challenge.** I eventually dropped off the challenge, realizing that earning Swagbucks points required a level of hyper-fixation that I lack. There are more feasible ones that I'm tentatively tackling. If I fail, it will validate my opinion that it demands too much. Palmon Survival wants you to know it's clearly not an open-world version of Pokémon with quests and beasts to fight. After all, you don't have to level up camps, hospitals, lumber yards, and furnaces in a typical Pokémon game. Usually, you roam around a universe finding new Pokémon and battling gym leaders. In this mobile app, however, you roam around either in an airship or on foot, and you can join guilds to increase the value of prizes that you can receive from completing certain challenges. Trying to find out information about the developer may prove difficult; the logo shows it as Ursa Games. Apparently, that's not the actual name. Reddit alleges that [the developer is actually Lilith Games,](https://www.reddit.com/r/mobilegameology/comments/1if8d6y/comment/ms85m93/) aka Lilith Technology Hong Kong Limited. Players debate whether Palmon Survival is a rip-off of the game Palworld. Another [Reddit user alleges](https://www.reddit.com/r/Dislyte/comments/14sz57g/cautionary%5Fwhale%5Fof%5Fa%5Ftale%5Fthe%5Finsight%5Fto%5Fliliths/) that Lilith Games did not provide items from micro-transactions, let alone refunds, and blocked their account on the mobile game Dislyte. I would advise, in general, not to make such purchases, since gacha and micro-transactions have a reputation for enabling player addictions, and not offering refunds sounds very sus. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image.png) Source: [Facebook](https://www.facebook.com/PalmonSurvival/). ## What Drew Me into the Game I mainly like playing Palmon because of the homages to Pokémon and the initial story. You play as a shipwreck victim who washes up on an island, who then gets a crash course in how the world works by using special capsules to catch different Palmon either on the island or in the free-roam world. The capsules look more like the ghost thermoses from Danny Phantom than a Pokéball. The story is fascinating because the player character came from a shipwreck and knows nothing about the Palmon world. That mystery contains a potentially compelling backstory. Our mentor shows us the ropes before a rogue trainer kidnaps her and holds her hostage. We then have to fend him off and rescue her from the building that will become our "camp". I was enthralled and invested in the narrative, expanding the island to get the necessary tools and stamina for battle. ## Roaming Not-So-Freely Unfortunately, once you complete the tutorial story, that narrative vanishes. We go from trying to save our mentor from a death trap to simply minding our own business and expanding the island. I am still playing to complete the Swagbucks challenge, but it feels like the empathetic element is missing. You can join guilds to get some human connection, but that's about it. The game has problems, including constant crashes that require frequent reloading. You can't actually train your Palmon or engage them in battle to enhance them; you can only use resources so they can level up for the next challenge. But more than anything, much of the fun is drained away because you have to build so much to reach the next level, and it can take hours at a time. I know this is part of the mobile genre, and that there are time limits or other sanctions when completing tasks or quests. The idea is that a player may give in to temptation and purchase an item to make the quest easier. You have to decide if and how you're going to make that judgment call; as shown above in the case of blocked accounts, the end result may not be pleasing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-2.png) Source: [Facebook](https://www.facebook.com/PalmonSurvival/). ## Final Verdict I feel like Palmon Survival had a lot of potential with its tutorial story. If the developers focus on providing a regular plot thread and keeping the 'battle' part of the game consistent, rather than demanding resource grinding, it could be a keeper. Palmon Survival isn't a bad game, and I am still having fun. I do remain skeptical, however, as it plays ad after ad, trying to convince me to make a purchase. That's not happening; I'd rather keep my account and end it on my terms. No one is blocking me from going after fiery birds and curious bears. ### Claw and Order - Mewgenics Review URL: https://www.superjumpmagazine.com/claw-and-order-mewgenics-review/ Last updated: 2026-03-05T18:11:16.000Z **Mewgenics is a tactical turn-based roguelike in which a mad professor tasks you with breeding cats and then sending them into battle against everything from flies to fetuses, in sewers, deserts and more.** Don’t worry, you aren’t having a stroke, and you are reading that correctly. Let me explain. ### **Feline Good** Mewgenics is the new, long-awaited game from Edmund McMillen, the mind behind Super Meat Boy and The Binding of Isaac. It contains all the off-kilter, otherworldly strangeness that fans of those titles will, and indeed should, expect. Upon starting the game, you meet Dr. Beanies, who presents you with three randomly generated cats and instructs you to pick your two favourites. The chosen two will be bred to expand your collection. The third is immediately executed. So now you should have some idea of the tone. Once you’ve been walked through the ins and outs of breeding (no pun intended), it’s time to get stuck into the game proper. Like The Binding of Isaac, you begin with base stats and abilities that gradually evolve as you carve ever deeper into the game’s Lovecraftian world. Unlike TBoI, however, Mewgenic*s* is turn-based, meaning every move demands careful consideration. Positioning, status effects, and ability synergies stack and intersect as you guide your party of four felines across grid-based battlefields. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-36.png) Source: Steam. As such, your victories aren’t down to your reflexes, but foresight - knowing when to push forward, when to sacrifice a turn to set up a combo, and when to accept that one of your genetically questionable chimeras might not make it out alive. In this way, the systems slowly reveal themselves, rewarding deliberate experimentation while leaving space for the kind of accidental discoveries that are often far more entertaining. For example, an early gameplay highlight came during a boss fight with Fenrir, an eyepatch-wearing cat who, after having torn through three-quarters of my team, accidentally set an adjacent bush – and subsequently himself - on fire. From there, he proceeded to dash between items of foliage, repeatedly setting himself alight until the problem solved itself. Not exactly a hard-won victory but we take those. Tutorialization is a topic that often gets brought up when we talk about games. When is it too much? When isn’t it enough? I’m hard-pressed to think of a game in recent memory that has done it better than Mewgenics. It gets in, gets out, and, crucially, trusts the player to carry that understanding forward and apply it under increasing duress. The result is a learning curve that feels demanding but rarely unfair. ### **Fur-midable Foes** That’s not to say the game doesn’t put up a fight. In fact, Mewgenics sits comfortably alongside other entries in McMillen’s catalogue in that regard. You’re routinely pitted against enemies that are as grotesque as they are dangerous, and each newly telegraphed attack brings a flicker of genuine panic as one wrong move can mean your gang of tetchy tabbies is wiped from the board entirely. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-35.png) Source: Steam. And what a gang they can become. One of the issues I often have with roguelikes is how easily party members blur together through disposable builds in an endless cycle of runs. Here, though, I found myself unexpectedly attached. Through careful breeding, incremental upgrades, and the simple absurdity of their existence, these cats begin to feel less like units and more like individuals to the point that losing one genuinely stings. This is due in no small part to the game’s signature style, brought grotesquely to life by artist Tyler Glaiel. McMillen and Glaiel’s collaboration gives Mewgenic*s* a distinctly warped, handmade feel, like a playable Adult Swim cartoon or a particularly unhinged Newgrounds animation from the early 2000s, with all irreverence and upstart confidence therein. The result is a presentation that feels bespoke in a way few roguelikes manage, and it even extends to the startup screen. Each time you boot the game up, you’re treated to one of more than 200 variations of its opening intro sequence, not unlike the couch gags from The Simpsons. It’s a small touch, but it sharpens the game’s personality and elegantly feeds into the genre’s “just one more run” compulsion. ### **Face the Meowsic** This also extends to the game’s audio design, with your randomly generated cast of cat-rachters each producing a unique mix of purrs and yowls, some high-pitched and falsetto, others hilariously bassy, reinforcing their individuality and forcing you to feel responsible for them in a genuinely surprising way. One element that deserves particular praise is the soundtrack. I won’t give any major spoilers here, but I was instantly hooked as early encounters leaned heavily into a smoky, jazz club vibe, all brushed drums and wandering basslines, as though your genetically dubious felines are scrapping it out in the corner of some dimly lit basement bar. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-34.png) Source: Steam. That restraint makes what happens next all the more effective. When a boss appears, a headliner takes the stage. Full lyricised tracks drop in, swelling with that unique humour and cutting clean through the smoky haze. As an appetiser, I did particularly enjoy this early [track](https://youtu.be/A02AApHGqNc?t=33) which took me instantly offguard and served to make my first boss fight all the more memorable. It’s a clever bit of audio design. The jazzy minimalism of standard battles lulls you into a measured rhythm, while the vocal-driven boss themes heighten the drama before the fight has even begun. In a genre where soundtracks often fade into procedural background noise, Mewgenics uses music as punctuation, and so did I as I hummed some of the standout tracks in my day-to-day. ### **Final Purr-dict** Mewgenics is, in many ways, exactly what you would expect from the mind behind The Binding of Isaac, grotesque and gleefully unconcerned with good taste. But beneath the shock value and feline eugenics lies a surprisingly thoughtful tactical roguelike. Its breeding mechanics encourage experimentation, its turn-based combat rewards patience over panic, and its presentation gives it a personality few games in the genre can match. I’ve not even touched on the unique NPCs you’ll come to love – and loathe – throughout the game, but they’re best experienced yourself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-37.png) Source: Steam. It won’t be for everyone. The art style is confrontational, the humour macabre, and permadeath still stings. Yet for those willing to embrace its particular brand of chaos, there’s a deeply considered strategy game lurking beneath the fur and the flames. More than anything, Mewgenics feels confident. Confident in its systems, confident in its tone, and confident enough to trust players to meet it on its own strange terms. And somehow, against all odds, it works. And to think, I’m not even a cat person. ### Struggling With Cloud Gaming Lag? Here's How to Fix It for Good URL: https://www.superjumpmagazine.com/struggling-with-cloud-gaming-lag-heres-how-to-fix-it-for-good/ Last updated: 2026-03-02T04:39:05.000Z **Learning how to fix cloud gaming lag can mean the difference between enjoying your favorite games and rage-quitting in frustration.** Game lag typically comes from a slow internet connection with high latency, which is the time it takes for data to travel between your device and the server. Lower latency becomes especially important when gaming, as high latency directly affects gameplay quality and responsiveness. You've probably wondered why cloud gaming feels so laggy or whether cloud gaming is laggy by nature. You're not alone in this. We've put together practical solutions to tackle cloud gaming lag. We'll explore what makes good latency when gaming, [network optimization techniques](https://www.auvik.com/franklyit/blog/network-optimization/) that make cloud gaming less laggy, and advanced fixes specifically designed to handle Xbox cloud gaming lag. ## Why Is Cloud Gaming So Laggy? Understanding the Problem Cloud gaming latency stems from three distinct components that stack together. Input lag represents the time your command needs to register and process through the gaming system. Network delay measures how long data travels between your device and cloud servers, with ping and physical distance being the main factors. Processing time covers the duration servers need to process inputs, render frames, and transmit updated game states back to your screen. Distance plays a critical role in network performance. High ping exceeding 100ms causes visible delays in character movement, shooting, and dodging in FPS games. Quality cloud gaming requires ping between 20-30ms or lower to deliver an excellent experience. Pings ranging from 30-60ms remain acceptable. Competitive ever-changing games may feel slightly off though. Once ping exceeds 60ms consistently, you'll notice major input delay and visual artifacts that make games difficult to enjoy. [Centralized cloud gaming services](https://ecosystem.aethir.com/blog-posts/cloud-gaming-face-off-centralized-vs-decentralized-systems) often struggle with latency because GPU resources concentrate in large-scale regional data centers. This setup prevents the quickest way to deliver service to gamers located far from these resources, especially when you have periods of rapid user growth. Network congestion during peak gaming hours compounds these delays and creates the frustrating lag spikes that disrupt gameplay. ## Network Fixes to Make Cloud Gaming Less Laggy Switching to a wired Ethernet connection stands as the single most effective fix. Ethernet delivers 1-3ms latency, which beats wireless alternatives by a wide margin. Cat 5e or Cat 6 cables support speeds up to 1,000Mbps or higher. Xbox recommends at least 20 Mbps for consoles, PCs, and tablets, with 10 Mbps sufficient for mobile devices. NVIDIA GeForce Now requires less than 80ms network latency from their data centers. Wiring isn't practical for everyone. You can connect to your router's 5GHz band instead of 2.4GHz. The 5GHz frequency delivers faster speeds, lower latency, and less interference. This makes it optimal for gaming close to your router. Wi-Fi 6 and Wi-Fi 6E standards reduce latency through optimized packet scheduling. Background applications drain bandwidth without you noticing. You should close cloud backups, automatic updates, and streaming services on all devices. Even small background transfers can cause ping spikes and packet loss during gameplay. Your router's [Quality of Service (QoS) ](https://kb.netgear.com/23850/What-is-Quality-of-Service-QoS-on-my-NETGEAR-router)settings can prioritize gaming traffic over other activities. Position your router in a central, elevated location away from walls and electronic interference. Select the closest server region when available to minimize data travel distance. Higher resolutions demand more network capacity, so lower your settings if you experience issues at 4K resolution. ## Advanced Solutions for Reducing Xbox Cloud Gaming Lag Browser choice substantially affects Xbox cloud gaming performance. Microsoft Edge delivers the smoothest experience with lowest latency, especially with its Clarity Boost feature that improves image quality for Xbox cloud gaming. Chrome performs well but consumes more RAM, while Firefox and Opera often cause stuttering. Switching browsers alone can reduce lag by 20-40%. Controller connection method matters more than most realize. Plugging your controller via USB bypasses wireless congestion and ensures button presses reach your device without fighting for airtime. Wired connections send data through USB with stable, consistent performance and the lowest latency. Bluetooth introduces delays and interference problems, making USB the superior choice for cloud gaming input responsiveness. VPN usage presents a double-edged scenario. Standard VPNs add latency by rerouting connections through additional servers. Cloudflare Warp offers a free alternative that optimizes traffic routing without traditional VPN overhead. It finds more direct paths to game servers than standard ISP connections and reduces latency caused by poor routing quality. If privacy is still a concern, especially on public Wi-Fi, consider testing a VPN briefly and checking whether it affects input delay or stream quality. With a [good deal to try out Surfshark,](https://thebestvpn.com/surfshark-coupon-discount/) you can do that without committing at full cost. This hit-or-miss solution depends on your location but remains worth testing. Your ISP can help when home optimizations fail. Contact them with documented evidence of lag problems. Include screenshots and specific times when problems occur. ISPs can fix backend routing problems that cause persistent input lag. ## Conclusion Cloud gaming lag doesn't have to ruin your experience. These solutions can reduce latency when you switch to Ethernet, use Microsoft Edge with a wired controller, and optimize your network settings. The most influential change is moving from Wi-Fi to a wired connection. Start with the simple network fixes we've covered. Move to browser optimization if needed. You'll notice smoother gameplay almost right away. ### Indie Monthly: February 2026 URL: https://www.superjumpmagazine.com/indie-monthly-february-2026/ Last updated: 2026-03-04T02:39:55.000Z **Another Steam Next Fest has come and gone, showcasing some fine examples of the three subgenres that encompass all of indie games now.** Oh, there's still variety to be had; it just takes a little patience and some digging. This month's offerings demonstrate that. We've got a 3D platformer, a novel take on the roguelike deckbuilder, and that riskiest of indie plays - the grand strategy game. As a bonus, I've thrown in an extra cut from January. Mea culpa time - between some behind-the-scenes bureaucratic stress and the usual game-related chaos, I managed to completely miss that I'd been offered a key to one of January's better releases. This game - Escape from Ever After - is at the bottom of this month's issue. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/MasterOfPieceA.jpg) Master of Piece. Source: Author. ## [Master of Piece](https://store.steampowered.com/app/3009310/Master%5Fof%5FPiece/) Master of Piece is a tactical deckbuilder with some RPG elements. Focused on an expedition to find the source of a dense black fog, it emphasizes upgrading the player's units to create an army powerful enough to endure the endgame. The game is distinguished from other deckbuilders in that the player is collecting neither cards nor dice, but board game pieces. These are used in a simple strategy game in which the player and opponent take turns placing or moving pieces with the goal of launching an unobstructed attack on the enemy flag. It's a simple system that's complicated by the massive number of piece abilities and the occasional boss fight. Most non-combat tiles focus on powering up the pieces already in the player's inventory. Pieces are quite weak to begin with, having just a few points in their main attack, health, and speed stats, along with (at best) a single trait. That's fine early on when the enemy has comparable pieces, but the difficulty scales up very quickly, and surviving past the halfway point of a run absolutely requires broken pieces. It does take some tactical thinking to power up those pieces, as the core stats can only be boosted a few times. Beyond that, most pieces can accept a second trait, which the player can either find directly or, more likely, transfer by destroying another piece, similar to Inscryption's altars of sacrifice. Pieces can also acquire rumors, which further boost stats, but often with some kind of drawback. With some planning and a little luck, it's possible to use these to build monster pieces that crush bosses with ease. The actual combat can be a little less impactful. The system is simple enough: Place pieces in either empty columns to attack the enemy flag or opposite enemy pieces to block their attacks. There are occasional tactical considerations, such as turns where it might be better to move a piece rather than play a new one, as well as fields with usable objects or traps. Nevertheless, tactical skill has nothing on the power of the pieces. Overall, Master of Piece can have appeal to anyone who doesn't care for the highly random nature of deckbuilders. For those more accustomed to the subgenre, it offers a novel gameplay style that might be lacking in the usual deckbuilder variety. Master of Piece is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/ManaironsB.jpg) Manairons. Source: Author. ## [Manairons](https://store.steampowered.com/app/3453450/Manairons/) Manairons is a 3D platformer with an emphasis on puzzle-solving. Taking on the role of Nai, a fairy-like Manairo, the player explores a Catalan village that has been turned into a mechanized nightmare by his kinsmen and the diabolical landlord who commands them. It's a simple, easygoing game with lots of late-90s influence. While Manairons is a fully 3D game, the actual gameplay switches between a 3D focus for combat and puzzle sequences and a side-on 2.5D presentation for most platforming. Levels are chiefly linear - there are hidden collectibles, but completing the main game simply requires passing through a series of rooms and defeating a boss. Nai's skill set is focused mostly on puzzles and combat, which are a far larger part of the game. For platforming, he starts with a double jump and eventually gains a series of songs that temporarily grant context-sensitive abilities. For defense purposes, he has a standard attack combo, a block, and a weak ranged attack. One ability the player doesn't possess is control of the camera, which is fixed in place depending on the present challenge. Most of the gameplay focuses on puzzles, which in Manairons are centered on switches and object manipulation. They tend to be on the easy side, solvable through trial and error with some basic observation skills. The puzzles and platforming are frequently connected - for example, with switches controlling the movement of platforms needed to cross gaps. Combat is similarly straightforward and forgiving. While the lack of a roll or other dodge ability might throw some players for a loop, the enemies are slow enough that avoiding attacks is easy, and Nai is fairly tanky to boot. Bosses are more of a threat, but anyone experienced with similar games shouldn't struggle too much. The one thing that does introduce some difficulty is the fixed camera. Surprisingly, it isn't an issue in the platforming sections due to the tight controls and a color-changing shadow that makes it easy to stick landings. However, the lack of spatial information can make fighting small enemies or avoiding floor traps harder than it should be. Overall, Manairons is a game made to appeal to fifth- and sixth-gen nostalgia. It's a mellow and enjoyable experience, but don't expect it to blow your mind. [Manairons](https://manairons.cat/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/FallOAE_A.jpg) Fall of an Empire. Source: Author. ## [Fall of an Empire](https://store.steampowered.com/app/1830290/Fall%5Fof%5Fan%5FEmpire/) Fall of an Empire is a pauseable real-time strategy game set in a fictional analog of the late Western Roman Empire. It is, essentially, a reverse grand strategy game, one with familiar mechanics but a novel approach to campaign progression. The grand campaign puts the player in the role of the last ruler of the Rephsian Empire. Generations of infighting and constant warfare have left the empire fractured, with the player having the thankless task of keeping it together for as long as possible. This is the key difference between Fall of an Empire and other grand strategy games: Rather than growing an empire from humble beginnings, the empire starts as big as it's going to get, and all the player can do is try to arrest the collapse. From a mechanical and design perspective, Fall of an Empire draws inspiration from other well-known strategy franchises, with the most obvious being Crusader Kings. As with CK, Fall of an Empire puts a heavy focus on internal politics and the desires of individual actors. In fact, with no new lands to conquer, all of the action is internal to some degree, whether that's imperial intrigue or open rebellion. Combat is heavily abstracted and mostly focused on the strategic level, but unlike most Paradox games, there's more emphasis on army composition and formations. Wars are won or lost before the first battle is joined, but forget about careful planning - with hostilities starting seemingly at random, being flexible and working up strategies on the fly is how the game is played. If you haven't picked up on it by now, this is not a game for beginners. The grand campaign throws the player into the deep end, dealing with multiple uprisings and wars between subjects along with a failing economy and several antagonistic factions. There is a tutorial and some useful pop-ups for the more arcane mechanics, but even a player familiar with the game's inspirations will have to learn a lot and learn it quickly. Overall, Fall of an Empire is an interesting take on grand strategy, but one that will only be accessible to people with an enormous amount of strategy game experience. [Fall of an Empire](https://www.fallofanempiregame.com/) is available for PC via Steam and [EGS](https://store.epicgames.com/en-US/p/fall-of-an-empire-f094d8). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/EscapeFromEA.jpg) Escape from Ever After. Source: Author. ## [Escape from Ever After](https://store.steampowered.com/app/1996390/Escape%5Ffrom%5FEver%5FAfter/) Escape from Ever After is a timing-based RPG with heavy inspiration from the Paper Mario series. Compared to its spiritual predecessors, it offers a greater challenge suitable for more experienced RPG fans. Flynt is an archetypal storybook hero with a very standard quest: slay a dragon. It's a journey that plays out in the book every day, but this time, Flynt hit a snag. The dragon's lair has been replaced by a corporate branch office for an outfit called "Ever After Inc.", an organization from the Real World that has found a way to send its employees into works of fiction for profit. With the lair's previous occupant reduced to diminutive size by Ever After Inc. technology, Flynt won't be able to complete the story until the company is gone - and that means getting hired and taking them down from within. Escape from Ever After is unabashedly drawing inspiration from Paper Mario in many ways, not limited to the aesthetic similarities. The combat system has very clear echoes - low stat, timing based, two active characters with a shared mana pool, and an experience/customization system built around badges. Where it varies is in the complexity of the individual fights. Following from many other recent indie RPGs, Escape from Ever After features much more tactical combat than older games. Enemies have many variants, assume different stances, and team up in ways that require specific attacks to overcome. While individual fights aren't all that hard (on standard difficulty, anyway), they do demand plenty of attention, and every party member serves a role. Meanwhile, bosses are multi-stage affairs with gimmicks that change over the course of the fight. The game also features a fair number of puzzles based on the abilities each character brings to the table. Most puzzles are conceptually simple but demand precise timing or positioning in a way that makes them dicey. Even so, it's unlikely that anyone with RPG experience is going to be too stumped by the puzzles. Overall, Escape from Ever After combines old-school Nintendo design with modern indie sensibilities in a way that really clicks. With a playtime of 15-20 hours, it's also a bit more substantial than some of its competitors. [Escape from Ever After](https://www.escapefromeverafter.com/) is available for PC via Steam, Xbox, PS5, and Nintendo Switch. A copy was provided for this review. --- That wraps up our look at the indie games that caught our attention in February! As always, be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### WordPlayer: Paranormasight: The Mermaid's Curse Understands That Reading Can Be Gameplay URL: https://www.superjumpmagazine.com/wordplayer-paranormasight-the-mermaids-curse-understands-that-reading-can-be-gameplay/ Last updated: 2026-03-01T23:14:07.000Z **There are a lot of games that ask you to engage with them primarily through reading text on the screen.** In fact, there's an entire genre - the visual novel - where the main progression model is reading all the text, pressing a button to progress each line. Eventually, depending on the flavour of the visual novel, you might jump into something that could be thought of as more "traditional" gameplay: making dialogue choices, solving puzzles, absolving your clients in the courtroom, pixel-hunting through detailed screens, or trying to ignite a romance. This is me being somewhat reductive, as there are a lot of different visual novels doing many different things, but in many cases, the main mode of play involves a lot of clicking through lengthy dialogue exchanges. --- *This article is free of story spoilers* --- Paranormasight: The Mermaid's Curse, the excellent second game in the titular series that started with 2023's The Seven Mysteries of Honjo, is a visual novel of sorts. Throughout the game, you play as four different characters - or, perhaps more accurately, omnisciently inhabit four different perspectives on the same story (you'll understand if you play it). Most of the action outside of dialogue cutscenes is presented from a first-person perspective, where you can control the camera to look around, inspect objects, choose who to talk to next, or just admire the scenery. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-25.png) Source: Steam. The game is set in the 1980s across multiple small towns and islands in the Mie Prefecture of Japan, and concerns a young aspiring diver - Yuza - whose family was lost in a terrible storm five years prior. Yuza has recently returned to the island of Kameshima and set his sights on a mysterious goal. In the game's opening moments, he encounters something otherworldly - a tomokazuki, a spirit that takes on the image of its own target before dragging them into the deep. There's a lot more to it than that, but it's best to discover it all at your own pace. What pans out over the next 15-odd hours of story - across multiple fractured timelines, with curses, spirits, and a lot of local history being shared - is a surprisingly sweet game, one that carries a little less of a horror tinge than its predecessor despite dealing with some heavy themes. Occasionally, the game will check in with the Storyteller, the burgeoning franchise's closest analog to a mascot, who will gently, mysteriously guide you through the game's supernatural connective tissue. There's a fantastic story here, but when I think about what this game does well narratively, I'm thinking about the play experience as much as the dialogue or characters. Paranormasight:The Mermaid's Curse is a visual novel that very effectively pushes reading not just as a model for advancement, but as a complex gameplay mechanic. This isn't a novel in the guise of a game; it's very much a *game*, one in which reading through long passages of text and soaking in the information, then thinking about what it means both in relation to the story and your own progress through the experience, is the primary way of progressing. This means paying attention and being diligent are important - when the game tells you that a detail has been recorded in your files, it's worth opening them up and having a look. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-26.png) Source: Steam. I'm so used to collecting information in games that I know I'm never going to look at. As a writer myself, it pains me when I know that effort has been poured into the in-game book or optional audio log or piece of lore I've just logged in my inventory. If I'm going to read something hidden away in a menu, I need an incentive. I want it to fill in a gap, or reveal an answer, or deepen my understanding of something important. A long letter might be a good showcase for a writer's talent, but if it's not adding anything to my understanding of the game I'm playing, I find it very hard to invest myself. The first Paranormasight similarly built up an extensive list of files as you played, which helped to flesh out the world and the complex tangle of spiritual influences over the game. The files in The Mermaid's Curse serve a similar purpose, and also serve as the game's primary skill checks - the only way to proceed is to really *understand* the game's story and all the characters involved. At times, the game will stop for a moment and ask you to answer a question to progress, and knowing the correct answer will, almost always, rely on you having kept up with these files. It's like studying for a test, except the test is always about something interesting, spooky, and fun. Keeping on top of everything you collect in The Mermaid's Curse isn't just going to help you clear the game; keeping on top of those files fundamentally *is* the game. That information is what you're playing for, and because of that, getting a new long page of text is always exciting. Paranormasight: The Mermaid's Curse makes full use of the fact that it's a game, that it has a UI and menus, and that you can pause, save, reload, and reflect. By the time you've reached the game's best ending, it has used some of those tools in astonishing ways, which I will not spoil here. But what really impressed me about The Mermaid's Curse is how effectively it primed me for its later puzzles, how deeply the game ingrained in me that I need to pay attention not just to the words on the screen, but the systems underpinning everything. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-27.png) Source: Steam. The Paranormasight games could be thought of as part of a subgenre of "cursed" software, games like Immortality and Doki Doki Literature Club! that make their interactivity part of the diegetic experience of the narrative. But there's a tonal difference here - this is a game that presents a challenge that wants to be overcome. Every part of the game is working *with* you. I was recently revisiting an interview I had with an indie developer I admire, for my upcoming project. We were talking about user interfaces in the context of their own very popular, narrative-driven project, and they said something that I've been thinking about for a while now. "With our games, you can really tell they're games, and you can see the game design happening," they said. "Lots of modern games turn off the HUD when you're standing still, so you can't see what you've got equipped. But I always go to the options and set them to 'make the HUD appear at all times'. Because I always want to see the game systems." Paranormasight: The Mermaid's Curse embodies a similar philosophy; It never shies away from what it means to be a game. There are even some interface choices that annoyed me at first, but which reveal themselves, eventually, to have a deeper purpose. It has been so carefully designed to consider all aspects of what a game is - how the user interface matters, what it means to be able to control your view of a 3D space, how to branch your story effectively, and what mechanics, tools, and assist functions are so ubiquitous that we take them for granted. It's exciting to see a game in a genre that people so often dismiss as simplistic being so formally experimental - and it makes me very hopeful that the Paranormasight series will continue. **A Nintendo Switch review copy of Paranormasight: The Mermaid's Curse was provided for the publisher for coverage.* ### Now Playing at SUPERJUMP: Issue 38 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-38/ Last updated: 2026-02-27T16:45:56.000Z **We're back with a brand-new Now Playing!** As usual, our team has been playing a wide variety of games, from 20-year-old online RPGs to newly released remakes of beloved classics. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ## James Burns (SUPERJUMP Editor-in-Chief) ### Guild Wars Much to my surprise, I'm playing Guild Wars again after (almost?) 20 years or so. I have such fond memories of the original game. It's the first (and so far, really the only) MMORPG I've played for any length of time. The original game was just so engaging (easy to play, tough to master), and it has a truly wonderful, non-toxic community. Recently, I started playing Guild Wars Reforged with my sister. I've started a new character, and I'm playing on Steam Deck. Honestly, I'm blown away by the experience; the entire game has been customised to work *flawlessly* with the Steam Deck interface. Even if you don't change any settings, everything is remarkably intuitive right out of the box. But with the ability to set per-game profiles on Steam Deck, it's possible to really dial in the experience to your precise comfort level. It's also truly lovely to be able to play this game on max graphics settings on a handheld machine. The game still looks gorgeous; it's a testament to the timelessness of great art design. Even better, it's wonderful to return to old towns like Ascalon and see them full of life again! Better yet, the Reforged community is really living up to the spirit of the game; everyone has been so welcoming and friendly. I feel that there's a real commitment on the part of the player base to revive that atmosphere of a truly inclusive online gaming community. And, in 2026, when there's so much cynicism and hatred floating around, that simple idea feels utterly revolutionary. I highly recommend this experience for both old and new players alike. Come and join me! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-16.png) Granblue Fantasy Relink. Source: Steam. ## Rachel Alm ### Granblue Fantasy Relink I’m playing Granblue Fantasy Relink right now. It’s got a sweet enough story (although it’s pretty much “so-and-so’s been taken, we must get them back!” for each arc climax), but I’m loving the combat. It’s frantic and can be trying depending on who you pick for fights. There are some fun boss set pieces that remind me a teeny bit of FFXVI (my current favorite when it comes to boss fights), and you can play as a ton of different characters with unique mechanics. I’m genuinely looking forward to all the endgame stuff! You can unlock new “crew” members for your team, and I plan on getting them all (there are some online components here, so I’m hoping it’s all free) and trying out their fighting styles. It’s very Genshin-like by way of character collecting, although you can pick who you want to add, and when. I don’t do endgame stuff all that often, but I’m pumped for this one. I’ve also started again with Elden Ring, which I forever pick up and, frustrated, end up putting down. I would like to give it a genuine shot, though, and I'm enjoying it more this go around, with my fiancé and I occasionally playing together. I *know* I’d like it if I could nail down some spare patience and purposefully focus on its intricacies and lore. It’s like Baldur’s Gate III for me — I love it now, but man, did I have to pretty much be dragged to the title screen by my well-intentioned friends for that to happen (and they were right in their recommendations, as per usual)! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-17.png) Powerwash Simulator 2\. Source: Steam. ## Matthew Lawrence ### Powerwash Simulator 2 For the last month, my wife and I have been playing couch co-op in Powerwash Simulator 2 (PwS2). We both played the first game in single-player mode, giving us a good idea of what we were getting into. PwS2 carries on the same gameplay formula as the first game, but introduces some new gadgets and improvements to the core gameplay, making the game feel more well-rounded and user-friendly. I thoroughly enjoyed the first game and have poured over 40 hours into it, but I can confidently say there were times where the gameplay felt like it crossed the line from satisfying to tedious. That being said, the nice thing with PwS2 is that there is enough variety with the gadgets and mission types that the levels never overstay their welcome. The player can easily go from multi-hour-long cleaning operations of buildings to fifteen-minute-long jaunts cleaning vehicles. Much like the first game, PwS2 carries itself with an air of lighthearted playfulness, helping to elevate it above other job simulators. Even if you aren’t completely sold on the idea of playing a game where you are tasked with spraying off dirt and grime, the comedy and overall story are well-written. Both PwS2 and the original are available on Game Pass for PC and Xbox and are certainly worth a try. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-18.png) Animal Crossing: New Horizons. Source: Nintendo. ## Jahanzeb Khan ### Animal Crossing: New Horizons - Switch 2 Edition When New Horizons first launched back in 2020, it became the perfect pandemic game. Most of my time with the game was during the lockdowns, and while I definitely appreciated the distraction and escapism the cosy experience provided during that difficult period, it's not the association I want anymore. Animal Crossing games are engrossing in their own right, and so New Horizons deserves a legacy that isn't tied to one of the worst periods in our history. Revisiting the game at the start of the New Year via the Switch 2 Edition with the major Version 3 update has been a delight. The game feels so much fuller than what it was during launch, with no shortage of activities and side hustles. The cast of villagers has grown to Pokédex levels, and now there are more opportunities to Meet 'Em All: cafés, hotels, island retreats, camping sites, you name it. Animal Crossing: New Horizons - Nintendo Switch 2 Edition marks the return of the OG cosy video game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-19.png) Final Fantasy 6\. Source: Nintendo. ## Nathan Kelly ### Final Fantasy 6 Pixel Remaster The newest venture in my quest to play through each Final Fantasy is the epic finale of the Super Nintendo trilogy. I’m nearing the halfway point, having gone through tons of incredible set pieces, including the famous opera scene. What I didn’t expect this time was to become so heavily invested in the stories of these characters. People recommended online that you just leave Locke behind as much as possible. While this does seem advantageous in a battle, I have to take him with me everywhere because I’ve become so enthralled with his backstory. He’s the most emotionally and expertly written character in the last 6 games, and I’ve grown attached. I’m in the process of transforming him into the ultimate healer so that I can continue to drag him everywhere. ### Final Fantasy NES Here’s a blast from the past: I’ve gone back to an NES version of the very first Final Fantasy. This is because I’ve discovered the Archipelago multi-world randomizer which might be the coolest thing to ever exist, a randomizer that hides the items from your game in different games, possibly even controlled by other players. Sadly, the NES version of Final Fantasy is the only one compatible at this time (groan). So with the help of the Final Fantasy Randomizer ([check it out here](https://4-9-2.finalfantasyrandomizer.com/?s=EBD018FD&f=omlInPsany8PrB.a1l5K.nyrgxxflrlGi6q1jFGOMJ9gYAVi3ipek67Jx9Cwx81d.HT37bmnj.X.YSy4AcewPnzv26XDA0JphepWFqrsfkPa3s-rLaKNdIx6rowKIdkB3w6w.sPOGTpF3BrKqfQh4mfGMZgQACP1GqI8BQyzAEWHH4FmWj)), I was able to turn the dated and broken first draft of Final Fantasy into the version as depicted in the game’s manual. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-21.png) Final Fantasy NES. Source: Final Fantasy Wiki. This play-through of the first game highlights how replayable this game is to me. The perilous dungeon-crawling and light story lend itself to the possibility of infinite adventures. So far, I’m still getting my ass handed to me by that first dreadful cave, but the literal light at the end of the tunnel is that the game is an enjoyable fantasy romp once the Marsh Cave has been conquered. I’m doing this run without the random elements, but once I'm familiar with this version, I’ll go back and mix all the treasures and enemies around. Lali-ho! ## Vitor Costa ### Dragon Quest VII Reimagined This week, I finished the Dragon Quest VII Reimagined demo on Steam. Although the demo lasts about three hours, it took me five to complete because I explored it thoroughly. While shorter than the Dragon Quest XI demo, it is still generous and leaves a strong impression. Dragon Warrior VII was visually innovative, setting the visual standard for the first 3D Dragon Quest games, and it features a standout narrative among PS1 JRPGs. However, its gameplay was unfriendly; The opening is excessively slow, with several hours passing before meaningful combat begins, and its long story (the longest in the main series), combining naval exploration and time travel, relies on fragmented progression as well as trial and error. Although this seventh adventure is one of Yuji Horii’s most ambitious works, its narrative demands too much patience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-22.png) Dragon Quest VII Reimagined. Source: Author. The Dragon Quest VII remake for 3DS laid the groundwork by improving pacing, maps, and the early hours, but it remained constrained by handheld hardware. Environments were compressed, the world was reduced in scale, and the visual style was less expressive. Furthermore, the vocation system remained relatively uninviting to newcomers. Dragon Quest VII Reimagined preserves the episodic structure while presenting it in a more guided and engaging way. Its turn-based combat is straightforward, the level design is easy to read, and random encounters are removed, with weaker enemies fleeing or being defeated instantly. Finally, customization feels more flexible through equippable monster hearts as accessories. This is the first version of Dragon Quest VII to feature orchestral arrangements of Koichi Sugiyama’s music, which complement the fairytale tone and diorama-like environments. While not all characters and monsters are equally striking, they remain faithful to Akira Toriyama’s concept art. Even alongside excellent remakes in the series, Reimagined stands out as its most beautiful and ambitious Dragon Quest reinterpretation. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-23.png) Turbo Overkill. Source: Author. ## Ben Rowan ### Turbo Overkill I’m currently playing Turbo Overkill, and it’s exactly the kind of game my teenage self would’ve probably called “too much,” which, in boomer shooter terms, is basically a five-star review. I grew up on Doom, Quake, and Half-Life, games that defined '90s PC shooters: big guns, action-packed arenas, secrets tucked behind suspicious walls, and a single-player campaign that was the whole point, not an optional extra. When the Doom reboot came along in 2016, it reminded everyone that momentum isn’t just a mechanic, it’s a design philosophy. It’s been refreshing to watch those old-school ideas creep back over the past decade, giving rise to the boomer shooter, like an entire genre collectively remembering what made it great in the first place. So when I spotted Turbo Overkill, a hectic cyberpunk splatfest that looked like it drank a few too many Red Bulls and picked a fight in a neon-lit nightclub, I was immediately intrigued. Moment to moment, the combat sits in a similar neighbourhood to Doom Eternal. It’s not as heavy on the “combat chess” layers, but it’s still punchy, in-your-face, and obsessed with keeping you moving forward. Wide FOV, chunky shotguns, enemies popping into gore confetti - all the good stuff. You’ve got a very effective air dash too, and it gives you even more aerial control than Eternal does. A lot of the fights have you strafing above the fray like an armed mosquito, raining down bullets on anything that moves. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-24.png) Turbo Overkill. Source: Author. And there’s a new word the game introduces us to: chegging. Early on, you get one of the most ridiculous weapons in the genre, a cybernetic chainsaw bolted to your leg, known as the “Chegg.” Sliding through enemies becomes a brutal, momentum-fuelled lawnmower attack. At first, you’ll use it as a finisher, then for crowd control, then simply because it’s so satisfying to carve a room clean with a single glide. Before long, it’s obvious the levels are built around it. It’s perfect for mowing down the first wave of grunts and saving your shotgun shells for the bigger nasties lurking in the back. The levels have a classic feel too: big spaces, key hunting, doors unlocking into new areas, and boss rooms that turn into multi-wave survival pits, with enemies warping in constantly until you’re low on health, ammo, and basically surviving on adrenaline alone. There are secrets everywhere, plus light Metroidvania flourishes, like grabbing wall-running boots halfway through a level and realising half the map was quietly off-limits. I’m playing on console, and the aim assist is super spicy. It’s less a gentle nudge and more like a soft lock-on, letting you circle-strafe and keep the tempo without fighting the sticks. Purists will want to tone it down or switch it off, but for me, it adds to the flow and feel, and enhances the fun of playing on a controller. Turbo Overkill is a frantic, frag-filled reminder that sometimes the smartest design choice is simply ‘go harder’. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Keeping Game Teams Moving Without Crunch URL: https://www.superjumpmagazine.com/keeping-game-teams-moving-without-crunch/ Last updated: 2026-02-23T09:36:24.000Z **Game releases rarely slip because a studio lacks talent.** They slip because time disappears into rework, unclear handoffs, and meetings that multiply when teams are remote. A clean schedule is not about squeezing hours. It is about making the work visible, so producers, designers, and engineers can protect creative focus and ship in a steady rhythm. ## Where Time Goes in a Modern Game Pipeline In a sprint review, [time tracking software for employees](https://www.monitask.com/en/) can act as a simple mirror for where a game team actually spends effort during a build cycle. What matters isn’t watching every minute tick by. It’s seeing where the effort actually goes – coding, art work, QA runs, bug triage, builds, and all the back-and-forth that keeps things moving. Game dev is packed with “tiny” chores that don’t look scary until they stack up, and suddenly a whole week is gone: waiting for an asset to export, redoing a UI screen after a late tweak, hunting down a bug that only happens sometimes, or running the same certification checklist again. When tracking categories match the real pipeline, producers spot slowdowns sooner, and designers can tell when iteration has stopped being productive and turned into churn. ## Trust Stays Intact When Tracking Has Clear Boundaries The fastest way to make tracking feel creepy is to frame it as oversight. The fastest way to make it useful is to frame it as planning support with guardrails. Teams tend to accept time tracking when the rules are plain: what is tracked, what is not tracked, who can see what, and how the data will be used. For game teams, the healthiest setup focuses on work blocks by project area, not personal behaviour. A programmer spending half a day fixing a regression is still doing valuable work. A concept artist iterating on silhouettes is still doing valuable work. If tracking is used to compare people instead of supporting estimates, it turns into defensiveness, and that shows up in worse communication and lower quality. When tracking stays tied to delivery planning, it supports autonomy instead of undermining it. ## **Turning Time Data into Better Builds** Game teams already measure plenty: crash rate, frame pacing, retention, and bug counts. Time data can complement those signals when it is used to reduce rework and keep the schedule realistic. The biggest wins usually come from small, concrete adjustments, not big process rewrites. A producer can see when QA is getting a flood of last-minute changes. A tech lead can see when build failures are eating a chunk of engineering capacity. A design lead can see when iteration cycles are longer than planned, so scope needs a reset before the team burns out. ### What to measure without making it awkward A practical tracking setup stays focused on workflow, so the data helps planning instead of turning into judgment. - Time spent on build stability and tooling work. - Time spent on bugs that block QA progress. - Time spent on asset rework tied to late changes. - Time spent in meetings tied to coordination, not status theater. - Time spent on playtesting sessions and follow-up fixes. ## Remote Collaboration Needs Better Signals than Status Pings Remote game work adds coordination cost that is easy to miss until a milestone is missed. Art reviews, design feedback loops, and QA handoffs often cross time zones, and small delays stack up. Time tracking can support healthier async work when it highlights where waiting is happening. If a team spends a large share of the week in review cycles, it may be a sign that feedback is too late, too broad, or not scoped to the build. If engineering time spikes in meetings right before a content drop, it may be a sign that requirements were not locked early enough. Those are planning problems, not people problems. Good data helps teams replace constant check-ins with a clearer plan for what needs synchronous time and what can stay async. ## After the Patch Notes Come the Lessons A live update cadence can turn every week into a mini launch, and that pressure can push teams into reactive work. A better rhythm is treating each cycle as a small postmortem. What was planned. What shipped. What got cut. What caused rework. Time data makes that conversation less emotional because it points to patterns. If UI fixes keep getting reopened, the issue might be a missing definition of done. If performance work keeps landing at the end, the issue might be late profiling. If QA time balloons near the deadline, the issue might be too many late merges. The goal is not perfect efficiency. The goal is fewer surprises, cleaner handoffs, and a schedule that protects creativity without turning management into a surveillance act. ### 2025 Games of the Year URL: https://www.superjumpmagazine.com/2025-games-of-the-year/ Last updated: 2026-03-03T09:35:44.000Z **Welcome to SUPERJUMP's annual Games of the Year celebration.**As always, I like to introduce these awards by expressing gratitude for the year gone by. **Thank you game developers.** You are creating marvels of art and science - important cultural artifacts - under increasingly difficult circumstances. Whether you work for a large studio or you're a solo developer: *thank you*. We continue to live in an increasingly turbulent and intolerant world; your creative talents not only give many of us a brief escape from this reality, but importantly, you remind us of the importance of human creativity and connection. **Thank you SUPERJUMP team.** It is truly the honour of my life to work with so many extremely talented people who, aside from being brilliant creative minds, are also truly outstanding human beings. Our organisation is fuelled by talent, passion, and *love*: love for video games, love for the people who make them, and love for each other as friends and colleagues. ***Thank you special guests.*** We are joined every year by special guests from across the games industry - whether game development/publishing or media - who give up their time to craft GOTY reflections to share with our audience. ***Thank you to our Backers.*** Our ability to create that authors' coop environment is heavily influenced by our incredible Backers. Thanks to you, we are able to pay authors every single month. And thanks to you, we have avoided any need to gate our work behind pesky paywalls. On behalf of the entire team, I want to thank you for believing in us and supporting our hard work. ***Thank you to our Editors.*** Without our brilliant Editors, I couldn't keep this publication humming so smoothly. They also contribute an enormous amount of their time to edit this unbelievably large Games of the Year feature every single year. Thank you to Bryan, Rachel, Briana, and Cat. You are true superstars! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/1080_1080-1.gif) We are purveyors of wonder, imagination, and insight from the world of video games. Finally, I'd like to make one final point, just in case there is any doubt: **at SUPERJUMP, we believe video games are for *everyone*.** Everyone. Everybody deserves dignity, respect, and - above all - safety. No exceptions. Nobody left behind. And now, on with the show. Please enjoy this extraordinary and comprehensive celebration of 2025's best video games. And if you like what we're doing, how about [buying us a coffee](https://www.superjumpmagazine.com/2024-games-of-the-year/#/portal/support)? [**James Burns**](https://www.superjumpmagazine.com/author/jamesburns/) ***Founder and Editor in Chief*** ## 2025 GAMES OF THE YEAR We have very deliberately titled this feature *2025 *Games* of the Year*. The plural matters. [As per our tradition](https://www.superjumpmagazine.com/tag/games-of-the-year/), SUPERJUMP does not award an overall “Game of the Year” trophy to any single game. Rather, **each contributor can select up to three of their favourite games released in 2025** to discuss. Naturally, some games have more contributions than others (so, if you like, you *could* deduce a “winner” on that basis). In order for a game to be considered for this piece, it must have been released in 2025\. This is a *slightly* rubbery criterion that also includes: - Games as a service experiences that have seen substantial updates in 2025. - Games that originally released in a previous year but were ported to a new platform this year or saw some form of new release. ## SPECIAL GUESTS This is our fifth Games of the Year feature, and as has become tradition, we've invited several special guests to join us. As always, our guests are people we love and admire from around the games industry. We're honoured that they took the time to join us in celebrating the best games of 2025. ![Daryl Baxter](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/1769597914161-3.jpeg) Daryl Baxter ![Naomi Jackson](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/1742444683380-4-1-1.jpeg) Naomi Jackson ![James O'Connor](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/IMG_9151-1.png) James O'Connor ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/bafkreif4kiwdzangivsp7ezilrkgrgrknsea6tprx6v2rogdnvq3ccfjny-1-1.jpg) Amy Potter-Jarman ![Nate Shearer](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/bafkreiaec3ttqzdhswxsg5jxn7xq5irepbgbz6eb5lpz5ovrhjzamn3gx4-1.jpg) Nate Shearer ![Jörg Tittel](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/1771288313482.jpeg) Jörg Tittel [**Daryl Baxter**](https://darylbaxter.com)is a writer, author, and podcaster. He is the author of three books (The Making of Tomb Raider, 50 Years of Boss Fights, and The Making of Tomb Raider: 1997 - 2000), and is a [prolific tech and gaming journalist](https://darylbaxter.com/#work). [**Naomi Jackson**](https://bsky.app/profile/nomibelle.bsky.social) is a video editor and online presenter/community builder. In addition to editing national and international stories for the ABC Australia network desk, Naomi is a producer/podcast host at [SIFTER](https://www.sifter.com.au) and a video editor here at [SUPERJUMP](https://www.youtube.com/@superjumpmag). [**James O'Connor**](https://jickle.net) is a multi-award-winning author and narrative designer. His contributions to video game journalism are extensive (including a wide range of print publications from Edge and Hyper to IGN, GameSpot, and Game Informer among many others). James has also contributed to multiple video games as script editor, narrative lead, and narrative designer (including [Power Rangers Mighty Force](https://www.mightyforcegame.com), [Ava's Manor](https://www.mightykingdom.com/avas-manor), and [Kulebra and the Souls of Limbo](https://www.kulebra.com)). James' latest book project is about the making of Untitled Goose Game ([check it out here](https://www.pixelcrib.com.au/products/untitled-goose-game-by-james-oconnor#:~:text=It's%20a%20beautiful%20day%20in,pub%2C%20and%20terrorize%20their%20children.)). [**Amy Potter-Jarman**](https://www.hellomisspotter.com) is the Director of Marketing at [Synty Studios](https://syntystore.com/). She is the creative force behind [Frosty Games Fest](https://www.frostygamesfest.com/) (a digital showcase of games made in Australia and Aotearoa, NZ), [buzzbang.co](https://buzzbang.co/) (a boutique marketing service supporting ANZ indie game makers), and [Pixel Explorers Club](https://pixelexplorersclub.substack.com/) (a digital community for curious, short indie game lovers). [**Nate Shearer**](https://bsky.app/profile/faultrunner.bsky.social) is a video game journalist. He is a regular contributor to [Qualbert](https://www.qualbert.com/author/nate-shearer/) (specialising in a wide range of game reviews) and [NextPlay](https://next-play.com.au/author/faultrunner/) (crafting diverse stories from news and interviews to reviews and special features). [**Jörg Tittel**](https://linktr.ee/jorgtittel) is a director, writer, producer, and publisher working across video games and film. He is the Founder and Creative Director of [RapidEyeMovers](https://rapideyemovers.com), the studio behind the Golden Joystick-nominated C-Smash VRS. He is also the creative mind behind [The Last Worker](https://www.thelastworker.com), and [Skew](https://www.thelastworker.com/skew/). ## THE GAMES *Presented in alphabetical order (this is not a ranking).* ### Select a game to begin #### - [9 Kings](#9Kings) - [Afterlove EP](#Afterlove) - [And Roger](#And) - [ARC Raiders](#ARCRaiders) - [Baby Steps](#Baby) - [Balatro](#Balatro) - [BallisticNG (1.4 Update)](#Ballistic) - [Blue Prince](#BluePrince) - [Clair Obscur: Expedition 33](#Expedition) - [Consume Me](#Consume) - [Contract Rush DX](#ContractRush) - [Death Stranding 2: On the Beach](#DeathStranding2) - [Dispatch](#Dispatch) - [Donkey Kong Bananza](#DKB) - [Doom: The Dark Ages](#DoomDarkAges) - [Elden Ring Nightreign](#Nightreign) - [Expelled! An Overboard Game](#Expelled) - [Final Fantasy Tactics: The Ivalice Chronicles](#FFTactics) - [Hades 2](#Hades2) - [Hell Is Us](#HellIsUs) - [Hollow Knight: Silksong](#Silksong) - [How To Walk Out The Door](#HTWOTD) - [Hyrule Warriors: Age of Imprisonment](#HyruleWarriors) - [Into the Emberlands](#Emberlands) - [Is This Seat Taken?](#SeatTaken) - [Keeper](#Keeper) - [Kirby and the Forgotten Land + Star-Crossed World DLC](#Kirby) - [Letters to Arralla](#Letters) - [Lonely Mountains: Snow Riders](#Lonely) - [Mario Kart World](#MarioKartWorld) - [Metal Gear Solid Delta: Snake Eater](#MGSDelta) - [Monster Hunter Wilds](#MHWilds) - [Moonlighter 2: The Endless Vault](#Moonlighter2) - [OFF](#OFF) - [Old Skies](#OldSkies) - [Pac-Man: Double Feature](#PacMan) - [Promise Mascot Agency](#PromiseMascotAgency) - [Ratatan](#Ratatan) - [Roguecraft DX](#Roguecraft) - [Sektori](#Sektori) - [Silent Hill f](#SILENTHILLf) - [Skate Story](#SkateStory) - [Split Fiction](#SplitFiction) - [South of Midnight](#Midnight) - [Star of Providence](#Providence) - [Star Racer](#StarRacer) - [The Hundred Line: Last Defense Academy](#HundredLine) - [Tiger-Heli 40th Anniversary Edition](#TigerHeli) - [Tomb Raider IV-VI: Remastered](#TombRaider) - [Winter Burrow](#WinterBurrow) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/9-kings-key-art-1-1.jpg) 9 Kings. Source: Press Kit. --- > "9 Kings isn’t merely a good example of a burgeoning sub-genre —it’s something much closer to Slay the Spire, pushing out into brand new territory." --- ## 9 Kings *By* [*Sad Socket*](https://www.sadsocket.com/about) ### [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/) On a personal level, I’ll say this about 9 Kings: This is the first time I've followed a game throughout its Early Access period, putting each individual update through its paces. It was worth the effort. 9 Kings is a simple concept at heart, but one that provides a diverse wealth of content. With its hour-long, city builder meets turn-based tactics mechanics, it’s a game riding the quick strategy trend. However, while most of those games are rigidly recreating 4X gameplay in a smaller package, 9 Kings offers a gameplay loop designed from the ground up with the busy strategy fan in mind. As such, it outmaneuvers its competition and stands out by a clear mile. 9 Kings isn’t merely a good example of a burgeoning sub-genre —it’s something much closer to Slay the Spire, pushing out into brand new territory. It’s an ever-evolving game full of little surprises and details, and a must-have for anyone with an interest in strategy. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/afterlove-ep-trailer-1-1.jpg) Afterlove EP. Source: Press Kit. --- > "The game's sense of grief feels very real, and its cartoony rendering of Jakarta is lovely." --- ## Afterlove EP *By* [*Pikselnesia*](https://x.com/pikselnesia?lang=en) ### [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/) I've decided to use my submissions in this list to point towards some games that have, in my mind, been underrepresented on end-of-year round-up lists, and Afterlove EP is a game that I have a deep fondness for. It follows a young man, Rama, who lost his girlfriend Cinta a year ago. As the game opens, he starts to figure out how to pick up the pieces of his life and carry on. He needs to reunite with his band, attend therapy sessions, and decide whether or not he's ready to date again. How the game ends will depend on your actions and choices. It's a lovely and heartfelt experience that was created in the wake of the team's own loss: creative director Mohammad Fahmi died in the middle of development. The game's sense of grief feels very real, and its cartoony rendering of Jakarta is lovely. It's not a perfectly tight experience, but in some ways that makes it more endearing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/arc-raiders-launch-times-1.jpg) ARC Raiders. Source: Press Kit. --- > "But for what it's worth, I feel like I'm part of an active, living community, something I haven't felt since Elden Ring." --- ## ARC Raiders *by* [*Embark Studios*](https://www.embark-studios.com) ### [Ignas Vieversys](https://www.superjumpmagazine.com/author/ignasvieversys/) I know my populist choice for 2025 GOTY might send me straight into SUPERJUMP's purgatory (where game writers like myself are strapped in for the video game equivalent of Clockwork Orange's chair sequence, with footage of Indie Game: The Movie beamed right into our retinas), but I have to go for Arc Raiders, AI-related discourse be damned. This is an extraction shooter that has my favorite bits of Hunt: Showdown, including sound design, that crunchy gun feeling, and an infinite pool of adrenaline. It shares the post-apocalyptic horror/tension of The Last of Us (played out in real-time, no script!), with enough No Country for Old Men bullets-whizzing-past-your-head moments (while being chased for dear life) to sustain Coen-heads like myself through this cold winter. However, no matter how good the mechanics and those ray-traced sunsets in Buried City are, the real star of Arc Raiders is the proximity chat. You can talk your way out of being turned into Swiss cheese or thank a random stranger for deciding to revive you after shooting you from a mile away (and turning you into their pet monkey). You can trash-talk a team of three when being cornered while knowing the chances of survival are Prosciutto-slice slim. Listen, I played a lot of great games in 2025 – Silksong, Total Chaos, Clair Obscur, Baby Steps – but none of them felt as refreshing as this cyberpunk-dystopian extraction shooter where people either team up against deadly robots or shoot each other Wild West style for a lemon or two and a dog leash. Sure, Arc Raiders doesn't exactly shovel a great deal of matter into the tube marked "Evidence for Video Games’ Potential as capital-A art." But for what it's worth, I feel like I'm part of an active, living community, something I haven't felt since Elden Ring. And for that alone, this game gets my GOTY lemon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/2x1_AndRoger_image1600w-1.jpg) And Roger. Source: Press Kit. --- > "And Roger is an unmissable example of the power of video games." --- ## And Roger *by* [*TearyHand Studio*](https://x.com/tearyhand?lang=en) ### [Amy Potter-Jarman](https://www.hellomisspotter.com) One thing about me is I love a one-sitting game experience. This is a game I strongly believe is best played with as little prior knowledge as possible, so I will keep this brief. If you’re interested in an emotionally resonant game, with a beautiful two-tone, hand-drawn aesthetic, that packs an enormous narrative punch into its short 1-hour runtime, And Roger is an unmissable example of the power of video games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/scmvhw-1.jpg) Baby Steps. Source: Press Kit. --- > "The dialogue and sound are hilarious - it’s all so wonderfully cruel and strangely affecting - there’s simply no other game like it..." --- ## Baby Steps *by* [*Bennett Foddy*](https://bsky.app/profile/foddy.net)*,* [*Gabe Cuzzillo*](https://bsky.app/profile/gcuzzillo.bsky.social)*, and* [*Maxi Boch*](https://bsky.app/profile/maxiboch.bsky.social) ### [Jörg Tittel](https://linktr.ee/jorgtittel) Developed by indie greats Bennett Foddy (QWOP, Getting Over It), Gabe Cuzzillo (Ape Out), and friends, I like to describe Baby Steps as Daft Stranding. In this game, all you have to do is control a hapless loser’s legs and feet and make it up a sprawling mountain full of increasingly insane challenges. The dialogue and sound are hilarious - it’s all so wonderfully cruel and strangely affecting - there’s simply no other game like it, and the less I spoil here, the better. Just keep on your pajamas and clamber. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/2x1_NSwitchDS_Balatro_image1600w-1-1.jpg) Balatro. Source: Press Kit. --- > "I became absolutely addicted..." --- ## Balatro *By* [*LocalThunk*](https://localthunk.com/) ### [Cat Webling](https://www.superjumpmagazine.com/author/catwebling/) Though the game came out in 2024, the community has absolutely exploded in 2025, unveiling collaborations with other popular titles like Don't Starve, Among Us, Stardew Valley, and even The Witcher 3! I became absolutely addicted; I now have the game on three different platforms, and I wouldn't have it any other way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/ss_d0e934994681e78168165b25f66b2d886b46075b.1920x1080-1-1.jpg) BallisticNG. Source: Press Kit. --- > "BallisticNG feels like both a love letter and a fully realised game in its own right." --- ## BallisticNG (1.4 Update) *By* [*Neognosis*](https://neognosis.games/) ### [Ben Rowan](https://www.superjumpmagazine.com/author/benrowan/) In 2025, BallisticNG finally hit “feature complete” with its last major update, version 1.4\. The update delivered a rebuilt physics mode, new ships and tracks, refreshed menus and UI, plus a stack of quality-of-life improvements including stronger modding tools and plenty of under-the-hood polish. More importantly, it marked the game’s final form and cemented it as one of 2025’s standout indies. Boiled down, BallisticNG is the closest thing we have to a modern re-imagining of the classic PS1-era Wipeout series. It’s an anti-gravity racer that understands what made those original games so special: bold iconography, angular ship design, ridiculous speed, intense combat, razor-thin racing lines, and super satisfying airbrakes that let you carve through twisting hairpins and chicanes. I still love Wipeout 3: Special Edition on the PS1, and I’ll drop back in anytime I need that hit of nostalgia and adrenaline. BallisticNG is the modern, fan-made follow-up to those late-90s classics that defined the genre. It nails the floaty rhythm that feels like surfing on magnets, where every mistake gets punished and you’ll lap a track so many times your left thumb starts to hurt. First released in 2018 and refined over the past seven years, there’s a huge amount of accumulated content on offer too. Most ridiculous is the sheer number of tracks, with the quality matching the quantity. They’re gorgeous and varied, packed with smart lines, cheeky shortcuts and weapon placement that keeps every lap feeling fresh. And when the speed classes get truly unhinged, the game stays smooth and responsive, letting you lock into the music and hit that tunnel-vision flow state. With the 2025 update putting the final polish on the whole package, BallisticNG feels like both a love letter and a fully realised game in its own right. It is easily one of this year’s best racers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Hero-51d60586bd954886bee2-1-1.jpg) Blue Prince. Source: Press Kit. --- > "The game is a nesting doll of mysteries. You think you figure things out, at first, and then something surprises you on the next run." --- ## Blue Prince *By* [*Dogubomb*](http://www.dogubomb.com/) ### [Naomi Jackson](https://bsky.app/profile/nomibelle.bsky.social) The subtle double meaning behind the name of this game captures its charm perfectly. In 2025 this game had me intrigued, entranced and utterly, hopelessly absorbed. The simple controls, muted colours and faint, elegant music rightfully allow Blue Prince's spectacular story to take precedence as the mystery of Mt Holly and its previous inhabitants worms its way into my brain where it re-emerges long after I step away, beckoning me back to explore its halls once more. ### [Nate Shearer](https://bsky.app/profile/faultrunner.bsky.social) After raving about this incredible puzzle game I was reviewing early last year, I somehow managed to convince my partner to play it. After sitting down next to her and talking her through the basics of the game, I went completely hands off, not wanting to spoil the experience. It was magical to see the things that sparked so much joy in me a month prior were also beginning to electrify her mind in the same exact way. The game is so subtly moreish and well designed that I don’t share a love of video games with Chloe, so to see her get home from work each day and practically jump right back into my world was so important to me. For weeks on end, I got to share the thing I love most in the world with the person I love most in the world. Blue Prince was my GOTY for 2025 not only because of what the game was, but what it gave me. ### [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/) I used to love puzzle game growing up. Nancy Drew was my go-to, and recently I've taken a keener interest in low-key games that I can play in a few sessions or generally just pick up and put down. Blue Prince is not that game. I found myself up far too late or playing for far too many hours trying to unlock all of the mysteries of the darned maze-like manor house. Blue Prince does not, typically, test my patience, as some puzzle games might (and certainly have). It is curious enough in its slipping of secrets to you that I felt like a cat pawing at a new toy. All I wanted to do was figure it out. I've taken a great deal longer to do that than expected, because my tendency to rush the game meant I didn't linger in its many rooms or search for any deeper clues; but as I played, I realized I had to play more thoughtfully. The game is a nesting doll of mysteries. You think you figure things out, at first, and then something surprises you on the next run. It is a rogue-like, a genre I've only really experienced through Hades, but it is delightfully different in how "just one more" feels too much like I'm in a gambling house. The number of times I'd say that to myself – "just one more day" – and I'd inevitably wind up playing through 4 more. Each new potential door feels like it might be the one you need, and I don't know how it manages it, but Blue Prince's randomization mechanics and execution of item dispersal and acquisition (being that they reset everyday) makes it more compelling to play. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/clair-obscur-expedition-33-1-1.jpg) Clair Obscur: Expedition 33\. Source: Press Kit. --- > "Clair Obscur is, to put it simply, a very important game." --- ## Clair Obscur: Expedition 33 *By* [*Sandfall Interactive*](https://www.sandfall.co/) ### [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/) Enough will be said about this game this year by many people, but it really is that fantastic. I'm usually story-aspected when it comes to games, but Clair Obscur's gameplay was one of the reasons I kept coming back. The entire system of timing parries, dodges, and jumps combined elements of action and turn-based gameplay that I, personally, hadn't seen before. I'm often lazy when it comes to games that require "grinding", something I tend to more so associate with turn-based RPGs, but Clair's combat cycle and enemy variation make its battles addictively repayable. Clair Obscur excels, likewise, in its art direction; its expansive world and general commitment to its core aesthetics create a beautiful, cohesive visual narrative that really is unlike anything out today. Maybe Bioshock? It fills rich, florid environments with sketchpad creations against a haunting backdrop of pseudo-Victorian/Regency iconography. It is breathlessly artful throughout the entire run. There are some levels, such as the musical desert of Sirene, that are so achingly lovely I spent the entire time immersed in the music and the setting to the point of not wanting to progress past it. Sirene, siren: it certainly became its name. The story, usually my make-or-break when it comes to enjoyment of a game, is lovingly melancholic. The color scheme betrays its mood – dark black, bright gold, deep red – and we are left to start the game on an opening scene that treats tragedy as a surety, nonetheless worth celebration. We play in the beginning as a character – however briefly, just a walk down a crowded, flower-strewn street – who is dead by the end of its opening scene. Clair Obscur is, to put it simply, a very important game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/CtXIYJy30d6goIk37KjU3MXCCE6gG8fy-1.jpg) Consume Me. Source: Steam. --- > "Since finishing it, I’ve found myself enjoying this hobby of gaming again." --- ## Consume Me *by* [*Jenny Jiao Hsia*](https://bsky.app/profile/qdork.bsky.social)*,* [*AP Thomson*](https://bsky.app/profile/apthomson.bsky.social)*,* [*Jie En Lee*](https://bsky.app/profile/frogfungus.bsky.social)*,* [*Violet W-P*](https://store.steampowered.com/search/?developer=Violet%20W-P)*,* [*Ken "coda" Snyder*](https://about.me/ken.snyder) ### [Nate Shearer](https://bsky.app/profile/faultrunner.bsky.social) Finishing Consume Me has been one of the most important gaming experiences I’ve had in a long time. Outside of the game’s clever, gamified design of everyday tasks and quirky art, I fell in love with the message of Consume Me. As someone that constantly puts too much on their plate, the game’s depictions of anxiety, societal pressures, and growing into oneself resonated with me on such a deep level. Consume Me made me introspect more than I had done with any other piece of media last year, smacking me in the face with an ending that had me pondering the futility of stretching myself thin to the point of collapse. Since finishing it, I’ve found myself enjoying this hobby of gaming again. When I find myself beginning to slip, I know I can always revisit that tear-welling ending and reground myself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/ss_7e19f05db2a82007e71180ab2fb7f8049820a7ab.1920x1080-1-1.jpg) Contract Rush DX. Source: Press Kit. --- > "I adore the gorgeous 2D animation." --- ## Contract Rush DX *By* [*Team Ficus*](https://teamficus.com/) ### [Priya Sridhar](https://www.superjumpmagazine.com/author/priyasridhar/) It was a delight to play Contract Rush DX this year. You get the joy of a shooting game with a fun story and boss battles that keep you on your toes. Or on the ledge, depending on which contract you have decided to complete. I do wonder how we can be discreet when at least one target has a huge ceremony to attend on television. But discreet we have to be, or our characters don't get paid. Contract Rush's premise is simple. Times are hard; how do you pay bills when the coffee shop has so few customers? Simple: you assassinate! Use coffee and other cafe items to keep you energized. And you'll need the firepower – portals to hell open up at the wrong time, or you might fail to get the right power-up just when the boss has appeared. Time to load up, hope for the best, and try again if needed. Just watch out for monsters and unwanted witnesses. Contract Rush DX makes sure to balance a high difficulty level with plenty of alternative strategies and ample ways to practice in the tutorial. It helps that you get multiple lives and checkpoints, so you don't have to go all the way back to the beginning each time a bad fall ends in spikes. Not being penalized makes a huge difference in the fun factor of the play experience. I adore the gorgeous 2D animation. The game is hand-drawn, and the developers show a unique style that lends well to the gameplay. I fell in love with this world - even through the tutorial level - which decides to get demonic while showing us the ropes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/death-stranding-2-on-the-beach-key-art-cover-1-1.jpg) Death Stranding 2\. Source: Press Kit. --- > "Death Stranding 2 asserts its divisive and impressive storytelling regiment, reminding us that creativity is still possible in gaming's most expensive spaces." --- ## Death Stranding 2: On the Beach *By* [*Kojima Productions*](https://www.kojimaproductions.jp/en) ### [Brandon Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) There was a particular moment in Death Stranding 2, as I directed Sam Porter Bridges up a slope in Mexico. The overlarge moon was hanging like a luminescent disc over my destination, my sight artistically directed toward an unfamiliar bunker perched at the top of the ridge. The star-speckled sky oppressed the mountain ridge *while* Dancing Ghosts by Hania Rani played, and I thought, 'I'm home again.' Death Stranding 2 accomplished what often seems artistically and mechanically impossible: Death Stranding is an incomparable experience, and somehow the sequel feels both immediately familiar and foreign, a tribute to both technical and creative expertise. Between the forest fires and the monorails and the endless trek through Australia, Death Stranding 2 asserts its divisive and impressive storytelling regiment, reminding us that creativity is still possible in gaming's most expensive spaces. Death Stranding, as a series, continues to not only be an outlet for Kojima's self-indulgence, but irrefutable proof that creative design and cohesive team-oriented development create spectacular experiences that cannot be replicated in any other form of media. Keep on keepin' on. ### [Daryl Baxter](https://www.superjumpmagazine.com/author/darylbaxter/) I never understood the first Death Stranding, despite it being a perfect fit during COVID, due to its delivery system and isolation. But with On the Beach, Kojima sprinkled some action into the mix, complete with a bunch of MGS references, especially at the end. Having become a dad in 2023, several moments hit me hard, which made me understand Sam Porter Bridges' motivations far more than the previous game. It's also a great showcase of the PS5's power, with fantastic landscapes and moments. ### [James Burns](https://www.superjumpmagazine.com/author/jamesburns/) Why aren't more big budget games set in Australia? Sure, Death Stranding 2 isn't exactly an accurate depiction of my home country (although to be fair, it's set in a post-apocalyptic future, so it's not attempting any contemporary accuracy), but nevertheless, I think it does capture something about what makes this continent so magical and unique. From the vivid red soil of the outback to the strange liminality of massive pieces of infrastructure ferrying industrial cargo through empty deserts; there's something truly awe-inspiring about Death Stranding 2's depiction of Australia. But even more importantly - and as Brandon said above - Death Stranding 2 really accomplishes something I didn't think possible: it brings back so many loveable elements from the first game while still ambitiously crafting its own identity that is truly compelling on its own terms. Yes, the emphasis has shifted: Death Stranding 2 assumes you've played the first game, resulting in a gameplay baseline that provides a platform for further expansion. This means there's less emphasis on finding your footing from moment to moment. Now you're delving into far more complex logistics management with much larger payloads and a significantly greater inclusion of combat (which feels so engaging and rewarding in and of itself). In a world so focused on nostalgia, sequels, and risk aversion, Death Stranding 2 feels like something that really shouldn't exist in the current era (a big budget experience that is unapologetically weird on almost every level and doesn't rely on frequent callbacks from decades ago). But I'm *so very glad* it does exist. The art form of video games is all the better thanks to this series. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Dispatch-Ann_12-12-24-1-1.jpg) Dispatch. Source: Press Kit. --- > "I finished the game and immediately wanted to dive in again and see how my choices might play out differently for every character, which really made Dispatch a standout of the year for me." --- ## Dispatch *By* [*AdHoc Studio*](https://www.adhocla.com/) ### [Amy Potter-Jarman](https://www.hellomisspotter.com) This game reminded me how much I love the interactive narrative genre, as a worthy spiritual successor to the Telltale Games. Half the game is dialogue-led story, and half is management style gameplay where you’re assigning a team of superhero misfits to a variety of jobs across an LA-like city. I found myself equally invested in the narrative cut scenes as I was in the management gameplay. I can’t believe how invested I was in playing what was ultimately call center work, but I really had a blast clocking gleefully in for each episode and learning the quirks of each character. And what a cast of ethically questionable super hero characters they are, thanks to the brilliant writing and incredible voice acting! I’ve been burned by “choices matter” games in the past where decisions that should have been impactful were made to feel inconsequential, and vice versa. But in Dispatch I truly felt like I was building my own version of the protagonist. My choices were clearly played out in crucial narrative arcs, but also in minor interactions. I finished the game and immediately wanted to dive in again and see how my choices might play out differently for every character, which really made Dispatch a standout of the year for me. ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) As someone who loves games with branching stories that provide choices which can affect your relationships with other characters, I was cautiously optimistic about Dispatch. While I was confident in AdHoc Studio based on their seasoned pedigree, where many of the developers used to work at Telltale, I didn’t know what to expect from the story and gameplay. The idea of a superhero workplace comedy was intriguing to me, even though I wasn’t sure how I felt about the management-sim mechanics, where you choose which hero can compete a given task, like saving people's life's from a natural disaster or stopping a villain. I was genuinely surprised by how much I enjoyed playing through Dispatch. It even ran well on my Steam Deck with no issues. This game had some of the funniest dialogue that I have heard in a video game, which made me burst out laughing multiple times. The voice cast was outstanding, with each performer given the chance to shine through compelling delivery. Playing as Robert, a disgraced superhero who had to manage a team of former supervillains, was interesting to see. Many of the choices I made felt like I was bonding with my team, as they became friends in my eyes, while I tried to steer them toward heroism and having fun with them as well. While I have yet to replay Dispatch, I can’t wait to start a new playthrough and see what new decisions I make that could get me to a new ending. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/NintendoSwitch2_750x1000_DonkeyKongBananza_KeyArt-1.png) Donkey Kong Bananza. Source: Press Kit. --- > "If you haven't played Donkey Kong Bananza and you have even a passing interest in 3D platformers, you are absolutely missing out. It's a must-play experience." --- ## Donkey Kong Bananza *By* [*Nintendo*](https://www.nintendo.co.jp) ### [James Burns](https://www.superjumpmagazine.com/author/jamesburns/) As much as I love me some nostalgia, I'm a firm believer that we're currently living through Nintendo's most bold and creative era. The Switch/Switch 2 period has been remarkable in terms of Nintendo's willingness to innovate and push its core franchises much further than ever before. Donkey Kong Bananza is the latest - and perhaps the best - example of Nintendo's unflinching boldness at the moment. Although nowhere near as commercially successful as Mario in the modern era, Donkey Kong remains Nintendo's original breakout mascot. And with Donkey Kong Bananza, Nintendo didn't just give him a shiny 2020s facelift; they cast aside much of his gameplay history in order to unleash entirely new possibilities. The result is an experience that doesn't feel like an iteration on past Donkey Kong games. It is, rather, a surprising and clever new 3D platformer that dramatically reinterprets the entire genre. Its simple core premise (the ability to almost completely destroy entire levels with DK's fists) is the anchor for an array of cohesive and lovingly-crafted systems that intuitively stack on top of each other in ways that will keep a smile permanently plastered on your face. If you haven't played Donkey Kong Bananza and you have even a passing interest in 3D platformers, you are absolutely missing out. It's a must-play experience. Donkey Kong - and Pauline in her vibrant and loveable new form - is far from a call to nostalgia here. These characters are now, again, ambassadors of the truly cutting edge as befits their legendary status. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/DOOM-TheDarkAges_Standard_1920x1080-HD-scaled-1.jpeg) Doom: The Dark Ages. Source: Press Kit. --- > "Flaws aside, Doom: The Dark Ages’ combat experiment largely succeeds, with the defensive shield confidently rewriting the rules of engagement in a 30-year-old franchise." --- ## Doom: The Dark Ages *By* [*id Software*](https://www.idsoftware.com/en) ### [Antony Terence](https://www.superjumpmagazine.com/author/antonyterence/) This year’s Doom keeps its kills bloody and its firearms ultra-violent. While rapid movement has been a pillar of its predecessors, there’s a different rhythm at play in Doom: The Dark Ages. One key addition shifts its pacing: the Shield Saw. While Doom: Eternal had you evade enemy projectiles, you now block and parry them. The shield isn’t just a defensive tool; you can throw it to pin large enemies or tear through small ones. A shield slam lets aggressive players zip toward enemies at incredible speeds. At this distance, crunchy melee weapons tempt you to go Whac-A-Mole on some poor demons. The slower combat loop works remarkably well in The Dark Ages’ larger battlegrounds, which are packed with environmental puzzles and high-density hordes. Having a shield means you’re pelted with even more bullets, but with a well-timed parry, green projectiles are returned to their senders. Parrying in quick succession felt like boxing bouts more than cross-dimensional demon hunting. Stepping out of combat is when The Dark Ages’ power fantasy cracks. Tame fistfights with a 30-foot-tall mech and hovering on a dragon to dodge fire from stationary turrets made for dull digressions. Flaws aside, Doom: The Dark Ages’ combat experiment largely succeeds, with the defensive shield confidently rewriting the rules of engagement in a 30-year-old franchise. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/elden-ring-nightreign-1-1.jpg) Elden Ring Nightreign. Source: Press Kit. --- > "Gaming studios should be reminded that interesting multiplayer experiences can continue to happen, should companies be brave enough to create something new." --- ## Elden Ring Nightreign *By* [*FromSoftware Inc.*](https://www.fromsoftware.jp/ww/) ### [Brandon Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) Multiplayer gaming experiences feel fewer and farther between these days for gamers who are not interested in firing a motley of guns or building temporary structures. While FromSoftware has proven itself again and again, there was momentary doubt that the Elden Ring format could be so easily transferred over to a multiplayer, rogue-lite experience. Endless hiccups and continual updates have marginally improved an experience that, while flawed, has become more than a bonding ritual for my siblings and I throughout 2025\. Frustrating, difficult, and sometimes confusing, Nightreign might be a strange pick for Game of the Year, but after spending 200 hours in the game and playing it nearly every evening for months, the ritual has grown into something precious, the sort of experience that we have been woefully unable to find for nearly a decade. Gaming studios should be reminded that interesting multiplayer experiences can continue to happen, should companies be brave enough to create something new. What do we think? Just one more run? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/20228-expelled-teaser-1.jpg) Expelled! An Overboard Game. Source: Press Kit. --- > "There are a lot of games built on good and evil, but not many on naughtiness in the way Expelled! is. It's a real delight." --- ## Expelled! An Overboard Game [*By Inkle Studios*](https://www.inklestudios.com/) ### [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/) There is perhaps no cooler narrative game studio than Inkle – in terms of both the games they make and the tools they've made available so that other people can also create narrative games. Expelled! is both a continuation and expansion of their previous "Overboard" concept, a reverse who-dunnit where each play session is focused on shifting blame and hiding your actions. It has a series of wicked, extremely fun twists hidden within, and the clockwork nature of the world they've built is truly a joy to poke at. There are a lot of games built on good and evil, but not many on naughtiness in the way Expelled! is. It's a real delight. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Final-Fantasy-Tactics-The-Ivalice-Chronicles_2025_06-04-25_035-1.jpg) Final Fantasy Tactics: The Ivalice Chronicles. Source: Press Kit. --- > "The performances delivered within are continuously impressive, and made me feel like I was experiencing this well-trodden road for the first time again." --- ## Final Fantasy Tactics: The Ivalice Chronicles *By* [*Square Enix*](https://www.square-enix-games.com/en%5FUS/home) ### [Brandon Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) Does a thirty-year-old game deserve a spot on anyone's Game of the Year list? After seeing Final Fantasy Tactics make NPR's list of best games in 2025, it cemented for me what FFT has been for decades: the defining game of its genre. It would be somewhat strange in any other genre for one game to completely dominate and dictate the good and bad for three decades, but Final Fantasy Tactics has continued to do just that, and with the many impeccable quality of life updates brought upon by the Ivalice Chronicles, it will be the defining version of the game from here on out. Not only is FFT: TIC responsible for bringing new players to this immaculate role-playing game, but it has again reminded gamers young and old that the life of a game is not beholden to launch cycles and updates and popularity contests. Final Fantasy Tactics has something to say, and as Yasumi Matsuno reminded us: "The will to resist is in our hands." ### [PJ Walerysiak](https://www.superjumpmagazine.com/author/pjwalery/) I imagine there existed a rather large club of Final Fantasy fans who trudged through less-than-ideal ways to play Final Fantasy Tactics over the years simply because we love that game. Playing it on an original PlayStation is great, but its aged complexion becomes noticeable, as we’ve grown accustomed to certain quality-of-life standards over time. The mobile version is fine. It works, it’s portable, but my hands and eyes would ache. It works well on a PlayStation 1 emulator, allowing for save states and the ability to fast-forward, but still, a void lingered. Enter Final Fantasy Tactics: The Ivalice Chronicles, its final Pokemon-esque evolution. The wait was worth it. This game, existing somewhere between a remaster and remake, is just SO damn good. Within its hearty stew of improvements, one ingredient rises to the top: the addition of voice acting. This new creative avenue adds incredible depth to every character, and thus enhances the game's overall storytelling. All the voice actors absolutely crushed their performances. I’ve played FFT a dozen or more times over the years, but only now do I find myself reevaluating characters, including ones I previously wrote off as one-dimensional assholes. I can even empathize with their positions, and more deeply care about characters that I felt were ancillary to the story. I could sing the praises of the many other improvements all day. It all blends together to create an experience that feels and plays great. Yet I cannot say enough about the voice acting. So many elements contribute towards a game’s narrative design, and the original Final Fantasy Tactics already did a wonderful job with what it had. The performances delivered within are continuously impressive, and made me feel like I was experiencing this well-trodden road for the first time again. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/hades2_apr30_10-1.jpg) Hades 2\. Source: Press Kit. --- > "I love everything I’ve played from Supergiant Games. You can feel their dedication, passion, and joy for the craft come through in their games." --- ## Hades 2 *By* [*Supergiant Games*](https://www.supergiantgames.com/) ### [PJ Walerysiak](https://www.superjumpmagazine.com/author/pjwalery/) Back in the original Hades days, I thoroughly devoured every bit of content the game had to offer. Months later I started anew and did it all over again. I wanted more Hades, even though it already provided a veritable smorgasbord of content and replayability. Thankfully, Supergiant felt the same! There was zero doubt in my mind that Hades 2 would be an incredible game. Supergiant Games knows what they’re doing, and simply does not miss. As I expected, Hades 2 consumed a majority of my gaming hours from the moment of release to the moment I rolled credits. Hades 2 gives you more, the flavor never fading over the many accrued hours and runs. Instead, it changes and develops as you continue to enjoy it. It makes me think of the everlasting gobstopper from Willy Wonka and the Chocolate Factory; You can likely enjoy this game for just as long! Each run feels unique thanks to the mindbogglingly intricate web of reactive dialogue, and the creative weapons, aspects, and customizations you can give Melinoe. One run can make you laugh, while another may stoke grim determination. One can frustrate you, while another results in you finishing triumphant and glowing with satisfaction. The writing is phenomenal (of course), and so is the soundtrack (of course). I can give the same exact praise to every single aspect of this game, each with their own “(of course)”. I love everything I’ve played from Supergiant Games. You can feel their dedication, passion, and joy for the craft come through in their games. Some arcane spellwork of ethereal osmosis transmits that love and passion for their games into us, the players. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/hell-us-9.jpg.png) Hell Is Us. Source: Press Kit. --- > "...I feel it to be worthy of a mention here due to how uniquely special it set out to be." --- ## Hell Is Us *By* [*Rogue Factor*](https://rogue-factor.com/?lang=en) ### [Charlotte Huston](https://www.superjumpmagazine.com/author/crystar/) There were a few games that had the unfortunate fate of releasing within the same window as Hollow Knight: Silksong. Hell Is Us was one of them, though as a AA game, it fared better than others. Nonetheless, while I believe there were better games in 2025, I feel it to be worthy of a mention here due to how uniquely special it set out to be. Hell Is Us does not live in one genre alone. At heart, it is an immersive sim. There's no hand-holding in its semi-open world. You are thrown into the fictional nation of Hadea, a war-torn country based on Balkan culture. The atmosphere is bleak, the soundtrack liminal, the energy brooding like a constantly brewing storm on a hot summer day. It is held up by combat that is Souls-ish in style, though it refrains from falling into too many of the Souls genre's pitfalls. There are no RPG systems, really; it uses combat as a means to an end, keeping the game rather well-paced. At times, it is also a puzzle game. Never a truly difficult one, mind you, but with puzzles along the lines of "comfortable" if nothing else. This works into my biggest lasting memory of Hell Is Us – the tone. The game is gritty and does not avoid the horrors of war when you're exploring. Some towns you'll visit are still burning, while another is still occupied, its civilians hauntingly gone as if vanished into thin air. Creative Director Jonathan Jacques-Belletête was a former Art Director on the Deus Ex series and that influence shines across the board here in what is one of the biggest hidden gems of 2025. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/hollow-knight-silksong-ax-1-1.jpg) Hollow Knight: Silksong. Source: Press Kit. --- > "Silksong is my top game of 2025." --- ## Hollow Knight: Silksong *By* [*Team Cherry*](https://www.teamcherry.com.au/) ### [Naomi Jackson](https://bsky.app/profile/nomibelle.bsky.social) A fantastically challenging, frame-perfect test of technique, this Aussie-made sequel to the popular Hollow Knight has the polish you would expect from a game seven years in the making. The springy, fast-paced yet methodical nature of the combat will delight and entice you to give it 'just one more try'. This game weaves a web in more ways than one — the intelligent way areas of the deceptive map are hidden adds to the fun of untangling this game's story as if it were a really tight silk knot, while tools and map resources can only be purchased with hard-to-come-by currency that is easy to lose, cleverly forcing hoarders like me to accept and surrender. My love/hate relationship with this haunted kingdom that's a dream to unlock, but a nightmare as I try to unlock it, grows more and more affectionate every day I dare to play it. ### [PJ Walerysiak](https://www.superjumpmagazine.com/author/pjwalery/) Silksong is my top game of 2025\. There’s little I can write that I haven’t already written about its game design. Instead, I offer my experience within the realm of Pharloom, and what it made me feel. Hope: For breaking free of imprisonment to discover a new world. For seeing a respected game studio deliver on an ancient promise, and having fun doing it. Sorrow and anger: For the countless lives churned through in service to a flailing would-be god. For those downtrodden and brainwashed masses serving in pursuit of an artificial enlightenment that demands complete servitude. And seeing the real world reflected therein. Wonder and an adventurous spirit: For the map that continued to grow in size and magic beyond all expectations. It turns out that repeatedly finding whole new biomes through hidden walls is one of my love languages. Grief: For relationships, both budding and blossomed, that were suddenly demolished by brutal turns in a story, and for knowing that loss intimately. Admiration and empathy: For the rebellion of community amidst despair, and persisting in a world rife with danger, religious manipulation, and disguised cruelty. And for those with a unique song in their hearts, shared only when a welcoming tune is played. Silksong’s story is divided into acts, but the story I experienced felt like movements in a symphony. Slow and somber beats mingle with playful, curious notes peeking throughout the measures. Rapid blasts of danger and excitement. A steady, building rhythm leading to an emotional crescendo. Pace and feeling tied together, pulling the listener into adventure, summoned from string and wind. I can tell you what beats happened in each act, but those alone are hollow when compared against what they came together to create. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/dSgtUV-1.jpg) How To Walk Out The Door. Source: Press Kit. --- > "It makes me appreciate the art that can only be told through a medium such as video games." --- ## How To Walk Out The Door *by* [*amptomp*](https://amptomp.itch.io) ### [Nate Shearer](https://bsky.app/profile/faultrunner.bsky.social) Stumbling upon this right before the end of last year was a gift. How To Walk Out The Door delivers a succinct and poignant narrative in a game that lasts less than half a minute; one of love lost and how those bonds break easier every time we try and walk away. It’s a testament to the beauty of the creative mind and what it can achieve despite the limitations that can be placed on it. It makes me appreciate the art that can only be told through a medium such as video games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/hyrule-warriors-age-of-imprisonment.large-1.jpg) Hyrule Warriors: Age of Imprisonment. Source: Press Kit. --- > "Overall, Hyrule Warriors: Age of Imprisonment is my game of the year because it surprised me as a musou game, having an endearing story with peaceful undertones, charming characters, and satisfying combat." --- ## Hyrule Warriors: Age of Imprisonment *By* [*Koei Tecmo*](https://www.koeitecmoamerica.com/) ### [Philip Adrian](https://www.superjumpmagazine.com/author/philip/) I often identify with the character designs, personalities, stories, and powers of supporting characters in media. This even includes designated damsels of distress like Zelda and their ironically elusive magical powers. Hyrule Warriors: Age of Imprisonment shines a light on the supporting characters within the Zelda: Breath of the Wild world. Kicking ass with a Korok, Zora Warriors, Zelda, and more, never felt so refreshing. Zelda is woken up in a field by Rauru and Sonia, the king and queen of Hyrule. The group is then attacked, and Zelda holds her own using her explosive light magic. That alone got an astounding "YES, THIS IS WHAT I WANT" from me. The kingdom takes her in and teaches her how to hone her powers to help find her way back home. Hyrule is later attacked by Ganon, creating a war throughout the continent. Zelda and company make allies from multiple tribes who have lost important people in their lives during battle. Rauru's approach to fighting for peace is to be cordial with other factions, even if there was recent tension. I found this premise to be quite inspirational, considering real-world current events. Age of Imprisonment includes a cast of diverse and stylish characters. Raphica is a Rico who attacks with airborne spinning kicks and volleys of arrows, and his pompadour is amazing! Lago is a Zora warrior whose swift sword slashes kind of reminded me of fencing, and he mixes in whirlpools with his combos. Characters can even perform flashy team-up attacks to inflict more damage. Overall, Hyrule Warriors: Age of Imprisonment is my game of the year because it surprised me as a musou game, having an endearing story with peaceful undertones, charming characters, and satisfying combat. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/into-the-emberlands-1iq0r-1.png) Into the Emberlands. Source: Press Kit. --- > "Into the Emberlands becomes empowering when dealing with a darkness that you can face and survive while helping those who have been lost for so long." --- ## Into the Emberlands *By* [*Tiny Roar*](https://www.tinyroar.de/) ### [Priya Sridhar](https://www.superjumpmagazine.com/author/priyasridhar/) Into the Emberlands asks an allegorical question and makes it literal: how do we guide those who are lost out of the darkness? The answer: With a lot of patience, memory, and careful resource management. When Miasma invaded the Emberlands, they deprived the Lightbringers of their magic and villages of their residents. Those lost in the Miasma fell to the darkness, unable to return home or travel to find others. When you enter a village in need of renovations, you are the first Lightbringer who hasn't gotten lost in ages. That means you can find everyone who wandered past the boundary and slowly rebuild people's homes and businesses. The trick is to know when your lantern will go out, or you will become lost as well. You also have an incomplete map (so, no pressure) as the Miasma lurks around you. With the right navigation, you can find tools to extend your lantern's light and carve paths back to the village. A game about finding those struck by disaster and getting them to safety sure feels familiar. No one could predict the Miasma in Emberlands or the sheer cruelty in ours. It hits close to home to those suffering from similar nonsense, where you can't blame the evil on a purple fog. And yet, in here, you don't have to let it overwhelm you. Into the Emberlands becomes empowering when dealing with a darkness that you can face and survive while helping those who have been lost for so long. The way back feels warm and comforting, while the way forward is mysterious and foreboding. Still, you have to go forward, or you will be mired in safety without knowing who else needs you. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/is-this-seat-taken-1.jpg) Is This Seat Taken? Source: Press Kit. --- > "I love the cute little-shape characters and the simple yet challenging organization, as well as the convenience of being able to play it on my Switch 2 wherever I go." --- ## Is This Seat Taken? *By* [*Poti Poti Studio*](https://www.potipoti.studio/) ### [Cat Webling](https://www.superjumpmagazine.com/author/catwebling/) This cute and quirky puzzle game is exactly the kind of relaxing, thoughtful, but not overthinking experience that people look for when the world is too stressful, and we need to feel in control of something. I love the cute little-shape characters and the simple yet challenging organization, as well as the convenience of being able to play it on my Switch 2 wherever I go. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Keeper_Announce-Key_Art-1.jpg) Keeper. Source: Press Kit. --- > "...the point here is that there's a certain beauty to what Keeper provides, and how it speaks to why gaming as a medium is so meaningful." --- ## Keeper *By* [*Double Fine*](https://www.doublefine.com/games/keeper) ### [Charlotte Huston](https://www.superjumpmagazine.com/author/crystar/) When it comes to artistic vision in gaming, one of the games that I felt was most representative of that in 2025 was Keeper, a little game from the studio Double Fine. It was released in an awkward spot, between major releases from other members of the Big Three – Sony's Ghost of Yōtei and Pokémon Legends Z-A. Unfortunately, this caused Keeper to get brushed under the rug to a certain extent, and I was shocked to find it wasn't even nominated for Best Art Direction at The Game Awards. Though, the point here is that there's a certain beauty to what Keeper provides, and how it speaks to why gaming as a medium is so meaningful. Keeper is so blatantly different than those aforementioned games, yet they all coexist within the same medium. Keeper is essentially a walking sim mixed with a puzzler. Though there are some light platforming segments, a majority of the gameplay involves the player in control of a living lighthouse, with a bird companion sitting atop it. There is no dialogue whatsoever, and any semblance of story must be assumed or taken from the player's own perspective. Lee Petty is the Creative Director, and he was an Art Director for games such as Broken Age. They use a Tim Burton-like art style here that strums the line of Grimbright and Noblebright in tone. At times it is dark and melancholic, while at others it is bright and hopeful. I'd love to delve into it further, but out of respect for Lee Petty's artistic vision, I would rather you experience Keeper for yourself. Petty himself even said as much, intending for players to preserve "some of the mystery for others wherever possible." May you always experience art on your own volition and terms. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/KatFL_NS2E_SCW_Key_Art-1.png) Kirby and the Forgotten Land. Source: Press Kit. --- > "Star-Crossed World contains a multitude of beautiful additions to the already lovely levels contained in this forgotten land." --- ## Kirby and the Forgotten Land + Star-Crossed World DLC *by* [*Nintendo*](https://www.nintendo.com.au) ### [Naomi Jackson](https://bsky.app/profile/nomibelle.bsky.social) A stunning, sparkling wonderland awaits in this 2025 DLC. Star-Crossed World contains a multitude of beautiful additions to the already lovely levels contained in this forgotten land. I inhaled the new small details and lore clues as if I were the pink blob himself and thoroughly enjoyed his new forms and the mechanics that came with them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/lonely-mountains-snow-riders-key-art-e1724679845234.jpg.png) Lonely Mountains: Snow Riders. Source: Press Kit. ## Lonely Mountains: Snow Riders *by* [*Megagon Industries*](https://megagonindustries.com) ### [Jörg Tittel](https://linktr.ee/jorgtittel) The game that saw my son and I through the pandemic was Berlin based Megagon Industries’ Lonely Mountains: Downhill. Published by Thunderful, the hyper stylised mountain biker was hard as nails but the instant resets, beautiful visuals and sound - and the almost endless shortcuts and hidden corners made it a game we kept coming back to - and still do to this day. For Snow Riders, Megagon have gone without a publisher but that hasn’t made them any less ambitious. This one’s about skiing and while it dons an equally great single player mode, Snow Riders shines in (crossplatform) multiplayer. Now my daughter’s into the game, too, and we’ve all been competing against each other - crossplatform multiplayer with a super simple code system enabling play between PS5, a Steam Deck etc... A recent update also added a chase camera (as opposed to the largely isometric semi-fixed cameras of Downhill) which has become my new default. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/1920-x1080-Ratio-HD-JPG-1.jpg) Letters to Arralla. Source: Press Kit. --- > "The unmistakable sights and sounds of coastal Australia fill this cozy, beautiful world which invites you to explore and become part of the community." --- ## Letters to Arralla *by* [*Little Pink Clouds*](https://www.littlepinkclouds.com) ### [Amy Potter-Jarman](https://www.hellomisspotter.com) I’m being very self indulgent with my list of titles submitted for this, so there was no way I couldn’t include the cutest, coziest, juiciest ANZ-made game of 2025 (in my humble opinion). On the surface, sure, this is a game about delivering mail in a new-to-you city, but on a deeper level this is a game about the impact one person can have if they are just the right amount of nosy… I mean curious. As you deliver (and open) the mail and meet the vegetable townsfolk, you learn what makes Arralla special, and you become a force for connection. The unmistakable sights and sounds of coastal Australia fill this cozy, beautiful world which invites you to explore and become part of the community. ‘Letters to Arralla’ is a snack-size, wholesome experience which delivers many moments of humour, whimsy, and calm. Plus, you can take photos, which is what really matters to me in a game, let's be honest! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/NintendoSwitch2_16x9_MarioKartWorld_KeyArt-1.png) Mario Kart World. Source: Press Kit. --- > "My daughter and I love a good Vs Grand Prix, and it's safe to say I don't go easy on her, but I can see she enjoys the challenge. Either way, my daughter is obsessed with the game, and she especially loves playing with me and the time we spend together." --- ## Mario Kart World *By* [Nintendo](https://www.nintendo.com/us/) ### [Mike Wilson](https://www.superjumpmagazine.com/author/mike/) 2025 was not the best year of gaming for me. I spent most of my time playing catch-up with my already large backlog, but there is one shining light for me from this past year. Christmas of 2024 saw my daughter get her very own Switch Lite, and since then, she's been hooked. Her playing time was mostly dominated by Pokémon. A few months later, Nintendo unveiled the Switch 2, and the very thing that caught her eye was Mario Kart World. Instantly, she told me she wanted to play Mario Kart. She was already hooked on Mario Kart 8, but she would not stop begging. After every advert she'd see for it, there'd be a "Dad, can we get Mario Kart World?!" Safe to say that June 5th was quite the wait. Eventually, the Switch 2 and the game launched, and for the first time, I had to share my new console with someone else. Now I'm not saying Mario Kart World is a perfect game; in fact, it's far from it. It's made some serious changes over the insanely popular Mario Kart 8, and sadly, most changes have brought their detractors; I still haven’t gotten used to the wall jumps yet. But they tried something new, something different, and that’s sometimes all you can ask for. My daughter and I love a good Vs Grand Prix, and it's safe to say I don't go easy on her, but I can see she enjoys the challenge. Either way, my daughter is obsessed with the game, and she especially loves playing with me and the time we spend together. Gaming was always my thing, now it’s ours. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/wp15080080.png) Metal Gear Solid Delta: Snake Eater. Source: Press Kit. --- > "A true classic." --- ## Metal Gear Solid Delta: Snake Eater *By* [*Virtuous*](https://www.virtuosgames.com/) ### [Daryl Baxter](https://www.superjumpmagazine.com/author/darylbaxter/) MGS returns, but as a way of reintroducing itself in 2025\. Instead of reinventing the wheel, it was remaking it, with incredible graphics and a UI that helped cut down on that rare monotony of changing stolen gear and weapons. The crucial scenes still hit as they did when MGS3 came out in 2004, complete with the original voices. A true classic. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/n5uscHt9rvSAVSpEaGCfpf-1.jpg) Monster Hunter Wilds. Source: Press Kit. --- > "Combat is fluid and punchy, and the open world is gorgeous to explore." --- ## Monster Hunter Wilds *By* [*Capcom*](https://www.monsterhunter.com/wilds/en-us/) ### [Lawrence Adkins](https://www.superjumpmagazine.com/author/lawrencea/) Looking through my Backloggd, it's easy to see that while I did a fair amount of gaming throughout the year, I didn't play very much that actually released this year. Observing everything new that I played, very few of those games compelled me to sink my teeth into them until the very end. One of those games was Monster Hunter Wilds. I was bitten by the Monster Hunter bug ages ago, starting with Monster Hunter 3 Ultimate on the Wii U, then diving deep into 4 Ultimate on my Nintendo 3DS. Since then, I've enjoyed a little bit of everything the series has had to offer, and Wilds sits as a near-favorite entry in the series, right behind Rise. While design decisions have pushed Monster Hunter to become more about getting to hunt large monsters as opposed to the slower emphasis on Man vs Nature those earlier entries highlight, I can't help but sing its praises when talking about Wilds. The character customization Capcom continues to offer ever since Street Fighter VI is robust, amplified only further by the riddance of gender-locked cosmetics. Combat is fluid and punchy, and the open world is gorgeous to explore. I often find myself thinking about the developer showcases where one of the developers was fishing and birding instead of joining in on the hunt. It's been a while since I booted up the game, admittedly. Once I rolled credits, I explored some of the Artian weapons and postgame hunts, but never took the time to explore all the subsequent updates. With the announcement that the final update to the base game will arrive in February, I'm stoked to go back and revisit the game to see all the content that's been piling up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Moonlighter-2-The-Endless-Vault_2024_12-05-24_006-1.jpg) Moonlighter 2: The Endless Vault. Source: Press Kit. --- > "The dungeon-crawling, shopkeeping-sim mashup formula is back, but the pixel-art graphics have been replaced with a gorgeous 3D glow-up, and the experience is so much better for it." --- ## Moonlighter 2: The Endless Vault *By* [*Digital Sun Games*](https://digitalsungames.com/) ### [Bryan Finck](https://www.superjumpmagazine.com/author/bryanfinck/) Seven years on from the original, getting Moonlighter 2 in Early Access was a wonderful treat as 2025 came to a close. The dungeon-crawling, shopkeeping-sim mashup formula is back, but the pixel-art graphics have been replaced with a gorgeous 3D glow-up, and the experience is so much better for it. The switch to 3D allows for the existence of stages with multiple levels, and the sheer amount of stuff going on immediately elevates it above the flat design of the original’s dungeons. The second biome, known as The Gallery, features a background of moving cubes filled with artifacts, some of them living creatures. And the third biome, a Grecian-inspired level of floating islands, sees you zip-lining up and across the area to reach the next piece of land, where you’ll battle your foes. The graphical glow-up extends to the characters and enemies themselves. You can see Will’s backpack bounce along as he swings his sword, watch the expressions on the faces of your enemies as they attack and perish, and see the grass waving lazily in the breeze as sparks and explosions cascade across the screen. It’s a level of detail simply not possible with sprites, and it gives the sequel a level of personality that was sorely missing from the original. More interesting levels and enemies help make the combat more interesting, too, and the devs have done a great job of taking advantage of the extra dimension this time around. Rolling away from one attack to immediately execute a lunging attack on a ground enemy, then firing off your pistol to take out an airborne enemy, all while avoiding fireballs and lobbed grenades, makes for a smooth and exhilarating gameplay loop. I’m extremely excited to get my hands on the rest of the game once Moonlighter 2 leaves Early Access. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/screenshot-4-en-1.png) OFF. Source: Press Kit. --- > "Everything has changed since the first build of OFF hit the web, but the tale of the Batter is as impactful as it ever was — maybe even more so." --- ## OFF *By* [*Mortis Ghost*](https://x.com/MortisGhost) ### [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/) The debt of gratitude that both indie developers and indie fans owe to people like Mortis Ghost is hard to wrap your head around. OFF is, at its core, a very simple game, yet without simple games like this one, we wouldn’t have the landscape of games currently available. So yes, nearly every indie RPG is in the lineage of OFF, but with its formal release onto Steam, we can see that it’s also a brilliant little game. Where most RPG Maker titles of this era have aged in the worst of ways, OFF is every bit as elemental and engaging as it ever was. Many developers have tried to imitate this cryptic, intentionally opaque style and fallen short, but the strange mystery at the heart of OFF is truly evergreen. Everything has changed since the first build of OFF hit the web, but the tale of the Batter is as impactful as it ever was — maybe even more so. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/OS-WTC-1.png) Old Skies. Source: Press Kit. --- > "I have a simple rule: if Wadjet Eye Games makes a new game, I play it." --- ## Old Skies *By* [*Wadjet Eye Games*](https://wadjeteyegames.com/) ### [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/) I have a simple rule: if Wadjet Eye Games makes a new game, I play it. Old Skies is the latest title from director Dave Gilbert, and follows time-travelling agent Fia Quinn as she escorts wealthy clients to different eras as an agent of the ChronoZen agency. All the while, unbeknownst to most of the population, the present radically shifts based on their actions. Wadjet Eye Games has always celebrated and streamlined the classic point-and-click experience, and Old Skies is perhaps their most celebratory take on the medium yet. It's not just a lovely story in and of itself, but an ode to the kind of lovely stories you can tell within this genre space. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Pac-man_Key_Art-1.jpg) Pac-Man: Double Feature. Source: Press Kit. --- > "Pac-Man on Atari 2600 is still a fascinating artefact and surprisingly still fun and playable, while the newly commissioned Atari 7800 port is a fine piece of retro engineering that captures the magic of Pac-Mania." --- ## Pac-Man: Double Feature *By* [*Atari & Namco*](https://store.atariage.com/products/pac-man-double-feature-7800) ### [Jahan Khan](https://www.superjumpmagazine.com/author/virtuamuser/) The Atari x Namco collaboration in 2025 has just been a real dream-come-true for retro gamers. It gave fans more than just cool merchandise; it created an excellent Namco DLC pack for Atari 50, Pac-Man-themed Atari consoles, and an exclusive new Pac-Man release for Atari + platforms. Pac-Man: Double Feature feels like an ultimate collector's edition for any retro and Pac-Man enthusiast. It brings together the highly controversial Atari 2600 port of Pac-Man with an all-new Atari 7800 port, all in one tasty cartridge featuring throwback 80s artwork. Pac-Man on Atari 2600 is still a fascinating artefact and surprisingly still fun and playable, while the newly commissioned Atari 7800 port is a fine piece of retro engineering that captures the magic of Pac-Mania. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Promise-Mascot-Agency-screen-2-1920x1080-1.jpg) Promise Mascot Agency. Source: Press Kit. --- > "It has that same goofy yet uplifting vibe that the most recent Like A Dragon games have, and that's the kind of wholesome-ish gaming I can get behind." --- ## Promise Mascot Agency *by* [*Kaizen Game Works*](https://kaizengameworks.com/games/) ### [Lucas Di Quinzio](https://www.superjumpmagazine.com/author/lucasdiquinzio/) It’s a great credit to Promise Mascot Agency developer Kaizen Game Works that not only have they managed to create one of the year’s most memorable characters, but that character is a mascot shaped like a dismembered pinky finger. Pinky is the fiercely loyal and fiercely funny sidekick to Michi, a disgraced Yakuza member sent away to a dying town, tasked with resurrecting a failing mascot agency. As you can see, this game is quite a big mishmash of things. It’s part management game, part open-world game, part vehicle-based platformer, with a story that’s full of humour and heart and political commentary. It all comes together as a cohesive whole, with a compelling gameplay loop of upgrades to your agency or your trusty, beat-up truck, which allows you to uncover a new story beat, meet a new mascot, or get more jobs from a local business. Then there are the constant problems arising during jobs that are a constant source of gags – your perpetually crying tofu black is stuck in a door, your goth jelly baby is getting attacked by teenagers, Pinky is running for Mayor and keeps threatening violence. It has that same goofy yet uplifting vibe that the most recent Like A Dragon games have, and that's the kind of wholesome-ish gaming I can get behind. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/f3vf-e4auaa9zeg_jpeg_1600x900_crop_q85-1.jpg) Ratatan. Source: Press Kit. --- > "Ratatan isn’t the game I spent the most time with in 2025, but it’s the one I’ll remember in years and maybe decades to come." --- ## Ratatan *By* [*Ratata Arts*](https://ratatan.org/) ### [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/) Before Ratatan was announced, I really thought that the world had forgotten the rhythm/strategy hybrid game Patapon — an absolute shame, as it’s one of the most charming video games ever made. I wouldn’t have even dreamed that such a strange, wild, beautiful, innovative title would come back. Yet here we are, looking at the independent successor that Patapon always deserved. I’ve shown you a lot of music-focused games, but with Ratatan, we have a game where the mechanics and the sound can’t be separated. What you hear, what you see, what you do — it’s all one free-flowing current that doesn’t resemble anything on the market, including its predecessor. Ratatan isn’t the game I spent the most time with in 2025, but it’s the one I’ll remember in years and maybe decades to come. Like Patapon before it, it’s about the art and emotion of the package, and nothing else felt the same way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Roguecraft_promo_highres_02-1.jpg) Roguecraft DX. Source: Press Kit. --- > "Rogue Craft DX is a deceptively simple yet addictive roguelike RPG, using an isometric viewpoint to make its chess-like exploration engaging right from the get-go." --- ## Roguecraft DX (Evercade) *By* [*badger punch games*](https://www.badgerpunch.com/title/roguecraftdx-evercade/#:~:text=Roguecraft%20DX%20is%20now%20available,Evercade's%20second%20ever%20solo%20cartridge.) ### [Jahan Khan](https://www.superjumpmagazine.com/author/virtuamuser/) In 2025, Evercade went from compiling lost IPs to scoring major exclusives, and Rogue Craft DX was an enhanced edition of a homebrew Amiga game. The Amiga, as a vintage PC platform, continues to be a fascination for the British gaming scene. There's still a dedicated print magazine for it, while the Evercade platform itself captures the very vibe of retro gaming in the UK. Rogue Craft DX is a deceptively simple yet addictive roguelike RPG, using an isometric viewpoint to make its chess-like exploration engaging right from the get-go. Plus, it has the meanest chickens ever seen in a video game since The Legend of Zelda: Link's Awakening. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/aKu9thKw-1.png) Sektori. Source: Press Kit. --- > "I have died a gazillion times in this game - the most I’ve failed in a game since Celeste perhaps - and like in Maddy Thorson’s classic, I can’t stop coming back for more." --- ## Sektori *by* [*Kimmo Lathtinen*](http://www.gimblll.com/) *and* [*Tommi Lahtinen*](https://www.facebook.com/pages/Tommy-Baynen/325801535849) ### [Jörg Tittel](https://linktr.ee/jorgtittel) Released in mid November, Sektori may have come in under most people recap radars, but it quickly garnered a dedicated fan base and much deserved rave reviews. Developed solo over five years by former Housemarque veteran Kimmo Lahtinen, the twin stick shooter is the work of a master at the top of his game. I lied, Kimmo did not compose the banging electronic soundtrack - the tunes are by his brother, Tommy Baynen, and it matches the game in intensity and ingenuity. At first glance, Sektori most closely resembles Bizarre Creation’s Geometry Wars, but very quickly you realise that it’s much much more than that. The game moves - and makes you move - in the most kinetic ways and it’s been ages since a game has put me into a trance state, where your survival instincts fade into your subconscious and you just…flow. A Gradius-style upgrade system coupled with rogue-like perks adds an infinite amount of possibilities - sure, luck is involved, but ultimately when you fail it’s only down to you. And fail you shall. I have died a gazillion times in this game - the most I’ve failed in a game since Celeste perhaps - and like in Maddy Thorson’s classic, I can’t stop coming back for more. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/silent-hill-f.png) Silent Hill f. Source: Press Kit. --- > "They had an artistic vision when creating Silent Hill f, and it deserves to be experienced firsthand." --- ## Silent Hill f *By* [*NeoBards Entertainment*](https://neobards.com/) ### [Charlotte Huston](https://www.superjumpmagazine.com/author/crystar/) The return of the Silent Hill series arrived in the form of Silent Hill f, a brand-new mainline entry. It was one of the most unexpected surprises of the year in terms of storytelling. There are not enough games that dare to be different, to be so potently resonant with their themes that they have a lasting impact months later upon their player. Silent Hill f strives to bring the identity of the series back to something very imbued with Japanese culture, shunning the more Americanized approach. It does not pull its punches, and it shows that the concept of "Silent Hill" is much more than a town alone – it is a phenomenon, an occurrence that can happen anywhere. While that is a great implication on its own, it is the psychological aspect of Silent Hill f that cuts so deeply. This is a game that is unafraid to tackle the themes the industry seems so afraid to handle in its storytelling. Going against the grain to this extent is very valuable to women, who the themes of this game represent in their entirety. Spelling out what these themes are would be an absolute disservice to the creators of this game. They had an artistic vision when creating Silent Hill f, and it deserves to be experienced firsthand. In terms of 2025 releases, I believe Silent Hill f is the most important of them all, for how bold it intends to be, and for how willing it is to make its players uncomfortable. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Skate-Story-1.jpg) Skate Story. Source: Press Kit. --- > "It has this great lo-fi, psychedelic aesthetic that still manages to be very readable, and a soundtrack to match." --- ## Skate Story *By* [*Sam Eng*](https://skatestory.com/) ### [Lucas Di Quinzio](https://www.superjumpmagazine.com/author/lucasdiquinzio/) I’m glad SUPERJUMP’s GOTY piece is published in January, because there is no fallow period for good games these days. December releases probably get the short shrift among the end-of-year lists and awards, so in a year where a bunch of great indie titles were competing for my top three, I’ve decided to give some props for the best game released this December. Skate Story has a hell of an elevator pitch, figuratively and otherwise. You play as a demon who has one goal: they want to eat the Moon. The Devil gives you a skateboard to help you reach the Moon, but in exchange, turns you into a glass. You are going to skate through the underworld, and you are going to eat the Moon. If I was giving out specific awards, I would give this the Absolute Coolest Shit In A Game award. It has this great lo-fi, psychedelic aesthetic that still manages to be very readable, and a soundtrack to match. And there’s a streak of dry, absurdist humour throughout the game. This is not to mention the skating itself, which is rock-solid. Well, not really, because your character shatters in a million pieces when you wipe out – but even that lends itself to the overwhelming style of Skate Story. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/preview-south-of-midnight-site-thumbnail-1.jpg) South of Midnight. Source: Press Kit. --- > "I love how the music flows throughout the game, crescendoing into vocal songs that explain the various bosses’ backstories, one of the many things that makes the game so engaging to play." --- ## South of Midnight *By* [*Complulsion Games*](https://compulsiongames.com/) ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) I feel like South of Midnight is a game that’s going to be overlooked by many people. I always enjoy a good story-driven adventure game with smooth platforming sections and a compelling narrative, but I didn’t think I was going to embrace the Southern Gothic aesthetic that this game gives out in spades. I love the handcrafted nature that the developers at Compulsion Games created, which makes South of Midnight one of the most visually appealing games of 2025\. While I would have wanted an expansive combat system with multiple branching trees to spend my skill points on, I’m glad that the gameplay didn’t become overly complex, as I wanted to find collectibles that could improve the abilities that were present to me. I love how the music flows throughout the game, crescendoing into vocal songs that explain the various bosses’ backstories, one of the many things that makes the game so engaging to play. I found it fascinating that you use your weaver powers to unravel enemies to heal the world instead of killing them outright. I’m glad I got to play it via Xbox Game Pass, as I would easily recommend it to someone who wants to play something that isn’t a traditional single-player adventure game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/hazelight-studios-split-fiction-1.jpg) Split Fiction. Source: Press Kit. --- > "The entire game is a testament to that wonder of creation – kernels of greatness nestled in half-finished ideas, some stories that might benefit from a rewrite, or old lullabies we sort of just sing to ourselves." --- ## Split Fiction By [*Hazelight Studios*](https://www.hazelight.se/) ### [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/) My fiancé and I eagerly played Split Fiction together, pretty quickly after release. We'd blown through It Takes Two, and Split Fiction was more of the same couch co-op we'd loved. It also starred two authors, and as an aspiring one – and one existing in the world of AI – the game's themes of corporate and computational thievery rang unfortunately close to home. But beyond that tagline – the idea that our core memories manifest and help us build the stories we tell – Split Fiction's true shining achievement is in the tremendous variety of its level design. It has fantastic gameplay, requiring you to flip-flop through two very different genre trappings: science fiction and fantasy. Both are speculative arts, but drawing from often different foundational tones. Our two protagonists have their own inner battles that unfold through the narrative, and they're well-done stories that take time to tell themselves. One story, or "chapter", might tackle identity, another loss. There are even side stories that you encounter throughout the game, which boil down to racing, platforming, or snowboarding mini-games, and they are all executed (and mapped on the controllers) wonderfully. None of these swaps of gameplay styles feels jarring. There was one particular level involving magic and general witchery, where you could transform yourself into yarn and fly on broomsticks. It was as joyful as opening a toy box. The entire game is a testament to that wonder of creation – kernels of greatness nestled in half-finished ideas, some stories that might benefit from a rewrite, or old lullabies we sort of just sing to ourselves. Split Fiction is a paean to creatives, and it's a damn fun time. ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) This game easily provided me with one of the most enjoyable co-op experiences that I've had in a long time. Each new level was creative and exciting to play through, where I never knew what would happen next. While I would have preferred to play with another player by my side in person, I enjoyed my time with my fellow SUPERJUMP editor, Bryan Finck, who was along for the ride as we constantly commented on what we saw on our screens, making jokes and helping each other out along the way. One moment, I was riding a futuristic bike in a cyberpunk city, and the next, I was playing as a yeti in a fantasy world. It constantly switched between the fantasy and science fiction genres to mix up the gameplay, which I greatly appreciated. Even some of the side missions that I found gave me some laugh-out-loud moments that I still think about to this day. I became attached to the stories of Mio and Zoe as aspiring writers who needed to process their issues by helping each other as the narrative progressed. Split Fiction is easily one of the most beautiful games that I played this year, running on Unreal Engine 5, where I didn’t notice any slowdown or glitches whatsoever. I knew that Hazelight was going to put out another excellent game after It Takes Two, but I never expected to have such a fantastic time with Split Fiction. ### [Lucas Di Quinzio](https://www.superjumpmagazine.com/author/lucasdiquinzio/) Split Fiction can be described in many ways – bold, endlessly creative, bursting with brilliant set pieces; a best-in-class co-operative experience. What the game, and its developer Hazelight Studios, can’t be called is subtle. The studio is led by Josef Fares, perhaps best known for shouting ‘fuck the Oscars’ at The Game Awards, among other outlandish quotes (my favourite is telling a journalist they can break his legs if they don’t like A Way Out), but he can keep saying goofy stuff if he and Hazelight can keep walking the walk so emphatically. Split Fiction is a game that you have to play with another person, about a tech magnate trying to suck up all the story ideas from authors' minds, under the guise of testing out supposedly revolutionary new technology. The villain of the piece may as well be called Sham Shaltman from ShenAI. Not subtle, but maybe this is not the time for subtlety. The hook of the game, in which the imagined worlds of a fantasy and a sci-fi author intertwine, allows for a constant stream of new ideas. Every level provides something new and impressive, whether it be a fresh twist on the central puzzle-platforming, a fun, breezy side-level, or an impressive boss fight (or all of the above). And it all feels so carefully crafted, by people who have, you know, spent years honing their skills by working on this particular kind of game. Skills and experience you cannot generate out of thin air, or rather, ones you cannot generate from litres of water evaporated into thin air to cool a room full of pointless computers. ### [Bryan Finck](https://www.superjumpmagazine.com/author/bryanfinck/) Split Fiction was a truly sublime experience and is easily my favorite of 2025\. Hazelight Studios was already well-known for its co-op formula, following the excellent It Takes Two, but their latest title quickly became their most acclaimed and best-selling release. Every level brings a new delight from a gameplay standpoint, with different perspectives, mechanics, mini-games, and hidden side-stories around every corner. With the game itself so good, the story didn't need to be the star of the show, but I found it to be my favorite part of the experience. Protagonists Mio and Zoe grow together as they work to escape their predicament, from a pair of feuding individuals into a true team that supports each other. Some truly excellent moments bring emotional weight to the story, elevating the entire game. By the time you've worked your way through each incredible level, especially the final act where things get turned up to 11, you feel like you've been part of a true AAA title. Hazelight may not be the biggest studio, but they continue to punch well above their weight and have legions of fans, myself included, waiting impatiently for their next amazing adventure. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/e3281375d9cc9e350bd58b6c09093db7222cbcad3547eae733bc1efd0e40bfdc-1.jpeg) Star of Providence. Source: Press Kit. --- > "With its broader console release this year, it’s easy to recommend to basically anyone who likes action roguelites, shmups, or anything that rewards clean movement and smart builds, and it’s absolutely worth a nod on any end-of-year tier list." --- ## Star of Providence *By* [*Team D-13*](https://team-d13.com/) ### [Ben Rowan](https://www.superjumpmagazine.com/author/benrowan/) In 2025, Star of Providence (originally called Monolith) finally broke out of its PC cult-classic bubble with a proper console release, including on Switch, and this gem absolutely deserves a place in the spotlight. The premise is simple: you’re a tiny ship climbing a mysterious tower, floor by floor, trying to reach the top. It’s twin-stick shooting meets bullet hell in a roguelite package, so you’re constantly moving, dodging, and threading the needle through dense patterns of enemy fire. The movement feels great, and it’s backed up by a surprisingly deep loot and build system. Your starter weapon is fine, but you’ll quickly start finding guns with different firing styles, bullet sizes, ammo limits, and other quirks. On top of that, weapons can roll random modifiers that change their behaviour even more, so two runs with the same gun can feel completely different. Because secondary weapons have limited ammo and break when they’re empty, you’re constantly making decisions about what to carry and when to use it. Between floors, you’ll grab passive upgrades, stumble onto random modifiers, and choose buffs that slowly turn your tiny ship into something ridiculous. Then you hit the boss at the end of the floor, and that’s where this bullet hell really shows its teeth. Since landing in 2017, Star of Providence has steadily grown into a much bigger beast, adding new enemies, room layouts, weapons, meaner endgame content, and an ascension-style difficulty ladder for anyone who wants the challenge to keep escalating. With its broader console release this year, it’s easy to recommend to basically anyone who likes action roguelites, shmups, or anything that rewards clean movement and smart builds, and it’s absolutely worth a nod on any end-of-year tier list. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/star-racer-out-of-early-access-01-1.jpg) Star Racer. Source: Press Kit. --- > "It’s super fun and impressively polished for an indie release, both in how it plays and how it looks." --- ## Star Racer *By* [*Whatnot Games*](https://www.whatnotgames.com/) ### [Ben Rowan](https://www.superjumpmagazine.com/author/benrowan/) Some games you buy after rewatching the trailer, reading a couple of reviews, and letting them sit on your wishlist for a while. Star Racer wasn’t one of those. I saw a few seconds of it pop up on YouTube, loved the retro sci-fi vibe and pixelated look, and thought, “Yep, this’ll be mine.” Five minutes later, it was downloading on Steam. Even better, the game lived up to those first impressions. It’s super fun and impressively polished for an indie release, both in how it plays and how it looks. During races, you’ve got a mix of SNES-style 16-bit sprites, with environments leaning into a chunkier 3D look that feels very much like Star Fox 64\. On top of that, the comic-book art style really brings the characters and cut scenes to life. The gameplay itself is really fun too. Air brakes on the shoulder buttons let you strafe through corners, and the whole combat-racing loop is built on continual trade-offs. You can burn shield energy to boost and hold the lead, or play it safe and risk getting nailed by the pack. Every lap is high stakes, with even the best races coming unstuck at the final bend. It’s not just pure racing either. You’ve got weapons, including the ability to bash rivals into walls, and even fire lasers during flying sections. There are airborne segments that crank up the Star Fox vibe even more, and they’re not just for show either. Flying drains your shields, so if you run dry mid-air, that’s it. Race over. You’re constantly balancing speed, aggression, and survival. Plus, there are unlockable vehicles, a track editor for tinkerers, and four-player local split-screen, which is always a win. I still reckon it would be perfect on Switch, but even on Steam, it's firmly earned its place on my Top-Of-2025 list. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/0661c6f5ed39ad40cf6046d190653a073d8a23ba56dc77c7fe716e72e05233de-1.jpeg) The Hundred Line: Last Defense Academy. Source: Press Kit. --- > "In what may be the most ambitious visual novel of all time, Kodaka and his co-authors have created a game with 100 different endings." --- ## The Hundred Line: Last Defense Academy *By* [*TooKyo games*](https://tookyogames.jp/english/) ### [Benjamin Macready](https://www.superjumpmagazine.com/author/benjaminmacready/) The Hundred Line comes straight from the twisted imagination of Kazutaka Kodaka, the writer of the despair-inducing Danganronpa franchise. In what may be the most ambitious visual novel of all time, Kodaka and his co-authors have created a game with 100 different endings. Some of these endings are comedic, some are tragic, and some are downright disturbing. It just wouldn’t be a Kodaka game if it didn’t make you feel deeply uncomfortable by some of its twists. Whatever else this sprawling hydra of a story might be, it’s upheld by its lovably flawed cast and its ability to masterfully flip between the grim and the absurd. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/tiger_heli-1.jpg) Tiger-Heli. Source: senscritique.com. --- > "Tiger-Heli is a tough shooter with thrilling progression and great use of contrasting colours." --- ## Tiger-Heli 40th Anniversary Edition *By* [*TATSUJIN Co.*](https://www.tatsujin.tokyo/en.html) ### [Jahan Khan](https://www.superjumpmagazine.com/author/virtuamuser/) A brand new exclusive port for the Atari 7800 by a Japanese developer? Crazier things have happened in gaming, but for Toaplan to commission a new port for its seminal Tiger-Heli shoot 'em up in 2025 to commemorate its 40-year anniversary, it doesn't get crazier than this. It's a marvelous release too; the arcade shooting classic translates perfectly to the Atari 7800's hardware specifications, and the experience is completely different from the NES port from way back. Tiger-Heli is a tough shooter with thrilling progression and great use of contrasting colours. The World War II energy here is like Capcom's 1942 turned up to 11. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Tomb-Raider.jpg.png) Tomb Raider IV-VI: Remastered. Source: Press Kit. --- > "But of course, the standout here is Angel of Darkness..." --- ## Tomb Raider IV-VI: Remastered *By* [*Aspyr*](https://www.aspyr.com/) ### [Daryl Baxter](https://www.superjumpmagazine.com/author/darylbaxter/) It's no secret that Tomb Raider IV-V were made under pressure, and by a (mostly) new team. But of course, the standout here is Angel of Darkness, a game that floundered at its foundations, due to huge bugs, a strange RPG system that's now a meme, and mostly away from Tombs. It's my GOTY because the collection is an example of how a series strays away from what made it so good in the first place, despite good intentions from the team. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Winter-Burrow_2024_06-09-24_007-1440x810-1.jpg) Winter Burrow. Source: Press Kit. --- > "The mechanics were simple to follow, and the map was fun to explore; though there were a few moments of confusion, I never felt frustrated enough to put the game down." --- ## Winter Burrow *By* [*Pine Creek Games*](https://www.pinecreekgames.com/) ### [Cat Webling](https://www.superjumpmagazine.com/author/catwebling/) This game blew me away with how adorably deep and thoroughly cozy it was! It was a relatively short experience, but I never felt rushed; beautiful scenery, sweet characters, and charming music made me comfortable vibing for long play sessions. The mechanics were simple to follow, and the map was fun to explore; though there were a few moments of confusion, I never felt frustrated enough to put the game down. I was thrilled to be able to play shortly after launch, and even moreso for the chance to chat with the devs directly! ### Samus Aran’s Character Matters URL: https://www.superjumpmagazine.com/samus-arans-character-matters/ Last updated: 2026-02-20T14:17:22.000Z **Stories in video games are controversial.** Many games in today’s market offer impressive, engaging storytelling efforts, which could rival blockbuster movies. Other games prefer to keep things simple by focusing on gameplay, while the plot remains insignificant or exists only through hints and optional side quests. Like any controversial topic, each side has its supporters. Some prefer video games to be video games and just get engrossed in the challenges ahead. Others believe that a satisfying narrative and characters encourage them to keep playing, as the destination is just as important as the journey. I could make arguments for each side of the debate, but I’d also argue it depends on the game in question and what it’s aiming for. A series that attempted both approaches to storytelling is Metroid. Nintendo’s long-running franchise, which basically created a whole genre (hence the name Metroid-Vania), is no stranger to storylines and continuity. While the games in the series haven’t been released in chronological order, there is a sense of continuity between each title. Unlike other Nintendo franchises, such as Mario or Zelda, Metroid has a mostly clear narrative structure. Super Metroid carries on from the ending of Metroid 2\. We know for a fact that Metroid Other M starts right after Super Metroid concludes, but it takes place before the events shown in Metroid Fusion. The status quo doesn’t just reset like in Mario. There’s no split timeline like in Zelda. Metroid has a set chronological order. The main difference between Nintendo’s two golden boys and Metroid, however, is none other than the lead protagonist, Samus Aran. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-12.png) Samus in the original Metroid for NES. Source: IGDB. ## Who is Samus? Samus Aran is a bounty hunter who goes on intergalactic missions, oftentimes on behalf of the Galactic Federation, in order to ensure peace and prosperity across the galaxy. She suffered a tragedy at a young age, watching her family being murdered by the monstrous Ridley. Raised and trained by a group of aliens called The Chozo, Samus grew from that tragedy into a strong, determined, and no-nonsense fighter who would stop at nothing until her mission is accomplished. That’s the basic backstory. The games themselves have gone several ways in characterizing her. In the first two games, Metroid and Metroid 2: The Return of Samus, there isn’t much to her. Even the backstory I just summarized isn’t present outside of manuals and supplementary material. To be fair to these games, though, besides being on consoles that couldn’t fit much of a story, they didn’t need any deep plots and characters. Samus was nothing more than your avatar. You interacted with both planet Zebeth and SR-388 through her, all by yourself. Metroid relies a lot on the atmosphere created in exploring these planets by yourself as part of a dangerous mission. There was no need for Samus to have a set character because it didn’t matter. You reacted to the dangers she’s facing instead of her, just like she faced those threats instead of you. Metroid 2 did give her one character moment, in which she spears the baby Metroid she encounters at the end of the adventure. Things changed in later entries. Super Metroid incorporated more story elements, which became possible on the new hardware. While nothing grand, a prologue connects this new game directly to the ending of its predecessor. Before touching back on Zebeth, there is a whole storyline focusing on Ridley kidnapping the baby Metroid that Samus found in Metroid 2\. There's even the first bit of Samus' inner monologuing, shown via the opening text briefing to fill us in on the events of the game. It wasn’t much, but it was a start. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-11.png) Metroid Fusion. Source: IGDB. Metroid Fusion was the first game in the series to have a full-fledged story with a beginning, middle, and end. You didn’t just read the manual or watch a small recap, and then go off to the mission. There was a plot that progressed the more you played, had some twists and turns, and Samus’s character had more to say. In addition to more monologues, which provided exposition to her relationship with her former commander, Samus also spoke to characters in the game itself. Aside from that instance, however, the bounty hunter never spoke much, nor did she really need to. Metroid: Zero Mission, as a remake of the first game, didn’t give her any reason to talk, and neither did the first two Metroid Prime games, despite the much bigger emphasis on lore. While Metroid Prime 3 had other characters interacting with Samus, she herself never speaks. It’s an odd decision, but we’ll loop back around to it. Metroid Other M is notorious among fans of the franchise. Baffling gameplay aside, the story and characterization received a lot of backlash. The strong and determined bounty hunter was turned into a confused girl with daddy issues. Not to mention that she doesn’t get anything done in the story itself, as everyone else completes the missions she’s supposed to complete as the protagonist. It’s not all bad, as we also get to see Samus’s calm and nice side when she’s talking to survivors, but the game’s storyline didn’t do her character any favors. Games like Metroid: Samus Returns (a remake of Metroid 2) and Metroid Dread seemed to have corrected the characterization issue. Samus doesn’t talk in any of them, save for one scene in Metroid Dread in which she’s speaking Chozodian. Considering she doesn’t have many characters to speak to yet again in these games, it’s not much of an issue. All of this recap is leading us to the recently released Metroid Prime 4: Beyond (MP4). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-9.png) Metroid Prime 4\. Source: Nintendo. ## How Does Metroid Prime 4 Treat Samus? Before discussing the recent entry in the Metroid series, I have to give a spoiler warning as I will be discussing many plot details in this article, including the game’s ending. Also, I would like to thank Nintendo for providing a review code for the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Spoilers_Ahead.png) Spoilers ahead for Metroid Prime 4. MP4 features one of the most confused characterizations of Samus Aran in the history of this franchise. While nothing reaches the levels of absurdity that Other M did, the newest entry in the series seems to have the opposite problem. If Other M tried giving Samus a character to the point it betrayed her character, then MP4 doesn’t even try to give her depth at all, which also betrays her character. MP4 starts with Samus answering yet another distress call from the Galactic Federation. Space pirates are attacking the facility to steal an artifact that the Federation has obtained. Samus arrives amidst the chaos and discovers that the pirates are led by a former enemy of hers, Sylux. While duking it out, Sylux breaks the artifact in question, which teleports him, Samus, and a few other Federation soldiers to the planet of Viewros. While exploring the new planet, Samus learns the story of the ancient civilization, the Lamorn, which once inhabited the planet. Throughout the game, the bounty hunter reunites with some of the Federation soldiers who were caught in the crossfire. Myles MacKenzie, Reger Tokabi, Ezra Duke, Nora Armstrong, and the battle robot VUE-995 are Samus’s companions for this adventure. In each area, you encounter a different character, who serves as your companion in various sections of the game. Samus’s goal is to find a way to get back home with the troops, while also navigating The Lamorn’s technology and Sylux’s vendetta. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-10.png) Metroid Prime 4: Beyond. Source: IGDB. Now, contrary to some discourse I’d seen before the game was released, the side characters aren’t all that bad. MacKenzie may be a quippy nerd, but his technological skills provide Samus with new weapons throughout the adventure. Tokabi is a tough warrior who lends a hand in fights, despite his old age. Duke is a tough, but caring, commander. VUE-95 serves its role as a devastatingly powerful battle robot that brings the pain. Armstrong ended up being my favorite, not just because she’s the rookie who grows more and more confident as the adventure continues, but also because she’s a fangirl of Samus. Call me cheesy, but she represents the fans, and I think it’s adorable. I really don’t have any issues with the character; they’re not amazingly well-written or anything, but who said they need to be? They get the job done, and the voice acting helps the personalities shine through. If anything, the biggest problem I have with them isn't even about them. You can probably tell where I’m going with this: My biggest problem is their interaction with Samus… or lack thereof. Similar to Metroid Prime 3, all the characters speak except the galactic bounty hunter. However, while there was no real reason for Samus to talk in that game, in MP4, the silence actually hurts the narrative. There are several moments in the game where one of the characters would ask Samus a direct question, and she just doesn’t answer. From her thoughts on a current situation to how a problm should be solved, Samus remains completely mute. Now, even in games in which she did talk, Samus is always presented as a “less talk, more action” type of character. There’s nothing wrong with that. The problem here is that she doesn’t talk AT ALL. Besides an occasional nod of her head, Samus doesn’t react to anything her comrades are saying, which honestly makes her out to be an emotionless jerk towards them. I get that she’s not much of a talker; that’s what makes her Samus. However, when a person address her directly, the silence is taking it too far. What, did she forget to unmute her helmet or something? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-13.png) Metroid Dread. Source: IGDB. Metroid Dread is another game in which Samus is mostly silent. She’s in constant silent badass mode throughout the whole adventure. The main difference is that in Metroid Dread, Samus is alone throughout her journey. She has her ship’s computer, yes, but there aren’t any situations where she’s required to talk. The one time she does talk is when she meets another Chozo, and in the Chozo native tongue no less! That’s how you do it! Keep her silent most of the time, but let her speak up when the situation requires it. The Samus we see in MP4 barely shows any signs of caring for the people accompanying her in this scenario, and that’s not Samus Aran in my eyes. It’s also a problem when, throughout the gam,e there are moments where a character might sacrifice themselves for Samus to succeed. That's a tough situation that would be hard to process, but the bounty hunter barely reacts. If she doesn’t care… why should I? She doesn’t care whenever a character supposedly dies, and she doesn’t care when the same character ends up being alive. Our hero, ladies and gentlemen… ## The Ending That Broke the Bounty Hunter’s Character Nothing in MP4 does Samus’s character more disservice than the ending. To quickly summarize the plot: Samus has to find 5 ancient keys in order to operate a teleporter, which will take her and the other troops back home. When they all get to the teleporter, however, Sylux shows up because the game suddenly remembered he’s the villain. The start of the battle is actually pretty cool because for the first time, you’re fighting alongside all of the other Galactic Federation soldiers. They may require some reviving here and there, but I found them helpful in the fight when they actually landed crucial shots on the boss. That’s pretty cool and allows me to connect with these guys through Samus’s eyes; (Literally, since this is a first-person game). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-15.png) Metroid Prime 4: Beyond. Source: IGDB. When Sylux is eventually defeated, Samus activates the portal, and the gang is ready to head home. The portal begins to operate when Sylux suddenly returns. To make sure Samus gets home, the team is holding Sylux back, keeping him busy for long enough time so that Samus can return to their planet. She does and… that’s it! These guys are still stuck on the other planet with no way back, and Samus doesn’t seem to show any emotion to that. She doesn’t even remove her helmet unless you beat the game 100%! She’s just… moving on. What happened here!? For all intents and purposes, finding a way to bring these guys home was Samus’s mission in the game. She rescued all of them, helped them out, they helped her when they could, and now she’s just leaving them there!? That’s not Samus! Talking or not, Samus Aran wouldn’t leave her teammates behind, teammates she took upon herself to bring back home! I get that it’s supposed to be an emotional scene where we see these troops standing up for Samus and helping her. But the way events play out make it seem like Samus didn’t really care for these people. Now, there is another bit of the story I didn’t really talk about; The Lamorn. This ancient civilization is referenced a lot throughout the game, as Samus is essentially gathering information about their history before they were eradicated. The Lamorn had a lot of knowledge that they wished to spread out via the life seed Samus obtains during the journey. Considering Samus grew up with the Chozo, another race of aliens with great knowledge that is no more, I can understand how she could relate to this story. Some characters even comment on how they know this may hit a sour note for her. On paper, this is an interesting idea. Samus has the chance to help a civilization, which resembles the one that raised her, expanding its knowledge from beyond the grave. In theory, this makes her choice a lot more tragic, since she has to choose between her friends and something which holds sentimental value for her. The problem is that once again, the story does nothing with it. If the idea is to make Samus relate to The Lamorn, then I simply don’t feel it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-14.png) Metroid Prime 4: Beyond. Source: Nintendo. It all comes back to the scene where she plants the seed in the ground once she goes back home. It grows a small tree, on which Samus hangs the amulet that one of the troops gave her. This tree now provides a new beginning for The Lamorn, while also honoring the Galactic Federation soldiers who sacrificed themselves in order to preserve their history. In any other game, I’d call that ending beautiful as much as it is heartbreaking. What sadly lessens the impact is that Samus doesn’t really have a connection to anything this ending represents. Her silence throughout the game and lack of connection with anyone and anything prevents the ending from landing in the way the developer surely intended. This tragic choice Samus has to make falls flat because, as the player who’s supposed to relate to her, I don’t feel much of a connection to any of the things that came before the ending. --- It is unclear what the future holds for Metroid. Will there be a new 2D game? Is there going to be a Prime 5? Would Prime Pinball get a sequel? The answers may be unclear at the time of this article, but I’m sure of one thing: If you’re going to write a story surrounding Samus Aran, you need to treat this character better. She can speak if she has reason to. She can show emotions if the time calls for it. She’s a silent and determined bounty hunter who’s achieved incredible feats, but she’s also a heroic and caring person whom we want to root for and not just question. ### Interview: Creating Beat 'Em Up Sequel Super Alloy Crush URL: https://www.superjumpmagazine.com/interview-creating-beat-em-up-sequel-super-alloy-crush/ Last updated: 2026-03-14T09:00:48.000Z **Super Alloy Crush is an upcoming 2D sci-fi beat 'em up.** It currently has no announced release date, but a demo is available on Steam. The game is being developed by [Alloy Mushroom, a two-person team based in China](https://www.ign.com/games/producer/alloy-mushroom). I spoke with one half of the duo, who goes by the pseudonym "Mabi Mogu" (which means "paralyzed mushroom"). ### SUPERJUMP Tell me a bit about yourself. How long have you been developing games, and how did you get into the business? ### Mabi Mogu We are a two-person team called “Alloy Mushroom.” I (Mabi Mogu) am an indie game designer. I started working in indie game development 12 years ago and created The Vagrant and Super Alloy Ranger. Right now, I’m working on my third project. My teammate, the programmer Iceprite, is also an excellent indie game developer. Before we worked together, he independently developed Touhou Mystery Reel, and I think he’s really impressive. What got me into the indie game industry was when my friend and I saw Steam Greenlight and thought that maybe we could do it too. So we started making The Vagrant from there. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/Alloy-Mushroom-Logo.png) Source: Press Kit. ### SUPERJUMP You go by “Alloy Mushroom” online. What’s the story there? Is it linked to your Super Alloy games? ### Mabi Mogu Alloy Mushroom was a name I came up with while developing Super Alloy Ranger. At that time, I was working on the game completely on my own, and when it was ready to be released, I needed a “studio name.” So I took Paralysis Mushroom (Mabi Mogu) and gave it a “Super Alloy” twist, which is how Alloy Mushroom was born. ### SUPERJUMP In that case, where does the name "paralysis mushroom" come from? ### Mabi Mogu It's an item from Monster Hunter. It's a poisonous material used to craft tranquilizer ammo. ### SUPERJUMP Moving on to the game itself, what’s the elevator pitch for Super Alloy Crush? How would you sum it up in a single sentence? ### Mabi Mogu My goal was to create a two-player side-scrolling action game inspired by Monster Hunter, Devil May Cry, and Mega Man, and I’ve been working toward that vision as much as I can. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/6.jpg) Source: Press Kit. ### SUPERJUMP This is the second game in the series, following on from Super Alloy Ranger, which was released back in 2022\. What lessons did you learn from the previous game, and what’s different about this installment? ### Mabi Mogu The story continues from Super Alloy Ranger, but the gameplay is completely different. The most obvious difference is that there are no traps and no contact damage. In this game, you fight enemies head-on and focus on chaining combos together. It’s a side-scrolling action game that puts a strong emphasis on fast, hack-and-slash combat. On top of that, it includes some roguelike-style modes designed for replayability. Unlike Super Alloy Ranger, this time I really wanted to create a game that players can enjoy playing over and over again. ### SUPERJUMP Tell me about some of your inspirations. I can see there’s a bit of Mega Man’s DNA in Super Alloy Crush. What else have you drawn from while designing Super Alloy Crush? ### Mabi Mogu The Mega Man influence is easy to spot at first glance, but in reality, a lot of the design this time was inspired by the great move sets and combat systems from games like Street Fighter, Devil May Cry, and Dungeon Fighter Online. Many of the skills, mechanics, and combo ideas came directly from what those games do so well. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/2.gif) Source: Press Kit. ### SUPERJUMP Combat in beat ‘em up games always needs to feel satisfying. What steps have you taken to ensure that fights in Super Alloy Crush feel engaging? ### Mabi Mogu On my side, I focused on making enemies actually react when they get hit. I didn’t want players to feel like enemies were solid blocks of steel stuck to the ground. Instead, I wanted them to be able to knock enemies around, launch them into the air, and control the flow of the battlefield through their own actions. ### SUPERJUMP The game has two characters with different playstyles. There’s Kelly, who attacks from range with a blaster, and Muu, who fights up close using energy claws. Is it difficult balancing the game, knowing that players can approach levels in two very different ways? ### Mabi Mogu It was definitely very challenging. In a close-combat system where enemies react to hits and can be launched into the air, characters who can control enemies with bullets easily become too powerful. So we had to constantly tweak things, like making melee combat more mobile and flexible to make up for its shorter range, while also giving ranged characters some real trade-offs and limitations. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/7.jpg) Source: Press Kit. ### SUPERJUMP What made you settle on the names “Kelly” and “Muu” for your protagonists? ### Mabi Mogu The name Kelly comes from a place in China, a city in Guizhou Province. When I first heard it, I thought, “Oh, I like that. It sounds really nice.” As for Muu, I wanted the name to feel a little strange and unique. What I didn’t expect was that a lot of English players would associate it with the sound a cow makes, like “moo.” But honestly, I kind of like that. ### SUPERJUMP The early access demo has been out since 22nd January. What sort of feedback have you gotten about the game so far? Has it inspired any major changes? ### Mabi Mogu Community feedback was incredibly helpful. Based on that, we added moving attacks for Kelly, adjusted the combat pacing, improved enemy AI, and refined a lot of small details. We also made many balance changes to the game’s stats, and all of this helped make the gameplay feel much smoother and more satisfying. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/3.gif) Source: Press Kit. ### SUPERJUMP After Super Alloy Crush releases, do you think you’ll keep releasing future games in this series, or do you have other projects in mind? ### Mabi Mogu Game development is our job and our passion. If possible, we would absolutely love to keep adding more content to Super Alloy Crush, and make a third Super Alloy game! We also have plenty of other ideas constantly flowing from our creative passion. Who knows what might come next? **The demo for* [**Super Alloy Crush is currently available on Steam*](https://store.steampowered.com/app/3092360/Super%5FAlloy%5FCrush/)**. The game is due to enter Early Access in the near future.* ### The History of Portable Tactical RPGs, Part 1: Game Boy (1989–2003) URL: https://www.superjumpmagazine.com/history-of-portable-tactical-rpgs-part-1/ Last updated: 2026-03-29T15:24:48.000Z **While the Super Famicom in Japan was home to several tactical RPGs that rank among the most influential, acclaimed, and successful of all time, most titles in the genre were never released internationally.** In subsequent console generations, tactical RPGs became especially prominent on portable platforms: their fully turn-based gameplay loop (movement and actions), small-scale maps, and stage-based progression proved well suited to systems with limited hardware capabilities, small (sometimes touch-sensitive) screens, and less ergonomic control design with fewer buttons. In this SUPERJUMP series, we will present an overview of the history of tactical RPGs on portable consoles, from the original Game Boy to the current Switch Lite. We will show how the evolution of portable hardware went hand in hand with the development of tactical RPG mechanics, resulting in a diverse body of titles within this hybrid genre. Two criteria are being used to include a video game in this chapter: 1. The title was released for early Game Boy models (GB) or Game Boy Color (GBC) between 1989 and 2003. 2. The title is a turn-based RPG whose main gameplay sessions are in grid-based scenarios, in which the player can move the units of a party or battalion. Although in some cases the player can control a single unit, combat primarily takes place against a coordinated party or battalion, not monsters that spawn or inhabit the world with relative independence. This is not a universal definition for tactical RPGs, but rather a functional definition of the genre for the Game Boy line of handheld consoles. See the essay [*Origins of the Strategy RPG (1982-1995)*](https://www.superjumpmagazine.com/origins-of-the-strategy-rpg/) (SUPERJUMP, 2022) for historical details on the definition of the tactical RPG genre. #### Table of Contents ****I. Hardware features** I.i. Game Boy I.ii. Game Boy Pocket I.iii. Game Boy Light I.iv. Game Boy Color ****II. Major tactical role-playing games** II.i. Super Robot Taisen II.ii. Little Master II.iii. Little Master 2 II.iv. Yugioh Capsule Monster GB II.v. From TV Animation One Piece: Yume no Luffy Kaizokudan Tanjou ****III. Minor tactical role-playing games** ****IV. Cronology** ****V. Honorable mentions** ****VI. Generation shift** ## I. Hardware Features Announced in 1989, the Game Boy was conceived by Nintendo’s R&D1 team under Gunpei Yokoi as a portable gaming system that prioritized affordability, durability, and long battery life over cutting-edge specifications. It used low-power technology and debuted with a greenish dot-matrix screen and a simple control layout derived from the NES controller. The system’s early success was amplified by bundling the iconic Tetris with the hardware, a strategy that helped establish the Game Boy as a defining platform in portable gaming. The Pokémon series, of course, was also largely responsible for the success of this handheld console. Games like Tetris and Pokémon used Game Link cables for local co-op or multiplayer. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/teste-game-boy-cabo.drawio.png) Two original Game Boys connected with a Game Link Cable. Source: Wikicommons/Authors. Core Technical Characteristics (Shared Architecture) - CPU: Sharp LR35902 (8-bit hybrid of Z80 and Intel 8080) - Base Clock Speed: \~4.19 MHz - Display Resolution: 160 × 144 pixels - Graphics Model: Tile-based backgrounds (8 × 8 tiles) with hardware sprites - Sprite Limits: Up to 40 sprites on screen; 8 × 8 or 8 × 16 pixels per sprite - Input: Digital D-pad; A / B buttons; Start / Select - Cartridge-Based Storage: Banked ROM and RAM via Memory Bank Controllers (MBCs) The Game Boy and its direct evolutions (Game Boy Pocket, Game Boy Light, and Game Boy Color) sold approximately 118.69 million units worldwide; the family is currently the fourth best-selling video game platform of all time. However, while turn-based RPGs flourished on the system, tactical RPGs were scarce on that platform. The two most important tactical RPGs in the Game Boy line are Super Robot Taisen, which is the first in one of the most classic and prolific tactical RPG series, and Yu-Gi-Oh! Capsule Monster GB, which laid the groundwork for a spin-off sub-series in the Yu-Gi-Oh! video game franchise. Despite their severe technical limitations, the Game Boy models offered a basic ground for tactical role-playing games. Their low-resolution grid-based displays, turn-based input model, and modest processing capabilities aligned with the requirements of small-scale tactical gameplay. Tactical RPGs developed for these handhelds often featured concise and episodic narratives, succinct dialogue, few simultaneous units, discreet movement with few variations, small top-down grid-based environments lacking verticality, few objects, menu-driven combat, and interfaces that simplified and sometimes omitted specific information (such as the chance to dodge or block an attack). Furthermore, the portable format encouraged short and intermittent gaming sessions. The Game Boy's D-pad is ideal for top-down grid movement, and the A / B buttons on this handheld are used to select a playable unit and its turn-based action. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/movimento-nos-port--teis-vers--o-final-mesmo.drawio.png) Artwork depicting grid-map movement in a style typical of tactical RPGs on a Game Boy. Source: Authors. Games often favored a top-down view for clear readability of the grid, and possible routes of movement were often shown by making unreachable tiles darker or by adding a mark like Little Master’s dark dot to indicate where players could take the currently selected unit. Simple cursors highlighting the current tile the player was interacting with were already a staple, letting players move units and check areas on the map. Cancelling movement wasn’t present on the first Super Robot Taisen, but other titles, like Little Master, had this function. For battles, the most popular format was to use transitions from the map grid to a separate screen that showed the attacker and defender in action, in a similar fashion to Fire Emblem, but often with simpler movement animations. One exception was Yu-Gi-Oh! Monster Capsule GB, which represented attacks as hit animations directly on the map. The video below offers a sample of the audiovisuals of a tactical RPG on the Game Boy. In the subsequent subtopics, we present, in general terms, updates to the original Game Boy that impacted the experience of playing a tactical RPG. 0:00 /0:26 1× Super Robot Taisen emulated via Visual Boy Advance. Source: Banpresto/Authors. ### I.i. Game Boy (DMG-01, 1989) - Display: 160 × 144 pixels; 4 grayscale tones (2-bit) - RAM: 8 KB system RAM; 8 KB video RAM - Sound: 4 audio channels (2 square wave, 1 wave table, 1 noise) - Power: 4 × AA batteries High-contrast monochrome screens favor symbolic iconography and grid-based design, the basis for tactical maps, RPG interfaces, and menus. The console's non-backlit LCD screen features a greenish background. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/gb-1.drawio.PNG) Little Master (GB, JP: 1991) on Game Boy. Source: Authors. ### I.ii. Game Boy Pocket (1996) - Display: Improved passive-matrix LCD with higher contrast; still monochrome (4 grayscale tones) - Form Factor: Smaller and lighter chassis - Power: 2 × AAA batteries; The Pocket introduced significantly improved screen clarity, indirectly enhancing the readability of tactical interfaces and small map tiles. The Game Boy Pocket also uses a monochrome four-shade palette, but with true grayscale tones. ### I.iii. Game Boy Light (1998, Japan-only) - Core Hardware: Equivalent to Game Boy Pocket - Display: Monochrome LCD with electroluminescent backlight - Power: 2 × AA batteries The backlit screen greatly improved visibility in low-light conditions. On the Game Boy Light, when the backlight is turned off, the display appears identical to that of the Game Boy Pocket. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/gb-2.drawio.PNG) Little Master (GB, JP: 1991) on Game Boy Pocket or Game Boy Light. Source: Authors. ### I.iv. Game Boy Color (CGB-001, 1998) - CPU: Enhanced LR35902 - Clock Speed: 4.19 MHz (DMG compatibility mode); \~8.38 MHz (native CGB mode) - Color Capability: 32.768-color master palette; up to 56 colors on screen simultaneously, without advanced tricks - RAM: 32 KB system RAM; 16 KB VRAM (two banks) - Backward Compatibility: Full support for all original Game Boy titles Color palettes enabled clearer unit differentiation, terrain encoding, and status signaling, while increased RAM and clock speed supported more complex AI routines and larger battlefields. For GBC-exclusive games, the hardware supports a 15-bit RGB palette, but color usage is strictly palette-based: each background tile references a 4-color palette, with up to 8 background palettes and 8 sprite palettes available per frame. For sprites, one color is always transparent, resulting in a practical maximum of 56 on-screen colors (32 from backgrounds and 24 from sprites). When running original Game Boy games, the four grayscale tones of the monochrome game are mapped to predefined color palettes, either automatically selected based on the cartridge header or manually chosen by the player via button combinations at boot, preserving the original light–dark relationships while adding hue. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/gbc-3.drawio.PNG) Yugioh Capsule Monster GB (GBC, JP: 2000) on Game Boy Color. Source: Authors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/combo.png) Little Master (GB, JP: 1991) on Game Boy Color. Source: Authors. ## II. Major Tactical Role-Playing Games We say that a tactical RPG (TRPG) is "major" when it satisfies *at least one* of the following criteria: 1. The title has an average score of 35/40 or higher on some review aggregator (EGM or Famitsu) 2. The title sold more than 100.000 copies 3. The title is part of a main series 4. The title is the first in a subseries 5. The title was significantly influential in the development of later major titles. If a spin-off surpasses the original series in sales and critical acclaim, we say that it has become a main series. By that definition, Super Robot Wars and Tactics Ogre are main series, while Final Fantasy Tactics and Shin Megami Tensei: Devil Survivor are not. In chronological order, this topic presents all the major tactical RPGs from the Game Boy line, including narrative introduction, gameplay, and critical and commercial reception. Each game is accompanied by cover art plus up to 6 screenshots from the game: 1. Tactical battle grid; 2. In-game dialogue (if any); 3. Transition to combat (if any); 4. World map (if any); 5. Exploration (if any); 6. Cutscene without in-game graphics (if any). ### II.i. Super Robot Taisen (GB, 1991) After having done a similar crossover project called Compati Hero back in 1990, Bandai’s subsidiary Banpresto decided to create a project to mix multiple mecha series into a single game. This gave birth to Super Robot Taisen, a tactical RPG that let players move various giant robot units through grid-based battlefields. When starting the game, players have to choose which series they’d like to comprise their army. The choices include Mobile Suit Gundam, Mazinger, and Getter Robo, and the main unit can be selected as the player’s favorite from the list, allowing players to add extra points to their attack, HP, speed, or charisma. As the player progresses through the maps, it is possible to obtain more allies using a chance-based persuasion system. 0:00 /0:26 1× Super Robot Taisen emulated via Visual Boy Advance. Source: Banpresto/Authors. Also known as Super Robot Wars in the West, the series would become very prolific, with over 70 releases across multiple systems, including Super Famicom, Game Boy Advance, DS, 3DS, and all PlayStation consoles and handhelds. Most titles remain available only in Japanese, but all games since Super Robot Wars OG: The Moon Dwellers (2016), have been released in English. The first game sold 190.000 units and was a best-seller in the first years of Game Boy in Japan. While reviews from back in the day are hard to find online, back in 2020, Famitsu commented on how the title already introduced some of the appeal of the crossover franchise, even if, compared to later releases, it is noticeably limited: > “The story is unique, and the appeal of the series lies in how it skillfully blends together works with completely different settings into a single narrative. While it's common to read the story with excitement, wondering how your favorite works will connect, the adventure section of the first game was quite simple. \[...\] Due to hardware limitations, the battle animations in this game were simple, with missiles flying about, giving the game a feel similar to that of early command-based RPGs. However, with the background music from each game playing and the robots on both sides being depicted, it's interesting to see a glimpse of the powerful battles of today.” Full text (Famitsu’s retrospective of the game’s launch date): ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Super-Robot-Taisen-Map-Screenshot-True-GB-Color--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Super-Robot-Taisen-Attack-Scene--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Super-Robot-Taisen-Story-Scene--1-.png) Super Robot Taisen emulated via Visual Boy Advance. Source: Banpresto/Authors. ### II.ii. Little Master (GB, JP: 1991) Tokuma Shoten’s Little Master: Raikuban no Densetsu was another game starting a brand-new series on the Game Boy. The title would eventually span a sequel on the same platform in 1992 and another on the SNES in 1995\. An English translation was planned, and the title would have been released as Doomsayer: A Hero’s Crusade, but this Western version was ultimately cancelled back in the day. In Little Master, players control Raikuban and the kingdom’s troops, which include anthropomorphic animals. Land effects on the characters were presented right before each combat, which happened in a separate screen like the Fire Emblem series. Attack animations were considerably more detailed than Super Robot Taisen of the same year, with each individual moving towards the enemy to unleash an attack, and the battle background depicting which terrain they were on. It was also possible to fuse units to create even stronger allies. Sales data or reviews from back in the day are hard to find, and the game remains an obscure gem from the Game Boy, which is also the case for its sequels. Nonetheless, in 2018, Zatos Hacks released an English fan translation of the game, pointing out some of its qualities: > “Little Master is the first game in the Little Master trilogy. This game and the series as a whole are quite terrific! The game is a strategy RPG which features great gameplay and music. Levels are varied to keep the gameplay fresh. The game also features a unity system, where you can combine troops to form more powerful ones! A standout game for the Game Boy!” Romhacking.net Description: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Little-Master-Screenshot-Map-Movement-Original-GB--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Little-Master-Battle-Scene.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Little-Master-Map-Transition.png) Little Master emulated via Visual Boy Advance. Source: Konami/Authors. ### II.iii. Little Master 2 (GB, JP: 1992) Coming a little less than a year after the first game, Little Master 2 is a straight sequel that keeps much of its structure. Even visually, the game is very similar, reusing units and some maps but expanding the game to have more than double the number of missions and adjusting the balance so that some units aren’t too strong and there’s more of a challenge overall. As far as major additions to the genre, the game doesn’t truly bring anything major to the table, focusing on presenting what’s mostly a revamped, improved version of what Little Master offered. One of its few significant additions was introducing a healer unit to the team that can transform into a different fighter afterward. 0:00 /0:19 1× Little Master 2 emulated via Visual Boy Advance. Source: Konami/Authors. Like its predecessor, there’s a lack of data on its sales and reviews available online. However, the series would continue with a third game, called Little Master: Nijiiro no Maseki on the Super Famicom, which would bring further gameplay improvements. Unfortunately, Little Master 2 is still only available in Japanese, not even receiving any English fan translations. One of the only online reviews for the game comes from a user on the gaming site GameFAQs, commenting on how the game is now improved: > “Released less than a year after its predecessor, Little Master comes back to the Game Boy. Despite being, at first glance, almost the same exact game, this second entry is bigger and better in nearly every aspect. \[...\] But all in all, Little Master 2 is a compelling TRPG that deserves to be played. Although technically a sequel to the first game, it is not mandatory to play it before jumping into this one. Whether you’re looking for a great game to play on your original Game Boy or looking for a tactical RPG to satisfy your gray matter cravings, you can’t go wrong with Little Master 2: Knight of Lightning. A definite must.” Full retrospective review: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Little-Master-2-Grid-Map.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Little-Master-2-Battle-Scene.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Little-Master-2-World-Map.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Little-Master-2-Cutscene.png) Little Master 2 emulated via Visual Boy Advance. Source: Konami/Authors. ### II.iv. Yugioh Capsule Monster GB (GBC, JP: 2000) Yu-Gi-Oh! Monster Capsule GB was developed and published by Konami for the Game Boy Color and released exclusively in Japan as part of the expansion of the Yu-Gi-Oh! franchise. The game is directly inspired by the “Monster World” and “Capsule Monsters” story arcs from the original manga, offering a self-contained adventure outside the traditional card-duel format that came to dominate the series. In the narrative, the iconic Yugi Muto confronts the antagonist Seto Kaiba, whose possession by the Millennium Ring precipitates a tournament-based journey through the “Monster World” in order to rescue friends and family. In terms of gameplay, Monster Capsule GB employs a turn-based tactical RPG system in which players deploy and move “capsules” (each representing a monster) across square battlefields, exploiting movement ranges, unit-specific abilities, and terrain effects to defeat opponents. The system distinguishes itself from other portable tactical RPGs of the period by integrating traditional RPG progression with rigid spatial positioning and mechanics derived directly from the Yu-Gi-Oh! universe, resulting in a hybrid experience situated between board game design, role-playing progression, and tactical combat. Battles take place on a 6x6 field, where each square represents a field. You can position up to four Monster Capsules (MCs), and on each turn, you move and attack a monster. If there are no more MCs on the field, you lose. Dice rolls determine the success of an attack; If the result is less than the hit rate, the attack is a hit. Hit rate and power can also be increased by field energy sources or support effects, such as enemies being within the attack range of other allies. Excepting battles, everything else, including route selection, is decided by dice. 0:00 /0:27 1× Yugioh Capsule Monster GB emulated via Visual Boy Advance. Source: Konami/Authors. Commercially, Yu-Gi-Oh! Monster Capsule GB achieved a modest performance in the Japanese market, with cumulative sales of approximately 129.095 units ([Wiki](https://en.wikipedia.org/wiki/List%5Fof%5FYu-Gi-Oh!%5Fvideo%5Fgames)/GameDataLibrary/Famitsu). The title peaked at over 36.000 units sold in its first week ([yugiohdata](http://yugiohdata.blog.fc2.com/blog-entry-1.html)), securing prominent positions in domestic sales rankings throughout 2000\. There is scarce information about reviews from the 2000s, but subsequently,in Yu-Gi-Oh! Monster Capsule GB has been praised in comparison to other titles in the franchise on the same platform. > “Although the subject matter differs, this title surpasses other GB Yu-Gi-Oh! games in quality and is definitely in the category of a good character game.” > > \[ 題材としているゲームが違うとはいえ、他のGBの遊戯王のゲームを上回る出来であり、キャラゲーとしても間違いなく良作の部類に入る。\] Full retrospective review: [ゲームカタログ@Wiki](https://w.atwiki.jp/gcmatome/pages/4815.html?utm%5Fsource=chatgpt.com#id%5Fe9e1b813), ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Yugioh-Monster-Capsule-GB--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Yu-Gi-Oh----Monster-Capsule-GB-Dialogue.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Yugioh-Monster-Capsule-GB-Map-Outside-Battle--1-.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Yu-Gi-Oh-Monster-Capsule-GB-Cutscene--2-.png) Yugioh Capsule Monster GB emulated via Visual Boy Advance. Source: Konami/Authors. ### II.v. From TV Animation One Piece: Yume no Luffy Kaizokudan Tanjou (GBC, JP: 2001) With licenses to some anime at their disposal, Banpresto invested in creating an RPG adapting One Piece’s early events. As with all the other tactical RPGs for the handheld system, it was only released in Japan. Gameplay has a structure very similar to the traditional command-based, turn-based games. Outside of battles, players can explore the world in a top-down perspective, moving around to reach specific points in the map to trigger dialogues with characters. When moving around specific areas, it’s possible to trigger random battles, which will take the player to grid-based, tactical combat. At first, the player starts only with the protagonist Luffy, though more characters join the team as the story progresses, and it’s possible to change the order of events compared to the original manga/anime. 0:00 /0:45 1× From TV Animation One Piece: Yume no Luffy Kaizokudan Tanjou emulated via Visual Boy Advance. Source: Banpresto/Authors. From TV Animation One Piece: Yume no Luffy Kaizokudan Tanjou sold approximately 375.962 units ([Video Game Sales Wiki](https://vgsales.fandom.com/wiki/One%5FPiece#Individual%5Fgames)). On release, Famitsu reviewed the game with a 23/40 ([Wiki](https://it.wikipedia.org/wiki/One%5FPiece%3A%5FYume%5Fno%5FLuffy%5Fkaizoku%5Fdan%5Ftanj%C5%8D%21?utm%5Fsource=chatgpt.com#cite%5Fnote-2)/[Famitsu No. 646](https://web.archive.org/web/20210602214945/https://www.famitsu.com/cominy/?m=pc&a=page%5Fh%5Ftitle&title%5Fid=12379&redirect=no)). When it comes to the game's qualities, Yuki Ogata points out the scenario variations as one of its big draws: > "You can create a pirate crew with your favorite characters and progress through the story however you like. It's a game where you can enjoy 'what if' One Piece scenarios, such as putting 'Sanji' and 'Gin' or 'Zoro' and 'Helmeppo' in the same party." > > \[自分の好きなキャラを集めた海賊団を作り、自分が好きなようにストーリーを進める。「サンジ」と「ギン」や、「ゾロ」と「ヘルメッポ」を同じパーティにするなど“もしも”のワンピースが楽しめるゲームだったのだ。\] Full retrospective review: [Futabanet Manga plus](https://futaman.futabanet.jp/articles/-/121858?page=2) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/One-Piece-Map-Inside-Battle.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/One-Piece-Dialogue.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/One-Piece-Map-Outside-Battle.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/One-Piece-World-Map.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/One-Piece-Cutscene.png) From TV Animation One Piece: Yume no Luffy Kaizokudan Tanjou emulated via Visual Boy Advance. Source: Banpresto/Authors. ## III. Minor Tactical Role-Playing Games Not all tactical RPGs released for the Game Boy line were prominent in their time, but all deserve their place in the chronology. Below, we present the minor tactical RPGs released for the Game Boy line. ### Dai-2-ji Super Robot Taisen G (GB, JP: 1995) Dai-2-ji Super Robot Taisen G (or “2nd Super Robot Wars G” in an English name translation effort) is a remake of Dai-2-Ji Super Robot Taisen, originally released for the Family Computer (Famicom). The game’s mostly similar to the first one in structure, though it offers a much denser narrative with pilots having a notable presence in dialogue (this would become the norm for later games in the series). Battle animations were also improved to better reflect damage. Upon release, Famitsu magazine (then known as Famicom Tsushin) reviewed the GB edition of Dai-2-ji Super Robot Taisen with a 28/40 ([Wiki](https://en.wikipedia.org/wiki/2nd%5FSuper%5FRobot%5FWars#cite%5Fnote-2)/Famitsu No. 342). In its release week, the game sold 57.163 units ([Game Data Library](https://sites.google.com/site/gamedatalibrary/game-search)). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Dai-2-ji-Super-Robot-Taisen-G-Grid-Map.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Dai-2-ji-Super-Robot-Taisen-G-Battle-Scene.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Dai-2-ji-Super-Robot-Taisen-G-Dialogue.png) Dai-2-ji Super Robot Taisen G emulated via Visual Boy Advance. Source: Banpresto/Authors. ### Another Bible (GB, JP: 1995) Another Bible was developed by Multimedia Intelligence Transfer and published by Atlus, exclusively in Japan, as a spin-off of the Megami Tensei series. While less philosophical than the mainline Megami Tensei titles, Another Bible preserves the series’ thematic interest in fate, moral conflict, and the ambiguity of divine authority. Unlike traditional tactical RPGs, the game integrates simplified demon management mechanics reminiscent of Megami Tensei. Another Bible was a niche release with scarce reviews, and there are no reliable sources for its sales. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Another-Bible-Map-Movement-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Another-Bible-Village-Interaction.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Another-Bible-Battle-Scene-2.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Another-Bible-World-Map.png) Another Bible emulated via Visual Boy Advance. Source: Atlus/Authors. ### Senkai Ibunroku Juntei Taisen (GBC, JP: 2000) Another tactical RPG developed by Banpresto was Senkai Ibunroku Juntei Taisen, which was also based on an anime IP, in this case, Hoshin Engi. Like other games in this list, it was only released in Japan. The game was generally structured like the Super Robot Taisen games, with the interesting element of being able to spend a turn to recharge the energy gauge needed to activate special attacks with longer range, as well as having the ability to equip different skills to each ally unit. This is another obscure game with scarce reviews. In its release week, Senkai Ibunroku Juntei Taisen sold only 15.699 units ([Game Data Library](https://sites.google.com/site/gamedatalibrary/game-search)). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Senkai-Ibunroku-Juntei-Taisen-Grid-Map-Movement.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Senkai-Ibunroku-Juntei-Taisen-Dialogue.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Senkai-Ibunroku-Juntei-Taisen-Battle-Scene.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Senkai-Ibunroku-Juntei-Taisen-World-Map.png) Senkai Ibunroku Juntei Taisen emulated via Visual Boy Advance. Source: Banpresto/Authors. ### Monster Maker: Barcode Saga (GB, JP: 1993) Monster Maker: Barcode Saga is perhaps one of the most unique examples of the genre and a hard one to play now. Developed as a partnership between Namco, Sofel, Show-Kikaku, and Kugatsu Hime, this tactical RPG took advantage of the peripheral Barcode Boy for players to unlock allies and create their own army with warriors, mages, archers, knights, and dragon knights. Due to all the hoops necessary to get it to work, emulating it as intended is complicated, and some of its efforts and progress were presented by [Shonumi](https://shonumi.github.io/articles/art7.html) back in 2017\. More about the game can be seen on the Laowai Jockey [YouTube](https://www.youtube.com/watch?v=raJsTceVOT0) channel (2026). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-62.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/image-63.png) Monster Maker: Barcode Saga emulated via Visual Boy Advance. Source: Namco/Authors. ## IV. Chronology ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/03/cronologia-GB-final.drawio.png) Source: Authors. ## V. Honorable Mentions We begin this timeline with the Game Boy, but there are handheld consoles released before the Game Boy line ([Wiki](https://en.wikipedia.org/wiki/List%5Fof%5Fhandheld%5Fgame%5Fconsoles)) that don't have tactical RPGs in their libraries: - Microvision - Entex Select-A-Game - Entex Adventure Vision - Palmtex Portable Videogame System - Digi Casse - Epoch Game Pocket Computer - Etch A Sketch Animator 2000 Titles that receive an honorable mention satisfy one of the following three criteria: 1. It is a strategy role-playing game (SRPG), but not a tactical role-playing game (TRPG). 2. It is a tactical game, but not a tactical RPG. 3. It is a grid-based, turn-based game that may at first glance be confused with our definition of TRPG in this section. Here’s the full list of honorable mentions: - Nobunaga's Ambition (GB, JP: 1990, NA: 1991) - SD Gundam: SD Sengokuden – Kuntori Monogatari (GB, JP: 1990) - Ultraman Club: Teki Kaijuu o Hakken Seyo! (GB, JP: 1990) - Daisenryaku (GB, JP: 1991) - Game Boy Wars (GB, JP: 1991) - Kikou Keisatsu Metal Jack (GB, JP: 1992) - SD Gundam: Sengokuden 2 - Tenka Touitsuhen (GB, JP: 1992) - SD Gundam: SD Sengokuden 3: Chijou Saikyouhen (GB, JP: 1992) - Tokio Senki: Eiyuu Retsuden (GB, JP: 1992) - Fushigi no Dungeon: Fuurai no Shiren GB: Tsukikagemura no Kaibutsu (GB, JP: 1996) - Azure Dreams (GBC, JP: 1997, NA: 1998, EU: 1998) - Game Boy Wars Turbo (GB, JP: 1997) - Game Boy Wars 2 (GBC, JP: 1998) - Game Boy Wars 3 (GBC, JP: 1999) - Fushigi no Dungeon: Fuurai no Shiren GB2: Sabaku no Majou (GBC, JP: 2001) Firstly, there are tactical games that are not RPGs on the Game Boy. This includes Daisenryaku, Kikou Keisatsu Metal Jack, and the Game Boy Wars titles, which are part of the same series as the popular Advance Wars games. Uchuu Senkan Yamato is also included in this category, albeit mixing tactical strategy with shoot'em up segments. When examining the concept of tactical RPGs, which include turn-based grid movement and combat, it’s also important to highlight the Mystery Dungeon format of roguelikes. While not commonly associated with the genre due to not having organized enemy troops, they also share the grid structure in the exploration of the randomly generated dungeons. Three major examples of the genre were available on the GB and GBC: two Shiren entries and Azure Dreams, which is the only officially translated game in this whole retrospective of the handheld. Finally, the SD Gundam: SD Sengokuden trilogy on Game Boy mixes the tactical format with action combat. Players move the units around a grid-based structure and then must directly control their robots to fight against the enemies in an action format. The game is closer to a mix of tactical strategy and action, seemingly not bringing significant RPG elements to the table. Curiously, even though the Sakura Wars franchise is composed of tactical RPG titles in its mainline, the Game Boy entries (Sakura Taisen GB and Sakura Taisen GB2) discard the grid and instead battles play in a traditional gridless turn-based structure. For the first game, battles are adapted to work within the LIP's choice frame, letting players pick an action like in a text adventure instead. Meanwhile, the second one is akin to traditional Japanese RPGs like Final Fantasy, with the player choosing commands in the menu once a unit’s turn comes around. As such, they’re not even adequate as honorable mentions. ## VI. Generation shift By the early 2000s, the Game Boy Color remained in production even after the arrival of its generational successor, the Game Boy Advance (GBA) in 2001, but both original and Color models were finally discontinued by March 2003\. Even after nearly a decade and a half on the market, the Game Boy line never released any tactical RPGs with an official English translation, unlike its rival handheld consoles, such as the Neo Geo Pocket. In [Part 2 of our series](https://www.superjumpmagazine.com/the-history-of-portable-tactical-rpgs-part-2-game-boy-rivals-1989-2006/), we will discuss the history of tactical RPGs on the rival handhelds of the Game Boy family (i.e., the Game Boy line along with the Game Boy Advance line). ### Searching for Wonder in a Toxic Gaming Landscape URL: https://www.superjumpmagazine.com/searching-for-wonder-in-a-toxic-gaming-landscape/ Last updated: 2026-02-23T04:48:17.000Z **In January 1968, British science fiction writer Arthur C. Clarke wrote to Science magazine** to articulate what would become the third and final principle of his now famous “three laws”, a set of observations about technology, discovery, and humanity’s relationship to them. In this, the most famous of the three adages, Clarke stated: “Any sufficiently advanced technology is indistinguishable from magic." ### Starting Early Fast forward thirty-two years, I’m six years old, and I’ve invited myself round to a friend’s house under the pretence of a sleepover. In reality, I was there because I knew he owned a PlayStation. Up to that point, I’d only ever had a passing relationship with videogames. A friend’s birthday party here, playing pinball on the family PC there; but outside of that, my chances to play had been slim to none. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-4.png) [You know the one](https://classicreload.com/win9x-3d-pinball-space-cadet.html). Source: Classic Reload. After some debate, we settled on the latest addition to his collection: a game called Action Man: Destruction X. We slid the disc into the tray, the CRT flickered to life, and then, the [sonic boom](https://www.youtube.com/watch?v=BOPViekdacQ) etched into the skulls of millennials the world over. After negotiating a menu screen and the opening cutscene, the television gave way to the game itself. There was my childhood hero rendered in glorious, pixelated form - equipped with only a boomerang - facing off against a Tyrannosaurus Rex in what felt like a chasmic arena. Now, I don’t wish to be hyperbolic, but at that admittedly early point in my life, this was easily one of the coolest things I’d ever seen. To me, it was indistinguishable from magic. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/actionman.jpg) [I mean, come on](https://youtu.be/tb5EOeTetLU?list=PLuB7mLeC2g3FaZ3QXC4dc9Q8NBxWDFWQK&t=220). Source: Youtube. ### Why Videogames? It didn’t matter that the game was clunky, borderline incoherent and, on reflection, somewhat shit. What mattered was the feeling: the sense of discovery, imagination, and possibility that videogames offered in a way nothing else quite did. That moment set the tone for a lifelong relationship with games, a medium in which I could explore entire worlds built with care, craft, and creativity. But somewhere along the way, something curdled. If I really interrogate why I still play videogames, I’d say that they’re a way for me to reconnect with that younger version of myself, a window I can slip through to retrieve some of the wonder that came so freely in childhood, but which adulthood takes too readily. Games still do that for me, but increasingly, the culture which surrounds them seems determined to crush it. ### **Gamerhate** It’s not hard to see why. Today, social platforms shape much of the conversation we have about games, and those sites - Twitter, Reddit, YouTube - are designed first and foremost to reward engagement, not understanding. Invariably, then, nuance doesn’t travel; anger does, and in gaming spaces, that anger metastasises quickly. The depressing part is that the warning signs have been there for over a decade. Flashpoint moments like Gamergate didn’t mark the advent of toxicity in games; they marked its industrialisation, with harassment campaigns masquerading as “consumer advocacy,” sustained abuse directed at developers and critics, and a lasting lesson learned by bad actors in the community - outrage is profitable. Later crossroads, like the backlash to The Last of Us Part II, followed the same template: review bombing, death threats, and petitions demanding creative works be rewritten to better align with audience entitlement. These moments matter, but not because they’re shocking. They matter because they’re no longer exceptions. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-5.png) Anita Sarkeesian, one of the principle targets of Gamergate. Source: Feminist Frequency. ### **Where Things Stand in 2026** This pernicious behaviour is a dime a dozen today. A studio’s creative decisions are pre-emptively litigated on social media before a game even releases - for example, Bungie’s Marathon hasn’t even been released yet, and it’s already being dissected and denounced online. Developers don’t have to worry about abuse; they expect it. Marginalised players quietly disengage, not because they don’t love games, but because the surrounding culture keeps reminding them they’re not welcome. The question, then, is simple: is this the culture we want to exist within, at a time when games are pushing the medium further than ever? Videogames today are more ambitious, more expressive, and more artistically confident than they’ve ever been. Yet the way we talk about them, publicly, performatively, online, has grown smaller, meaner, and more caustic. Games are treated less like shared experiences and more like battlegrounds where identity, politics, and personal grievance collide. ### **Assmongold** I’d like to apologise in advance for this next example. Earlier this week, my Twitter algorithm served up this [little gem](https://x.com/throwaway274555/status/2020966654784438335?s=20) for my viewing displeasure. Go watch it, I’ll wait… Now, to me, Asmongold is amongst the worst offenders in turning our modern gaming culture into such a poisonous place. In this clip, he neatly illustrates why. Here is a prominent streamer, with a sizeable audience, openly expressing a willingness to make the lives of strangers more difficult on a whim, and framing it as entertainment. There is no insight here, no critique, no value, just spite, amplified by a platform that rewards it. Asmongold is not a thought leader, a cultural authority, or a policymaker. He is a Twitch streamer whose influence far outweighs the responsibility he shows in wielding it. And every time his behaviour is normalised, rewarded, or defended, the culture around games becomes a little more hostile, more fractured, and less worth participating in. ### **Superbold** If you’ll allow me to zoom out further for a moment, this behaviour isn’t confined to games; it reflects a broader pattern playing out across society in general. Just this past weekend, Bad Bunny performed at the Super Bowl LX halftime show, and I’ve watched as some of the world’s pre-eminent grifters and walking, talking human mudslides have used this not as an opportunity to widen their world, but instead to foment hatred along national and [ethnic lines](https://x.com/MikeNellis/status/2020963126041084078?s=20). It’s tempting to dismiss this as a “bad fans” problem. It isn’t. It’s a systemic one. Platform incentives reward outrage. Algorithms flatten complexity. Identity becomes tribal. Disagreement turns instantly into moral failure. In that environment, games stop being art to engage with and become symbols to defend or destroy. The loudest voices dominate, not because they’re representative, but because they’re profitable. This all has consequences; not abstract ones, but real, human costs. Developers burn out or leave the industry entirely. Players self-censor or withdraw. The medium’s public reputation is shaped not by its best work, but by its ugliest behaviour. It only makes it easier for traditional media to dismiss videogames as immature or unserious, and why shouldn’t they when the culture surrounding them seems so allergic to reflection? ### **What Next?** This is the part where I’m supposed to present a solution. I don’t have one. Not a clean one, anyway. But I do know what I want. I want a gaming culture that remembers games are made by people, that creative risk isn’t betrayal, that discomfort isn’t failure, that art doesn’t owe us validation, only honesty. I want conversations that prioritise curiosity over condemnation, and criticism that engages with craft rather than identity. Most of all, I want us to reclaim the magic that drew so many of us here in the first place. With that in mind, I’ve compiled a list to help move the needle back to a more acceptable, more human place, a ruleset that I like to call… ### Ten Rules for Being Less Awful About Videogames 1. **Remember that games are made by people** \- Not brands, not avatars, not targets. Real people with finite time, energy, and feelings. If you wouldn’t say it to their face, don’t post it. 2. **Disliking a game is not a moral position** \- You didn’t like the story. Fine. You hated the mechanics. Valid. That does not make you enlightened, betrayed, or oppressed. 3. **Criticism is not the same thing as harassment. Learn the difference** \- “This didn’t work for me” is criticism. Dogpiling, threats, doxing, or abuse dressed up as “feedback” is cowardice, nothing more. 4. **Art is allowed to challenge you, frustrate you, or leave you cold** \- A game failing to meet your expectations does not mean it has failed outright. Sometimes the work isn’t bad, and challenging you was the point. 5. **Stop treating developers as customer service reps -** Buying a game does not entitle you to control its creative direction, rewrite its story, or demand it be remade to suit your tastes. 6. **Engagement is not truth -** The loudest take on Twitter or YouTube is rarely the smartest one. Algorithms reward outrage, not insight. Don’t confuse virality with validity. 7. **Gatekeeping kills communities -** There is no “correct” way to enjoy games. If your instinct is to test someone’s credentials before welcoming them, look inward. 8. **Punch up, not down, or better yet, don’t punch at all** \- Mocking the corporations that pick apart the industry is fair game. Harassing individuals, especially marginalised ones, is not rebellion; it’s cruelty. 9. **Log off when you’re angry -** You don’t owe the internet your worst impulse. No take is so urgent that it can’t wait until you’ve cooled off. 10. **Protect the thing you love -** If you care about games as art, act like it. That means curiosity over contempt, empathy over entitlement, and remembering why games felt like magic in the first place. --- When all is said and done, I’d like to leave you with this. In Blood, Sweat, and Pixels, Jason Schreier recounts a conversation he was having with a developer, after hearing about a gruelling production cycle, “Sounds like a miracle that this game was even made.” “Oh, Jason,” the developer replied. “It’s a miracle that any game is made.” I wish the people who claim to love games remembered that. ### Reality Isn't So Kind: How Final Fantasy VIII's Child Soldiers Defy Destiny URL: https://www.superjumpmagazine.com/reality-isnt-so-kind-how-final-fantasy-viiis-child-soldiers-defy-destiny/ Last updated: 2026-02-15T02:09:46.000Z **The day is long.** Beginning with an early morning training session that ends in blood and scars, followed by a teacher-led field test against the Guardian Force Ifrit, Squall finds himself on unfamiliar shores, the intrepid pre-graduate SeeD mercenary tasked with securing a portion of the Galbadian-occupied city of Dollet. Pridefully, Seifer Almasy pushes Zell and Squall onward, where they meet the new transfer, Selphie, at the top of a ridge. Tired, battered, and sidling war crimes mid-seige, they follow Seifer to an abandoned radio tower, where the abandonment of their post has them play unwitting heroes before a withdrawal order. Briefly, Seifer asks Squall about his personal dream. "The way I look at it," says Seifer. "As long as you make it out of battle alive, you're one step closer to fulfilling your dream." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/19c0104a40f48-screenshotUrl.jpg) Screenshot: Author. It's a romantic one, Seifer says, though players familiar with Final Fantasy VIII know the outcome of his misguided aspirations. Inspired by action films and the abandonment of boyhood, Squall's rival dedicates his solipsistic dream to manipulating another. And Seifer's dream is this: to be a sorceress' knight, to follow in the footsteps of a childhood motivation, to play the hero. Seifer may come across as a bully, but he's very critical of the world as presented. Despite being part of the student-retained "Disciplinary Committee," Seifer's laid-back attitude underpins a character that doesn't respect the status quo. Later in the game, after Squall and company have been abducted and imprisoned by the Galbadian military, Squall faces torture at the hands of an opportunistic guard. The torturer demands to know the *true* goal of SeeD—something that Seifer, a failed student who didn't graduate, supposes is a secret universal truth of those who complete their exams. While Squall's sophistry (and frequent apathy) are defensive, this dismissive joke ties into the game's underlying themes, driving the anti-violence philosophy espoused when the party reaches Fisherman's Horizon, and deeper still, the thematic identity of adept child soldiers in a world of ineffectual adults. "...Flower." Squall can barely lift his head from the pain of torture. "The true goal of SeeD is to spread seeds all over the world, to fill the world with flowers." No, the goal of SeeD isn't anything ecological. Seifer and Squall both experienced caged, manipulated dreams. The only environments affected by these young soldiers become battlefields. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/19c0104a40f9-screenshotUrl.jpg) Screenshot: Author. ### Soft Imperialism Squall is faced with the sins and circumstances of his actions more than once in the course of Final Fantasy VIII's story. At Fisherman's Horizon, a sealevel utopia governed by a socialist mayor and populated by peace-loving engineers, Squall confronts the reality of his actions as a student of warfare. The apathy that guards him from responsibility is stripped away as he is forced to face the fact that *war* and *peace* are not a simple binary. SeeD mercenary interference, even when left to small squads of two or three, can be enough to upset governments, political agendas, and entire communities. Paid warfare shapes the world, allowing both activists and opportunists to recreate the setting, law, and standard. Squall tells Mayor Dobe at Fisherman's Horizon: > *"It's hard for me to explain. I wish everything could be settled without resorting to violence...and there would be no need for battles. Like you've been preaching, it would be wonderful if things could be settled by discussion. The only problem with that is that it takes too much time. Especially if the others are not willing to listen. So I believe that fighting is inevitable at times. \[...\] I think the world needs both people like you and people like us."* The Timber region's early-game exploitation by SeeD is framed as salvation. Rinoa, revealed to be an excitable activist and the rebellious daughter of a Galbadian general, begs Balamb's headmaster to grant her Squall, Zell, and Selphie. These newly graduated cadets do not have the life experience or the political acumen to comprehend the gravity of their duties. The 18-year-long Timber rebellion has been fronted by underground resistance groups who, in the wake of the second Sorceress War, fight for independence from Galbadia. While Timber rots beneath fascist rule and faces continual hardships due to the clashes between resistance groups and the military, its retrograde standards assign it as an independent nation. Galbadia's firmer "peacekeeping" force shuts down railroads and prevents mainstream outside news from reaching local citizens. Rinoa's misguided activism and Team Squall's violent interference feel like justice and salvation. Inevitably, their actionable plan leads to a disruption in the city; the party attempts to assassinate a high-profile Galbadian leader, only for Squall to clash again with Seifer. Their naive tactics result in further retribution for Timber; instead of sticking with the citizenry, Rinoa and the others abandon the region as the war escalates and their mission changes. Timber, while temporarily "saved," must contend with the Galbadian army alone. As resistance groups continue to fight for independence, the ever-changing direction of SeeD manipulates the political atmosphere—a wedge between countries and regions imbalanced by warfare. Initially, they are presented as guns-for-hire who have the power to enact regime changes or defend war-torn regions, and Squall is a representative of the sort of apathy the apolitical Gardens espouse. SeeD are not heroes; they are the willing but naive weapons of a private military. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/19c0104a40f40-screenshotUrl.jpg) Screenshot: Author. ### What i*s* SeeD? A corps brigade of military students, a mercenary force, a private army—SeeD is made up of young operatives who graduate from Garden, an international military academy that deploys their undergrads, students-in-training, and graduates on paramilitary missions that range from battle support to undercover operations. SeeD members provide support, protect civilians, slay monsters, and can also be utilized for surgical missions. Balamb Garden is the centralized base that trains SeeD cadets, but sends its members to other Gardens, including Galbadia and Trabia. SeeDs are set apart from other world militaries because their operatives can utilize para-magic (a synthetic recreation of Sorceress magics) and brutally powerful but heavily controversial Guardian Forces. SeeD forces are primarily made up of children. Many undergraduates are homeless orphans displaced by previous wars. In that fact, the SeeD organization does not have to worry about refilling its ranks—the continued military actions and violent regional shakeups all but ensure more children will be absorbed into the SeeD program. While the true purpose of SeeD is more mythological than its leaders initially admit, it is fronted by the Headmaster's desire to have a military corps that can do some good in the world. His flat naivety is repeated post-graduation, where he tells the cadets he wants SeeD candidates to "think and act for themselves." A cold, disconnected, haughty sentiment to place at the feet of human weapons. ### Uncivil Unrest Child soldiers are not a fantasy fiction. While they may be used as plot devices in games such as Final Fantasy VIII and Metal Gear Solid, this is a real-world problem that grew exponentially [between 2005 and 2022](https://www.unicef.org/protection/children-recruited-by-armed-forces). Dangerous military organizations rely on child soldiers because they are easily captured and coerced. Children are conscripted as anything, from fighters to scouts to messengers to guards. The density of Final Fantasy VIII's plot casts a shadow on the dispensability of Garden and its child soldiers. It is not by accident that SeeD members must be between the ages of 15 and 19, or that the organization prefers the malleable minds and bodies of children. The anti-humanitarian actions of Garden are the ultimate example of "the ends justify the means." Headmaster Cid and his cronies place unbelievable pressure on cadets like Squall, whose young lives are so entangled by the pursuits of Garden that they cannot envision themselves in a place without it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/19c0104d4b088-screenshotUrl.jpg) Screenshot: Author. To this end, there is no happy ending in Final Fantasy VIII. Garden is not dissolved, and its place in the world is actually reinforced by Squall's incidental run-in with Matron at the end of the game, where he seals his destiny by creating a causal loop. War never changes, because SeeD doesn't know anything else. ### World at War If you bear the misfortune of being in your 30s (or older), you have no doubt borne witness to the war crimes of the United States military during the 20th and 21st centuries. The invasion of Iraq happened in 2003, when I was just fifteen years old. America is an oil-dependent country, poor in its own resources, historically ignoring the needs of its citizens as it pours taxation into military might. America, as an empire, rules and defends through fear, invading other countries to create regime changes or dismantling other governments entirely by replacing figureheads with American-approved political powers. We are reactive, violent, and cruel. In Metal Gear Solid V, the Militaires Sans Frontières is headed by Big Boss in the 1970s. This "Army Without Borders" is a private military that provides its resources to all clients, and its self-appointed "soldiers without borders" program does not make judgments based on nation, creed, or ideology. Noble, certainly, but militaries for hire commonly care about resources above all else, and the actions of Big Boss and Master Miller show this. Big Boss's ideology initially prevents him from becoming a warmonger. Still, the nomadic, Cold War-era MSF carries out operations that destabilize entire regions, recruiting and kidnapping soldiers from all over the world to join their operation. Like SeeD, they stabilize their recruits with propaganda, creating a mighty force that owes singular allegiance to a mythology. While the tyrannical military actions of Galbadia in Final Fantasy VIII cannot be defended, Garden's less-than-scrupulous tactics allow an apolitical third party to create and recreate the world at will. The rise of Galbadian and Estharian powers in Final Fantasy VIII is the direct result of the fallout of the Sorceress War two decades prior, just as SeeD is a reaction to the potentiality of another powerful sorceress like Adel. Players are shown early on that SeeD can be used for good, such as thwarting Galbadian forces in the Dollet region or aiding Rinoa and the Timber resistance in defending their city. However, the will of the Garden is, ultimately, up to its Headmaster and investors, and the so-called "good" they generate is backed by bureaucracy and gil. ### Love Blooms on the Battlefield It is the nature of SeeD to die in someone else's war. The love story between Rinoa and Squall is underlined by the fact that Rinoa has the luxury of choosing her battles and battlefields; Squall, in contrast, is a creature of Garden. The characters themselves exhibit various pathologies and traumas that emerge during the course of the combat. Squall's cold disposition and disconnectedness are a shielding apathy. *"As long as you don't get your hopes up, you can take anything...You feel less pain."* Selphie's dogged, dark humor strips down the reality of their cause, from absurdity to direct violence. Irvine, his traumas most notable to the story itself, fails as a sharpshooter, choking at the exact moment he is to assassinate the Sorceress in Galbadia. Zell says, *"You tell us to go, we go. Even if it is a losing battle,"* resigning the cocky humor of his character to the reality of being a SeeD. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/19c0104d4b070-screenshotUrl.jpg) Screenshot: Author. During wartime, the more conscientious among us ask ourselves how we can go on enjoying our daily lives in the face of such despair. Like Balamb and Galbadia, America is often at war with itself: we watch via social media as masked cowards use lethal force on everyday citizens, and entire cities are caught up in the wake of violent chaos, pushed onward by a military engine that neither makes sense nor has the favor of the people. Rinoa does her best to undo Squall's emotional armor, occasionally needling him in an effort to remind him that he's an actual person, and not just a mercenary of Garden. > *"Gosh, you're such a pessimist. There are no guarantees in the future. That's why TODAY, the time we have now, is important. Squall, we wanna help you, as much as we can, for as long as we can. We all love you. There, I said it. Please don't freak out. We just wanna live, y'know, live through this time with you, together."* ### Right and Wrong Every action has an equal and opposite reaction. During their mission in Timber, Zell lets his anger get the best of him, reacting strongly to Seifer's rogue actions. Hearing this, President Deling threatens to use the entire military force of Galbadia to crush Garden. As retribution for the attempted assassination of the Galbadian Sorceress, missiles are sent to Trabia Garden, and the player is only allowed to see the aftermath. SeeD soldiers become unwitting heroes as war escalates and the Sorceress takes control of the Galbadian military. Children are placed on the frontlines. > *"What's the point of talking about it now!? You don't know what's going on, either! This is crazy. I don't know what's goin' on anymore. I feel like a helpless puppet being manipulated in some major scheme."* Later, when Squall must face the truth of Garden's dark investments, he realizes that the true goal of SeeD is not so simple as he was led to believe. His childhood naivete is stripped away as he is forced to confront the darker truths of being a child soldier. Directionless, Squall doubts those around him, including the Headmaster of Balamb Garden. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/19c0104d4af75-screenshotUrl.jpg) Screenshot: Author. > *"SeeD will defeat the sorceress. The Garden will train SeeD members. The many missions around the world are only training for the final battle against the sorceress. But now that the sorceress has become a major threat, our true mission has begun."* Headmaster Cid admits that all of SeeD's training, including their real-world tactical missions that have resulted in student and civilian death, has all been for a singular purpose. Garden may not be a sovereign nation, but it operates as one. As with America's invasion of Iraq or Venezuela for oil, warfare is rarely ever about the pursuit of freedom or emancipating a beleaguered citizenry from a dictator. It's an opportunity disguised as a revolution. > *"Right and wrong are not what separate us and our enemies. It's different standpoints, our perspectives that separate us. Both sides blame one another. There's no good or bad side. Just two sides holding different views."* Squall is forced to reckon with the human cost of warfare. SeeD missions are not just extensions of Garden's power; they have real human costs. ### Liberi Fatali > *"We're not kids anymore... We're strong enough to take care of ourselves. Make our own decisions...We're confronting a big one right now. Do we fight Matron or not...? I say we fight...Shoot for a common goal...Hey, at least it'll keep us together a little longer."* Irvine reminds Squall that it doesn't matter what's come before; it's the actions of today that make a difference. Ultimately, it is camaraderie that forces Squall to change. As a group, they no longer owe allegiance to Garden. Squall admits that he wishes they didn't have to fight, that maybe a path of peace could be possible if they had the time and resources to explore it. When he becomes Commander, he realizes he can no longer weigh the cost of individual lives; Squall is responsible for every single person who fights on behalf of Garden. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/19c0104a41034-screenshotUrl.jpg) Screenshot: Author. Too often, children must carry the sins of authority, stripped of any choice by the adults and figureheads in their lives. Even into adulthood, there are moments when our lives feel choiceless, when we are forced between despicable action and frustrating inaction. Irvine reminds the party that it was never their choice to join Junction Guardian Forces, it was never their choice to fight, it was never their choice to be part of someone else's army. Irvine resigns himself to his past. > *"You've all heard this before. How life has infinite possibilities. I don't believe that one bit. There weren't many paths for me to choose. Sometimes, there would only be one. From the limited possibilities I faced, the choices I made have brought me this far. That's why I value the path I chose...I want to hold true to the path that HAD to be taken."* As children whose lives have been ripped apart by war, Squall and the others continue on the only path they've ever known. These children of fate have been born into a world that only wishes to use them. Irredeemably, "fate" and "destiny" are utilized against them, limiting possibility and potential. But Squall makes an effort to face this destiny head-on, to cut away the worn paths laid out for him. [*Quotes from Final Fantasy VIII were pulled from the game script.*](https://gamefaqs.gamespot.com/ps/197343-final-fantasy-viii/faqs/44121) ### Minecraft Biome Finder Guide for Beginners URL: https://www.superjumpmagazine.com/minecraft-biome-finder-guide-for-beginners/ Last updated: 2026-03-14T09:41:36.000Z **Finding the right biome can change the whole Minecraft experience.** This guide explains how biome finders work and why beginners love them. It shows simple ways to explore faster and avoid frustration. With the right tool, rare biomes become much easier to find. The world feels smaller and full of options. ## What a Biome Finder Is A [biome finder](https://godlike.host/how-to-find-a-specific-biome-in-minecraft-blog/) is a tool that is useful for locating biomes in a Minecraft world. Beginners usually feel lost when exploring. A minecraft biome finder removes that stress. These tools save time. They reduce random walking. They help players plan builds and survival routes. New players can focus on fun instead of guessing. Biome finders work with world seeds. A seed is the code that creates a world. When the seed is known, tools can map the biomes. This is useful for learning. As William Penn once said, “Knowledge is the treasure of a wise man.” Understanding biomes brings confidence. It also supports smarter play on servers and single-player worlds. Biome finders pair well with [Minecraft hosting for mods](https://www.reddit.com/r/MinecraftServer/comments/1k484p8/what%5Fis%5Fthe%5Fbest%5Fminecraft%5Fserver%5Fhosting%5Ffor/). Mods often need specific biomes. Finding them fast keeps gameplay smooth and exciting. ## Different Types of Biome Finders and How They Work Several biome finder types exist. Each one fits a different need. In-game methods come first. Commands like /locate biome work in newer versions. They require cheats enabled. This option feels natural but has limits. Online tools are popular. A biome Minecraft finder website can scan a seed in seconds. These tools show maps with clear colors. They work for Java and Bedrock versions. Seed-based tools focus on accuracy. They use math to recreate the world map. A bedrock biome finder is helpful for console and mobile players. These tools shine on multiplayer worlds. They help admins plan hubs and events. They also support smooth [Minecraft server hosting](https://forums.minecraftforge.net/topic/159821-best-modded-minecraft-server-hosting-2026/). Better planning leads to better servers. As Yotam Ottolenghi said, “[One man's trash is another man's treasure, and the by-product from one food can be perfect for making another](https://www.theguardian.com/lifeandstyle/2013/jun/28/ricotta-recipes-yotam-ottolenghi).” A simple seed becomes a powerful map with the right tool. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/cherry-blossom-grove-in-minecraft.png) Source: Dotesports. ## How to Find the Biome You Need? Finding a biome is easier than it looks. Follow these clear steps. 1. Find the world seed. Use /seed or check world settings. 2. Choose the right tool. Pick a minecraft biome finder that matches the game version. 3. Enter the seed. Select Java or Bedrock correctly. 4. Search for the biome. Use the biome list or map view. 5. Note the coordinates. Travel there in-game using maps or commands. Online tools often allow zooming. Zooming helps avoid map scale confusion. Smaller scales show details. Larger scales show the big picture. This process works for survival and creative modes. It also works on servers, if the seed is known. ## Common Beginner Mistakes and How to Avoid Them Mistakes happen. Most are easy to fix. One common issue is using the wrong version. Java and Bedrock worlds differ. Always match the tool to the version. Another mistake involves wrong seeds. A single missing number changes everything. Double-check before searching. Map scale causes confusion too. Large maps can hide small biomes. Zoom in to confirm details. Some players forget server rules. Commands may be disabled. In that case, online tools are the best choice. These fixes save time. They also prevent disappointment during long trips. ## Summary Biome finders make [Minecraft](https://kick.com/category/minecraft) more welcoming. They turn confusion into clear choices. Beginners gain control and confidence fast. With the right Minecraft biome finder, exploration feels rewarding. Tools like a bedrock biome finder or biome minecraft finder support smarter play. Knowledge opens the map and invites adventure. **This story contains links from one or more partners.* ### Cloud-Based Access to Mobile Apps and Games URL: https://www.superjumpmagazine.com/cloud-based-access-to-mobile-apps-and-games/ Last updated: 2026-02-11T05:44:08.000Z **Running mobile applications and games should be a smooth experience, but many devices cannot offer flawless performance.** Users are generally unable to access apps and games at their convenience due to low storage capacity, outdated hardware, or compatibility problems. These disruptions eventually transform basic entertainment into a frustrating experience. Even high-end smartphones are not immune, and with every update, modern apps and games are becoming more memory-intensive and requiring more processing power. This is where the cloud-based access transforms everything. Cloud technology allows you to stream the apps instead of using your device to install and use them. In this way, you can use your favorite applications and games immediately on any device, without having to worry about storage and performance constraints. This story will discuss how mobile apps and games can be accessed in a seamless way, instantly available, and used flexibly when they are cloud-based. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-6.png) Source: Freepik. ## 1\. Immediate Browser-based Access Without Installation The most evident benefit of cloud-based access is the possibility of opening apps and games immediately. Instead of downloading files or updating, one just opens a browser and proceeds to use the app. This can be done through platforms like CloudMoon. Users have the ability to[**run mobile apps and games online via CloudMoon**](https://web.cloudmoonapp.com/), which executes them on the cloud instead of on local devices. Since the processing occurs remotely, the users can use high-performance games and popular mobile applications directly in a browser without installations and storage issues. Consequently, even large games like Roblox mini games can be launched in a few seconds, and social media applications such as TikTok can open without consuming local memory. It will save time on waiting and make your device clean and responsive. ## 2\. Smoothly Play High-Performance Games Mobile high-performance games tend to use sophisticated hardware, restricting access to a large number of users. Cloud-based access can eliminate this problem by rendering and processing graphics remotely. As a result, your machine only transmits the visuals, which makes it possible to play even resource-intensive games without issues despite the local hardware constraints. This arrangement is particularly useful when it comes to games that may include complicated environments and real-time interactions. Using [cloud-based](https://pubmed.ncbi.nlm.nih.gov/38876087/) execution, the gameplay is stable and responsive, even on devices that would otherwise have been problematic. Consequently, you get to have a stable performance without having to fear overheating, crashing, or lower frame rates. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-7.png) Source: Freepik. ## 3\. Easy Access to Social Media Apps on All Browsers The use of cloud-based access is not restricted to gaming. Browser-based execution is also useful in social media apps. It is possible to open apps like [TikTok](https://pubmed.ncbi.nlm.nih.gov/37167877/) in a web browser and still have all its features and responsiveness. This flexibility is quite convenient, particularly in cases of switching devices or working with a standard system. The app experience is identical across platforms because the app environment is hosted in the cloud. Besides, you will not have to log in multiple times, update regularly, and use storage unnecessarily, which makes social interaction easier and more efficient. ## 4\. Cross-Platform Flexibility and Device Independence A major benefit of cloud-based access is that it is not device-dependent. Irrespective of whether you are using a smartphone, tablet, laptop, or desktop, you only require a compatible browser. This eliminates the restrictions of a platform and enables you to use the same applications and games across various devices without the need to install any of them. Moreover, this flexibility allows for continuous use. You are able to work on one device and resume the work on another. Because everything operates in the cloud, your experience will adapt to your lifestyle rather than you having to conform to device restrictions in work, travel, and everyday life. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-8.png) Source: Freepik. ## 5\. Less Storage Usage and Better Device Health Storage limitation is still among the most prevalent issues among mobile users. Applications, stored information, and updates take over the available space, slowing down devices over time. Cloud-based access avoids this problem by storing all the app data in the cloud. Consequently, your device is more effective, has a higher battery life, and is more responsive. You do not have to delete photos, videos, or apps to create space in order to add anything new. Rather, you get what you require, as and when required, without any long-term storage obligation. ## 6\. Entertainment and Everyday Use: Balanced Experience Cloud-based access provides a leveled environment where both entertainment and daily use of apps are in harmony. You are able to play Roblox mini games, visit social networking sites, and try new apps without cluttering your device. This approach encourages exploration without risk, allowing you to try apps freely and move on without consequences. Furthermore, browser-based access supports productivity by reducing setup time. Whether for casual use or extended sessions, cloud execution ensures reliability and convenience across all app categories for users seeking flexibility and efficiency simultaneously. ## Bringing It All Together Cloud-based access to mobile apps and games represents a meaningful shift in how digital experiences are delivered and consumed. By removing downloads, reducing hardware dependency, and enabling instant browser-based usage, this approach addresses many of the frustrations users face today. From running high-performance Roblox mini-games to accessing social platforms like TikTok, cloud technology ensures smooth performance, flexibility, and efficiency. It allows you to focus on the experience rather than technical limitations. As cloud infrastructure continues to evolve, browser-based access will increasingly define how apps and games are used across devices. By embracing this model, you gain greater control, improved accessibility, and a cleaner digital environment that adapts seamlessly to your needs. ### Frostpunk Is Too Damn Hard, and That's Just Fine URL: https://www.superjumpmagazine.com/frostpunk-is-too-damn-hard-and-thats-just-fine/ Last updated: 2026-02-13T02:32:52.000Z **I've been playing** [**Frostpunk**](https://store.steampowered.com/app/323190/Frostpunk/) **for the better part of two weeks (well, I stopped for travel, but I *was* obsessively playing it).** I even listed it as one of my favorite games, not of this year. It's a game I'd seen pop up in the PS5 subscription-based game collection, but in the past, it'd just float by my periphery whenever I browsed for new titles to play. And listen – I love me a cold winter game. I *really* love me a cold-winter, steampunk-inspired story sim. Frostpunk, though, is a different kind of game. It's notoriously difficult and completely unforgiving. It's a game that frustrated me to no end, yet I could not put it down. ### The Last Everwinter I've never been the biggest fan of strategy-based games. I am, to put it plainly, very daft when it comes to forethought. I'm a 'one thing at a time' kind of gal. I can wear many hats; I just need to carefully take one off before I put a new one on. I am focus-based. I like minutiae. I panic like [that little penguin](https://www.youtube.com/watch?v=28v6rZrQcLc) when too many things go wrong at once, and this game is essentially 'too many things going wrong at once.' Frostpunk forces you to contend with a variety of wildly changing factors, with public opinion and weather being the most volatile among them. You have to resource manage, and, if you can, future-proof some of your stockpiles. Considering the climate and various limiting factors you're up against, this is an insane ask. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/frostpunk-2.jpg) Source: Steam The game's core story is compellingly simple, though, and it forms the boning to the game's corset (okay, so I *just* got done with wedding dress shopping), the pressures of which are cinched so tightly against the player that it often feels like you're being set up to fail. This is a world ending due to the sudden and inexplicable onset of an ominous, frigid winter. No one's quite sure where it came from or how it came to be. Early expeditions north seeded the arctic landscape with heat-producing generators. The choice to go north, although it seems irrational, is largely due to the prolificity of its rich resource deposits. Massive, manufactured dreadnoughts were expected to bring hordes of desperates to the last bastions of human civilization. Your job, then, is to successfully *be* that last bastion. Frostpunk's conceptual challenges stem from the cruelty of its environmental factors and the understandable exhaustion of its populace. You're saddled in the initial scenario with a ragtag group of citizens – including children – who you need to command to gather coal, wood, and steel. It's simpler, in the beginning, when you have relatively mild temperatures and a smaller ring of homes to heat. As time goes on, though, the demands inevitably increase. The generator at the center is your city's beating heart, with coal as its lifeblood. It provides heat to an expanding area at an expanding strength (both of which you'll need to upgrade to) and will be your final defense when the 'weather anomaly' reaches your city. There are various scenarios you can try besides the "main" storyline, and each of these tailors the challenge to a specific circumstance. But the beginning one – where you settle into a new city – offers the best opportunity to learn the game's systems and cadences. This initial story, titled "A New Home", introduces you to all the clanking gears of the game's mechanics. You have a day-night cycle, shifting weather, ore and steel deposits, hope and discontent meters, hunter huts and hothouses where you can requisition food, and you can introduce either draconian or more palatable laws depending on the severity of your circumstances. I tend to play games with a cleaner moral edge, so I tend towards gentler choices, even if it results in my failure, which in this case is banishment. You can create a cemetery to bury the dead respectfully, or you can simply dump bodies in snow pits to harvest organs later. Your people will, of course, have things to say about either choice. --- > The game's exceedingly interdependent systems mean you need to be aware, at all times, of what is going on where. --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/frostpunk-3.jpg) Source: Steam Beyond the laws that you can enact for survival, there are two paths that your city can take to succeed: order or faith. ### Technocracy or Theocracy The path you choose for your city's direction – and this is the direction for the people's wellbeing, not necessarily just their survival – will hinge somewhat on how easily you can navigate the beginning setup. That setup is, depending on your difficulty, 150 people and a few scattershot deposits of coal, steel, and wood. You have to build the homes for your citizens (using wood), run the generator (using coal), and eventually build other buildings (using steel *and* wood) to then produce more of all three. My first priority was always to build houses, and after that, I tackled building workshops for research, which is the most important little part of the strategic gameplay. Research allows you to "level up" your abilities, such as better insulating medical tents or adding heaters to workplaces. You have two kinds of labor available to you as well: workers and engineers (and children if you're feeling really, you know, *pragmatic*). Engineers can work pretty much anywhere, but workers cannot work where engineers do, such as in specialized fields like research, medical tents, etc. Your first few days of trekking to piles of stuff to gather stuff to then use that stuff to *build* other stuff is fairly cyclical. But when the first cold day hits, you need to make sure your people have heated shelters and workplaces. If they don't, they get sick, and then you need to build more medical tents, and if you don't build enough, people die, and other people complain, and then bodies litter the streets, and then hope falls and discontent rises, and you are in *deep* crap by then. The game's exceedingly interdependent systems mean you need to be aware, at all times, of what is going on where. Are the outer workplaces too cold? When citizens get frostbite, do we amputate or give them extra rations? How do we afford those? Is there enough food coming in and being prepped at the cookhouses? Will we have enough coal stockpiled to ramp up heat during the next cold front? When you choose a path of order or faith, you essentially give yourself a plaintive "oh shit" button to potentially tackle upcoming issues. Faith gives people places to worship and rekindles purpose in otherwise miserable lives. Order does much the same, but there is a level of authoritarianism that slips into each if you see them to their fully realized pathways. Order has a city watch, faith has faith keepers, and either can be deployed against your people if needed (or wanted). This system of laws makes your choices permanent, so you need to decide fairly early on if you want to do more morally contestable things, such as legalizing child labor (and as my fiancé and I quoted whenever we did it: "the children yearn for the mines") or helpful (if unpopular) things, like resorting to soup rather than full meals. As you gather resources and level up research for new items in the workshop, the real flow of the game begins to ripple outward. You must juggle myriad pressing issues with very little grace given, so there are times you have to make decisions that you typically would not make as a more beneficent ruler. There are also moments when things become so bleak that you regret not making an earlier situation possible – such as prioritizing leveling up the generator's output rather than workplace insulation, or vice versa. You only have so much time, so many days, and so many people, and every new attempt saw us faced with a different challenge. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/frostpunk-1-1.jpg) Source: Steam --- > For all its beauty, cold is a desolately quiet monster. --- At one point, we'd think we had it down pat, and then discover we'd run out of food, or that we stored too much coal and wasted resources building tons of storage depots rather than sawmills. Other times, we'd fail to properly plan the city layout, resulting in houses having to be built farther from the generators' warmth as more and more survivors seek out your city. One of the most interesting and lore-heavy components of the game is its topside exploration. You can send scouts to various locales, and each of the locations in the main scenario has a story to tell. I regretted, one time, not sending back an extremely helpful automaton my scouting team had encountered, and instead broke it down for parts. I could have used that cold-immune, 24/7 workhorse when the going got tough, because automatons – which you can eventually produce yourself – don't have the caveats of human fragility that your people do and can work, albeit less efficiently, virtually forever. ### A Heady Ambiance I was lucky enough that during the great (real-life) winter storm of '26, we did not lose power. This was odd, as most of the city I live in had huge swaths that went dark. It was bitterly cold. I played Frostpunk the entirety of the time we were stuck inside. I was lucky to be able to do so, but boy, did it paint a bleak picture. Any time my fiancé and I heard ice crackle on the rooftop – because *something* heavy kept falling onto it – I would think "this is it, the power's going out." I figured we'd have to bundle our cat in blankets, light our tea lights, and huddle together until repairs were made to the lines. When we went outside a day after the storm blew past, we saw trees beaded with thick ice. It was beautiful, but the weight of that ice on the limbs had cracked so many of them right down the middle. It reminded me, once I "woke up" from my Frostpunk obsession to stare at a blue sky, just how deadly ice and snowstorms really are. For all its beauty, cold is a desolately quiet monster. Frostpunk is a game I will play again, but it's not necessarily an easy game to play, in terms of "vibes." It's not just difficult, it's also a very hard place to settle in for a quiet night of gaming. You are beset by pensive music and constant reminders that people are cold, or starving, or desperate. In the main scenario, you even eventually have an antagonistic faction – the Londoners – who seek to go back to London in hopes of having a better shot than they currently do in the middle of the northern wastes. In this game, London has pretty much already fallen, so the fruitlessness of the pursuit is more indicative of people's delusional desperation to survive rather than actual practicality. Your additional job then becomes to sway them to stay. Frostpunk is, I would say, the opposite of a cozy game. It is a very tense game. And the honest truth – I did not play this game at its original difficulty. I was *too* overwhelmed by the constant failures and, in order to see it play to the end, figured I would give it a shot on an easier setting. The easy setting is *much* easier, but I also think I did myself a bit of a disservice by backsliding into it, although I would have undoubtedly put it down before beating it if I'd had to truck through it on the basic difficulty. I also played this game *a lot* during those few days we were stuck inside from the storm, so perhaps my impatience was a product of repetition ad nauseam. I have since played one other scenario, called the Fall of Winterhome, on its basic difficulty setting. I then customized two of the settings to be gentler on me, while keeping the others at their standard difficulty. I'm the *last* person to deny when a game is "too hard." I will openly admit to lowering difficulty, because I think, in a way, perfecting those systems is part of how I learn systems. I get something "down," and I can move on to the next. ### Building a Future All in all, Frostpunk is a beautifully crafted game with a system of resource management and reputational upkeep that manages to seamlessly integrate challenge and reward successes. If you can manage to keep your workers warm and fed and circumvent frostbite, you can focus more on providing people with extra rations, or you can keep children from working by building them the equivalent of daycare centers. You can build prosthetics, create public houses, and provide people with a stress outlet in the form of fighting rings. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/frostpunk-4.jpg) Source: Steam When I finally got my people past the "weather anomaly" that serves as the main scenario's final phantom boss, I felt a sense of immersive relief and pride. Sure, I wasn't playing the game at its most challenging, but it still kept me constantly on my toes. There's something so satisfying about having a functioning city, where you can revolving-door materials to build, where all of your citizens have a house, where you level up your generator and outfit your workhouses with automatons so that the city can be almost hands-off. I haven't gotten there yet, but I desperately want to try. You can attempt this on the game's nifty Endless Mode, which is exactly as it says: an endless cycle of days and nights that you play until you fail. I've since tried a few other simulation games – with far lower stakes – but nothing has quite scratched that Frostpunk itch. I might try Frostpunk 2, but I've heard it has a different focus of management. This original one is a clever little game, with a very palatable UI (there's even the above-pictured heat map toggle, and I *lived* in that view) on console. It's currently available as a part of the game collection for PS+ subscribers, and since we still have six more weeks of winter to schlep through (thanks a lot, [Punxsutawney Phil](https://www.yahoo.com/news/us/article/groundhog-day-2026-punxsutawney-phil-sees-his-shadow-predicting-6-more-weeks-of-winter-122739121.html?guccounter=1&guce%5Freferrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce%5Freferrer%5Fsig=AQAAAIgdxJbwx0RsZxkwLXBk4B3eXG7Meo%5FXjJMORNgWdkMDjThbrArLwzNdmskzBk4XxuvN4Fa0tR8BbJQ-bosw3uIQ%5FogM5l0ZB7E0ERNI1Q9egRL07dFj3xBKYp5DKFm94iAO-SeYQV1ygYGZH0P1vA6mwPn1oH4MBKdATjmaB1k4)!), now's a good time as ever to cuddle into a quilt and try to keep the fire lit. ### The Quest for Knowledge in The Witness URL: https://www.superjumpmagazine.com/the-quest-for-knowledge-in-the-witness/ Last updated: 2026-02-11T01:26:29.000Z **The Witness is one of the few video games, even within the puzzle genre, that has epistemological questions at the core of its game design, such as "what is knowledge?" "How can we know something?", and "What are the limits of what we can know?"** At the same time, this game is also one of the first in its genre to be a 3D open world, and it is the first to attempt to reconcile a complex progression of puzzle mechanics with freedom of exploration in an open world without any tutorial or interaction with NPCs. Our goal in this essay is to show how the gaming experience in The Witness is closely related to logic and epistemology. First of all, it is important to clarify that The Witness does not offer answers to the epistemological questions. It is the job of philosophers to propose solutions and to precisely formulate theoretical problems, while the role of artists like Jonathan Blow (director, designer, and writer of The Witness) is to reveal issues in an inspiring yet vague way and to show perspectives on how to look at them. In this sense, while its gameplay is enjoyable enough for puzzle fans to enjoy it solely for its puzzles, The Witness is also a remarkable expression of video games as art, and can be appreciated for both aesthetic and conceptual reasons. This essay is divided into three sections: first, we will address the logic and knowledge of The Witness; second, we will discuss archaeological interpretations during the exploration of the Island; third, we will analyze epistemological commentary in audio logs, videos, and metafictional elements. #### Table of Contents ****I. Logic and Knowledge** I. i. Knowing-that and knowing-how I. ii. Formal puzzles, empirical puzzles and logical reasoning ****II. Archaeological interpretation** ****III. Metafiction and intertextuality** ## I. Logic and Knowledge ### I. i. Definition of Knowledge This section argues that The Witness stages an epistemological experience in which players acquire non-linguistic propositional knowledge through rule discovery, hypothesis testing, and logical abstraction. Before addressing the specific puzzles or audiovisual and narrative strategies of The Witness, it is necessary to clarify what kind of knowledge the game deals with. In classical epistemology (based on Plato's Theaetetus), [***knowledge***](https://plato.stanford.edu/entries/knowledge-analysis/) (Stanford Encyclopedia of Philosophy, 2017) has often been defined as *justified true belief*: to know something is 1. to *believe*a proposition (e.g., to believe that "The Witness is a videogame"), 2. the proposition being *true*(by correspondence theory of truth, this means that there exists an object called "The Witness" and that this object is classifiable in the category of what is called a "video game," according to some definition of video game), and 3. that belief being supported by some form of *justification.* For example, it is found that The Witness is classified as a game in an app store. Note that the definition does not require strong empirical justification or a formal demonstration. Although contested in contemporary philosophy, particularly through Gettier-style counterexamples that question the adequacy of justification in certain supposed knowledge, this classical definition remains a useful conceptual framework as a starting point, as well as for distinguishing knowledge from mere opinion, guesswork, or habit. In this section, our focus will not be on the notion of truth. It is worth mentioning that it is possible to apply other theories of truth besides correspondence theory to interpret the epistemological experience in this game. At first glance, the player's epistemological experience in The Witness seems far removed from the classic definition of knowledge. The game has no NPCs or dialogue, offers no explicit propositions to be true or false, no textual statements of rules, and not even direct explanations that could be classified as beliefs or justifications. No phrase tells the player "this is how the puzzle works" or "this scenario is a city." However, throughout the experience, the player undeniably acquires knowledge: which lines are allowed, which restrictions matter, which visual elements inside and outside the puzzle space are relevant and which are merely decorative. This apparent paradox forces us to be more precise about the types of knowledge involved. A useful starting point is the traditional distinction between knowing-that (propositional knowledge) and knowing-how (practical or procedural knowledge). Much of The Witness clearly involves knowing how to solve certain types of puzzles, all inspired by maze puzzles. However, reducing the player's learning to the mere acquisition of skills would be to ignore that the game design compels the player to develop a conscious understanding of the rules. Solving a panel by mechanically reproducing a pattern is not equivalent to understanding it, and the game is carefully designed to expose this difference: players who rely solely on imitation or trial and error quickly reach a point where they can no longer progress, as more complex problems require the player to have abstracted a general rule from the initial puzzles of an area. Of course, as an open world, the player can choose to abandon that type of puzzle and explore another part of the Island, but they will also face similar obstacles in that other place. What is indirectly required is not just how to solve the problem, but an implicit understanding of why certain actions by the panel are correct. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---11.09.07.06.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---11.16.43.47.png) The series of puzzles in the image on the right assumes that the player has understood the rules of the puzzles on the left and introduces certain blue squares as an extra element of difficulty, which obeys another implicit rule of operation. Source: Thekla / Author. In this sense, The Witness involves a form of propositional knowledge that is never linguistically articulated. Although never formulated as sentences, the rules inferred by the player have determinate truth conditions and generality, which justifies treating them as propositional in content, even if not in form. ### I. ii. Formal puzzles and Empirical puzzles The player formulates hypotheses (for example, that a certain symbol imposes a restriction, or that a certain spatial relationship matters) and tests them in the point-and-click intervention spaces of the game world, which function as empirical testing spaces. When a solution based on a rule hypothesis works consistently in different contexts, the player's belief about that rule gains justification. Interestingly, as with empirical tests in real sciences, it is often not easy to ascertain whether a hypothesized rule is "true" or whether it worked by coincidence, while there is another rule behind it. In general, the puzzles in this game can be categorized as follows: - **Formal puzzles:** these can be solved using the syntactic rules governing the symbols on the panel. Example: the puzzles in the previous image, which can only be solved by considering the Tetris Block rule (you must use the line to draw the shape of the Tetris icon, and subtract yellow squares from the icon proportional to the number of blue squares on the panel). - **Empirical puzzles:** these require the player to investigate the environment around the panel and relate the space of logical possibilities on the panel to visual or auditory elements outside the panel, including the color and angle of the lighting falling on the panel, or even trees, branches, and other objects that can be visually related to the maze puzzle. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.28---01.13.43.08-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.25---21.09.50.77.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---01.05.32.42.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.25---19.48.04.12.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.27---13.39.54.71.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.28---03.43.10.11.png) Examples of empirical puzzles in **The Witness*. In these cases, solving the puzzles requires taking into account environmental factors, such as musical patterns (mixed with noise), reflection, lighting, shadow, representation, point of view, overlapping, and symmetry. Source: Thekla / Author. Several formal puzzles in The Witness do not have a single solution; they are non-linear puzzles, a concept discussed by Josh Bycer in [*The Philosophy of Video Game Puzzle Design*](https://medium.com/super-jump/the-philosophy-of-video-game-puzzle-design-18291d01983f) here at SUPERJUMP. Although the resolution of formal puzzles is independent of the experience within the environment, in some cases, there are formal puzzles whose possible solutions directly affect movement within the environment, as each solution will result in the construction of a bridge that can provide access to different areas. Furthermore, there are formal puzzles whose solution directly affects a higher-order puzzle (usually represented by a larger-scale maze puzzle). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---21.33.37.12.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.01---16.37.17.37.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---14.01.23.67.png) Examples of puzzles with possible solutions that result in different bridges that can provide access to a certain area. Source: Thekla Inc. / Author. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---22.19.57.99.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---02.49.10.30.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---21.39.16.31.png) Examples of maze puzzles directly related to other maze puzzles. The example on the right is a [metapuzzle](https://thewitness.miraheze.org/wiki/Metapuzzle). Source: Thekla / Author. In my piece at SUPERJUMP from 2022, [The Reasoning Behind Video Game Puzzle Design](https://medium.com/super-jump/the-reasoning-behind-video-game-puzzle-design-398dbd2b5404), we discussed the differences between deductive, inductive, and abductive reasoning in puzzles. The empirical puzzles in The Witness frequently require inductive or abductive reasoning; that is, they presuppose experimental testing of hypotheses or an investigation of the function of certain objects or effects in the scenario. Let's take as an example the puzzles involving colored stones on the panels and colored lighting in the scenario. In a scenario with this type of puzzle, the player will easily infer that there is something intentional in the emphasis on rooms with colored lighting. Upon realizing that the colored lighting modifies the colors of the stones on the panels, the next step will be to test the hypothesis that this is part of the puzzles in that area. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.28---00.35.43.45.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.28---00.34.33.06.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.27---14.18.33.66.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.27---14.16.20.35-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.27---14.15.56.20-1.png) Puzzles involving colored stones and colored lighting. Source: Thekla / Author. On the other hand, in the case of formal puzzles, once the rules of the symbols on the panels are known, deductive reasoning (typical logical-mathematical reasoning) is all that is needed to solve them. Formal puzzles in the game can, in principle, be modeled within a Boolean or constraint-satisfaction framework. Consider the equation "A v B". Assuming the classical definition of "v" (or), this equation is not satisfied if A = false and B = false, but it can be satisfied by three choices of values: (1) A=true and B=false; (2) A=false and B=true; (3) A=true and B=true. Logical equations like this can be mapped onto the language of maze puzzles. Starting from a subset of the symbols (like [Suns](https://www.ign.com/wikis/the-witness/Puzzle%5FTypes#Suns)) used in The Witness, Chris Patuzzo developed an interesting method for drawing a parallel between the formal mechanics of the game and Boolean Satisfiability (SAT), in [Reducing Boolean Satisfiability to The Witness](https://makercasts.org/articles/the-witness) (MakerCasts, 2016). > The way to solve a SAT problem is by choosing between true and false for each of the variables in the equation. There's a notion of 'choice'. What does it mean to 'choose' something in a Witness puzzle? What's the corresponding action for choosing? Well, the only influence a puzzler has over a Witness puzzle is to choose their path from start to finish. Do I go North, East, South or West at this junction? > > So perhaps we could model variables as forks in the road that the puzzler must choose between. Taking the left fork could correspond to A=true and the right fork could be A=false. Now let's try to put this together with our Suns idea. Let's invent a red Sun to represent the first clause. In our SAT problem, if assigning A=true satisfies the clause, we should design our puzzle so that the Sun is paired up. If they choose to go right, the clause has not been satisfied so this should be an incorrect solution to the puzzle: > > — Chris Patuzzo (MakerCasts, 2016) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-38.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-39.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-37.png) Left panel: Fork representing A=true. Center panel: Fork representing A=false. Right panel: Stacking forks. Source: Chris Patuzzo (MakerCasts, 2016). In this first section, we discussed how logic and knowledge work in The Witness to solve puzzles, but the gameplay experience is not limited to that. Open-world exploration allows the player not only to solve puzzles in different orders, but also to freely interpret the traces of different historical periods scattered across the Island. ## II. Archaeological Interpretation From a first-person perspective, the player is projected as an idealized observer walking through a virtually static world; their avatar (with a human shadow) cannot jump or directly touch objects in the environment. In this sense, The Witnessprovides a dense and contemplative experience of an extended present, one that is largely detached from narrative futurity, as well as vestiges of a past without explicit chronology. In this context, Ian Bogost's reading of the role of the player fits perfectly: "In videogames, the player’s hands operate the lost instruments of the designer’s tiny secret society. A player is the archaeologist of the lost civilization that is the game’s creator" (quoted in [Kotaku](https://kotaku.com/what-if-a-video-game-was-poetry-453104628), 2010). Bogost’s metaphor of the player as archaeologist resonates not merely at the level of game mechanics, but at the level of epistemic posture. The presence of petrified human figures reinforces this archaeological logic. These figures, frozen in postures that suggest everyday activities, evoke archaeological sites such as Pompeii, where bodies function as material traces of lived practices rather than as narrative characters. In The Witness, these petrified individuals serve as silent evidence of past actions, gestures, and intentions. Their placement within the landscape invites conjectures about what people once did in those locations, how they interacted with the environment, and what kinds of practices were considered meaningful. Yet, as in interpretative archaeology, such conjectures remain interpretative rather than demonstrative. This stands in sharp contrast to the epistemic regime governing the panel puzzles. ![pompeii-bodies-ruins-6.jpg](https://images.squarespace-cdn.com/content/v1/5876d8d6e3df28c4d83ae377/1712827458316-7ZOLPUEEIZQ8N5JA3YVN/pompeii-bodies-ruins-6.jpg?format=1500w) ![garden-of-fugitives2](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/preservation-pompeii-bodies.jpg) Petrified human bodies in the ruins of Pompeii. In 79 CE, the Vesuvius volcano in Southern Italy erupted, destroying settlements around it and taking the lives of up to 16,000 residents. Sources: [Peter's big adventure](https://www.petersbigadventure.com/blog/pompeii-ruins-italy) / [The Colector](https://www.thecollector.com/preservation-pompeii-bodies/). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.25---20.01.47.04.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.25---20.02.46.76-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---01.12.10.85.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---01.15.05.09.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---02.49.20.34-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.28---01.12.38.33.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---04.22.36.16.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---14.08.19.42-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---21.53.45.86-1.png) A petrified modern domestic dog and petrified people who apparently lived in different historical periods. Source: Thekla / Author. Outside the panels, the player is no longer confronted with well-defined problems whose solutions are mechanically verifiable. Instead, the environment presents itself as a dense field of material traces: ruins, abandoned structures, statues, inscriptions, unfinished buildings, and scattered artifacts whose meaning is never explicitly articulated. The material remains suggest multiple layers of the past, but these can only be contemplated; the player can only reconstruct their meaning through interpretation. This mode of engagement closely aligns with the principles of [interpretative archaeology](https://www.jstor.org/stable/280968) as developed by Ian Hodder: "an interpretive postprocessual archaeology needs to incorporate three components: a guarded objectivity of the data, hermeneutic procedures for inferring internal meanings, and reflexivity." Interpretative archaeology, as articulated by Ian Hodder within postprocessual archaeology, rejects the notion of material culture as a neutral repository of facts. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.27---01.47.18.13.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.27---01.47.28.50.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.27---01.47.45.66.png) A series of paintings and sculptures that can be interpreted as an allusion to human evolution. Source: Thekla / Author. For Hodder, meaning is not extracted from objects as if it were hidden within them; it is produced through the interaction between observer and material culture. In The Witness, the material culture of the fictional world is intimately linked to the material culture of the real world in which the player and the creator reside. The player’s interpretive freedom is itself historically situated, shaped by modern archaeological and museological ways of seeing. The island is thus not merely interpreted as a past world, but as a past legible through contemporary epistemic habits. Based on our knowledge of real-world human history, we can interpret the objects (rails, abandoned chairs, drawings, ruins, etc.) in such a way as to reconstruct multiple anthropic interventions throughout the past: an ancient civilization, the settlement of a native tribe, the construction of a medieval village, the establishment of a port with industrial technology, an exploration expedition in the mountains, the appropriation of the island as a tourist destination, etc. However, the game never confirms whether these layers correspond to a linear historical progression, a coexistence of traditions, or a symbolic juxtaposition. In Hodder’s terms, the stratigraphy is meaningful but underdetermined. This underdetermination is not a failure of historical reconstruction, but the very epistemic condition through which the game stages archaeological knowledge. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---17.45.17.72.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---00.16.13.01.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---00.31.12.09.png) Architectural structures that allude to a tribal society that lived in trees (left), ruins of an ancient civilization (center), and a medieval castle (right). Source: Thekla / Author. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.25---19.59.14.81.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---00.17.21.42.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---00.19.59.91.png) Typical Renaissance sketches (left); industrial infrastructure elements (center); objects of modern tourism (right). Source: Thekla / Author. The game's audiovisual production directly engages with real-world island references. Most of the ambient sounds were recorded during a walk around Angel Island in San Francisco Bay. Blow's team also collaborated with a landscape architecture firm, Fletcher Studio, to develop the environments for The Witness. In [The Witness: Designing Video Game Environments](https://www.fletcher.studio/blog/2017/5/26/the-witness-designing-video-game-environments) (2017), Fletcher Studio explains that the Azores archipelago (known as Europe's secret islands) served as inspiration for the game. > The layers of different cultures, from ancient civilizations to the Portuguese monarchy, to present day fishing villages, proved most analogous. Available aerial imagery was collected from the Azores and then collaged together to create a fictional Island in plan, now with topography, beaches, water bodies, etc. > > \[...\] > > In the beginning, the island was a cultural tabula rasa. In order to make sense of the existing and constantly introduced structures and spaces, it’s cultural history had to be written. The projective devices that we had developed, were applied to the Island in reverse. The past was divided into three successive epochs, which we termed Civilizations (CIV’s) One, Two and Three. A simple description of each was developed, and then a larger matrix, was produced that related to each in terms of infrastructure, architecture, and landscape. Each of these three categories had their technologies, agriculture, religion, and cultures. Materially, each epoch had its own techniques of building, based on assigned resources and technologies, with each CIV methodologies and products growing more refined over time. > > — [Fletcher Studio](https://www.fletcher.studio/blog/2017/5/26/the-witness-designing-video-game-environments), 2017. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-48.png) Three fictional civilizations. Source: Fletcher Studio, 2011. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-45.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-46.png) From left to right: evolution of the Island through time; The Witness Island at the time of game publishing. Source: Fletcher Studio / Thekla, 2010-2014. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-47.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2024.12.26---14.41.41.96.png) From left to right: map of [Island zones](https://thewitness.fandom.com/wiki/Areas); Island map attached to the boat that serves as a vehicle in the game. Source: Thekla / Author. Ironically, the meticulous predesign of fictional civilizations does not resolve interpretive ambiguity, but actively produces it. In this sense, the game mirrors Hodder’s critique of positivist archaeology: even exhaustive documentation and planning do not eliminate interpretation. Unlike formal puzzles, there is no possible final reconstruction of the island's history, nor a privileged account that resolves conflicting interpretations; archaeological knowledge remains provisional. Knowledge, in this context, is not measured by correctness but by interpretative coherence. The Witness juxtaposes two distinct modes of knowledge: formal, rule-governed knowledge and archaeological, interpretative knowledge; consequently, the difference between solving problems and understanding worlds. Although the distinction is analytically useful, the game occasionally blurs that boundary. This tension is central to the metafictional and intertextual elements in the game. ## III. Metafiction and Intertextuality While the formal puzzles and the archaeological reading of the island structure two distinct epistemic regimes within The Witness, the game introduces a third and more reflexive layer of knowledge through its [metafictional](https://en.wikipedia.org/wiki/Metafiction) and [intertextual](https://en.wikipedia.org/wiki/Intertextuality) elements. These elements are primarily conveyed through audio logs, short video recordings, and, most strikingly, through the final sequence of the game, which destabilizes the ontological status of the island itself. The [audio logs](https://thewitness.fandom.com/wiki/Audio%5FLogs) scattered throughout the island consist of excerpts from philosophers, scientists, artists, and religious thinkers, ranging from Plato and Heraclitus to Simone Weil, Feynman, and contemporary writers. These recordings function as intertextual fragments, disconnected from each other and from any explicit justification within the game. Their arrangement is deliberate, but not instructive: they are neither rewards nor keys; instead, they operate as epistemic provocations. Listening to a quotation about perception, certainty, or illusion after struggling with a sequence of puzzles does not resolve the puzzle retroactively; it reframes the player’s understanding of what they have been doing all along. In this sense, the recordings function less as narrative exposition and more as meta-commentary on the act of knowing itself (in addition to related topics, such as faith and skepticism). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-49.png) Location of the audio log with a quote from Heisenberg. Source: Thekla / [The Witness Wiki](https://thewitness.fandom.com/wiki/Audio%5Flog:%5FHeisenberg%5Fon%5FPauli). > The physicist Wolfgang Pauli once spoke of two limiting conceptions, both of which have been extraordinarily fruitful in the history of human thought, although no genuine reality corresponds to them. > > At one extreme is the idea of an objective world, pursuing its regular course in space and time, independently of any kind of observing subject; this has been the guiding image of modern science. > > At the other extreme is the idea of a subject, mystically experiencing the unity of the world and no longer confronted by an object or by any objective world; this has been the guiding image of Asian mysticism. > > Our thinking moves somewhere in the middle, between these two limiting conceptions; we should maintain the tension resulting from these two opposites. > > Werner Heisenberg, 1974 > > — Audio log: Heisenberg on Pauli ([The Witness Wiki](https://thewitness.fandom.com/wiki/Audio%5Flog:%5FHeisenberg%5Fon%5FPauli)) A similar function is performed by [the short video recordings accessible in certain locations](https://thewitness.fandom.com/wiki/Windmill). These videos show real people (often scholars or artists) speaking directly to the camera about themes such as attention, learning, perception, and the limits of understanding. The abrupt shift from the stylized, silent world of the island to these unmistakably real audiovisual artifacts creates a moment of ontological friction. The player is reminded that The Witness is not merely a fictional world to be decoded, but an object designed and embedded within the epistemological problems discussed in the real world. This ontological friction is revisited and developed in the final part of the game, where the fictional and the real progressively merge until the player reaches the creator's real world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-50.png) Andrei Gorchakov in the final segment of Nostalgia (1983) by Andrei Tarkovsky. This film and other videos can be viewed at the Windmill, located east of the Orchard. Source: Thekla / [The Witness Wiki](https://thewitness.fandom.com/wiki/Windmill%5FVideo%5F3). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---14.00.02.68.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---14.10.25.63.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---21.11.15.12.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/The-Witness-Screenshot-2025.01.02---22.26.12.93.png) Images from the final part of the game, featuring footage and design sketches of the island and some puzzles. Source: Thekla / Author. The ending can be understood as a form of metadesign disclosure. Throughout the game, the player has been encouraged to infer rules, reconstruct histories, and interpret traces, all while remaining within the diegetic boundaries of the island. The final sequence retroactively reframes this entire process: knowledge, here, is no longer about mastering mechanics or reconstructing fictional pasts, but about recognizing the conditions under which understanding takes place. The conclusion exposes the player to the limits of comprehension, forcing them to recognize the structures through which meaning becomes possible in a fictional world. --- This essay set out to show that The Witness is not merely a sophisticated puzzle game, but a carefully constructed epistemic experience in which different modes of knowing are staged, contrasted, and ultimately problematized. The game operates as an experimental space in which the player is invited to enact, test, and reflect upon distinct epistemological attitudes, temporality, empirical perspectives, types of logical inference, and levels of logical complexity. In the first section, we examined how logical knowledge structures the core gameplay. The panel puzzles require the player to infer abstract rules, formulate hypotheses, and justify beliefs through repeated testing. Although these rules are never linguistically articulated, they exhibit propositional structure, generality, and determinate truth conditions. The second section shifted focus from formal problem-solving to environmental interpretation, framing the island as an object of archaeological inquiry. Here, knowledge is no longer validated by mechanical correctness, but by interpretative coherence. In the third section, we examined how metafictional and intertextual elements further destabilize epistemic certainty. The player is prompted to recognize not only what they know, but how their ways of knowing have been shaped. By intertwining logic, archaeology, and metadesign within a single interactive framework, the game provides a dense space for reflection on epistemic questions and stages a progression, not toward truth, but toward epistemic self-awareness. If you're interested in discussions surrounding puzzle game design, you might like [Intellectual Difficulty and Fairness in Tactical and Puzzle Games](https://www.superjumpmagazine.com/what-is-a-good-difficulty-in-tactical-and-puzzle-games/) (SUPERJUMP, 2022). ### How Bloodlines Change the World URL: https://www.superjumpmagazine.com/how-bloodlines-change-the-world/ Last updated: 2026-02-08T16:10:17.000Z **One of the most important parts of history is the rise and fall of the various dynasties littered across cultures.** As empires come and go, the families atop these governments become staples, immortalized in culture through the arts, coming in the form of sculptures, books, and of course, video games. [Old World](https://store.steampowered.com/app/597180/Old%5FWorld/), the 2022 grand strategy game from developer [Mohawk Games](https://mohawkgames.com/), features interesting innovations on the nation-building game formula. Rather than offering a selection of global nations, it focuses its sights on the diverse cultures that made up the Ancient Mediterranean. From here, each of these civilizations has multiple leaders to choose from, influential in the culture's development, and with a family to follow them throughout history. Each of these leaders is different, offering players a variety within each different nation to begin their dynasty. While each culture has its own hallmark research topics and structures, the starting characters and decisions that follow propel the events of this narrative-driven strategy game. In my playthrough, I began my journey as “Pericles the Founder," a versatile statesman and founder of Greece, married to Queen Consort Aspasia, who, for some reason, was already upset with me. I focused on trapping as my initial research to take advantage of the resources around Athenai, the capital of what would be Greece, and set off into this new world. It only took a year for me to realize why Aspasia was disgruntled with me – pregnancy will make anyone irritable. In an effort to please my unhappy wife, I chose to name our newborn daughter after her, born in the second year of our nation's founding. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20B7521.JPG) Greece in the Old World | Screenshot taken by the author. Old World has some familiar trappings of the strategy simulation genre. I can eventually become governor of my capital or offer the role up to somebody else in my court, the former bolstering my city's development. As I take the job with honor, it's only two years later that I become “Pericles the Settler,” with the foundation of Trapezus, the second settlement under my control. It's also worth noting that the years of Old World are depicted as "Year One" and so on, rather than having an assigned year or date. The key actors of this game always seem to bring something with them, turning the pages of your nation's history with their own stories. Leonidas enters Greece with his knowledge of civil government to help propel us forward to a modern civilization. Sappho is exiled after a political scandal, allowed to roam freely in other lands, and eventually joins a rival family. Cultists are found living in ruins on a hill near a mountain range, and I allow them to continue their worship and even put up a shrine in what is now my land. The daughter who soured my wife's mood towards me in the early years has finally turned 10, meaning it's time I formally teach her about the world. It's here that I must confess that my knowledge of world history is limited – it's been quite some time since I've been graded on my ability to remember dates and why they matter, and I was only ever so good at that anyway. I took the time outside the game to glance at who Pericles was when he was alive, and thus decided to teach Aspasia about commerce so she could go down a similar path as an Orator. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/2036CE1.JPG) Money or friends? | Screenshot taken by the author. My time as a Grecian statesman comprised my first playthrough, and while I've managed a handful of other nations since then, I found that this first endeavor into Old World was more narratively fruitful. My first mistake would ring out through the rest of my playthrough – not knowing how to manage my money. Where Greece had been making some small profits for Years 1-12, it hadn't been enough to hire a philosopher to the court that my wife wished for. Her opinion of me soured more, yet I would not give up any of our resources. In a sort of irony, my daughter would ask me about a situation with money. Since Pericles isn't wise enough to tell her that money isn't everything, I tell her that she can spend money with her friends however she pleases, and this decision would set her on a path from which I could not save her. Old World is made of ebbs and flows, bouncing gameplay developments with characters and stories that will throw a wrench into things. By Year 24, King Pericles the Pioneer turns ill. Rather than ride out my golden years sick and on the throne, I abdicate the throne to my daughter. Remember how earlier I told her she could spend her money with her friends as she pleases? That lesson alone formed her into a lackadaisical sort of person, and as an adult, she's become an alcoholic. The first thing she does is remove the cult of Aphrodite, those who have been dwelling in the mountains since before our arrival; their religion is gaining too much influence over the city. To make matters worse, we've been at war with foreign invaders for a few years now. I, as Pericles, lived a taxing life, and I can't help but feel guilty for my ignorance. Maybe my wife was right about that philosopher after all. By the 33rd year, Aspasia had brought many positive developments to the throne. The neighboring Danes offered their leader, Rorik, to be her husband in an effort to unify the countries, and he sits on the throne as King Consort. Through this, it's discovered that the people of Carthage have been spying on Aspasia, and their agent is dispatched expeditiously. Where Pericles' time was focused on building a nation, Aspasia's era is to make the people of Greece happy and safe as we advance towards the future. Only a year later, Rorik and Aspasia give birth to Arisonoe, and in a similar fashion, the throne still can't afford to hire a philosopher to the court. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20C4A51.JPG) Family Quarrel | Screenshot taken by the author. Some of the narrative events of Old World can feel more random than others, harder to pinpoint their causes. From a narrative standpoint, combining self-prescribed ideas with flavorful text that drives the concepts home, Pericles' sickness comes and goes while his daughter is on the throne. He's healthy again the year she takes over and only gets sick again towards the end of his lifespan while he's back in the political seat as governor of Athenai. In the early 40s, things continue to take a turn for the worse. War erupts across the country from both the people of Carthage and Persia. Our lack of military might holds us back as we scrounge up soldiers, but governors in the cities fall ill and perish as well or simply make poor decisions. In Year 44, only a year after the passing of Pericles, Aspasia is doomed, sick, and close to death, and Arisnoe is only 10 years old. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20A6721.JPG) Household Troubles | Screenshot taken by the author. In Year 45, disaster falls. Both the King and Queen die from their illnesses as war ensues on Greece's borders. Arisnoe is still just a child, so a court member arrives to take the throne until she turns 18\. By year 52, Arisnoe has been raised as an orphan during nearly a decade-long war with Carthage. Rather than pursuing commerce like her mother, she learns military training, the last chance to stop the nation from collapsing. As she turns 18, Polyxena, the regent queen dies of a sudden illness, making way for Arisnoe. As the 50s arrive, city after city falls to barbarians from the south and Carthaginian soldiers from the north. First, Trapezus. Then Thebes. Then Argos. At 25-years-old, Arisnoe takes to the battlefield in Corinth, and in an insane twist of fate, she's spared from death after being rescued by one of her soldiers and returns to the capital. It doesn't take long before Athenai falls to constant attacks. In my story, Greece is a nation that couldn't make it to a century, with three rulers to take the throne, each bearing the sins of the last. An unwise settler, a listless queen, a daughter forged in war. When I play strategy games like this, or games in the Civilization series, I tend to go with the flow, making decisions on the fly and doing whatever feels natural. While this isn't optimal, Old World rewarded that behavior with a developing story. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-36.png) Defeat | Screenshot taken by the author. I've started new playthroughs in Old World a handful of times since this initial story, and each of them has been different. No two rulers have been the same, nor have their developing moments and national impacts. Each war has demanded something different, each bloodline resonates with different ideals, and each story branch has led to something new. For a long time now, I’ve thought about ways to transcribe my playthroughs in nation-building games, opting to recount the events as if they were going into a history textbook. The issue I’ve found with this, after multiple attempts, is that the focal point of a nation isn’t gripping when a face isn’t attached to it. Where other games draw on distinct historical figures that work as gameplay mechanics rather than characters, Old World bridges the gap through story developments that act as motivators for gameplay. I applaud Old World for its ability to weave story and gameplay in a way that the historical strategy genre has very much inspired its players, and very clearly benefits from. ### Indie Monthly: January 2026 URL: https://www.superjumpmagazine.com/indie-monthly-january-2026/ Last updated: 2026-02-07T01:36:27.000Z **A new year dawns. January is usually a bit of a slow month for entertainment, video games not exempted.** However, a lull in the quantity of releases says nothing about the quality, and there were still some interesting titles dropped this month. There are only two games on display this month, which speaks to that lower release number but also signifies a bit of a policy change. Moving forward, we're going to feature fewer games while offering slightly longer, more in-depth reviews. Yes, I'd love to do twenty reviews a month and give exposure to the maximum number of people, but the limits of time and space make that impractical. For now, enjoy the dancing robots before returning to your haunted hotel. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/SpiritLiftA.jpg) Source: Author. ## [THE SPIRIT LIFT](https://store.steampowered.com/app/1727590/THE%5FSPIRIT%5FLIFT/) The Spirit Lift is a horror-themed deckbuilder following a series of 90s high school archetypes as they wander through an old hotel in which every spooky thing possible has happened. It's a familiar game that's set apart by an unusual presentation and an obsession with replayability. The goal of each run is to guide a group of three characters through the halls of the Vexington Hotel, reach the 13th floor and defeat a boss waiting there. Initially there are only three characters available, but the roster grows to eight after enough attempts. The party determines opening cards and equipment, but more importantly they set which of the four colors of cards will be available in future draws. The core gameplay loop is similar to most deckbuilders, save that the player isn't moving along a set path but rather exploring each floor in first person. One of the rooms always contains the lift to the next floor, while the others house enemies, events or empty rooms that can be looted for money and cards. There may also be enemies and traps outside of the rooms and the lift doesn't unlock unless the player has explored at least one other room, so beelining through each floor isn't necessarily an effective strategy. Combat is also similar to other deckbuilders, with a few twists. The most noteworthy distinction is a complete lack of a block mechanic. The player will need to find some other means of avoiding damage - dodging it, reflecting it, stunning enemies or taking them down before they can do anything. In general, the ideal strategy involves focusing on one or two cards that can be scaled out, something that's critical to beating some of the bosses with the game's restrictive 13-turn imit. All deckbuilders are designed for replay value, but few put as much of a focus on it as The Spirit Lift. There are unlockables for each character, each enemy, each boss - dozens in all, including not just cards and gear but new events. Each run earns spirit points used to purchase permanent upgrades. Certain events yield files that point to the history of the Vexington Hotel, and it can take many runs to find them all. Whether or not it's worth playing through the game dozens of times will vary from person to person. By genre standards, The Spirit Lift isn't too hard, and it has a few features that make chasing unlockables nicer - such as those permanent upgrades and the ability to select any boss path previously seen. However, the small number of enemies and lack of challenge settings means that runs will start to seem a little similar after a while. Overall, The Spirit Lift is a very interesting deckbuilder that mixes up the formula without changing things too much. It has a fun aesthetic and theme and it never feels too oppressive to play, making it a good choice for both veterans and newcomers. The Spirit Lift is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/SteelCG_A.jpg) Source: Author. ## [Steel Century Groove](https://store.steampowered.com/app/1858950/Steel%5FCentury%5FGroove/) Steel Century Groove is a rhythm RPG set in a world where generations-old war machines called Tenzerks have been repurposed for the more noble sport of dance combat. It's an easy to learn, hard to master game with some unexpected complexity. The core combat mechanics seem simple at first glance. For each stem, or phase of the fight, there is a curving line with numbered nodes. A dot moves along that line, and the player must hit a button when it passes through each node. The nodes follow the pulse of the music but aren't strictly locked to the beat, so there might be sets of tightly-grouped nodes followed by a break. Each successful hit builds the player's acclaim, and whichever character maxes out their acclaim bar first wins. That's where the RPG mechanics come into play. While one can theoretically win by using a single button, most opponents won't give up that easily. Winning more difficult fights means mastering the special abilities. Each Tenzerk - those available to the player and those used by opponents - has a unique set of traits and skills, and those skills only work if used in the right circumstances. For example, you might get a special attack that depletes the enemy's acclaim bar, but only if used during a part of the stem where the opponent isn't taking any action. Meanwhile, enemies have their own gimmicks and can throw status effects on the player, such as locking abilities or seeding the stem with decoy nodes. Playing the game well requires keeping track of a lot of information at once - not just the nodes, but cooldowns, possible status conditions, and the enemy's predicted actions. It can be daunting, especially for one without great multitasking skills. However, most mechs have a few simple strategies that work well in a wide range of situations, demanding only an occasional tweak in response to an enemy gimmick. Outside of combat, Steel Century Groove features a design with some definite Pokémon inspiration. The storyline is simple, following the protagonist and their friend on a journey to earn the right to compete in a tournament. Said entry requires defeating a series of expert opponents, all the while dealing with a rival who always seems to be one step ahead. There is another layer to the story, one involving the lost history of the Tenzerks that is revealed little by little over the course of the game. The RPG elements are fairly basic but add a bit more mechanical complexity. There's no money or shops, but the player will find mods that can add minor mechanics or refine existing strategies. The overall loop also grows more complex as the player fights other pilots and gains levels. Overall, Steel Century Groove is a solid addition to the burgeoning rhythm combat genre. It's not too hard to get the hang of it and there's just enough variety in the builds and enemies to keep things interesting. Steel Century Groove is available for PC via Steam. A copy was provided for this review. --- That wraps up our first go with the adjusted format, having looked at two indie games that caught our attention in January. Be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Finding My Way Back to Streaming URL: https://www.superjumpmagazine.com/finding-my-way-back-to-streaming/ Last updated: 2026-02-05T17:11:01.000Z **It's 2026\. I'm looking at my Twitch profile, and it reminds me that I haven't streamed in January. 35 followers, all real people.** The statistics remind me of what I have neglected. It means I have to look beyond the dashboard and ask myself a few questions. Truth be told, I haven't streamed in months, not since August. I told myself that I would, with all the new games coming out in 2025, be ready to test. Heck, I've even managed to avoid spoilers for Deltarune's third and fourth installments. And yet, with all the chaos that ensued in 2025 from the real world, gaming, and the speculative fiction industry, setting up the area where I stream has become harder. It's not because that area is in our guest room. No, the reason is more emotional: I streamed for myself and other people. Now I need to stream for myself again this year and have fun regardless of who comes to watch. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/spelunky-1-steam.jpg) Spelunky. Source: Steam. ## Why Do I Like Streaming? I enjoy streaming on Twitch because it allows me to connect with my friends. Part of the reason I streamed Spelunky for so long, despite taking several years to beat the game, was that more than a few people who had heard me on voice chats were surprised to hear me swear. My online bestie even started a "fuck" counter after I ran into multiple hazards. Geometry Dash went even worse, as I immediately switched back to Spelunky after a few minutes of navigating a colorful shape through an obstacle course. Sharing a gaming experience means going on a journey through story-rich games. I've struggled with Celeste as mentioned, but I **,**also gave therapy to a robot and used a friendship to save a girl and her monster. The iffy games allow me to commiserate with the viewers who are similarly disappointed with the payoff. Sharing a gaming experience with others also allows me to measure my amateur skills against professionals who can remain charming and hilarious. I like finding the underdogs, the games that an average Steam customer may not see on a first perusal. ## What Happened in 2025? Thanks to real-life events kicking me in the teeth and the heart at the same time, I left a friend group that I had joined nearly ten years ago. I won't go into the details, but it wasn't fun. Mainly, I'd stream, and people from that group tended to join. They're the ones that helped inspire how I would stream because some had the know-how, and others had the spark. One iconic moment had our friend group trying to guess how to find a star in one of the Deponia games; the answer left everyone, including the player and us viewers, baffled. (In hindsight, Deponia always goes for the absurd answer, but at the time I was saying "What?!" a lot when we got to that moment.) I'm still friends with some of those individuals, and others I have held at arm's length. Since then, however, preparing a stream has taken more physical and emotional effort. When you lose that many people after realizing you both have changed too much, it leaves you feeling empty. The void didn't register until halfway through the year, as I had games I wanted to stream but lacked the energy for setup and timing. I was sad and upset, letting the pain weigh on me. But I didn’t realize the consequences of sadness until the very end of December. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-37.png) Deltarune. Source: Steam. ## Back to Streaming for Myself If I were to stream for myself again and not worry about the emptiness, I would find a balance between troubleshooting the lag issues and enjoying the ride. Instead of worrying that I get boring when I get serious, as I stop talking and completely focus on the screen, I'd be me. That means accepting all the flaws. In February, I hope to carve out that time and find the fun in streaming again. That means diving into Deltarune as well as new Steam arrivals. So many new creators want to show their games, and I want to give them a fair shake and an audience, even if it's a small one. First, though, I have to recover from this head cold. It's harder to say "fuck" when your voice comes out as a groaning squeak. ### Hermitcraft Hermits Speak About the New Season URL: https://www.superjumpmagazine.com/hermitcraft-hermits-speak-about-the-new-season/ Last updated: 2026-02-03T22:24:15.000Z **Hermitcraft is one of the largest Minecraftserver franchises in the game's history.** Since 2012, dozens of YouTube's most prolific Minecrafters have consistently banded together to put entertaining, family-friendly content out onto the Internet's bandwaves. Season Eleven of Hermitcraft began in November of 2025, and now, three months in, the results of their labors are staggering. Nearly all the Hermits have made tremendous progress on sprawling megabases that beggar the mind, and are already starting work on complex minigames or finding ways to catapult players halfway across the world. [iJevin](https://www.youtube.com/@iJevin) has been a Hermit since 2013, participated in ten seasons, and is currently building a pirate-themed base. [Welsknight](https://www.youtube.com/channel/UCKEJZ-dqIA03evnzEy1%5Fowg) joined Hermitcraft in 2016, has participated in eight seasons, and is currently working on a Japanese village to call his home. Both were more than happy to discuss their experiences with Hermitcraft in the past, plans for the current season, and where they see the Hermits going in the future. **Both interviewees were given the same questions separately; their answers have been edited for clarity* ### SUPERJUMP **What are your goals and plans for this season of Hermitcraft?** ### Welsknight My main goal is just to be more active throughout the season than I have been in recent years. I’m planning to build a sprawling feudal Japanese castle town to serve as my main base, with an industrial area thousands of blocks away for all of my various farms. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-1.png) Jevin & Welsknight avatars. Source: Author. ### SUPERJUMP **Is there anything you're looking forward to in particular in this season? Like playing around with new Minecraftupdates, or shops and minigames from other Hermits?** ### Jevin As with any new season, there is a lot of anticipation. Of course, things like Minecraft updates are fun to play with, but I'm much more interested in the happenings on the server: The new builds and games being built (such as [TangoTek's](https://www.youtube.com/@TangoTekLP) Decked Out 3), plus all the hilarious shenanigans. ### Welsknight TangoTek’s Decked Out 3 will almost certainly be a highlight of the season once he finishes it. Beyond that, I’m just looking forward to all the random interactions and spontaneous shenanigans. ### SUPERJUMP **What are some of your favorite moments and builds from last season? Regarding this season's builds, what are you planning to do**, **similarly or differently?** ### Jevin I loved the things I built last season. From the forest to the castle, I was extremely happy with the results. Each season, I strive to do things differently, and this season is no different. The theme this year is pirates! ### Welsknight Despite being inactive for a good chunk of the season, I’m pretty happy with how my fantasy castle turned out in the end. I’ll be following a lot of the same design methodology for my castle this season. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/hermitcraft-feat-image-2-1.png) Source: Hermitcraft Wiki. ### SUPERJUMP **Jevin, this is your tenth season of Hermitcraft. Does it feel like it's been that long? What's it like, being part of a community and seeing it evolve over the years?** ### Jevin Being a Hermit is fascinating. Working alongside some of the most talented Minecrafters is very interesting. At any given point, you can look around and just be floored. The counter to that is I always need to invest and reinvest my skills to keep up. Sometimes it can be stressful, but it's good stress. ### SUPERJUMP **Welsknight, for you its been eight seasons; does it feel that long?** ### Welsknight No, it doesn’t. The years have flown by. It’s incredible to see how Hermitcraft has grown and evolved into such a prominent part of the greater *Minecraft* community, and I’m also really proud of how positive and wholesome the Hermitcraft community is despite its popularity. It’s really special. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/02/image-2.png) Jevin's Season 11 pirate ship. Source: Hermitcraft Wiki. ### SUPERJUMP **What are your thoughts on Hermitcraft and its history? Did you ever see it becoming as popular and impactful as it's become today?** ### Jevin When I joined Hermitcraft all those years ago, I never imagined it would get to this point. I'm just so proud of everyone involved. ### Welsknight When I first started playing Minecraft, some of my largest influences as I learned how to build were [GoodTimesWithScar](https://www.youtube.com/goodtimeswithscar), [BdoubleO100](https://www.youtube.com/@bdoubleo), and [Keralis](https://www.youtube.com/keralis). Countless other people learned how to play the game from watching [Etho](https://www.youtube.com/user/EthosLab), or learned all about the technical side of Minecraft from people like [Mumbo Jumbo](https://www.youtube.com/@ThatMumboJumbo) or [Docm77](https://www.youtube.com/user/docm77). It’s wild to me that not only am I playing on a server with those people today, but also that Hermitcraft as a collective has been such a big influence and source of inspiration to Minecraft players all over the world. ### SUPERJUMP **Where do you see Hermitcraft's future?** ### Jevin As for the future, it's hard to say. I just know I'll continue to keep putting my best foot forward. ### Welsknight I don’t think about that too much. I imagine we’ll be around for a long time. I just like to enjoy the ride. *Special thanks to Jevin and Welsknight for this interview* ### Hidden Gems of Game Design Vol 44 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-44/ Last updated: 2026-02-02T02:40:39.000Z **Plenty of amazing games go unnoticed and are not played widely, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## Josh Bycer ### [Zexion (2025)](https://store.steampowered.com/app/3392510/Zexion/). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-33.png) source: Steam 2025 may be the year of Hollow Knight: Silksong dominating the Metroidvania genre, but there was another game, Zexion, that I found to be every bit as good and challenging. You have arrived on a planet to find the mysterious technology known as Zexion, but every other space-faring race is out to take it from you, along with the myriad of strange creatures who make up the world. While the game looks and plays like the classic Metroids, everything is ramped up to 11\. You’ll need to make use of multiple weapons and movement tech if you want to explore the world. If you’re someone who found the bosses and enemies in Silksong to be challenging, well, they don’t hold a candle to the fights in Zexion. Bosses are often multi-phase, fully transforming gauntlets that will test your ability to dodge and shoot. The boss fights will make even the most hardened Metroidvania fans sweat with their attack patterns. The world is mostly open for you to explore from the beginning; however, all the various upgrades will dramatically expand your exploration. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-34.png) source: Steam No matter your skill level, Zexion is going to put you through your paces. Most enemies don’t drop healing items, and there are some nasty sections where you will fight tooth and nail to get to the next save point. For fans looking to do more, there is a full randomizer unlocked after finishing the game, true ending challenges, and, of course, the thrill of going for 100% completion. While everyone has played or heard of Silksong, Zexion deserves praise as one of the best Metroidvanias of 2025, and easily one of the more challenging examples of the genre. ## Matthew Lawrence ### [OpenTTD (2004)](https://store.steampowered.com/app/1536610/OpenTTD/) As I zoom out to look at the map, I can’t help but feel a sense of pride and satisfaction watching my little planes, trains, buses, transport trucks, and ships zip around the map. While far from perfect, and certainly nowhere near optimal, I have connected all the major cities and industries in a small section of my OpenTTD map, allowing them to grow unfettered as I stand by and watch the cities expand. At face value, OpenTTD certainly looks like an old game, and for good reason: Transport Tycoon Deluxe, upon which OpenTTD is based, was originally released in 1994 for MS-DOS. The “Open” aspect of the game came about in 2004 when programmer Ludvig Strigeus converted it to the C programming language and released it as open-source. Since then, the game has continued to receive support from dedicated fans through patches, mods, and graphics changes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/data-src-image-f492ff99-aa2f-4883-b3d1-6fff974a42c4.png) A megalopolis in the making. Source: Author. Although the UI and controls take time getting used to, once you have a grasp on them, the gameplay is deceptively simple. Players connect cities by various modes of transportation, and then watch as the money rolls in. Routes connecting cities further away earn more money but might take longer, while shorter routes are completed quicker but provide less money. Towns and cities grow when their transport needs are met, but the real money comes from connecting industries to their buyers. Some industries are as simple as transporting one resource to its buyer, like connecting a coal mine to a power plant. Other industries can require multiple steps and multiple different resources, requiring the player to construct networks spanning the map. The core complexity of the game, and why it appeals to me, is that there are always new ways to innovate and make my transport networks more efficient. The route-creation tools can allow the player to make some truly complex routes, such that network creation feels like a genuinely iterative process. If you’re interested in seeing just how complex things can get, I would strongly recommend checking out Master Hellish on YouTube and watching some of his videos about the game. I recommend OpenTTD to anyone who enjoys playing automation games such as Factorio and Satisfactory. While OpenTTD doesn’t get into the weeds as much as those games do in terms of supply chain management, I think modern gamers will be pleasantly surprised by the amount of depth it offers. OpenTTD is free on Steam. ## Ben Rowan ### [Bullets & Brains (2025)](https://store.steampowered.com/app/2485430/Bullets%5F%5FBrains/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/data-src-image-d3159f78-968c-45cf-8db5-530559963547.jpeg) Source: Author. Not sure about you, but I certainly play a lot of video games for that quick, satisfying dopamine rush. Sure, sometimes I want a deep story, a big open world, or an all-night strategy epic. Other times, I just wanna switch off my brain and watch numbers go up while I mow down a sea of hapless zombies. For reasons I still can’t fully explain, few things scratch that itch quite like a top-down splat-fest where the only plan is to keep moving and never stop shooting. So that's exactly why I’ve been sinking time into Bullets & Brains, a scrappy indie that's tailor-made for short bursts of fun. It’s developed by Ajvar Studios, a tiny two-person dev team based in Croatia, and it’s quietly made its way onto pretty much every platform, including Xbox, PlayStation, Switch, and Steam. The setup is pretty straightforward: post-apocalyptic zones, sprawling maps, and an arcade-style focus on keeping the action flowing. In practice, it blends several genres I love: twin-stick shooters, bullet hell, zombie horde shooters, plus a mix of RPG progression and a 'light rogue-lite' structure that keeps things sticky. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/data-src-image-cd3992e3-f486-4c2e-9c49-04feb13008bd.jpeg) Source: Author. Structurally, it plays like a semi-linear RPG. You venture into different zones, pick off levels and objectives, and gradually open up the map. Once you’re inside a level, it becomes its own mini rogue-lite run. Zombies spawn in waves that never fully stop, so you’re always dashing and cutting angles. As you drop zombies, they spit out the game’s namesake currency: brains. Grab enough brains, and you level up, which triggers that addictive “choose 1 of 3” moment: More health, faster movement, passive weapon buffs, healing, damage spikes, etc. The randomness keeps each attempt feeling fresh as you gain power and take down the never-ending hordes. Meta-progression is a big part of the hook, too. You collect coins to purchase upgrades, like buying better weapons that unlock as you level up in-game. And you're also earning experience points that feed into permanent upgrades. So even when you get flattened, it rarely feels like wasted time. The final collectible is electricity, which lets you unleash your 'ultimate', a giant room-clearing blast that kills all zombies on screen and puts everything into temporary slow-mo. Perfect for when things get, as they say, ‘a little out of hand’. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/data-src-image-5f01ce58-2616-4003-abb3-939e8ae2be24.jpeg) Source: Author. The moment-to-moment action is properly frantic. Exploding barrels are everywhere, slobbering hordes pile in from all sides, mini-bosses crash the party, and there are crates galore begging to be blasted into smithereens. Every crate has loot inside, too, which makes it doubly satisfying. There’s also a co-op mode, which looks like the ideal way to play, but my partner hates twin-stick games, so I’m running solo, which is fine with me; I'm having a blast nonetheless! With only about a dozen Steam reviews and limited critical coverage, Bullets & Brains is absolutely a hidden gem. It’s mindless, chaotic, and it’s become a go-to palate cleanser when I want something instantly gratifying. Now, back to frying zombies with a flamethrower. ## Anonymous ### Werewolf: The Last Warrior (1990) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-35.png) Source: Wikipedia NES games are notorious for their difficulty. Werewolf: The Last Warrior by Data East follows this trend to a tee, even when it lets you rip foes apart as a werewolf. This action platformer charges you with stopping Dr. Faryan, a possessed scientist who mutates the world into a toxic wasteland. Naturally, this means you don’t want to be a mere human when ninjas and mercs in jetpacks gun you down. This is made apparent right at the start with a boss fight against your human form. Finding red “W” symbols lets you transform into a werewolf with T-1000 blade arms, like in the Terminator films, turning the platformer into a Hollywood montage as you backflip, crawl, and wall climb between slicing your enemies. The beast also comes with a substantial health bar, letting you take some hits. Unfortunately, the game’s precise jumps are its real bosses. Pair that with an unintuitive long jump (pressing up + the jump button) and you have a recipe for frustration long before you meet its mini-bosses. If the jumps don’t kill you, watch out for the blue “W” symbols that pop out of crates and secret spaces that un-werewolf you back to a human. Its gameplay quirks are even more jarring. Enemies and projectiles drop on you with no warning, forcing you to memorize them to clear levels. You can pick up guns from enemies, but you can only fire them once. Worse, you can only use them as a werewolf, which confounds my mind to this day. Decent visual spritework and neat transformation gimmick aside, it’s hard to recommend Werewolf: The Last Warrior’s brutal missions unless you’re curious about the evolution of NES titles. If you’ve made your choice, the Japanese version of the game simplifies some of its platforming to make it bearable. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### Dishonored: The Lessons of Corvo & Daud URL: https://www.superjumpmagazine.com/dishonored-the-lessons-of-corvo-daud/ Last updated: 2026-01-31T00:50:39.000Z **Nearly a decade has passed since Dishonored 2 was released in November 2016, prompting me to revisit the origin of the Dishonored series.** When I began this essay, we were living amid a pandemic that had infected millions, upended the lives of tens of millions, and deprived so many people of their lives. Businesses run by families for generations shut down; hundreds of thousands lost their jobs. Political unrest was at an all-time high, with massive protests, attempted insurrections, and all-out wars becoming another simple fact of life. Chaos spread like a fever throughout the world, as infectious as the virus that dominated our lives. And through it all, the most fortunate and most advantaged continued to prosper. It is fitting that I’d write about Dishonored, a game about a plague, during a pandemic. Dishonored is a stealth game released in 2012 by Bethesda Softworks. It chronicles the story of two rogues: Corvo Attano, the former bodyguard of the Empress of the Isles, and Daud, a highly skilled assassin, the man who killed the Empress. Unknowingly, they work together to bring about an end to the plague that has gripped the empire, while taking down the empire’s most unsavory figures who seek to use the plague to further their own political ambitions. Dishonored began as a spiritual sequel to one of the earliest stealth video game series, the Thief trilogy. The game offers a wealth of insights, lessons, and messages that resonated with gamers upon its release. However, I would argue that Dishonored’s moral framework resonates even more strongly in our current climate, both as a warning and as a vision of a more hopeful future. Because of this continued relevance, it is worth examining the game'scentral themes: suffering, compassion, charity, and redemption. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/ss_f54ccdaad18e2ff63c74a76ac05378eadefa00fa.1920x1080.jpg) Screenshot from The Knife of Dunwall DLC. Source: Steam. Suffering is not foreign to the human spirit, nor is it foreign to Dishonored. The world of Dunwall, the city where the game primarily takes place, is not a nice place to live. Overnight, the plague wipes out entire families, leading to massive suffering. People in positions of power, such as Arnold Timsh, Hiram Burrows, or Waverly Boyle, freely use the plague to advance their grip on power. Institutions such as the Abbey of the Everyman, analogous to real-life religious organizations such as the Church of England, have grown fanatical in their desire to stamp out dissent in the name of warding against heresy. People are dragged away from loved ones by the City Watch to be quarantined and die with other infected individuals. And above it all, the trickster deity called the Outsider looks down on everything and laughs. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Spoilers_Ahead-12.png) Ahead are major plot spoilers for Dishonored, The Knife of Dunwall DLC, and The Brigmore Witches DLC. Aside from the generalized suffering of the city overall, you have more specific examples of individual suffering. High Overseer — a position analogous to archbishop — Thaddeus Campbell plans to poison upstanding police officer Geoff Curnow for his upright nature, in the middle of a meeting to discuss their personal differences. A pair of police officers tries to steal a woman’s medicine meant for her child, saying their positions of authority outweigh the value of the woman’s infant’s life. A duo of gangsters traps Griff, an old man, in his own curio shop and refuses to let him out until he pays protection money, falsely accusing him of having the plague. Our protagonist is no stranger to this same suffering. ### A Lesson in Compassion At the start of the game, someone framed Corvo Attano, the player character and protagonist of the main game, for the death of the empress and the kidnapping of her daughter, Emily Kaldwin. His former allies, who arranged the assassination, hoping to turn the public fully against him with a manufactured confession, tortured him for six months. They nearly executed him, forcing him to escape prison and collaborate with a group of rebels, the Loyalists. To gain his revenge, he must take down Hiram Burrows, the former spymaster turned Lord Regent, as well as his fellow conspirators who ordered the assassination, and find Emily. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/ss_32d76a6ff4b216410b90ff2cdb7107a28a1baed2.1920x1080.jpg) Screenshot from Dishonored. Source: Steam. Corvo has the power to inflict great pain and suffering on the city of Dunwall. If the player so desires, Corvo can assassinate all of his targets — the corrupt Pendleton twins, the regicidal Lord Regent Burrows, the promiscuous High Overseer Campbell — and leave a trail of corpses along the way. He’d be justified. Mostly everyone he encounters in the game views him with fear or as an enemy, or both. Corvo can take bloody revenge on his tormentors, much to the demonic Outsider’s delight. However, Corvo can make a different choice, and it’s the subject of that choice I want to discuss. Corvo can choose not to kill. Corvo can choose to make a difference for the better by not inflicting violence on others. It does not entirely make the most sense, but Corvo can choose to be a pacifist — he can choose not to kill. Instead, he can simply ruin their lives but leave their bodies intact. Corvo could, for example, abduct, disfigure, and sell the Pendleton twins into slavery in their own mines. You can dispatch Lord Regent Burrows by broadcasting evidence of his crimes to the entire city via the public broadcast system. Corvo can brand High Overseer Campbell as a heretic and cast him out of society, forcing him to scrounge in the most desolate corner of the city to survive. Corvo can show compassion. A recurring theme I like to examine is compassion, which literally means *to suffer with*; however, the word is so much more than that. Compassion is showing mercy and kindness, often to people who have done little to deserve it. Take the cases I mentioned earlier. High Overseer Campbell plots to poison Geoff Curnow. Callista Curnow, Geoff Curnow’s niece, begs Corvo to make sure her uncle lives when Corvo sets off to eliminate Campbell. Corvo is under no obligation to help her; he’s known her for a few hours at most. He knows nothing about Geoff Curnow either, other than that he’s a police officer of alleged moral integrity. He’d be justified in not helping her. In fact, trying to save Geoff Curnow’s life makes things more difficult for Corvo, and even if he intervenes, Geoff Curnow is likely to be ignorant of the fact that Corvo just helped him. But Corvo can do it anyway. Corvo could swap the glasses in the meeting between the High Overseer and Curnow, leading to Campbell being hoisted by his own petard. Or he could smash the glasses and shoot the High Overseer when he tries to dispatch Curnow through more straightforward means. Corvo receives a small trinket from Curnow’s niece as her thanks, and the two reunite at the game’s end, but that’s it. Corvo has no reason to help, but he can do it anyway. Corvo can also intervene when the City Watch (police officers) is bullying a mother. Again, he has no reason to help; there’s no stately bearing about the woman. If anything, helping would be to his disadvantage, as he’d have to deal with a pair of City Watch officers. His only reward for helping is the key to a door that would make accessing his primary target easier, a key he could have easily taken from her corpse. But again, Corvo helps all the same. The two Bottle Street Gang thugs who imprisoned an elderly geezer in his own shop can be dispatched, despite being part of one of the most dangerous gangs in the city. Griff, once saved, offers Corvo no reward save the privilege of buying ammunition and blueprints from him. There is a risk and little reward, but this is another example of Corvo acting out of compassion. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/download.jpeg) Emily Kaldwin's drawings of Corvo reflect the state of chaos in the Dishonored universe. Source: [Steam Community](https://steamcommunity.com/app/205100/screenshots/). Those examples, aside, Corvo can have a more general effect on the world by acting with compassion towards guards and gangsters. Rather than shooting, stabbing, or hurling them from high places, Corvo can choke them unconscious, shoot them with tranquilizers, or just avoid them entirely by sneaking past. By acting with restraint and kindness, Corvo reaches a state that the game refers to as Low Chaos. This state of Low Chaos influences the rest of the world — not only are there fewer guards posted in areas given Corvo’s pacifism, but there are fewer plague victims and plague-spreading rats to be found. In addition, Corvo’s Low Chaos affects multiple characters. During the mission where he infiltrates the Abbey of the Everyman to dispatch High Overseer Campbell, Corvo comes across an infected Overseer (a priest or knight templar) in the Abbey. With High Chaos, if Corvo has acted with violence and vengeance, the Overseer denies his sickness, and his friends kill him for lying. But with Low Chaos, the sick man begs his friends to mercy kill him before the plague rots away his mind. At first, his friends refuse, but ultimately go along with his wishes, dispatching him while he recites a prayer to the Heavens. When nearing the end of the game, Corvo’s ally, Callista Curnow, whose uncle Corvo had been tasked with saving, is captured by Corvo’s enemies. In High Chaos, she is killed along with Corvo’s allies. However, in Low Chaos, her kidnapper inexplicably elects to imprison her instead, muttering that he owes her uncle a favor. During the last mission, on High Chaos, Samuel the Boatman betrays Corvo, disgusted by his heinous crimes. In Low Chaos, Samuel declares it has been a true honor to serve with him and wishes him all the best of luck. Corvo’s compassion inspires others, some of whom do not even know Corvo directly; that’s a taste of the impact his choices have on others. Corvo can choose to be a moral paragon, inspiring others to imitate his restraint and compassion. He has no reason to take on this role; he gains little but perhaps a good feeling in his chest and some small worldly rewards, but does right despite everything that has happened to him. Through the player’s actions, Corvo can become a moral paragon not only within the world of Dishonored but also in reality as well. I might be criticized for praising a fictional character, but I can’t help but think to myself how I would have acted in Corvo’s shoes, and how I currently act and can act in reality. I can’t assassinate a corrupt head of state or a lecherous religious leader. I can’t kidnap an unethical scientist or sociopathic noblewoman. But I can be kind to my neighbor. I can stand up for the downtrodden. I can give charity to others and maybe restore someone’s faith in the human capacity for compassion. That is, well and truly, what Corvo Attano espouses. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/download--2--1.jpeg) Empress Jessamine Kaldwin, her daughter, and Hiram Burrows. Source: [Steam Community](https://steamcommunity.com/app/205100/screenshots/). ### A Lesson in Charity Having talked about Corvo and compassion, I want to highlight an important contrast between Empress Jessamine and her successor, the pretender Lord Regent Hiram Burrows — specifically in their differing displays of charity. Charity is voluntarily giving up something for the sake of someone else; however, it can also mean an acceptance of others, or, in a more archaic sense, a love of humanity. As opposed to compassion, which is based more on empathy and shared suffering, charity is more sympathetic, showing concern and love for someone even if one has not gone through the same sufferings as that person. Corvo chooses to or chooses not to show compassion based on his own personal sufferings. Yet the dichotomy of charity manifests itself in Dishonored not through Corvo’s choices, but through the contrast between Jessamine Kaldwell and Hiram Burrows’ actions. While Empress Jessamine is the constitutional monarch of the Empire, Burrows is the former spymaster, the head of the secret espionage directorate of the Empire of the Isles. We know very little of the Empress from the base game, seeing as she dies in the prologue; we do know that although she could make controversial decisions, she was loved by many. > *“I can’t wait to see his head roll. Not everyone did, but I really liked the Empress.”* There exists a significant contrast between the Empress and the Lord Regent. In the prologue, the Empress dismisses drastic measures to contain the plague, namely a blockade. Viewing the blockades set forth by neighboring nations as cowardly, she says: *“They’re my citizens, and we will save them from the plague. All of them. \[...\] Cowards. They’re going to blockade us. They’re going to wait and see if the city transforms into a graveyard.”* It would be very easy to dismiss the Empress’s concerns and charity as naïve or her character as weak. As the past years have shown us, drastic measures are, sadly, often necessary to prevent the spread of the plague. While the Lord Regent’s actions regarding the plague might have genuinely aimed to halt the spread, this outlook is flawed. The Lord Regent comes across as a reasonable authority figure — at least, that’s how he presents himself. He professes to be a leader willing to make tough decisions for the greater good. > *“This is the Lord Regent speaking. It is with regret that I announce my term as Lord Regent has been extended through the Month of Harvest, and potentially beyond.”* > > *“Tomorrow you'll be executed. But it's for a good cause. This country needs strong leadership now. Someone to guide the weak. And that's where we come in.”* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-23.png) Rats attacking a city guard. Source: Dishonored Wiki. However, this perception of Burrows, much like his outlook on the plague, is flawed. The Lord Regent’s drastic measures are hopelessly ineffective as he is totally ignorant of human nature. Burrows thinks people will do as they are told in a crisis, and, finding this not to be the case, makes just about every crime punishable by death for the duration of the crisis. > *“Attention, Dunwall Citizens. You are reminded that assaulting a member of the City Watch has been made a capital offense, and guardsmen are authorized to carry out this sentence on the spot.”* > > *“This is a reminder that collective bargaining in any industry deemed vital to the state is a capital offense.”* > > *“Attention, Dunwall Citizens: Be aware that looting of evacuated areas is a serious offense, and will be summarily punished by officers of the Watch.”* > > *“Attention Dunwall Citizens. A mandatory whale oil ration is now in effect. Non-compliance is a punishable offense.”* > > *“Attention Dunwall Citizens. Report all deceased family members to the local Dead Counter. Unreported deaths are a punishable offense.”* The declarations are endless. The Lord Regent is the antithesis of the Empress. The antithesis of most characters in the game. His cruel measures, rather than controlling people, only cost him the cooperation and respect of the populace, the religious, and the parliament. The wealthy and the nobles are capable of showing charity; the Empress is one such example, and her legacy is one of general adoration. The Loyalists are another example, such as Callista and Geoff Curnow, who are more than capable of showing charity. But the Lord Regent cannot show such charity. The apotheosis of his apathy comes with his confession that Corvo can broadcast to the people of Dunwall. The broadcast system that the Lord Regent used to spread his reign of terror is the same means used to defeat him. Hiram Burrows, before becoming Lord Regent, was the Royal Spymaster, who came up with a plan to eliminate the city of the poor: > "*And it was a simple plan – bring the disease bearing rats from the Pandyssian Continent, and let them take care of the poor for us. The plan worked perfectly. At first. But the rats – it was as if they sought to undo me. They hid from the catchers, and bred at a sickening rate. Soon it didn’t matter, rich, poor, all were falling sick…”* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Plague_corpses.webp) Pre-release screenshot for Dishonored. Source: Dishonored Wiki. Hiram Burrows manufactured the plague, uncaring of the already abysmal plight of the poor, intending to permanently halt what he viewed as a leech on society. He shows the opposite of charity; he shows selfishness, putting what he made himself believe was the greater good ahead of everyone else. His apathy is even worse, as it becomes apparent that his understanding of human nature is fundamentally unsound. > “…Bringing about the death of an Empress is not an easy thing, but it gave me the chance to attack the plague with some real authority. Quarantines! Deportation of the sick! But there’s always some idiot woman searching for her wretched lost babe, or some sniveling workman searching for his missing wife. And then quarantine is broken! \[...\] But you can see how my plan should have worked? Would have worked! If everyone had just followed orders.” Many dictators have concluded that they could transform the world into a veritable utopia if only the people beneath them would do as they were told. The greatest tragedy of Burrows’ moronic decision-making is that because he did not understand the most basic facets of humanity, his plan was destined to fail. Men and women will not just march to their doom because they are told to by an authority figure. Burrows knows nothing of human nature, whether in the months leading up to the plague when he concluded that the poor must be exterminated, or when he wrote in his diary that Princess Emily should spend far less time playing (*“The girl might rule the Empire some day; every moment spent at play is a moment wasted”*). Burrows is the epitome of someone who does not have an ounce of charity in his body, and the only antidote for the likes of him is an immediate removal from office — dead or alive. ### A Lesson in Redemption Until now, I’ve focused mainly on Corvo Attano because he was the protagonist, and because compassion is clear in his works. However, Corvo has little to redeem himself for. He has done no heinous deeds that he must atone for, and he does not have to prove to the public that he is innocent. Once he places Emily on the throne and gets proof of the Lord Regent and his conspirators’ crimes, his name will be cleared. Nevertheless, redemption is an important theme, but is best represented through Dishonored's deuteragonist: Daud, the assassin who killed the Empress. Daud briefly appears in the game’s intro, and then he shows up later towards the end of the game after Corvo is betrayed and left for dead. He is, however, featured heavily in the two downloadable expansions for Dishonored¸ The Knife of Dunwall and The Witches of Brigmore. The stories of the expansions take place concurrently with the main plotline. Daud is the player character in these expansions, and he has an agenda, a life, and allies of his own — just like Corvo. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/ss_fb15b16579270d2a88f1a5eec444fbf7a29a42b1.1920x1080.jpg) Screenshot from The Knife of Dunwall. Source: Steam. Unlike Corvo, Daud has something to atone for. In the past fifteen years, Daud has killed dozens, if not hundreds, of people for money, using the fantastical powers given to him by the Outsider to transform himself into a cut-above-the-average hitman for hire. > “You could float a whaling ship on the highborn blood I've spilled.” Throughout all the killing, Daud has remained remorseless, unconcerned with the trail of corpses left in his path. Remorseless until the day comes when he kills the Empress. While Daud once could rationalize all the deaths he caused as people getting what they deserved, killing Empress Jessamine and kidnapping her daughter were acts he could not reconcile himself with. As the Outsider prophesied to Daud shortly after the assassination, *“This time your actions will have consequences.”* Daud never had to experience the hardships the death of a businessman or mogul would cause, but this time, the Empress’s death leads to the ascension of a dangerous psychopath to the throne, who sends the city into a downward spiral of chaos. > *“For six months, the city writhed and changed. For six months, I tried to forget what I’d done to the Empress and her little girl.”* That’s why it’s important to show the contrast between Empress Jessamine and Hiram Burrows. While the Empress shows charity and competence, Burrows’s mismanagement of matters leads to chaos in the city. This chaos only serves to aid in increasing the ever-swelling death count. If the Empress were still alive, none of this would have happened, or if it had, not on such a massive and disastrous scale. Daud is therefore directly responsible for the plague in Dunwall spinning out of control. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/download--1-.jpeg) Daud's Whalers. Source: [Steam Community](https://steamcommunity.com/app/205100/screenshots/). But, of all people, the trickster Outsider offers Daud redemption. The Outsider (in his typical unhelpful manner) gives Daud a name to investigate: Delilah. Daud’s quest to uncover the meaning of the name takes him all over the city, from the slums of the Rothwild whale oil slaughterhouse, to the opulent spires of the legal district, to the depths of the abandoned Flooded District. Along the way, Daud encounters several targets whose deaths would be to his benefit. As with the base game, Daud has the option to kill these targets or pursue a more tedious way of incapacitating them. With the union-busting whale slaughterhouse owner Bundry Rothwild, Daud can kill him and blow up his slaughterhouse to get information from one of Rothwild’s enemies, killing dozens of innocent people. Alternatively, Daud can take Rothwild and torture him in his own torture chair designed to force workers to sign contracts, essentially stripping away all of their freedoms to get the information he is after. When finished, Daud can ship him off to one of the most distant parts of the Isles on one of his own ships. Daud must do something similar later to get info from a woman who wants her uncle dead. The man Daud is after, Arnold Timsh, has a modus operandi of framing innocent people for being infected with the plague and then using this as a pretext to confiscate their properties. Daud could kill Timsh, or steal his legal protections and frame him for the plague outbreak in his home — a very satisfying role reversal. Daud can continue to redeem himself by doing good deeds, such as helping negotiate a tenuous peace between two feuding criminal gangs — the Dead Eels and the Hatters; saving those who helped Corvo Attano escape prison from a death sentence; and revitalizing a formerly moribund district of the city by restoring water to a canal, one of the city’s vital lifelines. However, these good deeds do not equal redemption. Daud shows a willingness to change, but this, by itself, is not how Daud redeems himself. Rather, Daud finds redemption by taking on Delilah, the leader of the eponymous Brigmore Witches. Growing up, Delilah was a companion of the now-deceased empress Jessamine Kaldwin; however, she became ostracized owing to her lowborn status. Her heart turned by jealousy, and gifted with powers by the Outsider, the same being who gave Corvo and Daud their powers, Delilah planned to use an elaborate magic ritual to hijack the body of Emily Kaldwin, Jessamine’s daughter, and rule the Empire as Emily. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/ss_cb1686ba382832b5d762c2d658133b5d6586eb99.1920x1080.jpg) Delilah from Brigmore Witches. Source: Steam. Delilah is Daud’s foil; they both get their powers from the Outsider, they both have a coven of loyal followers with similar fantastical powers, they both make their abodes in dilapidated former homes of the wealthy and powerful, and they both harmed or tried to harm members of the Kaldwin family. However, unlike Delilah, Daud realizes the hurt his actions can bring to others, and, in the final mission of The Brigmore Witches, infiltrates Delilah’s hideout in an abandoned mansion and thwarts her plans, either by killing her or by altering her ritual so that it traps her in another world, where she cannot harm Emily. Daud does all this knowing the full extent of his actions will likely go unnoticed. Unlike Corvo, who, after saving the empire, has Emily and the Loyalists to tell his story and tell of his quest to save the empire, the people of the Empire are unaware of Daud’s actions. They do not know that Daud saved a little girl from a fate worse than death. Corvo is ignorant of Daud’s actions; Emily is ignorant of Daud’s actions — even Daud’s guild of assassins is ignorant of his quest to save Emily. As the Outsider says, > “You make an eloquent plea, for a man with innocent blood on his hands. It’s a shame Corvo doesn’t know the real story, isn’t it?... How you saved Emily Kaldwin, daughter of the Empress, first of her name, and no one will ever know. But how does it end for Daud the hired killer, the murderer, the savior of the Empire? It’s up to Corvo now.” The end of Daud’s story lines up with Corvo’s confrontation with him in the Flooded District in the main game. If Daud has chosen to live a life of murder and destruction, causing High Chaos, Corvo slays him. But if Daud has lived a life of redemption - yes, of compassion - Corvo releases Daud. Corvo spares Daud. Source: YouTube. Saving a girl’s life does not atone for a life of bloodshed. Choosing not to kill wantonly is not a commendable effort. But after being spared by Corvo, Daud forswears the assassin’s life. He disbands his guild, pays his respects at the Empress’s tomb, and leaves for parts unknown to live a life of peace. It doesn’t make up for his previous life, but in saving the life of one Empress, Daud atones for taking the life of another Empress. In hanging up his blade and crossbow, Daud begins to change for the better. That’s really the lesson learned from Daud: people can change for the better if they are willing to sacrifice for it. Dishonored is a bleak game, taking place in a bleak world. Plague, politics, religious persecution, and more resound throughout. It touches on irony, compassion, redemption, good, evil, charity, and so many other themes. However, the central message is one of the better angels of human nature. Some would have people believe humans are nasty, brutish creatures by nature. The Outsider espouses this. The Outsider sees people as predictable playthings. But Corvo and Daud have the power to show that this perception of humans is wrong. They have the power to surprise other people, and the power to surprise the Outsider. By showing a willingness not to discard human life, they perplex the Outsider. To Corvo, he says: > *“Now your choices interest me. You spared High Overseer Campbell, the leader of a great cult dedicated to loathing me. I'm older than the rocks this place is built on, and even I didn't see that coming.”* > > *“And Daud - the man who killed the Empress. You had him in the palm of your hand, and you let him walk away? You fascinate me.”* And his assessment of Daud: > *“You keep surprising me, Daud. Not long ago I watched you kill an Empress and steal her child for coin. For a man like that, you went through Coldridge Prison with an awfully soft touch.”* > > *“In your long life I've rarely seen you act with such consummate grace. I give my mark sparingly, and I don't play favorites but I will watch this... with unusual attention.”* Corvo and Daud represent individuals who, despite facing hard times, made hard decisions and kept their humanity. They represent people who sacrifice and do good even when it is hard, despite being surrounded by people who do the easy and bad thing. And in doing so, they helped create a better world. That’s really what Dishonored is all about. ### Gaming Resolutions for 2026, Forgotten Classics, and Becoming a God URL: https://www.superjumpmagazine.com/gaming-resolutions-for-2026-forgotten-classics-and-becoming-a-god/ Last updated: 2026-01-26T06:39:02.000Z January 2026 edition _This post is for subscribers only._ ### The Divisive FINAL FANTASY V URL: https://www.superjumpmagazine.com/the-divisive-final-fantasy-v/ Last updated: 2026-01-27T21:54:06.000Z **Final Fantasy V took a long time to make it outside of Japan, not appearing on Western shores until 1999.** It was an elusive thing that observers of the Japanese gaming scene could only assume would have a story to rival the heartbreaking beats of Final Fantasy IV (released as FF II in North America in 1991) while serving as a fitting precursor to the visual feast of Final Fantasy VI (released as FF III in North America in 1994). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Spoilers_Ahead-1.png) Spoilers ahead for FInal Fantasy V. When the English version of Final Fantasy V was finally released, it was plagued by a translation that failed to match the quality of the product it accompanied. It also faced lofty expectations given how beloved Final Fantasy VI and VII had become in the intervening years. Fans lauded Final Fantasy V as both the best and the worst in the series, and the way it was introduced is widely cited as a major reason for this. I am playing Final Fantasy V as a modern gamer who has only played one other Super Nintendo game (Final Fantasy IV) before, and I think that there's more to this divisiveness than a bad translation and a delayed launch. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20251110161445_1.jpg) To Save a Friend. Source: Author. ### In the Beginning The introduction that leads us to our new main characters is the grandest and most exciting that we have seen so far. We start playing as Bartz as he rides his Chocobo with his best friend Boco, down a windy cavern as meteors rain from the sky. He is quickly joined on his quest by a noble princess, an amnesiac warrior, and an adventuresome pirate. I had just played Final Fantasy IV, where one of my largest complaints is that Cecil is not enough of an anchor as a character to facilitate a story of fleeting friendships in a game of that length. I was so drawn to the group in Final Fantasy V because it gave me my four rocks to get really invested in, to build my party around, and watch them really grow. Reading many testimonials on why fans love this game revealed a common thread. Those who can endlessly play Final Fantasy V are addicted to not only the emergent gameplay of its brilliant job system, but also its ability to become a puzzle as you plan around the game's innate limitations of two ability slots. I had decided early on that one character would be my physical tank, one would be my healer, another would be my melee damage dealer, and the last would take on the ranged damage-dealing roles. This limitation that I had placed on myself caused me, subconsciously, to avoid the most enjoyable parts of the game. But I didn't know that at the time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20251116133515_1.jpg) Muad'Dib? Source: Author. During the first Act, I thought that Final Fantasy V was the ultimate version of the series, the masterfully crafted final draft that got it perfect the fifth time around. Having jobs that could multitask together to create interesting heroes was so fun to play around with, and the exploration was intuitive and exciting. All the way up to and through the Soul Cannon and each meteor, my team proceeded through the first world as they finally rode that meteor all the way to Castle Exdeath. Bartz and company crash down into an alternate dimension where Exdeath’s castle is being sieged by the remaining Warriors of Dawn. Exdeath kidnaps them and uses them as a bargaining chip to get Galuf to halt his advances on Big Bridge. An obligatory prison escape scene later, and we are in the most iconic moment of the whole game. Nobuo Uematsu’s legendary track Battle at The Big Bridge rips as our party makes their daring escape, where they are stopped by the iconic super boss legend, Gilgamesh. All the way until the end of the game, I loved catching up with the crazed warrior for a spar until his ultimate sacrifice to help the gang get to the final save point. Of course, his death is only the beginning of his multiverse-hopping adventures, so don’t feel too sad about the comic relief's demise. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20251126155556_1.jpg) In a Not So Strange New Land. Source: Author. ### Everything Changes The quest to take down Exdeath will lead the party to seek out the sage Ghido, a turtle with an impatience for youngsters. In the meeting with the great sage, we learn that Exdeath is actually a tree that has turned into an evil sorcerer after absorbing a lot of evil, or something. When people say that the story takes a backseat this time, I can see that many of the nuances fail to weave the epic tale of good and evil that some of the other titles create. I will say that Final Fantasy V creates a party that feels more like a group of friends than ever before, and even better than some modern titles. It’s not the dialogue, but these wide transition shots where our party is emoting or running to check and see if the other is okay. The artists spent a great amount of time and resources animating our four heroes, and it’s the most impressive part of the storytelling. Eventually, we make it to Exdeath’s castle, which, in an impressive turn of events, ends up being made entirely of a fleshy material. Very Silent Hill chic, Sakaguchi. My impression of the game flipped on its head here. Every fight suddenly kicked me in the teeth, and if it weren’t for a crazy, random scenario during my fight with Exdeath, I think my playthrough of Final Fantasy V might have ended right then. The villain cast a zombification spell on Lenna, making her invincible with a reflect ring that reflected all of his spells at him. In the dumbest way possible, I managed to reach Act 3. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20251126161247_1.jpg) Yes, it's me! Source: Author. I dreaded Act 3 of Final Fantasy V. I loathed opening it up and hated making progress. Every day that I spent playing, I eventually caved into turning off encounters using cheats that were included in the Pixel Remasters and throwing gil at boss fights to get past each aggravating, gimmicky encounter. Why couldn’t I make it past these parts without dying repeatedly? I was training my white mage to use combat skills to stay relevant. I taught my knight how to avoid all hits. I taught my DPS to cast insane debuffs, yet it was never enough. Each challenge brought me closer to my breaking point. I dragged myself through getting all twelve legendary weapons and most of the side content and stared into the void (literally). I was at the final challenge, and I couldn’t will myself the strength to move forward. This dungeon was filled with back-to-back boss fights, and to that point, every boss fight ended in my repeated failure. This game demands your patience with failure. It wants you to experiment, repeatedly, until you find a winning strategy with the tools at your disposal. I researched every boss, studied them, and was sure that it would be a nightmare to finish the game. I put down Final Fantasy V. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20260102230833_1.jpg) Fun Fact: This normal enemy has nearly as much health as most bosses. Source: Author. ### Lessons From Childhood My experience with Final Fantasy V reminded me of a formative time in my childhood. I grew up briefly in the American Northwest at an elementary school that was privileged enough to fund the arts for its classes. My class was assigned to perform a musical for its yearly project, and all of the students were more or less roped into the performance, whether we had an interest in musical theater or not. I sank into my chair as assignments were being handed out. A more bashful, 9-year-old version of myself told his teacher that he had no interest in singing, especially in front of groups of people. I didn’t have the courage to try something new that day, and I could never have known what I was about to pass up. During the play's rehearsal, my elementary class had a lot of fun learning songs and dance routines suitable for little kids. All except for me and one of my classmates, who had also opted for a smaller part. What were our parts? We were trees. I had lines to say, I wasn’t just a prop standing on stage. But it was a significant downgrade from the fun that everyone else was having. During the play I sat backstage for most of it, and during the finale, I didn’t sing with everyone during the curtain call. Conveniently, the teachers thought it was because I was shy, but it was because I didn’t feel like I could just jump in at the end when I didn’t put in the work or put myself out there like everyone else. Then, when I was 12, I had the option to join the school band in my new Midwest elementary school. I had been in so much anticipation to pick up music performance since my time in the 3rd-grade play. I dove headfirst into practice and ended up playing for the next 10 years of my life. I had one bad experience because of how I approached music and the performance aspect of it. But I refused to let that stop me from discovering a new part of myself and a hobby that I love to this day. Little did I know then how this would unexpectedly echo into the future. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20260109125214_1.jpg) No, no, no please not the Tonberry! Source: Author. ### Finding My Way Back After setting down Final Fantasy V, my next few weeks involved watching a ton of Grey’s Anatomy and playing a casual amount of Breath of Fire on a retro handheld (fantastic comfort game by the way, even for someone who’s never played it before). It was at this time that I picked up the book [Final Fantasy V by Chris Kohler](https://bossfightbooks.com/products/final-fantasy-v-by-chris-kohler), recommended to me by [Jahanzeb](https://www.superjumpmagazine.com/author/virtuamuser/), another writer at SUPERJUMP. I had briefly developed a fascination with anyone’s perspective on a shining quality in this game, and I found it in abundance here. In all honesty, the love for Final Fantasy V echoes the qualities that fans love about a Dark Souls game: Deep build crafting and intriguing boss design that warrants specific preparation. It wasn’t about the difficulty; it was about preparing for an impossible challenge and winning at the end of the day. Later, I read an [FAQ by Apoqliphoth on Fandom](https://finalfantasy.fandom.com/wiki/Walkthrough:Final%5FFantasy%5FV/Apoqliphoth) that was a hilarious read and quite pivotal to my success in the game. At the end of the guide, Apoqliphoth helped me realize that I shouldn’t have been building a healer or damage dealer; I should have been building a Freelancer. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20251111194202_1.jpg) View from the library. Source: Author. I never experimented with the Freelancer job in my entire playthrough, and this truly changed the game. All of your abilities and all the equipment were available on one character; this was the freedom that people talked about. Of course, you don’t level up as a Freelancer, but if you only use them to tackle the difficult bosses, then you don’t need the experience. It clicked in that moment. I’m not building a healer or a tank, I’m building Faris and Bartz. I needed to throw everything I expected out the window and relearn these Final Fantasy jobs that I had thought I was so intimately acquainted with. I fought Neo-Exdeath exactly once when I realized that I didn’t have the tools to defeat him. I spent the entire game skipping summons and ignoring pianos and blue mage spells. I could have made it work. I could have ground out the gil to buy my way through with a few well-placed Zeninages, but I didn’t. Just like the grand finale to my elementary school stage performance, I couldn’t finish knowing that I had missed all of what makes this game a masterpiece. My final save file contains Bartz staring right at the tree in the final boss room. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/20260113161428_1.jpg) Tree (not the cool ones from The Lord of the Rings). Source: Author. I hated most of the time that I spent in this game. But I now have a copy of Final Fantasy V on Gameboy Advance that I carry wherever I go. I've started a new save file where I stop to explore, experiment with new abilities, track down summons, accept deaths as reasons to experiment more, and where I find all 8 of those damn pianos. Not as a part of my crusade to finish every Final Fantasy, but in my own time, the way that this game deserves. Final Fantasy V is probably the best Final Fantasy game ever released. Maybe I’ll let you know when I find out. ### Tomy's Innovation Led the Early Handheld Gaming Market URL: https://www.superjumpmagazine.com/tomys-innovation-led-the-early-handheld-gaming-market/ Last updated: 2026-01-26T12:43:59.000Z **Nowadays, Nintendo is synonymous with handheld gaming; the Game Boy, DS, and Switch boast long lineages and millions of sales.** The company often faced fierce competition, though. These rivalries bred innovation, and one rival proved to be more innovative than most: Tomy. A toymaker, it knew what could entertain players, and in its quest to create fun, it would push what was possible with the technology of the time through 3D games. ### The start of a dance Tomy began its life as Tomiyama Toy Seisakusho, back when Eiichiro Tomiyama founded it in 1924\. At first, it focused on manufacturing toy airplanes, like the wind-up Looping Plane toy. Eiichiro Tomiyama wasn’t content with doing things his competitors’ way. It was his different approach, such as in the way he created assembly lines in his factories, that set Tomiyama Toy Seisakusho apart from many others. Eiichiro Tomiyama also created a toy research department, that his company could stay ahead of the newest trends and find novel ways to entertain customers. As the decades passed, Tomy continued to adapt and grow, eventually starting overseas operations in the 1960s. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Pocketeer-Game.jpg) Tomy Pocketmate Scooter Ball. Photographed by Buro Destruct from [Flickr](https://www.flickr.com/photos/lopetz/52836840927/in/album-72177720304846792) ([CC BY-NC-ND 2.0](https://creativecommons.org/licenses/by-nc-nd/2.0/deed.en)). In 1975, Tomy released the Pocket Mate, a series of mechanical games that are easy to understand but hard to master. Some might remember encountering their variants during their childhood years — I sure do. In the UK, they would be known as Pocketeers, and in the USA, they were called Pocket Games. The genius of its design lies, among other things, in its robustness and the way the games could be picked up by anyone, regardless of what language they spoke, and then played without batteries or power sockets. Levers, springs, and switches were often the only mechanisms contained in these handhelds. In its launch year, there were six titles [available](https://toytales.ca/pocket-games-from-tomy-1975/): Pocket Basketball, Pocket Pinball, Pocket Raceway, Pocket Basketball, Pocket Pachinko, and Pocket Soccer. The encouraging sales convinced Tomy to design various versions, ultimately leading to the creation of over 70 different games. Certain versions became electro-mechanical, with batteries powering their lights and speakers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Tomy-Digital-Diamond.jpg) The Tomy Digital Diamond is one of those electro-mechanical versions from 1978\. LEDs lit up when you played. By Joe Haupt from [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:Tomy%5FDigital%5FDiamond,%5FModel%5F7052,%5FMade%5Fin%5FJapan,%5FCirca%5F1978%5F%28LED-Mechanical%5FHandheld%5FGame%29%5Fangled%5F%28edited,%5Fno%5FBG%29.jpg) ([CC BY-SA 2.0](https://creativecommons.org/licenses/by-sa/2.0/deed.en)). As a side note: Tomy also [created the Waterful Ring-Toss](https://www.reddit.com/r/The1980s/comments/1esrdtf/the%5Fwaterful%5Fringtoss%5Freleased%5Fin%5F1976%5Fbut%5Fwas/) in 1976\. Essentially a small tank full of water, the object of the game was for the player to launch a couple of rings onto a spike, although they risked dislodging the rings they had already caught, too. It was very aggravating, but also strangely addictive. I can remember struggling with one of them during car rides and camping trips, and it definitely taught me lessons about anger management at a young age. ### Dancing on a screen The hybrid electro-mechanical and electronic games must have sparked some ideas at Tomy. In 1980, the same year Nintendo’s first Game & Watch reached store shelves, Tomy released their Slimboy handhelds, which also featured LCD screens and looked like calculators. Coincidence? What is certain is that the competition was fierce in the new market. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Tomy-Slimboy.jpg) A Tomy Slimboy baseball version. By Espen Klem from [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:Retro-gaming%5FJapanese%5Fbaseball%5Fgame%5F%285004013013%29.jpg) ([CC BY 2.0](https://creativecommons.org/licenses/by/2.0/deed.en)). Tomy would also [create](https://handheldmuseum.com/Tomy/index.html) handheld tie-ins featuring entertainment properties such as Hello Kitty and Mickey Mouse. In fact, the variety of systems was quite dizzying, and it shows the Tomy R&D department remained busy during these years. One interesting model they released in 1982 was a small arcade machine featuring a VFD screen, the type of screen you would often see on VCRs. American readers might remember they were sold under the Tandy brand, and — this being the 1980s after all — they even released a Tron game version. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Kingman-Tomy-Game.jpg) Tomy Kingman game (1982). By Studio Alijn from [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:Kingman%5F-%5Fmicro%5Fcomputer%5Fgame%5Fby%5FTomy.jpg) ([CC0 1.0](https://creativecommons.org/publicdomain/zero/1.0/deed.en)). In 1983, Tomy travelled to a new frontier with their Tomytronic 3D. When it reached store shelves, it broke ground as the first 3D handheld gaming device — this fact alone made quite a splash. Players pressed their eyes up against its viewing slots, like with binoculars, and they would see a colourful 3D environment, although the characters’ movements did not have a wide range of movement, in part due to the technological constraints of the time. In all, Tomy released 7 different Tomytronic 3D variants: Planet Zeon, Jungle Fighter, Shark Attack, Sherman Attack, Sky Attack, Skyfighters, and Thundering Turbo. Skyfighters (an aerial dogfighting game) and Sherman Attack (a tank battle game) were models that featured stereo sound. With games built into the console, you couldn’t switch between titles by changing cartridges, unfortunately. It also depended on external sources of light for the action to be visible. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Tomytronic-Example.jpg) Tomytronic 3D Thundering Turbo (from circa 1983). By Joe Haupt from [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:Tomytronic%5F3-D%5FThundering%5FTurbo%5Fby%5FTomy,%5FNo.%5F7617,%5FMade%5FIn%5FJapan,%5FCirca%5F1983%5F%283-D%5FElectronic%5FHandheld%5FGame%29%5Fstereo%5Fviewer.jpg) ([CC BY-SA 2.0](https://creativecommons.org/licenses/by-sa/2.0/deed.en)). The two inventors who created the Tomytronic 3D are [listed](https://patents.google.com/patent/US4561723A) as Nobuo Hamano and Kazumi Matsumoto. A few years prior, Nobuo Hamano had also invented a digital tennis handheld game, while Kazumi Matsumoto would go on to design the housing for a soccer game. Both inventors brought a keen understanding of the hardware and software needed to make such a system a reality. ### Flutters of a wing In 1985, economic shocks in Japan threw Tomy into turmoil, and it downsized to survive. They released the last new variant of the venerable Pocket Mate about a year later. The economic circumstances, along with Nintendo’s growing market domination, led Tomy to largely withdraw from the video gaming hardware market in the mid-'80s, even discontinuing their computer system, the Tomy Tutor. Some of their talented employees moved to work for Matsushita Electric Industrial Co., which would later become Panasonic. Tomy released the last new variant of the venerable Pocket Mate in 1986\. They redoubled their focus on physical toys, such as the Palm Pets series, which married animal plush toys with electronics. During the next decade, when Japan was experiencing further economic shocks, Tomy found an unlikely lifeline. Other toymakers ignored Pokémon, an odd creature-catching franchise, but Tomy saw its potential and secured the merchandising rights in 1997, just before it started to climb even further in popularity. That move saw the company expand again, merging with a competitor, Takara, in 2006, forming the present-day Takara-Tomy entity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Hello-Kitty-game.jpg) A Tomy Hello Kitty Seaside Holiday handheld lies among some of its competitors from the 1980s. By Chester from [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:Epoch,%5FBandai%5F%26%5FHello%5FKitty%5Fgame%26watch-style%5Fgames%5F%289174344735%29.jpg) ([CC BY 2.0](https://creativecommons.org/licenses/by/2.0/deed.en)). In an odd twist, Takara-Tomy [created](https://gigazine.net/gsc%5Fnews/en/20100118%5Ftoyf2010%5Fgame%5Fwatch/) officially licensed keychains for the Nintendo Game & Watch, its old handheld nemesis, in 2010\. These keychains played snippets of some famous Game & Watch games and looked like miniature versions of the real thing, but they weren’t truly playable. Fate can be funny. From its intricate physical Pocket Mate games to its surreal Tomytronic 3D, Tomy left a big mark in handheld gaming history. When video gaming itself was still a new medium, Tomy dared to dream big. Sometimes the risks didn’t pay off, but even when they didn’t, they created some interesting stories and inspired a new generation to also add more fun into the world. ### Eras: The Eight Generations of Gamers URL: https://www.superjumpmagazine.com/drafting-22/ Last updated: 2026-01-24T08:44:08.000Z **For all the transformations that have occurred in the video game industry, the demographic shift is one of the most subtle and yet most important.** In decades past, [video games were a single, discrete entity](https://www.superjumpmagazine.com/generations-the-great-video-game-age-gap/), enjoyed almost exclusively by an adolescent male audience. This stereotype is no longer true - [barely a quarter of the game-playing masses are minors](https://www.statista.com/chart/9821/us-gamer-demography/) and gender is not a dividing line. Even so, demographics still inform one's understanding of video games. As a certified 90s kid, I can speak with my twenty-ish students about the hobby, but we aren't exactly speaking the same language. The games we are playing - even the features within those games - are largely alien, and this remains a point of contention when talking about different age groups. To help mend this gap, I've put together a taxonomy of sorts based on one's birth year. The goal here is to assign people to groups based on their shared experience of video games. Standard genres, locations, the surrounding culture, and even economics have changed so many times that we all started at different points. There are a few caveats here. First, this is based on the North American experience. Different aspects reached other regions at different times, and thus the divisions are bound to vary across the world. Second, as someone who's always despised the artificial "generation" categories to which people are assigned, I wanted to make this a little more flexible. Therefore, most of these categories have a few years of overlap. Those born in the overlapping years may have had experiences closer to one side or the other, or might be a blend of the two. Suffice it say, there are bound to be plenty of exceptions. Consider this a starting point, not an absolute conclusion. ## Before 1960: Minimal Experience People in this group came of age before the mid-70s, and as such, they had little to no exposure to electronic games growing up. Most of them have only discovered video games within the last few years. Even for the youngest among them - those who perhaps encountered a Pong machine before leaving high school - video games simply weren't a part of their youth. Most likely, they learned about games from their children or grandchildren. They might know a bit about the medium, but lack any real understanding of concepts like genre, design, or mechanics. Until recently, this was a group that kept video games at a safe distance, but the rampant growth in the mobile market and the ensuing rise of casual games has changed that. These adults spend fewer hours per week playing games, but most of them still have a game or two on their phones. ## 1960-1973: Arcade Era People in this group came of age during what's now known as the "Golden Age of Arcades" - a period of rapid growth and innovation within the coin-op market. This marked the dawn of the video game industry as we know it today. Throughout the 1970s, arcades became popular hangouts for young people, and arcade cabinets began to appear in an increasingly wide range of businesses. The concept of video games was rooted in geography and was communal if not necessarily social. One made a point of visiting an arcade, often with competitive intent - trying to knock someone else off a high score list. Arcades in the Golden Age attracted an eclectic crowd, something helped along by the economics of arcade games. During this period, video games were, at once, a cheap and potentially very expensive hobby. It was nothing to slip a quarter into a Galaga machine while waiting for an order at a pizzeria, but a dedicated player was going to spend a lot more - especially if the arcade owner was configuring the machines to make them more difficult. This meant that, while most young people played games from time to time, only a few treated it as a serious hobby in and of itself. For many people during this era, a trip to an arcade (or some other business with cabinets) was merely something to do, and thus few people this age are particularly dedicated. Their concept of video games has always been as a mere pastime, no different than any other. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-15.png) Atari 2600\. Source: Wikipedia (Public Domain license). ## 1971-1978: The First Consoles People in this category came of age during or after the first two console generations. Between the development of increasingly sophisticated consoles and the availability of cheap 8-bit computers, it began an age of gaming at home. These people experienced what was perhaps the most dynamic and chaotic period in the history of video games. Early consoles were a game-changer, but the arcades were still booming as well. It was an era in which American society had gone game crazy - the age of Pac-Mania and the arcade superstar. Together, this marked the early 80s as the high-water mark for the industry. However, this same group also lived through the abrupt death of that boom time. The collapse of Atari in 1983 was followed by a massive contraction in the arcade sector throughout the middle of the decade. These events weren't merely economic blows, but had a ripple effect throughout society. Video games had been the bleeding edge of cool, but the North American crash ended that in short order. In a few short years, games went from a national pastime to a niche hobby reserved for small children. As with the former group, few in this age category were all that dedicated to games. In fact, the contraction of the industry and the sizable social shifts mean that many of them grew up viewing video games as an immature activity. ## 1979-1991: Console Wars People in this category came of age after the fall of Atari and during the revival of the console market. This was a period in which home consoles were the primary means by which people played video games. Arcades still existed, and people born in these years will remember an arcade resurgence spurred on by the fighting game boom of the early 90s. Nevertheless, this was a period where the geography of video games had shifted from the arcade to the living room or the bedroom. If anyone was leaving home to play games, it was more likely to be at a friend's house than an entertainment center. This period saw the refinement of video game mechanics into a set of familiar types - the "conventional" genres, if I might be so arrogant. On the consoles, these would include platformers, RPGs, puzzle games, sports games, and fighting games. Meanwhile, the comparatively tiny PC market gave rise to the FPS, strategy game, and adventure game. During this period, there was a marked difference between the games on each platform, with precious little crossover. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-16.png) Nintendo Entertainment System. Source: Wikipedia (Public Domain license). On the hardware front, this was the era of the "Console War." Nintendo's initial dominance was swiftly challenged by Sega, followed by a range of other companies attempting to grab a piece of a fast-growing market. For young people of this era, selecting a system could be as much about personal identity as it was about games or system specs. Culturally, this was perhaps the most homogeneous era. With the adult audience abandoning video games in the wake of the market crash, games were widely seen as the sole province of children, specifically prepubescent boys. It was seen as shameful for adults or even older teens to play video games, and the knowledge gulf between this cohort and their parents was about as wide as it ever got. It was an age of confused adults in toy stores looking for a Genesis but asking for a "Sega Nintendo." Adding to this was a series of moral panics throughout the 90s and early 2000s, mostly focusing on violence. People had been attempting to link video games to violence, criminality, and compulsive behavior since the arcade era, but they'd never had the political juice to do anything about it. Those who followed the various hearings (both home and abroad) on the alleged dangers of video games were changed by the experience. People in this group can be both insular and very passionate about video games. They are likely to view game genres through the lens of their youth, more likely to self-identify as "gamers" than most other cohorts, and can still be defensive over the hobby and the people who enjoy it. They are also more likely than most to think of video games as a solitary or small-group hobby as opposed to something competitive or collaborative. ## 1989-2000: Online Games People in this category came of age after the development of the World Wide Web and the proliferation of high-speed connections. As such, the internet played a large role in their lives, including how they viewed and approached video games. Ideas such as online multiplayer and digital distribution had been floating around throughout the 90s. By the middle of the decade, the transition from dial-up internet to DSL made online deathmatch practical for a growing number of FPS fans. This kicked off a wave of innovation, yielding the dominance of MMORPGs starting in the late 90s, internet-ready consoles and matchmaking services in the early 2000s, and the first MOBAs in the mid-2000s. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-18.png) Unreal Tournament, one of the early online-multiplayer FPS games. Source: IGDB. The consoles themselves were also changing, and this might be the period that saw the most dramatic technological changes. Besides online capabilities, these changes included true 3D-rendered graphics, optical media, high-definition connections, and onboard storage. Consoles were becoming more PC-like as the designers tried to compete with the fast-growing PC market. These changes didn't go unnoticed by the general public. This was a period marked by the gradual mainstreaming of video games and the shedding of the stigma built up during the 80s. The "video games are for children" concept quickly became inaccurate, with the median console owner being well into their 20s. Additionally, while there was still a fair share of controversy - such as that regarding the allegedly addictive nature of MMOs - it's safe to say that fewer people viewed video games as dangerous in this era. Hollywood contributed much to this mainstreaming. Screen adaptations were very common during this period, and that included a lot of video game-based films. Most of these were barely remembered flops, but the Tomb Raider and Resident Evil films were popular enough to spawn cinematic franchises. Movies like these would expose a non-game-playing audience to those IPs throughout the 2000s. This mainstreaming could be a double-edged sword, particularly for fans of certain genres. Game development became far more formulaic across this period as companies focused more on a handful of "mature", male-targeted genres perceived as being stronger. These included fighting games, survival horror, and first-person shooters. Fans of other, less flashy genres had fewer choices, having to find these "old-fashioned" games on the handhelds or in the nascent retro gaming world. Speaking of handhelds, this group also bore witness to a special phenomenon: Pokémon. For this group and every group after, Pikachu is as much an icon of their youth as Mario or Sonic were for the cohort before. People in this group are used to playing games with friends, regardless of place or time. They think in terms of more high-octane games, particularly FPS games, which became an overwhelming force across their childhoods. As with those from the Console War period, many of them identify with the hobby, but growing up during a period of mainstreaming means that they are a bit less protective of it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-19.png) Angry Birds, still one of mobile gaming's most popular franchises. Source: IGDB. ## 1997-2009: The Rise of Mobile People in this category came of age during the widespread adoption of cell phones and the expansion of telecommunications. Coupled with the revival and growth of the PC market, this greatly expanded their understanding of what video games are. Portable gaming was certainly not new - handheld systems had existed for decades, forming a substantial part of the market. However, these had always been a cultural niche, largely marketed toward children. The launch of the App Store and the subsequent expansion of smartphones over the following decade exposed portable gaming (and gaming more generally) to a far larger audience. Children of this era were very likely to have been first exposed to video games on a parent's phone. The rapid dominance of the mobile market is the big story of this period, but it's far from the only one. The PC market was also benefitting from the fast expansion of e-commerce. Valve's Steam was a limited service when it first launched, but by the time this cohort was coming of age, it had transformed into a sprawling storefront that monopolized a large part of the games market. Aside from making it easier to find and buy games, programs like Steam Greenlight also opened up new possibilities for independent developers to try their luck. The growth of mobile and PC meant that consoles were losing ground throughout this period, but that didn't make them irrelevant. This was an era of massive console franchises, with the Grand Theft Auto and Call of Duty series setting records throughout this period. The children of this cohort are, in many ways, the first CoD babies, growing up during the true pinnacle of first-person shooters. All of these changes were affecting the games as well, with those well-established genres beginning to disappear or mutate. Hybrid genres become the norm as the "everything is an RPG" ethos becomes entrenched. Meanwhile, wholly new genres were developing on the mobile front and among independent developers. Open-world survival, immersive simulation, battle royale, and sandbox games all took form, while the roguelike approach had been fully mainstreamed. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-20.png) Grand Theft Auto 3 (2001) launched the GTA franchise as we know it today. Source: IGDB. This cohort also grew up with a distinctive video game subculture that was unlike what existed before. For previous groups, game culture consisted of magazines, fansites, forums, and the occasional show; largely functional, it existed to disseminate news and rumors. All of this changed with sites like YouTube and Twitch; Let's Plays turned the video guide into a form of entertainment in and of itself, and the increasing visibility of eSports proved popular among young people already used to seeing ladders and rankings in the games they played. That content creator culture is the dividing line. The mobile-era cohort spends about as much time actually playing games as the previous two groups. Where they differ is in how much they engage with game-related content. For this group, the world of video games is far bigger than the games themselves. Speaking of divisions, the many contrary forces acting on the games market mean that there isn't a singular description for the children of this era. Those who are on the older side, male, and with more access to consoles tend to view video games through a more competitive lens, making them closer to the previous group. Those falling outside these categories are a bit more casual in their outlook, such that they more resemble the next group. Regardless, this is a group for which video games are not tethered to geography at all, but are all-encompassing. ## 2007-2016: Live Service Era People in this category came of age during a significant consolidation and shift in the market at-large. With design principles and business models in flux, it was an age when everyone was changing how they approached video games. The concept of offering a base game for free and then generating money from inside the game wasn't a new one - this had been a model for small MMOs and casual games dating back to the turn of the millennium. Throughout the 2010s, an ever larger share of A-tier games transitioned over to this model as they scrambled to accrue the largest audiences possible. It was a perfect way to attract a gigantic youth audience, who naturally have ample free time but limited money. This transition also mirrored changes in the greater media landscape. The world of entertainment was simultaneously growing broader (due to reduced barriers to entry) and more consolidated. By the time this cohort was old enough to play games, the market had become almost wholly centered on a handful of live-service titles and yearly release mega-franchises. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-21.png) World of Warcraft matured and grew in popularity in the early part of this era. Source: IGDB. Outside of the core gaming audience, this also represented a profound cultural transformation. The concept of the "gamer" identity became increasingly meaningless when everyone is playing video games. With senior citizens familiar with the hobby, it's safe to say that video games had become as mainstream as they're ever going to get. However, this mainstreaming actually brings a new type of controversy to bear. The ever more aggressive monetization of free-to-play games draws attention from the press and, eventually, government bodies. To those born before this cohort, these games can be exploitative in a way no one had ever seen. A less remarked upon aspect of this period was the increasing importance of audience metrics. Live service games don't succeed or fail based on sales but on concurrent player count, play time, engagement, and external content - information that is now routinely collected. More than that, many of these metrics are public knowledge, with regular players having more information on the business aspects of these games than they ever had in the console era. For the young people who played these games, the most profound change was in the number of games played. Video games in the 80s, 90s, and 2000s were driven by a steady release schedule - a new crop of games coming out each month, accompanied by regular news drops. With the industry coalescing around just a few games, many in this cohort were only playing a single game (likely whatever was popular at their schools) for years on end. Ironically, people in this group are more detached from video games despite spending an enormous amount of time playing them and talking about them. They have their favorites and can be passionate about them, but they have no real emotional ties to the hobby at large and are highly unlikely to identify as "gamers." For all the changes, they share with those in the arcade cohort a view of video games as mere pastimes. We'll see if they remain in the market after they age up and lose interest in their singular favorite game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-22.png) Fortnite Battle Royale (2017) has dominated the live-service model in the current era. Source: IGDB. ## 2016-????: An Age of Uncertainty It's hard to say what trend will define the next cohort. We all know that the video game market, much like the media landscape at large, is at a delicate moment. Costs are spiraling out of control, the consoles are stagnating, and the growth that fuels live service games has come to an end. The center simply can't hold. The children born fully into the live service era will turn ten this year. From the outside, it seems like the video game scene presented to them will just be a somewhat stunted version of that enjoyed by the previous group. However, the fact that there are no massive changes in the technology or economics of games doesn't mean that other, more subtle cultural forces might affect their viewpoints. Some might argue that the growing animus against AAA companies will result in this cohort going deeper into indie games. A boy can dream, but I seriously doubt that this will happen any time soon. I'd guess that their perspectives will be influenced more by those of the overall society. On the one hand, we've seen video game franchises transform into colossal multimedia monoliths. This could be a sign that the hobby has fully matured and that these kids will be quite neutral in their outlook. But this is also an age of moral panic against technology, with a backlash even greater than the one in the 90s. Most of this isn't targeting video games in general, but there are plenty of conspiratorial whispers about the chat features in youth-oriented games. Panics like this can push one in two directions - submissive or rebellious. While we wait to see what the future holds, I invite you to reconsider the past. Think about what your particular video game experience was like when you were ten years old and let the world know about it. It's a small step, but understanding begins with small gestures. ### New Video: How the Haunting and Mysterious Angel's Egg Influenced Video Games URL: https://www.superjumpmagazine.com/new-video-how-the-haunting-and-mysterious-angels-egg-influenced-video-games/ Last updated: 2026-01-20T09:48:01.000Z **We are pleased to reveal our latest YouTube video:** a beautiful, haunting exploration of Mamoru Oshii's Angel's Egg and the multiple ways it has left its mark on video games throughout the years. Source: YouTube. We'd like to thank [Brandon R Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) for crafting the [beautiful story](https://www.superjumpmagazine.com/how-the-haunting-and-mysterious-angels-egg-influenced-video-games/) upon which this video is based, SUPERJUMP Editor [Cat Webling](https://www.superjumpmagazine.com/author/catwebling/) for narration, and Video Editor [Naomi Jackson](https://bsky.app/profile/nomibelle.bsky.social) for building a stunning work with gorgeous audiovisual production. Please enjoy our latest video, and if you do, don't forget to [subscribe to our fledgling YouTube channel](https://www.youtube.com/@superjumpmag) and share our work with your friends. Oh, and if you [become a Backer](https://www.superjumpmagazine.com/#/portal/signup/629b32d90048a0003dbfde9f/monthly), you'll be credited in our next video! [Become a Backer](#/portal/signup) ### Silly Polly Beast - Unique Survival Horror URL: https://www.superjumpmagazine.com/silly-polly-beast-unique-survival-horror/ Last updated: 2026-01-21T17:07:33.000Z **The indie horror scene has no shortage of unique, dynamic, or interesting games.** Late 2024's Sorry We're Closed combined light dating-sim elements and level-based forays with traditional survival horror elements, creating a memorable experience that utilized a fierce pop-art style backed by soft, irreverent Catholic imagery. In early 2024, Hollowbody delivered a traditional survival horror atmosphere with gorgeous cyberpunk design and familiar elements. Silly Polly Beast aimed to be different, placing its survival horror aspirations on the back burner to create a more frenetic experience replete with difficulty and intrigue. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/screenshot_02.jpg) Source: Top Hat Studios. From the start, Silly Polly Beast is different. Traditional survival horror archetypes, such as stealth and resource management, are here. The game's unique combat sessions feel more like Hades than Silent Hill, as the player directs Polly through hordes of enemies, using various weapons to destroy them. Constant shifts in gameplay and perspective keep things fresh, even when the combat starts to lose its luster near the end of the game. As the sole survivor of a catastrophe that destroyed her orphanage, unlucky Polly finds herself in the underworld, where she must contend with deranged spirits and strange comrades, slowly becoming a monster herself as she faces her past traumas. The story remains fresh and interesting until the end, focusing on Polly's survivor's guilt, the unique pathologies of those who haunt her, and her traumatic experiences as a young orphan. Platforming segments, combat, side-scrolling levels, and even on-rails hallway skateboarding sessions break up the gameplay, as Polly must use everything available to her to survive the cruelties of the demonic plane. Ritualistic segments require puzzle-type ingenuity that blends the aggressive combat with level-based player awareness. One segment is entirely two-dimensional, with Polly traveling back and forth through an increasingly ruined building as she solves puzzles and finds clues pointing to the truth of her past. All the while, new skateboards, masks, and weapon sare available to unlock, adding both cosmetic flair and deadly necessity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/screenshot_08.jpg) Source: Top Hat Studios. At roughly 7-9 hours, depending on your mileage, Silly Polly Beast may be the most interesting survival horror title I've played since Signalis. While certain segments are overly frustrating, even on lower difficulties, the experience is so unique that the presentation alone makes this title from Anji Games and Top Hat Studios stand out amongst its *many* contemporaries. The story and atmosphere carry Silly Polly Beast even as the combat becomes repetitive, though I found myself craving more of the lore and the world right as the story came to a close. Multiple endings and various choices encourage replayability, and there is enough meat here to hook any serious survival horror fan. Sweet, stylish, and terrifying, Silly Polly Beast is [available on Steam](https://store.steampowered.com/app/1598780/Silly%5FPolly%5FBeast/), PS4, PS5, Xbox One, Series X, and GOG. ### Reviewing Gamelab's R36S 3rd-Party Console URL: https://www.superjumpmagazine.com/reviewing-gamelabs-r36s-3rd-party-console/ Last updated: 2026-01-19T14:14:03.000Z **My family is, at the risk of surprising absolutely no one, obsessed with video games.** My partner and I grew up with them, as did our roommate and best friend, and our kiddo has also grown to love the games he's been raised on (namely Minecraft, if we're being real). Of course, we'd love to show our son the games we grew up with, too, but the sad reality is that many of our favorites have become either ridiculously expensive to obtain physically or have been straight-up abandoned, receiving no support from the companies that released them. That's where third-party emulation devices come in. I saw an ad over the Black Friday weekend (because who didn't?) that showed off a device claiming it could play over 15,000 games from retro consoles, including, and I cannot believe I'm typing this following the word "retro," the original Nintendo DS. The deal was good, and I saw some pretty solid reviews, so against my better judgment, I trusted my card information with this company I'd never heard of and ordered consoles for my family as a Christmas present. So, how did that turn out? ## The Gamelab, or the R36S Handheld Retro Console I ordered from Gamelab, a company that appears to be based in the US. The console that I bought was simply labeled as "The Gamelab." Further research has shown me that it's actually a fairly common third-party console labeled the R36S, and Gamelab seems to be a white-label reseller (meaning, they don't manufacture the consoles themselves, and instead buy them in bulk, brand them with their name, and resell them). This is...fine, if a little annoying. I'd prefer to be told outright if a company is reselling - their pricing was really good, so I probably would have gone ahead and ordered from them anyway. It felt a bit dishonest, but to skip ahead to the good part, the consoles are legitimate, and I do have them in my hands now. It's a small thing - smaller than the original Nintendo Gameboy, maybe comparable in dimensions to the Nintendo DS Lite. Mine is the pretty pink and white variant, with some fun retro coloring on the letter buttons. It's got two small thumbsticks, a D-pad, letter buttons, and four triggers, though the triggers are arranged a little oddly - in a straight line rather than on top of each other like I'm used to on controllers. It comes equipped with a USB-C charging port and USB-C multiplayer dongle port (more on that later) as well as an audio jack. While I wouldn't say that it feels flimsy, I am definitely hesitant to carry it around outside the house without a case - I'm concerned that one good drop might be curtains for this little pocket device. ![A Gamelab R36S console in pink with white buttons.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/PXL_20260107_182328613.jpg) Source: Author. ## The Pros - Lightweight, Portable, Pretty, and Functional This console has been fun, right out of the box. To start, the R36S is extremely lightweight and portable; it fits in my pocket, which is rare with modern consoles and a luxury I've missed from my time with the DS Lite back in the day. The built-in audio jack is excellent for quiet, convenient play on the go, and the USB-C charging means I don't need to carry around a separate charging cable; my phone cable is perfectly suitable. Having now carried it with me outside of the house a couple of times, it's not as fragile as I'd feared, which is nice! They come in a range of beautiful colors to fit every style, with lots of gorgeous retro translucent options - I got the red, blue, green, and opaque pink options, and they all look so good. The buttons are a little imprecise when it comes to input, but are solid and comfortable to use, and they match so cutely with the color themes. Outside of its physical build, the games themselves are a massive draw. Gamelab advertises over 15,000 games included, and they're not kidding - they're actually underselling it! Mine lists more than 21,000 games on boot, with the option to add my own ROMs if I want them. There are tons of options from a range of retro consoles, including the N64, SNES, DS (ouch, my millennial soul), Sega Genesis, and more. I've currently got a save going for Pokémon Fire Red, and my roommate is enjoying replaying Where in the World is Carmen Sandiego. The variety is insane, and so far, all the ROMs we've tried have run perfectly well with minimal, if any, lag. They're a joy to play, and so easy to pick up for a few minutes and put down again. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-12.png) Source: Gamelab USA. ## The Cons - Lack of Customer Support, Long Shipping Times, and Confusing Control Schemes Now, I'm super glad that Gamelab didn't scam me, and that the consoles are as fun as they are...but that doesn't mean there weren't some glaring issues. First of all, Gamelab's customer service is atrocious. I ordered my consoles in late November, just after Black Friday. On the website and in your confirmation email, Gamelab says that shipping should take roughly 8-14 business days. I thought, perfect! They'll get here just in time for Christmas. So I waited, and I kept an eye on my mailbox. And I waited. And I waited. After two weeks, I emailed the company to ask what was going on. I understand that around the holidays, shipping can be slow or get backed up; I just wanted a status update on my products. My tracking through their website hadn't updated since about two days after ordering, and the tracking number they gave me for USPS simply didn't work at all. I asked politely if there had been some kind of delay and when I should expect an update. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-13.png) Another of the several colorways for the Gamelab. Source: Gamelab USA. I heard nothing back. I finally received my consoles on December 29, still with no comment from Gamelab on why they were so late. Still, I had them in hand, which was good. What wasn't good was the way they were packaged: their boxes were loosely taped in a wad of bubble wrapping...no exterior box. I'm a little shocked that they made it to me in one piece, but they worked, so...it's fine. Once we finally got the consoles, we then had to figure out how they worked. This was not as easy a task as you might think. The instructions that came with them were a minimal pamphlet that simply pointed out button combos with no explanations. Even going onto the Gamelab website, I haven't had very much success in figuring out how to get the multiplayer dongle to work, or how to switch between save slots so I can play multiple games simultaneously. Even saving a single game is a challenge; you have to hit Select and L1 and R1 all at the exact same time. If you miss a button or don't click them all precisely at the same time, you risk loading instead of saving, which has ruined my progress multiple times now. My child, who isn't used to fiddly electronics, is frustrated that he can't seem to save at all, and has trouble navigating the games because he doesn't understand how to access the search function or how to use it when he does get there, and I can't blame him. There doesn't appear to be a proper guide available for the R36S that's designed for non-programmers, which makes it frustrating for long-term use. As a final minor frustration, it seems that some consoles won't turn their volume all the way off, and will constantly play sound through the speakers, no matter the volume level you set. The only solution we've found for this is leaving headphones or an unattached aux cord plugged in, regardless of whether you're using them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-14.png) A small selection of the emulated games preloaded on the console. Source: Gamelab USA. ## Should You Get an R36S? So, would I recommend this console? Maybe. I think the R36S is definitely a fun way to enjoy retro gaming if you're already familiar with third-party consoles and/or if you are willing to spend the time and effort to learn how this particularly fiddly model works. It's not a great solution for kids - it can be confusing and frustrating - but for nostalgic adults, it's a decent emulation machine with lots of memory and a customizable library. The consoles are a little more fragile, but not made of glass; as long as you've got a small case or a protective skin on it, it should be fine to carry around with you as a space filler while you're out and about. I will say, you should probably order from a different company than I did. Though there doesn't seem to be an official source for the console, it seems to be available from a variety of sources across Amazon, AliExpress (which, oddly, seems to be the most reliable source), and independent retailers. As with any online purchase, you should follow basic safety procedures: be wary of where you put your payment information online, read reviews for the seller before you make a purchase, and compare prices to make sure you're getting a fair deal. I recommend taking suggestions from the [r/R36S community](https://www.reddit.com/r/R36S/) for the best places to buy and other tips and tricks. I'm looking forward to exploring everything my R36S can do, even if it's a little frustrating. ### Steins;Gate Ø Scares You With the Truth URL: https://www.superjumpmagazine.com/steins-gate-o-scares-you-with-the-truth/ Last updated: 2026-01-17T14:07:19.000Z **How do you improve on perfection?** It’s a question many video game franchises struggle with after a successful first entry. That’s also the case for Steins;Gate, which received this sequel (of sorts) 6 years after the first mainline entry, although the excellent spinoff games had entertained fans during the intervening years, too. Steins;Gate Ø tries to escape its predecessor’s enormous shadow by being a different kind of game. Let’s see if it succeeds or fails. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Spoilers_Ahead.png) Spoilers ahead for Steins;Gate and Steins;Gate Ø. ## **Sections of a Soul** If we want to split hairs, I guess it’s somewhat incorrect to refer to Steins;Gate Ø as a sequel, because it actually takes place within the sequence of events of the first game. It sketches the events of one timeline, namely one of the darkest ones. It is thus more of an [interquel](https://tvtropes.org/pmwiki/pmwiki.php/Main/Interquel). It depicts a story that played out off camera during the events of the first entry. That’s not a bad thing, since we didn’t see what happened in many of the world lines during the first game, and it means we can spend more time with Okabe and the Lab Members. We soon learn this is a different Okabe, though. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Okabe-and-Stairwell.jpg) Okabe (left) sits in a familiar spot in Steins;Gate Ø. Source: Author. This Okabe — emotionally drained by traumatic time jumps — refuses to go with Suzuha to try and reach the Steins Gate World Line. Instead, he represses all his horrible memories and creates a life for himself in the Beta World Line. Dressed in black, he’s mourning a life he couldn’t reach. One day, while working at the help desk of a university conference, he runs into Maho, a scientist from Viktor Chondria University, the same institution Kurisu used to work at before her death. At the lecture, Okabe learns that scientists from Viktor Chondria University are working on a way to digitize a person’s memories in order to create an AI copy of a person. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/AI-on-Screen.jpg) Alexis Leskinen (left) and Maho Hiyajo (right) in Steins;Gate Ø. Source: Author. To show their progress, they allow a digital version of Maho to appear on a screen, which stuns everyone in the room. The real shock for Okabe comes later, when he’s face-to-face with Amadeus, an AI version of Kurisu. She has the exact same appearance and mannerisms as the recently deceased genius, and Okabe agrees to become a tester, allowing the software to be uploaded onto his phone. ## **Ripples of a choice** Back in 2015, Steins;Gate Ø’s release year, the rise of large language models (LLMs) was still far away, but the creators of the game clearly saw that train speeding towards society, because it wrestles with many of the issues we face today. Grief stricken, Okabe reaches out to Amadeus, and it provides comfort, for example. At the same time, Okabe is disgusted with himself and the program. He feels like he is sullying the memory of a person. All the while, he knows that Amadeus is merely digital data, but he also projects the memories of Kurisu onto the program, turning it into something dangerously alluring. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Amadeus-and-Kurisu.jpg) Okabe meets Amadeus in Steins;Gate Ø. Source: Author. Players wrestle with how ethical it is to use a person’s memories after their death, too. Kurisu had been actively working on the project while she was alive, but she isn’t present to monitor how her digital self will be used in the future. Her digital self might also say something embarrassing or incriminating in her absence. This technology clearly opens up various scary possibilities. It’s easy to see the parallels between it and the fears surrounding LLMs, even though people haven’t figured how to truly digitize a person’s memories yet. Steins;Gate Ø doesn’t shy away from asking some of these thought-provoking questions that humanity will need to answer. ## **Hands that shape time** It’s all well and good to have an interesting premise, but without an emotional core, it risks becoming drab. Thankfully, Steins;Gate Ø features some interesting emotional journeys as well. One, which I haven't seen explored much in stories, is the struggles associated with having an inferiority complex. Many of us have seen or experienced it: A colleague or acquaintance is so effortlessly talented that they cast other people in the shade. It’s not their fault that they make others feel bad, but it’s still difficult for their co-workers to process those feelings, and so everyone remains stuck in a weird limbo, unsure of how to address the problem. That’s a tough situation. Steins;Gate Ø alludes to the story of Wolfgang Amadeus Mozart and Antonio Salieri; in specific, the tale of how Mozart’s innate talent fanned Salieri’s jealousy. Kurisu stands in for Mozart, and Maho is Salieri. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Maho-at-the-Conference.jpg) Maho talks to Okabe in Steins;Gate Ø. Source: Author. Despite Maho’s scientific brilliance, she struggles with feelings of inadequacy, made especially intense by Kurisu’s untimely death, since it robs her of future chances to prove herself against her rival. From a writing perspective, hitching her emotional anguish to an established character is a clever way to make us care about Maho, who is a new face in Steins;Gate Ø. The Amadeus system itself, the digital copy of Kurisu’s soul, is also an integral part of this story. It definitely has access to Kurisu’s knowledge. Can it access her soul, though? In a way, I couldn’t help but feel sorry for Amadeus, too, despite it causing so much anguish and anxiety, because it did not ask to be created in the first place. ## **Emotions in a cube** Steins;Gate Ø highlights what makes us intrinsically human as well. In this timeline’s Okabe, we see a person who doesn’t really enjoy life or really engage with anything anymore. He has seen too much. His innocence disintegrated at the tender age of 18, and now he just wants to survive, not thrive. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Suzuha-with-a-Gun.jpg) Suzuha is also very different in Steins;Gate Ø. Source: Author. There is no fight left in him. It’s a logical reaction, and few would begrudge him that after what he went through. An AI or robot, fed on logic, might reason that it’s perhaps even better for him to live like this, because the chance of Okabe changing anything is infinitesimally small. But humans aren’t like that, are they? It’s the irrationality that pushes us to try over and over again, even when the odds make it nigh impossible. Change lives on the other side of that stubborn push. That kind of hope is what makes a person truly human. It’s what drives many to do irrational acts of kindness, like pulling over to help a stranger on the side of a desolate road, or giving their own life to defend a train full of strangers. It's not logical, nor is it something a purely logical being would do. From a cost/benefit analysis, some choices are inefficient, but a human life isn’t built only on efficiency. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Lab-Members.jpg) Okabe (left), Daru (middle), and Maho (right) in Steins;Gate Ø. Source: Author. Steins;Gate Ø ventures into dark places to illuminate some of humanity’s strengths, which we sometimes take for granted or even overlook. As thinking machines and other synthetic beings become commonplace, we would be wise to remember the advice this special game tried to impart to us over a decade ago. ## **Questions for a time** One interesting point the game makes is that a creator carries some responsibility for what they create. Without thinking about the repercussions of their actions, a person could doom themselves and others to a horrible future, even if the potential benefits looked promising at first. Move fast and break things often enough, and you’ll end up living in a room full of trash. We’re influenced by our emotions, though. The factors that drive us to chase those breakthroughs are often our own inadequacies, and sometimes we aren’t even aware of them. A breakthrough makes us feel less small for a moment, but it won’t heal that wound in the long run, and it might even hurt others. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Kurisu-on-a-Monitor.jpg) Steins;Gate Ø. Source: Author. Steins;Gate has always communicated that actions have consequences. Each human has to confront that double-edged sword of responsibility at some point, and it’s impossible to shirk it forever. That’s a bitter pill. But that truth also opens up second chances for us. Reframed, the fact that each choice carries consequences means we can also send love and kindness through the ripple effect of our actions. The butterfly effect will continue to influence events regardless of what we choose, so we might as well try to steer it with our human stubbornness. That's the will of Steins Gate. ### The Intentional Gaming Resolution URL: https://www.superjumpmagazine.com/the-intentional-gaming-resolution/ Last updated: 2026-01-26T06:03:09.000Z **We got everything that we could ever want.** An entire generation poured their heart and soul into the video game hobby, and, as adults, we have access to entire libraries of titles accumulated over years of digging through sales and awaiting exciting releases. New games appear so often that you couldn’t possibly hear about every one without putting in the work of a paid games journalist. Retro devices put entire childhoods into our pockets, and our living rooms are high-definition portals to incredible worlds of action and adventure. We got everything that we could ever want, so why is it that I spend my 2 hours of free time after work staring at my Steam library of 700 computer games, feeling as if there were nothing to do? I asked myself this question in 2025, and it barrel-rolled into many different questions. Why don’t I finish video games? Why can’t I focus on specific games? What do I even like? All of these are clearly things that I should know about myself; a quick search online will find that many people also suffer this lost feeling when engaging in their favorite hobby; I’m not alone on this. I spent months testing methods and scouring for answers until I found a New Year's resolution that worked for me. I want to share what I’ve found; putting it in writing will help me cement the resolution in my year, but also sharing it may help somebody else (maybe you!) find the path towards having fun again. ![A CRTV with built in VCR sits above a shelf full of retro video games, largely for PlayStation 2.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/resized-IMG_4815-1920x1080.png) The PS2 Collection The Kid In Me Always Wanted. Source: Author. ### Removing The Un-Fun At the beginning of 2025, I was a chronic scroller. I surfed the web probably too much. Tweet after tweet and TikTok after TikTok until it was time to shut the lights off and go to bed. I would take my phone out if there were beats of silence in conversations and waste work breaks by drowning in the noise of micro-content. If you want time to do any hobby, you have to make that time, and you can start to do that by getting rid of the distractions that you don’t value, that are easier than resuming a video game. For me, this was taking a holy crusade to the parts of my phone that didn’t serve me. The dumb phone movement is inspired; I really like the ideas that the spearheads of that cult stand for: downgrading to tech that you don’t want to use unless you have to. I realize that there are some out there who need to physically remove the smartphone to get rid of the temptations of scrolling, but I’ve found a lot of success in just stripping my phone of every app, almost to factory defaults. I keep basic things like banking apps, calendars, and Steam; I even have a card game on there to play with friends and Shonen Jump to read comics from time to time. Only distractions that I get real value out of get to stay. Your phone works for you; you don’t have to cave in to impulse and short-form entertainment. All other social media, games, and shopping apps went away. I hardly check my phone now. When I’m bored at home, I don’t have the easy way out anymore; I get up and grab my Steam Deck, a retro handheld, or a controller and find something to do that I’m going to enjoy a lot more than reading a feed. I realized that I didn’t have a problem finding time to play video games; I was developing a difficulty motivating myself to pick up a controller over opening TikTok. Thus, I transformed my phone into a device that serves my interests instead of distracting me from them. ### Curating Your Interests So, we now have the controller in hand, but we are flooded with options. I own easily over a thousand games, and I am willing to bet that a majority of other people in the hobby can beat that number or come pretty close. Hitting a few Steam sales, raiding Humble Bundles, or scouring bargain bins can have you swimming in video games on a relatively healthy budget. Many of us dreamed of having large libraries of games as kids, and now that it’s real, we have built our own ghost haunting us, named “The Backlog.” The backlog puts us into a specific mindset. “I’m gonna get around to playing it sometime, but I have to start somewhere.” Casually, you pick up something you’ve been meaning to play with the goal of beating the game. We play games for many different reasons: to hang out with friends, to become better at a sport, or to just relax and have fun, among others. Completion is a large motivator in a lot of people, and there are many games specifically geared to itch that part of your brain. Mounds of checklists in an Assassin’s Creed or Far Cry game allow players to feel accomplishment for completing areas or finishing quest lines in short bursts. This mentality doesn’t translate to backlogs very well, for your average player trying to finish longer goals and games that can take dozens of hours. ![A screenshot of the author's Steam library, full of long titles and in-depth stories.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/Screenshot-2026-01-02-172018.png) So Many Long RPG's, Not Enough Time. Source: Author. We have to limit and curate our options so that we aren’t playing games only on the premise that we own them. Of course, this comes at the cost of admitting that we’ve wasted money on games that we will likely never play, but we gain the likelihood that we will spend our time playing video games that will stick with us long after the credits roll. Now we can just go game by game and by process of elimination, be honest, and give up on the games that we don’t enjoy. This is still a huge step in our journey, but I think that we could do just a little bit better in finding our next conquest. ### A Closer Look I have been addicted to several broad genres of video games, and it takes a bird's eye view to discover exactly what it is that ties these hyper-fixations together. As a kid, I almost exclusively played 3D platformers. This shouldn’t be surprising, coming from someone who grew up owning a PlayStation 2\. I played a lot of Kingdom Hearts, Ratchet & Clank, and Jak and Daxter; I even have a history with Super Mario. Now, what might be the common thread between all of these games seems to be a colorful aesthetic, or the collection of shiny objects, or even the exploration of vertical levels. But these factors haven’t stuck with me over the years; what has stuck with me is inventive movement systems and how they fuse with combat. Games like Insomniac's Spider-Man, Arkham Knight, Saints Row 4, and InFamous have all kept me hooked, and that is through fast and fun movement that sends you hurtling, swinging, and sprinting at impossible speeds through city streets. I hate open-world games that offer only checklists and waypoints, but I make an exception when the traversal is so unique and fun. I feel the same way about most action games; if moving is fun, then I will look past most of the parts that I think are boring. I look for green flags like this when deciding on a game to play, but let’s look at a few more examples. I’ve never formally identified as a loot goblin, but my track record seems to indicate that the frontal lobe of my lizard brain lights up when I see an explosion of rainbow colored loot come from a boss that I just burst down while cranking punk music. After playing through Destiny, Borderlands, and Diablo 3, it would seem that I have a specific weak spot for inventory management and chasing those legendary needles in the haystack of commons. As I play through Grim Dawn, as I wait for Borderlands 4 to reach an acceptable price, I am reminded that these types of looter games have become a comfort food that I love to pick up and put down. These are the most extreme cases where the loot is the game, but if a game has any sort of granular item building and limit that stops hoarding, I really dig into it. I think that is why I will generally bounce off of Betheseda RPGs, where many loot items are identical to each other, and I get drawn towards games like Dungeon Defenders or Wildermyth, where every item feels like a new discovery, and the ones you choose to carry with you become treasured. ![A screenshot from the Borderlands games; a heavily armored cyborg character threatens with a plasma knife.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image.png) Borderlands 4\. Source: [2K](https://borderlands.2k.com/en-GB/borderlands-4/media/). I would like to say that I love all RPGs, but I have a penchant for a specific type and tend to bounce off anything that doesn’t meet this requirement. Persona, Dragon Quest XI, Dragon Age Origins, and Cyberpunk 2077; the common thread in all of these is a strong emphasis on party or supporting cast storyline. If I can touch the life of a supporting character or a party member, I am fully invested. I realized this during Cyberpunk when I promptly skipped all of the side content to answer every call from a friend in need because that is the only thing in the game that I cared about doing. These are my green flags. This is not to say that I never try anything new, but this is to ensure that I know what new games I should look out for and what games should float to the top of the backlog. Looking into your past can highlight what you have traditionally enjoyed and inform things that you might like in the future. The next step might even involve only installing the games that interest you or selling/hiding the games that no longer bring you joy from your library. We curate our libraries, and it not only helps us choose what to do, but it also creates a group of games that is uniquely yours and a great representation of your interests. ### Keeping Momentum So far, what we have is 1600 words on how to sit down and choose a game to play. While this seems very simple, if you’ve ever spent an afternoon downloading games to play, played for five minutes, and realized that maybe it was another game you were in the mood for, then we are kindred spirits, and you know this explanation only scratches the surface of the paralysis. But now that we’ve allowed ourselves some space to focus and figured out what game we are playing, the majority of our intentional gaming set dressing is done. The rest happens when we’ve sat down with the game for the day. It’s hard to focus and be present with your hobby in the time between play sessions, especially if that time can be a few days with work and life in between. I lose track of games that I really enjoyed playing and end up either wanting to start the game over or dropping it completely when its been a week and I don’t remember the goals I was working towards. There is a simple solution to staying focused on a goal that most people will tell you: journaling. I’ve tried many apps that let you pick a game, make a few notes, and track your backlog progress. To be honest, I couldn’t find a single one that worked for me. Most will want you to also track game time and, most frustratingly, the percentage completed. After months of journaling, both in depth and loosely, I’ve found that a public blog works best for me. It makes me take a bit more pride in both taking screenshots and making a bit of a presentation out of it, which I don’t feel when I keep a private journal. I hear very good things about field journals, too, and even though I’ve spent months experimenting, I still plan to try that out as well. ![A blog entry from n8jelly on Tumblr, which is labeled, "French Church Demolition Sends Me Into Spiral."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/resized-IMG_4847-1920x1080.png) Snapshot from my Gaming Journal. Source: Author. Making notes after playing games and even lightly chronicling my characters' adventures helps engrave those experiences in my brain just a little longer. The act of writing a note, as simple as what your next objective might be, does a lot to create excitement towards the next time that you get to play. After all this time, I am convinced that there is no definitive way to do this as long as you make the note. Journaling is a hard habit to maintain. Making time before bed rather than playing that extra 5 minutes, or getting out the pen and paper and making the journal your own, take a lot of discipline. But journaling will help a gaming session sit with you in a meaningful way and create new investment into your hobby as well as the rest of your life if you decide to journal that as well. ### The Resolution My New Year's resolution for 2026 is to have fun when I game. I want to keep checking if my distractions are serving my needs. I want to remember what I enjoy and make sure that the games I play are in line with my interests. And I want to journal and create imagination and excitement in the long gaps when I have to be a responsible adult rather than a gamer. I’m still refining my method, but this is the blueprint that I want to start 2026 with. It includes being more honest and realistic with myself, and yourself is the only person that you cheat when you promise that you will eventually and finally play The Witcher 3, only to drop it after 2 or 3 sessions. Make time for the things you love this year and give yourself the tools to appreciate them because you deserve the excitement that caring about a hobby can create. So Happy New Year, and of course, happy gaming. Oh, yeah, and I’ll start going to the gym every week, going to therapy, and all that stuff too. ### 3 Gaming Cafés Around the World You Should Visit URL: https://www.superjumpmagazine.com/3-gaming-cafes-around-the-world-you-should-visit/ Last updated: 2026-01-13T00:33:08.000Z **While you may not be planning a gaming-themed trip, you might still want to get your LAN match fix while traveling.** And that’s why gaming cafés are so appreciated by the average gamer on the move. It’s one thing to be the kind of traveler that gets excited by a trip to the museum, but if you’d like to strike some balance and get a few hours in with your favorite game too, this one’s for you. According to Statista, the [global revenue for online gaming in 2024 skyrocketed to $27.97 billion](https://www.uswitch.com/broadband/studies/online-gaming-statistics/). So, if you’re a gamer, you’re part of a lucrative worldwide industry. And, of course, you’re amongst friends. Thousands of gamers cut out a bit of time from their travel schedule to immerse themselves in their favorite games. The trick is knowing where to do that. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/XP-Tavern-design-816x591.jpeg) XP Tavern. Source: madeinshoreditch.co.uk. ## 1\. XP Tavern — London, UK London doesn’t really do quiet gaming corners. It creates spectacles. XP Tavern sits in the middle of Shoreditch, half gaming arena, half modern pub. Rows of high-spec PCs glow beneath neon strips while bartenders slide craft beers across polished counters. The décor strikes that sweet spot between gamer cave and London chic. It has sleek booths, console pods tucked under ambient lighting, and the occasional controller battle breaking out near the bar. It’s not just a place to play; it’s a place to belong for an evening. Locals drop in after work, travellers stumble in with jet lag and curiosity. You might find yourself in a casual *Valorant* tournament before your second drink or chatting with a designer from a nearby game studio. Bring your headset if you must, but honestly, this is where you take it off and just exist among your people. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image.jpg.png) OS NYC. Source: Timeout. ## 2\. OS NYC — Manhattan, USA If London's gaming scene crackles with energy, New York's has that unmistakable cinematic quality. OS NYC is tucked into the Lower East Side — part gaming lounge, part café, part workspace for creators. Walk through the door and you'll get it immediately. The vibe is understated but assured. The setup? Rows of high-performance rigs, each one dialed in perfectly. The walls feature artwork from smaller indie studios, and you might spot a Twitch streamer doing their thing in the corner. The clientele varies — college students, freelance designers, and people passing through the city. It's a surprisingly social space. You'll catch fragments of conversation: arguments over GPU specs, passionate defenses of obscure indie titles, and the inevitable Elden Ring discourse. For digital nomads who bounce between coffee shops during work hours and need somewhere to game at night, OS NYC bridges that gap nicely. Order a latte, set up your laptop, squeeze in a gaming session, maybe end up chatting with someone who knows that one tricky section you've been stuck on. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/interior.jpg) Spielwiese Board Game Cafe. Source: blahblahberlin.com. ## 3\. Spielwiese Board Game Café — Berlin, Germany Gaming isn’t just a hobby in Germany. The online gaming market in Germany is said to be hurtling towards reaching [over 3 million gamers by 2030](https://www.statista.com/outlook/amo/media/games/gaming-hardware/gaming-pcs-laptops/germany). And that’s why Germany makes our list. Berlin’s Spielwiese isn’t a PC café or esports hub. It’s a spot for those who still enjoy board games and cozy spaces. The shelves, which climb the walls, are stacked with thousands of board games. And interestingly, in every imaginable language. Locals come here after work, travelers drift in from nearby hostels, and within minutes, strangers become teammates. The interior features wooden tables, warm lighting, and generous mugs of coffee dotted around next to players. The scene certainly proves that even though there are millions of online gamers in the world, people still have time for the type of connection that doesn’t require high-speed internet. ## Press Start Anywhere If you’re traveling to the UK, USA, or Germany, these gaming spots are a must-visit. And don’t forget to pick an [eSIM](https://saily.com/what-is-esim/) while you’re at it! Since you’ll likely need a steady connection for checking match schedules or coordinating with friends on the move, it’s worth finding the [best eSIM](https://www.reddit.com/r/best%5FeSIM%5Fproviders/comments/1984tvl/best%5Fesim%5Fproviders%5Fcomparison%5Ftable%5Ffor/) for your trip before you head out. It’s a simple addition to your gear that saves you the headache of hunting down a physical SIM card at the airport or dealing with unexpected roaming fees. Each of these cafés captures something different about gaming culture… the adrenaline of London’s tournaments, the creative pulse of New York, the cozy camaraderie of Berlin. ### The Junkfood Sworl Multiconsole: an Arcade for Your Office URL: https://www.superjumpmagazine.com/the-junkfood-sworl-multiconsole-an-arcade-for-your-office/ Last updated: 2026-01-13T23:26:01.000Z piece**Arcades are awesome. I know this, you know this, we all know this.** Something about the lights and sounds of the cabinets, the physicality involved with tapping those oh-so-satisfying oversized buttons to play each game, speaks to a primal gaming urge. Unfortunately, arcades have become less and less common over the years, which means the ones that *are* left tend to be overcrowded, expensive, and sometimes falling apart. In response to this, a booming market has emerged of at-home controllers that emulate the feel of an arcade cabinet, to varying degrees of success. The good people at Junkfood were kind enough to ship me their take on the arcade controller - the Sworl. The Sworl comes in two variations: The [Sworl Basic for $175](https://junkfoodarcades.com/products/sworl-basic), and the [Sworl Multiconsole](https://junkfoodarcades.com/products/sworl-multiconsole) for $225\. The Basic works with the PC and the Switch, while the Multiconsole works for all modern platforms. The Sworl is entirely customizable, with everything from the button layout and profile to the colors and animations for the LEDs, to the deadzone of the sticks; you can make the Sworl into the controller that best suits your needs. It takes a little bit of setup within your browser to get working, but once that's finished, it's easy to change any settings you want and save them to separate profiles. I highly recommend doing this, as it can save the headache of having to remap every single game you play to your preferred settings. Choice is king with the Sworl, and it allows for an extremely tailored experience if you go looking for it. So that's the basic setup, but what's the product itself like? The packaging for the Sworl is immaculate. I'm a sucker for good, clean presentation when it comes to my gaming peripherals, and the Sworl delivers immediately. The box is a sleek and minimalist orange design, emblazoned with the controller's branding. Upon opening it, you are greeted with a high-quality, black, solid-shell nylon carrying case, evoking an immediate sense of quality. The solid shell case zips open to reveal the Sworl itself, along with a sturdy braided C-class connection cable and a QR code that explains everything the Sworl can do. ![Carrying case and the Junkfood Sworl inside.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/Sworl3.jpg) Source: Author ## The Hardware The actual controller is, in my opinion, peak design for something like this. It's extremely sturdy, with a hard plastic design that feels high-quality without being too heavy or cumbersome. With these more arcade-style controllers, I tend to find myself either wanting more room on the face of the system or less, but the Sworl hits that balance perfectly. The controller itself comes with four cardinal direction keys, set up in a WASD fashion, along with ten large black buttons, each of which sits on a dazzling rainbow LED. Along the top of the controller is a row of six rubber buttons, each of which is used to help customize the Sworl as well as pause games and navigate menus. What stands out the most to me for the Sworl is the two domes that lie suspiciously close to where your thumbs naturally fall when playing. These domes are actually full-fledged analogue sticks, with a cool hexagon design that allows for better grip. Those analogue sticks are buttery smooth and just the right size for comfort. Their inclusion addresses a long-held problem with tabletop arcade controllers - the traditional joystick. These peripherals may be seminal in the dark halls of arcades, but when you're relegated to using a large, cumbersome, typically unresponsive ball on the end of a stick for more contemporary titles, the whole thing tends to fall apart. While the unfortunate reality may be that sacrifices are necessary to meet in the middle, the Sworl bridges that gap perfectly with the installation of its analogue sticks. The sticks are easily accessible, with big domed heads, plenty of grip, and an ease of placement that makes it so you never feel like you're reaching or stretching. You can also use their web app to customize dead zones and make the Sworl feel exactly how you would like. They're simply comfortable to use. Comfort isn't the only thing the Sworl has going for it. Somehow, the people at Junkfood have been able to perfectly translate the satisfying *click-clack* of a mechanical gaming keyboard to buttons the size of USD 50-cent pieces. Obviously, the controller has to work well to be useful, but it goes a step beyond and becomes downright delightful to use. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-8.png) Source: Author. ## Playing With Sworl My initial journey with the Sworl was that of Street Fighter 6, Capcom's excellent (and frankly, underrated) latest installment in the iconic Street Fighter franchise. After getting the controller initially set up (which was as easy as changing the keybinding in the settings), I realized that I had picked the perfect game to test drive the Sworl. Street Fighter 6 has a fantastic RPG mode, where you can create your own fighter and take them around the world to train with different Street Fighter characters. A huge portion of this mode is running around an overworld, finding hidden items, and challenging citizens and other contestants to fights. To say the analogue sticks were a blessing in this mode would be an understatement. Running with the keys and using the right analogue stick for camera control was seamless, and I fully believe that without the Sworl, I wouldn't have played the mode half as much as I did. I've played Street Fighter 6 with a controller, and while it's a fantastic fighting game for beginners and veterans alike, playing it with the Sworl brought it to a whole new level. On Junkfood's website, it shows the Sworl being used to play the massively popular Marvel Rivals,and that got me thinking: what else could the Sworl be used for beyond just fighting games? I decided to test this theory on a few different genres, with varying results. My favorite game to use the Sworl for – and honestly my preferred way of playing this game – is TMNT: Shredder's Revenge. I understand that a side-scrolling beat 'em up is a bit of a cop out, as Shredder's Revenge is essentially an arcade game in itself, but that doesn't detract from the fact that playing it on my PS5 with the Sworl brought new life to a game I've already played to death. Next up was Batterystaple Games' criminally underrated 30XX, a rogue-like based on the classic Mega Man games. While I found the binding to be a little bit difficult at first, once I got used to the placement I had set up, the Sworl once again brought a unique arcade-like quality and challenge to the already wonderful game. The analogue sticks in particular were extremely useful for the more tricky platforming, and 30XX emphasized the wonderful ergonomics of the Sworl better than any other game I had experienced to that point. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-9.png) Sworl Multiconsole. Source: Press Kit.Pre Lastly, I hopped into Left 4 Dead 2, just to see how the Sworl would handle something like a fast-paced first-person shooter. Of the genres I tried out, I would say that this was the most difficult to get used to. Left 4 Dead 2 requires some quick reaction time, and I was really struggling to get my footing while using the Sworl. That being said, it could just be how ingrained that game is in my psyche from playing it for the last 15 years, rather than the Sworl itself. The controller did exactly what I told it to do, and the sticks worked just as well as they would on any standard controller. Despite having difficulties, I still found myself having a lot of fun trying to configure the controller to my specifics and trying out different configurations. --- Something else happened with the Sworl that I hadn't previously considered. It hasn't left my desk in the time I've had it, as I would always find myself hopping on, playing a few rounds of Street Fighter after I was done with work in my office. It was always on display, its brilliant LEDs coursing through the buttons at random intervals. As such, everyone I brought into my office has inquired about it. Just by looking as intriguing as it does, the Sworl effortlessly became a conversation piece. My office doubles as a small recording studio, and without fail, anyone who had come in to help me with setup or play some music pointed at the Sworl and asked what it was. To my surprise, I was watching people who had very little interest in video games in general spend time gleefully button-mashing on Soulcalibur or Street Fighter. It invites the same level of accessibility and curiosity into the home that anyone can get by walking into an arcade. If you're a fan of these types of peripherals and you're looking for a modern version that ticks off all the boxes, I give my full recommendation to the Junkfood Sworl. ### Now Playing at SUPERJUMP: Issue 37 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-37/ Last updated: 2026-01-11T16:03:14.000Z **We're back with a brand new Now Playing!** Indies and retro titles have dominated the holidays for our team to wrap up 2025\. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ## James Burns (SUPERJUMP Editor-in-Chief) I've been spending my end-of-year leave falling in love with all things Metroid (a series I had *wanted* to love for so long but could never really get into). After completing Metroid Prime 4: Beyond and Metroid Prime Remastered, I decided to go back to the beginning and check out Metroid Zero Mission on GBA. For the uninitiated, Metroid Zero Mission is a remake of the original Metroid, which was released on the NES. I've been playing it on the glorious Analogue Pocket, which has been an utter delight. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-10.png) Source: Nintendo. Metroid Zero Mission takes the original game's concept and overall design and brings modern quality of life elements to it (including a highly functional map, massively updated/modernised controls, an entirely new art design, updated soundtrack, and a combination of completely new *and* "remixed" levels). These changes are great for me, because I don't really have the patience to play the original game without a guide (there's no in-game map, for example, so you'd have to draw your own as you go). Zero Mission not only adds a map, but it also injects far more save rooms into the game, so if you save frequently, you're never really spending a lot of time retracing your steps when you die. While this could be considered an over-correction, I think it's worth bearing in mind that Zero Mission is a handheld experience (unlike the original), which means it's geared towards smaller bite-sized play sessions and a faster overall pace. Having just beaten Kraid - and several other newly-added mini-boss style combat encounters - I've completely fallen in love, and I feel that I *finally* "get" Metroid. I've had Zero Mission in my collection for a long time, but never played it. Now I'm really wondering why I waited so long; a combination of super sharp controls, lovely art and sound design, and *incredible* environmental/navigation puzzles make Zero Mission an unmissable classic. I can't wait to continue my Metroid journey! ## Ben Rowan I’ve been firing my way through the newly released [Neon Inferno on Switch](https://www.nintendo.com/us/store/products/neon-inferno-switch/?srsltid=AfmBOoqNCQhJLONeSsLoU9o4BFq1wPqLoNUdJWHxQEFZJ65HfpYZQSot) recently, Zenovia Interactive’s latest pixel-art run ’n’ gun. I covered their previous title, [Steel Assault, for our Hidden Gems series back in October](https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-40/), so diving in has felt instantly comfortable. Zenovia's clear love of big, bold pixels is front and centre again, but Neon Inferno pushes past that mid-’90s look, back when Neo Geo cabinets were the vanguard of graphical wizardry. With its liberal use of coloured lighting, dense crowds of sprites, and dynamic shadow work, this title feels like something genuinely “retro next-gen,” like a classic 24-bit arcade machine supercharged with a modern GPU. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-1.png) Neon Inferno. Source: Author. Gameplay-wise, the big hook is the two-layered combat, which plays out like Huntdown mashed with the gallery shooting of Wild Guns. You’re constantly shifting focus between the enemies directly in your face and those lurking in the background. It’s a continual back-and-forth between the two modes, and once you get the hang of it, everything just works. It definitely adds a level of depth and challenge you won't find in most platforming shooters. Zenovia’s magnificent boss design is still their signature party trick. Every stage builds toward huge, ridiculous showdowns, the kind that take dozens of attempts as you start memorising every dodge, jump, and attack. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-2.png) Neon Inferno. Source: Author. The setting is great, too. It’s NYC in 2055, a cyberpunk sprawl where every street corner is soaked in neon, and the noir-leaning story throws in branching paths and light RPG elements to avoid a straight-line slog. With punchy sound effects, a killer soundtrack, and gorgeous design, the whole experience is loud, stylish, and gloriously over-the-top. If you love Metal Slug and Contra-style run ’n’ guns, miss that era of pixel-art excess, and you want something with a fresh mechanical twist, Neon Inferno is absolutely worth a squiz. ## Cat Webling After hearing about it for ages, I finally started playing [Tiny Bookshop](https://store.steampowered.com/app/2133760/Tiny%5FBookshop/)...and oh my goodness, why did I wait so long?! This adorable game about running - what else? - a tiny bookshop from a trailer in a little English coastal town is everything you need from a cozy game. It's got cute animals, lovable characters, and hours you can sink into managing your inventory, recommending books, and exploring all of the fun little side quests that come up as you set up shop around town. You can decorate your shop, painting it cute colors and setting up little trinkets to make it exactly the right cozy spot for you. The best hidden gem in this game, though? You can adopt a bookshop dog! I named mine Buddy after a real-life bookshop dog in my town. ## Vitor Costa After many people recommended it, I decided to give [Blue Prince](https://www.playstation.com/en-us/games/blue-prince/) a try. While doing some research, I was particularly intrigued by the fact that the developers were inspired by Raymond Smullyan’s logic puzzles. During my philosophy degree, I had a lot of fun solving his puzzles in Alice in Puzzle-Land: A Carrollian Tale for Children Under Eighty. Nowadays, I often recommend the book to students interested in logic. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-3.png) Blue Prince. Source: Author. I confess that, as a puzzle enthusiast, I was initially disappointed by how easy the logic puzzles in the game are. It didn’t take long, however, to realize that this difficulty is only the most superficial layer of Blue Prince’s puzzle-adventure design. The game is less about mechanical deduction and more about investigation and puzzle-adventure; at times, it strongly reminds me of Myst. I don’t enjoy roguelikes as much as I enjoy puzzles, so it annoys me slightly to rely on luck or repetition to solve “puzzles within puzzles.” Still, this design choice ultimately makes the solutions more rewarding, and each day spent inside the abandoned mansion makes the search for the mysterious forty-sixth room feel more concrete. I’m currently on Day 36 and still haven’t reached it. I recently discovered underground areas that significantly expand the scope of exploration, and there are also many narrative mysteries yet to be solved. When I finish the game, I might write an essay about the layered puzzle-adventure design of Blue Prince, which is the aspect that has intrigued me the most. ## Jahan Khan ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-4-1.png) Kovi Kovi. Source: Author. My gaming over the last few years has been all about the off-ramp alternatives and supporting after-market releases for legacy hardware. Retro is cool again, and maybe it's due to the popularity of 90s media and shows like Stranger Things, but the kids are into Game Boys and Ataris. In 2025, I ordered homebrew releases from Atari Age, a community and publisher that gives homebrew projects the full retail treatment, like it was the 1970s all over again: cardboard box case and full instruction manuals, a true labor of love. I was particularly excited for [Kovi Kovi](https://store.atariage.com/products/kovi-kovi-atari-2600), which is a Puyo Puyo-style puzzle game, and oh so very addictive and nuanced. It's amazing to see programmers still squeezing new life out of the Atari 2600 console, and this dedicated (global!) homebrew scene only seems to be gaining more momentum. ## Matthew Lawrence I recently purchased an Xbox Series X and have been spending my time playing through some games that I had tried on my PC, but moved on from due to poor performance. One such game is the remaster of The Elder Scrolls IV: Oblivion. While I played the original a few years back, I never really got very far into anything outside of the Dark Brotherhood questline. This time, however, I have found myself quite engrossed with the storyline quests, the guild quests, and the side quests. Skyrim was the only other Elder Scrolls game in which I've invested a serious amount of time. Still, I have been pleasantly surprised at the length, complexity, and variety of quests, particularly those within the Dark Brotherhood questline. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-7.png) The Elder Scrolls IV: Oblivion Remastered. Source: Steam. From a technical aspect, I have also been awe-struck with just how good the game looks and plays in relation to the original. Graphically, the game is beautiful and continues to impress me with the fluidity of the lighting and the depth it adds to the game. The updated UI, particularly the HUD, makes much better use of the screen by decluttering it and adding some much-needed space between the various HUD elements. These changes, in addition to the already rock-solid gameplay that has been largely preserved from the 2006 original, make it feel like a faithful remaster of an already great game. I'm excited to continue my current playthrough and the countless playthroughs I’ll surely do in the future. ## Bryan Finck Since we last talked, I've finished my time with [Ghost of Yotei](https://www.playstation.com/en-us/games/ghost-of-yotei/), and the final act was even better than the rest of the game. I thought Sucker Punch did a great job with Lord Saito's villain arc, and even though a lot of the lore around him was buried in notes and letters, the performance really sold the anger and cold savagery under the surface. I liked it a bit better overall than the original game, and I'm excited to see where the series goes from here. I spent the rest of the month with [Pacific Drive](https://www.playstation.com/en-us/games/pacific-drive/), a game that caught my eye as soon as it was revealed at the September 2022 Sony State of Play event. The early reviews were underwhelming, so I waited for a sale, and happily, it came to PS Plus in November. Very quickly, I realized this was going to be one of my favorite games of the year, as it is quite unlike anything I've ever played. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-5.png) Pacific Drive. Source: Steam. At its heart, Pacific Drive is a mix of survival horror and extraction-type gameplay. You find yourself mysteriously transported into the Olympic Exclusion Zone, the unfortunate epicenter of a government experiment gone wrong. There are all kinds of scary environmental dangers (radiation, crazy storms, exploding mannequins, etc) you must escape, with no way to fight back. What you do have is an ancient station wagon that becomes your protector and friend across 20+ missions. Your job is to take your car into the Zone, collect all kinds of loot from the remains of the government experiments and various flora and fauna they created, and get out with your car and your body intact. Whatever you bring out with you goes toward souping up your car (and maybe some new threads for you, too); new gear, like lead-lined doors and armored bumpers, will help you survive as you delve deeper into the zone. It gets crazier and scarier as you go, and there's a compelling story to keep you pushing forward. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2026/01/image-6.png) Pacific Drive. Source: Steam. The action is fantastic, with really compelling discoverability and great driving mechanics. The extraction parts at the end of each level can be incredibly tense, and I routinely found I was holding my breath until I made it safely out. I really enjoyed the voice acting performances as well; they make you feel a little less lonely in this desolate wasteland. There's a ton of replayability here, with a vast area to explore, tons of loot to power dozens of upgrade possibilities, and even challenge runs to enjoy once the story is done. I hope a lot of folks play this through PS Plus, because I'd love to see what developer Ironwood Studios can pull off with their next game. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Hidden Gems of Game Design Vol 43 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-43/ Last updated: 2026-01-09T18:35:22.000Z **Plenty of amazing games go unnoticed and are not played widely, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## Josh Bycer ### Gemcraft Series ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251207043004_1.jpg) Source: Author. For this month’s pick, I want to go with an indie series that I’ve hoped could be an inspiration for other developers. Gemcraft started as one of the many online games featured on the site/portal Armor Games, and [two of the five in the series are currently available on Steam](https://store.steampowered.com/search/?developer=Game%20in%20a%20Bottle). Gemcraft is, to my knowledge, the first tower defense roguelite. The story follows wizards who are doing battle against monsters using magic towers with gems to keep them at bay. Three main systems make up each game, starting with the tower defense. Your mission is to defeat waves of varying enemy types using the gems and buildings provided. You have almost-free rein to build wherever you want on the map, but you must protect your wizard orb to win. Gems come in different colors that affect their properties, with different gem colors appearing in each game. The gems themselves are your actual weapons, and can be put in different structures to change their role and be upgraded. Towers are the default structure, while traps do less damage but enhance the special properties of a gem. On many maps, wizard stashes can be opened to provide you with a reward that goes with the other systems. Winning maps and getting a new high score will reward you with experience that can level up your wizard. This provides skill points that can be applied to unlockable skills, grant passive bonuses, or unlock powerful spells that can be used during a map. Any unused skill points will provide you with bonus mana (which purchases and upgrades gems). Each game has a “talisman” that acts as the meta progress. Randomly, while playing maps, a talisman piece can drop, and the higher the number, the rarer the talisman. These provide bonuses that affect damage, how much mana you get, and other buffs. But to get the best parts, you have to take Gemforge into overdrive. Each map can be played three ways – the story mode, trial (AKA puzzle mode), and endurance. Endurance mode is the best way to get high scores and talisman pieces. One of the unlocks you can get is battle traits that can be applied to a map, cranking up the difficulty while increasing drops and experience. The more traits you have, the greater the rarity of the talisman pieces you can obtain. This is when playing Gemcraft almost turns into the game-breaking style of Disgaea. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251210043022_1.jpg) Knowing how far you can push with battle traits is important, or you end up like me here. Source: Author Filling out your talisman is going to take a long time, as you need shadowcores to unlock more spaces, and the cost gets progressively more expensive as you get further into it. There comes a breakaway point in every Gemcraft title, where the player goes from barely being able to survive endurance mode to cranking up the difficulty and getting a boatload of cores and powerful talisman pieces. Learning and mastering any Gemcraft game is going to take some time, and you can easily get dozens of hours in each if you want to do it all. However, when it comes to onboarding and helping the player learn how to improve, the game falls a bit short. Maps are easy until they’re not. Each wave increases the attributes of the enemies, and the killer of your run at the start will come from a horrible 5-letter word – armor. For each point of armor an enemy has, it will block incoming damage. Pylons ignore armor, and the armor shred gem outright counters it. However, on maps when you don’t have access to armor shred, or the armor shred is too weak, you can go from one-shotting every enemy, to the lightest enemy shrugging off all your attacks. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251206051632_1.jpg) Talisman pieces get progressively more powerful, and are the keys to the high-end play. Source: Author. This requires you to build nothing but towers aimed at your pylons to be able to smash through them, up until the point when critical damage becomes the predominant damage dealer. This gets to a fundamental crack in the design and how it scales up. Your ability to deal with stronger and stronger waves is dependent on the skill tomes you find, which affect your viable options. There is a distinct difference in how you approach these maps as a beginner, moderate, and advanced player. While the game offers multiple ways of playing, this comes at the cost that there is often one preferred strategy per map. Traps are great against slow or medium-speed enemies, but don’t fire fast enough without upgrades to deal with swarmlings. Putting points into your trap skill means that you’ll have fewer points for the skills that give you a base damage increase. I absolutely did not like lanterns, which hit multiple enemies at once, but deal far less damage. If you plan to play multiple games in the series, however, mastering one of the games means you should be able to handle anything that gets thrown at you in the others. At some point, no matter how skilled you are at maze design or building the perfect choke points, you either have enough DPS to get through the enemy defenses and numbers, or you don’t. The difficulty also gets tuned up when RNG comes into play; while the waves and map are fixed, apparition attacks are not. After you reach a certain map point, the game will start spawning different kinds of ghost enemies throughout the map. The spawn timings are fixed, but what spawns is not. You could get something easy, like a passive specter that flies around, or you could get a demon that summons more enemies, attacks your orb directly, and is just a horrible nuisance. What I find fascinating about Gemcraft today and why I wanted to talk about it, is that the tower defense genre faced an evolution crisis in the mid 2010’s to remain relevant as the market changed. It could have gone in three directions – following the roguelite progression set by Gemcraft, the character as a tower style of Defender’s Quest and popular mobile games like Arknights, or turning the tower defense itself into a roguelike. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251214044025_1.jpg) While writing this piece, I managed to beat Frostborn for the first time. Source: Author. Developers have responded by making their games more like the latter two, and leaving Gemcraft’s design all but gone in today’s market. The series remains an interesting branch of tower defense design, and if you ever wanted to see just how powerful you can make a tower, and have a lot of hours to play, then you need to check it out. It remains up in the air as to whether we will get another game and a conclusion to the story. The developer sadly developed a rare liver disease, and updates have been sporadic. I’m hoping that they are doing well and that more people hear about this series. ## Ben Rowan ### Beyond Sunset (2025) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/data-src-image-5b96f873-cd95-4ab3-9a98-01ea078c9474.jpeg) Source: Author. I grew up on Doom, Quake, and Half-Life, so I’ve been chasing that boomer shooter buzz since way before we called them boomer shooters. I’ve sunk plenty of hours into modern spins like Ion Fury, Dusk, Turbo Overkill, and Prodeus, always hunting for that latest hit of speed, violence, and retro attitude. [Beyond Sunset](https://store.steampowered.com/app/1665260/Beyond%5FSunset/) is the most recent one to grab me, and its mix of old-school DNA with modern touches and a slick cyberpunk style certainly helps it stand out. Developed by an elusive one-game studio, Metacorp/Vaporware, Beyond Sunset is a cyberpunk RPG shooter built on the modern GZDoom engine. It runs incredibly smoothly, even on my ageing MacBook Pro (M1 Pro), and that fluidity matters in a game like this. Movement is fast and responsive, which is ideal for a game where, like the modern Doom reboots, pushing forward into combat encounters is usually the right answer. In fact, combat is where the game really shines. There’s a wide variety of enemies, and lately I’ve been ploughing through hordes of robots of varying difficulty. Some are clearly designed to be mowed down, and they drop health and ammo generously, which keeps you playing aggressively and staying in motion. You’re not hiding behind cover or aiming down sights here either, you're constantly moving, dashing, and clearing rooms at speed. When tougher enemies show up, like shielded guards, flying drones, or flame-wielding mechs, the level design gives you enough space to reposition, heal up, and swap to heavier firepower. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/data-src-image-f3535daf-12ea-407b-acaf-83f541afcd66.jpeg) Source: Author. The weapons feel great across the board, too. The pistol has a strong alt-fire that’s perfect for cracking shields. The assault rifle is reliable and satisfying, and the shotgun is exactly what you want when a giant robot stomps into the room. And yes, there’s a samurai katana that lets you carve through enemies and even reflect bullets, Jedi-style. It’s the first weapon you get in-game, and definitely the most fun. Beyond Sunset has more going on than most boomer shooters, adding RPG elements that deepen the experience. You can boost your character’s stats, buy upgrades in shops, experiment with power-ups, and talk to NPCs for side quests. It’s not quite classic Deus Ex, but it has that same sense of a deeper world that rewards exploration. The neon palette and synthwave score lighten the tone compared to Ion Storm’s dead-serious classic, but the intent is similar. This is a shooter that wants you to poke around and engage, not just sprint to the exit. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/data-src-image-c4abcb6b-88d8-4881-9db1-f770213e4f51.jpeg) Source: Author. Like vintage Deus Ex, level design is ambitious, too; these aren’t straight corridors. They’re sprawling, maze-like spaces with multiple floors and multiple objectives, though sometimes they’re a bit too sprawling, and it’s easy to lose your bearings. But with a little patience, plus help from in-game computer terminals that let you access CCTV feeds, you can usually piece together where to head next. Beyond Sunset isn’t reinventing the genre, and it doesn’t need to. It’s a solid, stylish boomer shooter with personality that understands why these games worked so well in the first place. Considering how well this GZDoom-based game runs on my Mac, it gives me hope we might finally see the brilliant-looking [Selaco](https://store.steampowered.com/app/1592280/Selaco/) land on macOS once it leaves Early Access. For now, I’m genuinely having a great time with Beyond Sunset. It’s a certified hidden gem for anyone who wants that old-school shooter energy with a bit of classic RPG flavour. ## Anonymous ### Zoo Tycoon (2001) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-51.png) source: Gamespot The passing of an ill lion cub was a difficult subject for Lincoln Park Zoo’s communications manager when I spoke to her in Chicago. It stirred a memory I had almost forgotten: my encounter with death in Zoo Tycoon (2001). Seeing green smiley faces pop up over my pride of lions meant I was doing something right as a kid. I picked the right trees, the right terrain, everything they could ever need. Ever the utilitarian, I let my lions keep their default names: Lion 1, Lion 2, and so on. After a couple of hours, Lion 1 was missing. The next few minutes of frantic searching confirmed my worst fear: he was dead. I loved spending time with animals at zoos or with plastic toys at home. In-game, I’d spend hours crafting environments and appeasing guests, often at the cost of profit. The animals’ info panels were a goldmine of real-world facts that made it simple to build habitats and meet their needs. Once your animals showed their satisfaction with the aforementioned smiley faces, it was the guests’ turn. Attractions and shops kept visitors busy when they weren’t waiting in restroom queues. By getting funds from tickets, concession stands, and donations, you’d earn enough to build your next enclosure. As a game that promotes animal preservation, it’s ironic that there’s no simple way to play the original Zoo Tycoon. Despite working on a sequel and teaming up with Nintendo for World of Zoo on the Wii in 2009, the studio shuttered in 2011\. Zoo Tycoon remains a great tool to explore nature’s ecosystems by raising a zoo of miniature animals. ### **A Final Message for 2025** This is Josh again. Thank you so much for reading these monthly pieces and enjoying the series throughout 2025\. It has been a pleasure giving smaller games a chance to be seen, and I hope that a few of you were inspired to check them out. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### Taking Mario to New Galaxies URL: https://www.superjumpmagazine.com/taking-mario-to-new-galaxies/ Last updated: 2026-01-07T19:12:52.000Z **Super Mario Galaxy and its sequel, Super Mario Galaxy 2, are among the best, if not the very best, in the plumber's impressive 40-year platforming career.** He's had other careers: entrepreneur, golfer, painter, and English Premier League player, just to name a few, but plumbing will always be his most famous profession. The pair of games has been released together for Nintendo Switch, and playing on Switch 2 brings stunning improvements to the visuals and gameplay flow with a smoother frame rate and higher resolution. These are easily among the best games released in 2025, and even with Donkey Kong Bananza leading the charge on Switch 2, this Galaxy double pack is a worthy companion. Mario Galaxy is in its best possible shape and form today; in fact, younger players could be forgiven for not realising that it's nearly two decades old. Mario Galaxy itself had quite a journey before it reached its pristine form on Switch 2, and it almost feels like it had to travel light-years to reach this point today. The initial circumstances surrounding the release of both Galaxy games were far from ideal, and that's largely due to their primary platform: Nintendo Wii. The console is still among the best-selling systems in history, and yet it was always subject to criticism, especially when compared to the PlayStation 3 and Xbox 360\. Unlike Sony and Microsoft, who were aggressively pursuing high definition raw power, Nintendo wanted Wii, for better or worse, to distinguish itself from the rest purely on the basis of 'play'. The Wii Remote and Nunchuk were far from everyone's ideal ergonomics, but we can now see how the Switch JoyCons would not exist today without the foundations set by their predecessors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-52.png) Source: Press Kit. The Wii was the furthest thing from a graphical powerhouse, but first-party developers made the most of these limitations to create beautiful-looking games. Games that simply should not have worked somehow worked, and so after a weak launch lineup, players wondered how a major 3D Mario would fare, if at all. Super Mario 64 raised a pretty high bar and also set the blueprint for the very notion of 3D platforming, and its follow up on GameCube, Super Mario Sunshine, couldn't quite be the epic sequel everyone hoped it would be, despite its interesting play mechanics. Most gamers wanted Mario 64 turned up to 11 and more, and Sunshine wasn't quite that with its water hose gimmick. Then, with 'gimmick' being the middle name of the Wii, this mega sequel seemed even less likely, at least until the sheer brilliance of Super Mario Galaxy blindsided the legions of sceptical fans. On paper, Galaxy should not have worked; from the unconventional control scheme to the even less conventional spherical level design. These ideas would have created a disaster if it were any other developer, but Nintendo gave us a game that not only built upon the strong foundation of their Nintendo 64 hit, but also took this foundation to new galaxies. It crosses the dimensions of 3D platforming, allowing players to experience new perspectives, and the sensation of exploring spherical spaces becomes second nature almost instantaneously. I'm not a game design expert by any means, but I feel only Nintendo could have pulled this off. Decades earlier, believe it or not, there was a title for the SEGA Saturn that attempted almost these very same ideas, but was cancelled after a development hell that resulted in its lead designer nearly dying due to sheer overwork... that game was Sonic X-Treme! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-53.png) Source: Press Kit. Super Mario Galaxy introduced bold ideas to perfection, and brought it all to life with stellar presentation, stunning orchestral music, and, for the first time, rich lore for Mario that was as emotional as it was whimsical. On Switch 2 today, this is a stunning and engrossing platformer; the core control mechanics translate effortlessly to the JoyCons when playing docked, and the experience feels tight and polished on handheld. This is what makes the game great; it wasn't tied strictly to its original Wii hardware, as the core principles were so strong that they still shine on modern hardware. That's even more true for the visuals; no longer scaled down to fit the hardware limitations of 2007, Galaxy shines today in all of its intergalactic starry-fullness, evoking a sense of discovery and wonder that very few 3D platformers can offer. Nintendo did something else that they don't often do with Mario: taking a concept and performing an encore remix of the best ideas. Super Mario Galaxy 2 was never intended to be a numbered sequel; in fact, the core story is exactly the same, but it remixes and refines some of the ideas and level design approaches of its predecessors to create a novel and fresh experience. Where Super Mario Galaxy was methodical and challenging with emphasis on exploration, Super Mario Galaxy 2 streamlines the design and pacing for sheer, utter delight. Using Sonic again as an example, it's a bit like going from Sonic Adventure to Sonic Adventure 2, where it's not necessarily one game being better than the other, but rather each game has its own unique philosophy. At the end of the day, it will all come down to player preference. Even now, forums are filled with Galaxy vs. Galaxy 2 debates with no clear or decisive winner. Super Mario Galaxy 2, from a purely gameplay standpoint, feels like a sequel; while it shares core fundamentals with its immediate predecessor, it adds plenty of layers to make the experience feel evolved. Most notable of all is the inclusion of Yoshi as a playable ally, rekindling the magic of SNES's Super Mario World in a fully 3D space. The experience feels like a roller coaster in outer space, with great thrills and brisk pacing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-54.png) Source: Press Kit. Together, Super Mario Galaxy and Super Mario Galaxy 2 are games that other developers could only dream of making. I wouldn't be surprised if Nintendo itself had to fight the temptation to create a Galaxy 3 (fans of the Blue Blur still beg for Sonic Adventure 3, by the way). Paired together on Switch 2, this is an excellent trip that will feel new even to players from 2007\. Until the next Mario entry comes along for the current generation console, both longtime fans and newcomers have plenty to discover in the galaxies offered here. Despite their origins, the games' arrival on Switch 2 feels like a true homecoming. Super Mario Galaxy and Super Mario Galaxy 2 finally look, feel, and play like the games they were always meant to be. It may have taken short of a light-year, but it goes to show that some ideas are not only built to last, but are built with the future in mind. ### Waiting for the Mystic Mansion Update URL: https://www.superjumpmagazine.com/waiting-for-the-mystic-mansion-update/ Last updated: 2026-01-05T14:30:06.000Z **The challenging part about enjoying a game from Japan is that we often don't receive timely updates.** We know that there are probably distribution reasons, but the wait can provide such a high window of uncertainty. Mystic Mansion hasn't yet added the levels from Japan to its American version. I get why, but still, not having an update is killing me, and the creators haven't provided a release date. I've been playing Mystic Mansion long after completing a challenge involving the game for Swagbucks. Since mythology is one of my hyperfixations, the game's storyline of an apartment mansion home for deities is my jam. The game takes advantage of the cute style for visual humor; I found it hilarious to learn why the king of the Greek Gods is a sentient teacup, or how Gal was having trouble using all the makeup she had to look amazing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-30.png) Source: Google Play Store. Mystic Mansion is a standard sorting game where you clear boards using matching pieces, power-ups, and tools like arrows. It also has an ongoing plot where you, the human, are working undercover in an apartment house with gods. Meowlin, the owner, knows who you are, but he keeps that information on the down-low. In fact, any tenant suspecting the truth gets a surprise visit from him, with threats and ominous shadows. Every time he thinks about his plan, he chuckles. That's surely not ominous. Your partner-in-crime and building superintendent, Purrcy, doesn't know. While you complete the challenges by matching gemstones within a series of limited moves and different obstacles, Purrcy does the grunt work of replacing windows, making carpets, or installing sparkly lights. ## What Makes the Game Work? The characters are a lot of fun. They provide challenges with their requests for different types of furniture, protesting when you clear their papers, and offering hints of backstories. Some blend in with the garbage in their apartments, while others stand out like the idols they admire. There is also plenty of lore to go with each character's designs and quirky interactions. As mentioned, Zeus has been turned into a teacup while his son has no idea (Hera is not in this game, not yet, as far as I know). Cleopatra remains miserly while getting as many renovations out of us as she can. We have an owl deity who can't get a good night's sleep while taking residence indoors, and a penguin Poseidon that cannot shed a cute nature to look fierce. The dialogue between completing challenges and fulfilling tasks is entertaining, especially if Purrcy tries to back out and Meowlin has to remind Purrcy that the superintendent has a job to do. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-31.png) Source: Google Play Store. Also, having Ganesha running an Indian restaurant but not making it look Indian hit close to home for me, with everyone wanting hamburgers. I can make decent almond burgers, but you're on your own with the meat stuff since I'd probably be making lamb, and I'd need to try out the recipe before. At the same time, as a diaspora, I wouldn't know exactly what details to put into restaurant decor to make it look authentically "Indian" since a lot of what I make at home is fusion. ## What I'm Waiting for In Mystic Mansion Reaching the top floor. Seriously, the original game does have an ending according to its Wikipedia entry, but we Americans just haven't received it yet. It could be needing the translations or having to deal with the red tape of distributing international video games to Americans (thanks for that, by the way, tech bros). I still can't figure out why Meowlin needs a human to work discreetly as the handyman. The way Purrcy reacts, a demigod or spirit could work just as well. Humans seem to be special to Meowlin's mysterious plans, but it's unclear. The gods have powers, just a lot of emotional dysfunction given their various backstories and failures. What makes us special? If the developers have a newsletter or social media account, it would be great to get an update. I want to know what happens next, sooner rather than later. ### How Changing One Mechanic Elevated Reus 2 Beyond Its Predecessor URL: https://www.superjumpmagazine.com/how-changing-one-mechanic-elevated-reus-2-beyond-its-predecessor/ Last updated: 2026-01-04T01:14:06.000Z **Reus, designed by** [**Abbey Games**](https://abbeygames.com/)**, is a simulation game about gods, giants, and growth.** You start with a barren planet and gradually fill it with life. First, you place down biomes like swamps, forests, oceans, and deserts. Then you fill these wild spaces with animals, minerals, and plants. When humans come to settle the land, you support the development of their communities so that they can flourish, but you also need to ensure that you don’t give any one group too many resources too quickly, otherwise they might become proud and start waging war against their neighbours. At its core, Reus is about balancing ecosystems and encouraging synergies. Herbivorous animals want to live near plants, different clusters of minerals provide different effects when placed down in different combinations, and predators require prey. If you can keep all of these relationships in mind, as you gradually unfurl the sprawling web of nature on your planet, then the world will thrive. There are two Reus games, and while both have the same central concept of making an initially barren planet prosper, they approach it in very different ways. The first game employs a real-time management system, which, while intuitive, clashes with the game’s nature. The second learned from its predecessor’s mistakes and implemented an approach that lets players experience the game at their preferred pace. ### On Borrowed Time ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-24.png) Reus 1\. Source: Abbey Games. Worlds in Reus aren’t designed to be played in perpetuity. The game wants you to develop one, see it grow, and then move on to another. This is similar to how in Rollercoaster Tycoon, you’re constantly shifting from one park to the next, except on a galactic scale. Both games use different methods to let players know when they should move on to their next project. When sitting down for a play session in the first Reus, you must choose whether you want to work on your world for 30, 60, or 120 minutes. It can be awkward choosing this upfront. You might know exactly how long you intend for your current play session to last, but chances are you’re just sitting down to unwind for a while, and putting a timer on your fun makes the experience feel a lot less relaxing. These time limits can also be uncomfortable at times because they’re either too long or too short. In a 30-minute game, you really have to sprint to get everything completed on time. Watching the worker giants, who terraform the world for you, slowly trudge around the map can make you feel truly impatient. In 120-minute games, meanwhile, you can sometimes be left waiting out the last 10 or so minutes of the timer as everything slowly crawls towards a conclusion. While the game itself is a compelling puzzle, Reus does itself a disservice by only allowing players to tinker with their worlds under strictly timed constraints. It was clear that any future instalments in the series would need a new way of encouraging players to move along once their work on a particular planet is finished. Sure enough, the sequel succeeds in developing an innovative solution. ### Eons to spend ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/reus-2-image.png) Reus 2\. Source: Abbey Games. In Reus 2, you’re unconstrained by time. Instead of needing to get everything done before the clock runs out, your actions are only limited by a newly implemented resource system. Every time you place something down on your planet, it costs a small amount of “eon.” You’re only given a finite amount of eon, meaning that you must place down every animal, ore formation, and plant carefully. You need to think strategically and ensure that you’re always placing everything in the optimal location. The game is split into three eras, each with objectives that must be fulfilled. If you can complete these goals, you’re granted more eon, and are allowed to advance into the future. If you can’t, then your progress stalls, and you need to move on to another planet. As well as clearing away the discomfort of the timers from the first game, Reus 2’s approach also pays off in other areas. The era system makes the civilisations that develop feel more grounded in history. The ability to move from prehistory to the Iron Age, and then into the present, gives you a sense of progress. The tiny people on your planet feel more like they are changing, growing, and developing. Additionally, needing to spend your eon carefully to advance through the eras adds an element of welcome challenge to proceedings. If you scattered everything across the world randomly in the first game, there was no real penalty beyond receiving a low score once time ran out. In Reus 2, playing without purpose will quickly lead to your pool of eon depleting, and the need to end your current efforts and try again. This incentivises you to learn the game’s system and ensure that your next try will be more successful. ### Conclusion ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/reus-2-image-2.png) Reus 2\. Source: Abbey Games. Games are truly great when all of their systems click together harmoniously. For example, part of the secret behind why Minecraft has endured for so long is that its vast, explorable open world provides a wealth of resources that perfectly complement its crafting system. Both Reus games offer a cosmic sandbox that you can sculpt and develop as you watch life grow. They’re both good fun; however, the first tries to weld real-time and puzzle-based elements together, creating an uncertain experience where you need to charge through an otherwise relaxing game. The second, meanwhile, takes its time and allows players to move at their own pace. By limiting the number of actions players can take, rather than the time available to take them in, it better understands its nature as a tactical puzzle requiring the correct approach. [Reus](https://store.steampowered.com/app/222730/Reus/) and [Reus 2](https://store.steampowered.com/app/1875060/Reus%5F2/) are both available on Steam. The former is also available on the PlayStation 4 and Xbox One, while the latter is available on Switch and Xbox Series X/S. **A review code for Reus 2 was provided by the developer.* ### Diving Into the Heart of Final Fantasy VII: Remake Intergrade URL: https://www.superjumpmagazine.com/diving-into-the-heart-of-final-fantasy-vii-remake-intergrade/ Last updated: 2026-01-02T01:41:34.000Z **Final Fantasy VII: Remake Intergrade is one of my favourite PlayStation 5 games, a perfect reintroduction to the heart and soul of all things PlayStation and Final Fantasy.** Much like how the original Final Fantasy VII gave the original PlayStation its identity, I feel this Director's Cut expanded release of FFVII Remake reminded me of all the intangibles which collectively come together to define the style and culture of PlayStation. Stepping into a fully realised Midgar was a surreal and enchanting experience for me, and more than the dazzling combat system, it was the intimate moments shared between characters which helped me lose myself in the setting. Returning to Midgar, along with the heartfelt cast, rolled together feelings of nostalgia and wonder into one beautiful sensation of escapism. The game is now making a comeback of sorts, with a brand-new port for Xbox platforms and Switch 2\. No matter the era,Final Fantasy VII is one of those games that's almost too easy to place into the "overrated" camp, and yet even its biggest naysayers are closeted fans. As the premier RPG showcase for the original PlayStation, I've had an on-and-off relationship with the game, having spent more time with the follow-up, Final Fantasy VIII. My first time with Final Fantasy VII involved a one-sitting playthrough in the absence of a memory card (occasionally there would be shortages of those darn things!), where I made it all the way to Disc 3 (remember disc swapping mid-adventure?) before I finally hit the Game Over screen. I was pretty pleased with myself, but in hindsight, I realise just how linear and cinematic this RPG really was, and how dead-easy it was for me to be make it as far as I did without saving progress. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-32.png) Final Fantasy VII Classic. Source: Steam. I eventually did play it again on the rather disappointing PSOne Classic mini-console, and then on Nintendo Switch, which is perhaps the best possible way to enjoy the classic at this point. A lot of things about the game obviously don't hold up (random battles are irritating), but the thing I enjoy the most, time and time again, is the time I get to spend in Midgar. This underground urban dystopia serves as the main hometown, so to speak, a fascinating fusion of sci-fi, fantasy, and steampunk, featuring both Western and Oriental cultural influences. Midgar is a melting pot of culture and inspiration, and each time I have replayed the original PlayStation game, it's only just to immerse myself in the early areas of the adventure once more. Then there are the characters, and honestly, it feels to me that every RPG since 1998 has tried their hardest to be just like Final Fantasy VII, particularly in the effort to replicate the same chemistry and synergy of the cast. Since 1998, there have been so many JRPGs attempting the same magic; the cast of Final Fantasy VII, once known for their unique personalities, consequently created these now laughable tropes. The brooding amnesiac has been done to death, but when Cloud did the then-novel character gimmick, it was cool and edgy. To this day, no one does it better. Yes, Cloud has the mood swings of a teenager, but he also has a sense of humour with his witty comebacks. His personality certainly has more range in the remake, with lines like *"I'm sorry about your ass."* I was initially hesitant about Final Fantasy VII Remake; for one thing, I didn't quite like the idea of it being episodic, with the uncertainty surrounding whether they would even be able to complete the project. The game first landed on PS4, as part of the apex lineup of swansong hits for the console. It came to PS5 as Final Fantasy VII Remake Intergrade, and now has landed on Xbox and Switch 2\. At the time of its PS5 release, I hesitated, yet something about it called to me, as I desperately needed an epic JRPG experience for my new console, especially sinceScarlet Nexus was not quite what I hoped it would be. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/01.png) Source: Press Kit. One of the biggest complaints from critics was how VII Remake "never left Midgar," and then it hit me: every time I have replayed the original game, it was simply to relive Midgar all over again. I actually don't really want to leave Midgar; I'd rather perpetually live in a hyper-realistic recreation of it for as long as possible. Even now, my save progress is at the point of no return in Chapter 14, because once the party infiltrates Shinra headquarters, it's a rollercoaster into the endgame sequence. To be honest, I'm still not ready for it, as I'd much rather just roam the Sector slums. It's been a blast to explore every nook and cranny and meet all sorts of interesting characters. The slums of Midgar are downtrodden and rustic, and yet they brim with so much life and personality. It's a multicultural hub in the truest sense, a dystopian future setting most video games struggle to create. Not everyone is friendly here, but even with so much pollution and rampant corruption, there are moments of quiet beauty and genuine kindness from its citizens. It needs to be experienced to be believed, and the level of detail present provides an unreal level of intimate immersion. Then there is the cast, whom I've gotten to know over the years via the main game and various spin-off games and media, including full-fledged motion pictures. I don't claim to be the biggestFinal Fantasy VIIfan, nor was I ever a diehard fan of the cast, but over a period of two decades, I can't help but have a nostalgic sentiment towards it all. They're a bit like old friends I rarely keep in touch with, but getting in touch with them takes me back to a moment in time. I have lived through the anticipation, hype, magazine covers, stellar reviews, and everything else since. It's hard for Final Fantasy VII not to hold some meaning to anyone who grew up during that magical time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/12.png) Source: Press Kit. At this point, the death of Aerith is the worst-kept spoiler in pop culture. Everyone knows about it, even those who still don't plan to play Final Fantasy VII any time soon. In hindsight, Aerith's character development was a little rushed in the original game, but in VII Remake, the depth of her development makes it so easy to genuinely care about her, and even sadder knowing what inevitably lies ahead for her (unless.. well, we'll see). One of my favourite moments in the original was the brief duration spent in Aerith's house, from its warm, cosy interior to the beautiful flowerbeds. In VII Remake, this humble setting is brought to life in rich detail, everything from creaky staircases to lush sun-kissed flowerbeds. It's an area where I can't help but stop to take it all in, an unexpected respite for mindfulness. This is exactly what VII Remakedoes so well: the way it goes from moment to moment, allowing both its cast and setting to grow with the narrative pacing. The most profound moments are quiet yet interactive segments of intimate vulnerability, such as when Cloud and Aerith simply walk through the slums, talking just to overcome the awkwardness of being strangers to each other, or when Cloud and company visit Jessie's family home, as the cast walk through her childhood neighbourhood, complete with a park and a swing set. These are the moments, so intimate and authentic, which defined my experience with VII Remake Intergrad*e*, even more than the excellent battle flow and the sheer depth of its intricate systems. These quiet yet profound moments of immersion are what I hope to see more of in video games, daring moments rarely seen in gaming since the original Shenmue on Dreamcast. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/06.png) Source: Press Kit. I love a lot of things about Final Fantasy VII: Remake Intergrade, but the lasting moments to me are when things slow down to a mindful halt, where the game world simply allows itself to be, and allows me to be a part of it, and gives me the agency in allowing the cast to bravely be their vulnerable selves. ### SUPERJUMP 2025 Year in Review URL: https://www.superjumpmagazine.com/superjump-2025-year-in-review/ Last updated: 2025-12-31T11:12:48.000Z December 2025 edition _This post is for subscribers only._ ### The Quest for a Cozy Gaming Setup URL: https://www.superjumpmagazine.com/the-quest-for-a-cozy-gaming-setup/ Last updated: 2025-12-31T16:12:46.000Z **Cozy gaming, both as a genre and aesthetic, has exploded in popularity over the last few years, especially since the pandemic.** I'm no stranger to this space; I've been a lover of cozy gaming since I started my obsession with Stardew Valley nearly a decade ago. It felt like a natural niche for me as a person with lots of cozy hobbies (reading, gardening, cat cuddling, crochet, knitting, etc.). Take a look at my history here at SUPERJUMP, and you'll see exactly what I mean; I love a good, slow-paced sim, management, or adventure game where I can get lost in someone else's world for a little while. While I've played the games for years, I haven't really gotten into the aesthetics of the cozy gaming community, which are a major part of its presence online. Creating your own cozy gaming corner, full of soft textures and warm lighting, seems to enhance the experience and add to that escapist, stress-relieving joy found in the hobby. So, I've embarked on a quest: curate my own perfect cozy gaming setup, complete with accessories and hardware that make me feel most at home. ## The Vision So what exactly screams...well, not screams, I suppose, but gently says, "cozy" to me? What exactly is the cozy aesthetic? Scrolling through Pinterest, Instagram, and other online communities under the tags #cozygaming and #cozygamingaesthetic, I saw quite a lot of trends I could definitely get behind. Cozy gamers, apparently, tend to love things like RGB lighting setups (because who doesn't?) and lots of plants, as well as softer pastel shades of pinks, blues, and greens matched with lighter browns, creams, and white. These setups - usually a bedroom desk or dedicated office/gaming room - often have either a very nature-inspired theme, full of leaves and wood accents, or they're minimalist and white, with soft, cloud or sky inspired touches. Frequent inclusions are fun drinks (hot and cold) in cute mugs and glasses, soft blankets, and candles. Also cats. Lots of cats. ![A screenshot of Pinterest showing ten posts in the #cozygamingaesthetic tag.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-22.png) The top results from #cozygamingaesthetic on Pinterest, showcasing warm, comfortable spaces and games to play. Screenshot by the author. I took a lot of inspiration from these setups and pondered the things I love about my space. I love space and galaxy-themed items, as well as darker natural woods and contrasting white accessories, and of course, RGB accents. I'm a big fan of long, dangling houseplants and fairy lights, and I almost always have a mug of tea or an iced coffee to hand anyway - why not get some cute drink containers to go with them? And hey, I've already got the cats to go with it! So, here's the dream wish list for my ideal cozy gaming space: - A dark wood desk with plenty of space - White peripherals for my computer (and maybe a white tower case) with RGB accents - Something space-themed to hold my controllers (also space themed, of course) and my headphones - Space and nature-themed decor for the walls around my desk - A cute, warm-colored lamp and nice-smelling candles - Various plushies from games and shows I like - Soft blankets on a comfortable gaming chair - Fun drink station including mug warmer and cute mugs/glasses Easy, right? ## The Problems So, I started assembling my setup! And...well, it's a lot harder than you might think it is to do this. For starters, the practicality of my dream setup is a bit questionable at best. I have an active child who loves to hang out with me and game with me. I also have cats who adore being in my space and knocking over everything they can reach. Both of these factors mean that having anything that's pristine white or breakable on my desk - like delicate decorations or drink containers - is an absolute no-go. I can't tell you the number of times my cats have knocked my things to the floor, gotten fluff stuck on everything, or chewed on cables. My kiddo isn't the most careful either, so I'm constantly cleaning up crumbs and spills. Most frustratingly, my office is open-plan on its floor of the house; I don't have a door that I can easily shut to keep them from touching or moving things. This means that candles and plants are a definitive no for now, and glass drink containers and white peripherals are a challenge. The next issue I face is that I simply have limited space. Our house isn't very big; as I mentioned, I have an office that's just a corner of our finished basement, with my husband's office on the other side and a communal living space in the middle. The only real space I have to decorate is on the desk itself and the two walls behind it in the corner. I also have two computers for work purposes, meaning that space on my desk is already restricted. Having all of the accessories may be fun, but it tends to require room that I simply do not have right now. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-27.png) The adorable perils of cats on keyboards. Source: Author. Finally, I must address the cost of my dream project. Computer accessories are notoriously expensive, especially for gaming-specific setups; a good keyboard and mouse combo could cost as much as $200 or more, depending on the brand you go with, and RGB lighting for your space, because it's currently trendy, is incredibly expensive in its own right. I want to support small businesses with my accessory purchases, but because their operating costs are higher, they have to charge higher prices for their products. I do think it's worth investing the money in quality pieces, but it's simply not practical as a working mother to justify that kind of investment during an economic recession. These issues caused me to reassess my ideals. What I'd love to have is an Instagram-worthy setup, and maybe that was my problem. See, the setups you see in #cozygamingaesthetics on the internet are curated, selective, and often unrealistic. These creators may have been paid to advertise certain products in their space; they may have received them for free or as part of a brand deal, meaning they didn't have to invest their own money into the space and have a stake in your wanting to buy these things. Beyond that, many of these spaces have been curated over years and years of careful collection and reorganization. They're not quick-fix, perfectly new rooms that sprung up overnight, exactly as perfect as they appear. They may not even *be* perfect! I know I've been guilty of shoving clutter out of frame when posting; I have no doubts that these cozy gaming influencers do the same thing. There's nothing wrong with creating a space like this and posting cute pictures of it online, but as the consumer, I have to be wary of these facts and not let myself fall into the trap of false authenticity. I have to remember that it's unrealistic to have a perfect setup immediately or at all times. Does all of this mean I need to give up on my dreams of a cozy office space? No, not at all. It simply means I have to re-evaluate my wish list and make it more actionable in the real world. ## Progress So Far There were a few things I simply couldn't have or had to rethink. Namely, I just had to accept that I wouldn't be able to have delicate, breakable decor out in the open on my desk. I love my kid and my animals; I want them to be able to enjoy my space, too. So, I've opted for metals, woods, and, in some cases, plastics for all of my decor. I did have to give up on the idea of fairy lights - anyone who's ever owned a cat will know exactly why - but I can still have fun RGB peripherals, and I'm looking into getting strip lighting that I can attach to the desk itself. I also bought something called museum gel, which is a clear gel that works a bit like mounting putty and is used in museums to keep displays secure without damaging them. This helps mitigate the issue of cats knocking things over, which is handy. ![The corner of a desk by a wood panel wall. The desk is full of little trinkets and plush toys, with two purple space-themed controllers sitting on a sticker-covered computer case.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/PXL_20251216_165034035.jpg) Don't mind the cat hair, I'm doing my best. Image by the author. Next, I accepted that some of the things I wanted needed to be long-term goals rather than quick buys. I have a perfectly functional computer right now; I don't need to be going out and buying all new monitors and keyboards and mice just for the aesthetics. So, slowly, over time, I'm replacing bits as they need replacing with more aesthetic versions that're going to last me. I recently had to replace my keyboard (because writing for a living does tend to take a toll on it) and managed to find a lovely, affordable RGB white mechanical piece that even has adjustable light modes. While I'd love to now get a matching headphone stand with room for all three of my controllers, my current headphone stand still works just fine, so I'll wait a while before I replace it. I'm also having fun making pieces to go in my setup! Outside of video games, I love to take part in various crafty hobbies, including knitting and crochet. I've made myself a lovely comfy lap blanket and a good, soft foot rug, as well as mug cozies and coasters that make my setup fun and colorful, and are all the more personal because they were something I made rather than bought. Finally, I'm learning to accept the space that I'm already in as cozy in itself. I'm learning to love my little corner, full of art and decorations I already own that I'm finally finding homes for on my walls. I keep little trinkets on my desk from various adventures I've gone on with my family, and I'm leaning into the aesthetic I already have while I build the one I want. It's not perfect; it's still messy and cramped and a bit disorganized and uncoordinated. But it's mine, and it tells a lovely story about what cozy means to me. So, have I achieved my perfect cozy gaming setup? Probably not, and that's okay. I'm going to keep working on it slowly, and I'm not going to let the internet's idea of a picture-ready desk hold me back from enjoying what I already have. When I'm snuggled under a blanket I made, cat purring in my lap, with my hands on my glowing keyboard and the Stardew Valley soundtrack in my ears, I really don't want to complain about the little things I'm missing. It's enough to be cozy where I am. ### Meet the Dark Souls of Racing Games: BallisticNG URL: https://www.superjumpmagazine.com/meet-the-dark-souls-of-racing-games-ballisticng/ Last updated: 2025-12-30T21:28:20.000Z **I love the original Wipeout games in a way that probably isn’t healthy.** 1996's [Wipeout 2097](https://en.wikipedia.org/wiki/Wipeout%5F2097) was literally the first PlayStation game I ever played, and I played it to death. As a life-long electronic music fan, this was less a video game and more a way of life, a manifesto in digital form. It was speed, attitude, sound and sweat all fused into a Red Bull-charged fever dream. When [Wipeout 3](https://en.wikipedia.org/wiki/Wipeout%5F3) arrived in 1999, I can clearly remember the hype. For anyone whose interests were at the crossroads of gaming and club music, this was a cultural event, forever linked with Sasha’s hugely influential [Xpander EP](https://youtu.be/D2iKquZn8tQ?si=lovcwYKgPNHABRlg). I remember descending the staircase into Sydney’s legendary Central Station Records, seeing Wipeout 3 running on TVs in the store, and playing the opening race while drinking my first ever can of Red Bull. As an icon of underground culture, Wipeout was a bridge between the worlds of gaming and music. After picking up Wipeout 3: Special Edition during a trip to Asia in 2000, I sunk 100+ hours into it. I unlocked everything, chased those gold medals, and only hit a wall at the highest speed classes. I never loved the later entries like Fusion, Pulse or HD as much. Even though the Wipeout Omega Collection on PS4 was excellent, it never captured that gritty magic of Wipeout 3, with the floaty handling and angular, industrial courses that felt like rainy, moody glimpses of the future. A lot of it came down to the raw gameplay, too; I've always loved the turbo boost mechanic of Wipeout 3 (sacrificing shields for speed) over the barrel roll boosts of the later games. And while Wipeout 2097 kicked off the hysteria and was a much larger commercial success, true fans know that Wipeout 3: Special Edition was the refinement of the original formula into something close to perfection. So when I tell you that 2018's [BallisticNG](https://store.steampowered.com/app/473770/BallisticNG/) is a lovingly crafted homage to classic Wipeout, I’m saying it with deep affection and slightly unreasonable levels of nostalgia and expectation. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/BallisticNG-Screenshot-Gameplay-4.jpg) BallisticNG. Source: Author. ## Old-School Heart, Modern Muscle While BallisticNG accurately captures the vibe, handling, art style, and track philosophy of Wipeout 3, it also folds in modern flourishes that broaden the experience. Some new-era weapons are included, like the machine-gun cannons, and the mode variety is enormous, vastly outstripping the 90's series' offerings. The huge single-player campaign features a deep variety of events with ever-increasing difficulty, moving far beyond the standard combat racing formula. The most interesting inclusions are two distinct physics modes that lean toward both the classic and modern. The base handling, called 2159, is rooted in that classic floaty feel, with pitch control being a big part of the dance. Keep the nose up by holding back as you air-brake through tight corners and land on ramps, then push the nose down on straights to squeeze out extra speed. Then there's 2280 mode, which leans more towards the Wipeout HD/Fury feel, bringing the camera closer to the vehicle and generally being more forgiving in the corners. BallisticNG’s 1.4 update in May 2025 was centred on the expanded 2280 mode, bringing redesigned menus, quality-of-life improvements, and beefed-up modding tools. I still prefer the classic 2159 feel because I was raised on the original trilogy, but I’m genuinely glad 2280 exists. It opens the door for a whole new wave of players who grew up with the modern Wipeout titles. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/BallisticNG-Screenshot-Gameplay-6.jpg) BallisticNG. Source: Author. ## A Team On a Mission BallisticNG’s developers are a tiny, independent, remote team called [Neognosis](https://neognosis.games/), whose name feels like a cheeky nod to Psygnosis (later Studio Liverpool), the legendary British studio behind the original Wipeout series. Their wider presence is pretty low-key, but the core of Neognosis appears to be two key people: Adam Chivers as lead developer and Aidan Lee handling support and Linux/Mac porting. As far as public info shows, their only publicly released game so far is BallisticNG, but they’ve backed it up with custom tools and strong mod support, so it feels alive and evolving rather than a one-and-done. In 2025, Steam reviews keep flowing, and the game's [Discord](https://discord.gg/ballisticng) is still very active. That long-term care is a big part of why BallisticNG comes across as a passion project that grew into a genuinely polished and community-adored indie success story. Nowhere is this love and reverence for the source material more evident than the absurd amount of content on offer in the stellar campaign. For starters, there are modes galore: Racing, Team Racing, Tournaments, Time Trials, Speed Laps, Eliminator, Knockout, Survival, Upsurge, Rush Hour, and Stunt modes are all here, with Custom Race options too if you want to get tweaking. You also get two-player split-screen, online play, and even VR compatibility, which, looking at the upcoming [Steam Frame](https://store.steampowered.com/sale/steamframe), could be very interesting. All these expansions are included in the base game too, with no extra DLC to buy. Everything comes bundled, which helps the whole package feel huge. It expands the world and adds even more event variety, with over 50 courses available once you factor in mirror modes and other variants. Along with the staggering amount on offer, the excellent course design deserves its own spotlight. These are hands-down some of the greatest anti-gravity racing tracks ever made. You’ll be racing through everything from busy sci-fi mega-cities and seaside industrial zones to snowy mountain circuits, cavernous canyons, huge smoggy factories, glistening speedways, and ancient forests. For an indie project, the range and artistry are truly impressive. It’s the kind of game that makes you quietly furious Sony isn’t doing more with the Wipeout franchise, because a small dev team just walked up and built a whole parallel universe for the genre. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/BallisticNG-Screenshot-Gameplay-1.jpg) BallisticNG. Source: Author. ## The Anti-Gravity Gauntlet I’m more of an offline-mode person these days, and BallisticNG is perfect for that. In my region, I haven’t had much luck finding online matches, and as a Mac user, my mod compatibility is limited. So I’ve been living inside the single-player campaign, which is massive. And here's where the “Dark Souls of racing games” label stops being a joke and starts feeling like a warning. BallisticNG starts pleasantly enough. You get into a rhythm. You start thinking, “Okay, I’m still good at this, I still have it.” And then about halfway through the campaign, the game calmly removes the floor and lets you fall. Suddenly, you’re staring at a level of difficulty that feels almost pathological. It shifts from exhilarating to intimidating in a heartbeat, like the game quietly deciding it’s done being friendly. One bad corner and suddenly you drop from first to eighth, with the entire pack flashing past your eyes. I can see how this could be discouraging if you’re not fully locked into the anti-gravity mindset, but I also get why the game is built this way. There’s a certain purity to it. The challenge is the point, and mastery is the reward. At its best, BallisticNG creates that intense patience-and-focus loop where every failed run teaches you something tangible. You warm up. You lock in. You sharpen your line. You learn the track’s secret language. You stop fighting the ever-increasing speed and start dancing with it. Much like a Souls game, there are no compromises here. You just have to put in the time and rise to the challenge. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/BallisticNG-Screenshot-Gameplay-5.jpg) BallisticNG. Source: Author. ## Into the Groove The original Wipeout series' soundtrack was a landmark in video games, being among the first video games to license underground music artists and make full use of Sony’s new CD-ROM technology in the original PlayStation. The in-game soundtrack for BallisticNG is certainly strong, but to really fall into the trance, I’ve found the perfect move is building a custom playlist of classic and modern electronic music (think The Prodigy, Underworld, Paul Van Dyk, Sasha, Metrik, Fred V & Grafix) and playing it alongside the game's stellar sound effects on a high-end pair of headphones. This is the fuel you'll need to lock in, find flow, and push through the tougher tiers. At a certain point, something magical happens. After repeated plays, you memorise a course so deeply that the speed melts away. You anticipate each corner. You feel the air-brake timing deep in your bones. The game demands near-flawless execution for gold and platinum, and that can be brutal. But if you love the vibe, the style, the music, and the combat racing chaos, these are hours well spent. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/BallisticNG-Screenshot-Gameplay-3.jpg) BallisticNG. Source: Author. ## Commit or Crash Out BallisticNG is a ridiculous package. It's a love letter to PS1-era Wipeout with modern flourishes, a huge range of modes, loads of tracks, expansions, split-screen, VR, modding and multiplayer. It's got an active, passionate community. But it’s also unapologetically demanding and merciless. You simply have to put in the time, or get left in the dust. So yes, BallisticNG *is* the Dark Souls of racing games. Not because it’s grim or punishing for the sake of it, but because it respects your potential to improve. It’s a game that asks you to commit, and if you do, it rewards you with some of the purest anti-gravity racing highs you can get. If you’re a Wipeout fan and you haven’t played it yet, you genuinely need to fix that. **If you enjoyed the article, feel free to check out more of my work on SUPERJUMP.* [**here*](https://www.superjumpmagazine.com/author/benrowan/)**, and follow me on social media* [**here*](https://linktr.ee/launchcannon)**. Thanks for reading!* ### What Poki’s 100 Million Monthly Gamers Reveal About The Future of Browser Games? URL: https://www.superjumpmagazine.com/what-pokis-100-million-monthly-gamers-reveal-about-the-future-of-browser-games/ Last updated: 2025-12-28T00:39:21.000Z **Gaming is no longer a hobby that is only accessible to players with consoles or expensive PC setups.** With so many people possessing a phone or smart device, HTML5-powered gaming websites like Poki have become an instantly available avenue for people to jump into a game at any time. In fact, the gaming platform welcomes over 100 million monthly gamers, which highlights just how eager users are for accessible, easy-to-play games. What is it about [leading browser games sites](https://poki.com/) like Poki that work so well? Let’s have a look at some of the main features driving the popularity of web-based games, and where these games might go in the future. ## What Is Making Browser Games So Popular? With such a huge number of monthly players, it is evident that there is a growing demand for games that can be played from any device, at any time. Perhaps one of the most obvious benefits of an instant gaming platform like Poki is that it breaks down tech barriers, such as the high cost of console or PC setups, and provides a free, accessible way to game. Game lovers do not have to make space for large downloads or wait out lengthy installation periods. Instead, they can access an assortment of casual and skill-based games right from their browser. ## Accessible Playstyles for Every Player Being able to launch games quickly is important, but it is equally important for game lovers to be able to find the type of games they enjoy. While puzzle lovers might be drawn to thoughtful indie game titles like Longcat, developed by Fancade, others might be looking for racing action to get their adrenaline going. Finding the right game can be as simple as navigating to a game category of choice, which is great for those who enjoy specific genres. Even niche genres like zombie games have a massive selection of titles now, which shows how browser-based titles are highlighting unique gaming experiences. Many web-based titles feature a set of core gameplay mechanics that are relatively simple to learn, which allows casual gamers to quickly master the controls and begin succeeding. A strong motivation when gaming is the [sense of accomplishment](https://www.superjumpmagazine.com/player-motivations-and-video-games/) it creates. This means that accessible mobile controls like touch-operated joysticks or tilt-control mechanics can make all the difference when creating a fun yet challenging experience for those on the go. ## Quick-Moving Development and Updates Another key benefit to these free online games is that their relative simplicity allows for frequent updates. Bugs and avenues for improvement can be easily identified, and this creates a feeling of constant improvement. Popular titles on Poki, like Subway Surfer, are a great example, with seasonal updates that allow the core gameplay mechanics to feel fresh and exciting. By providing a digital space to relax and have fun while still bringing in new modes, maps, designs, or characters, browser games can create an endless amount of replayability. This growth potential is reinforced by Business Insights reporting that mobile gaming is expected to grow from [121 billion USD in 2025 to 232.58 billion by 2032](https://www.fortunebusinessinsights.com/mobile-gaming-market-113099), indicating that browser gaming will likely experience parallel growth as players increasingly value accessible gameplay across all platforms. ## Bringing Players Together Through Browser Games As we see online games websites like Poki develop better accessibility and core features, it enables the games to implement features like online multiplayer. With around [6 in 10 UK gamers reporting that games make them feel happier](https://www.uswitch.com/broadband/studies/online-gaming-statistics/), it is evident that gaming in general can be a powerful force for good. As online browser sites continue to implement safe online gaming environments, the future of browser games seems to lean towards allowing social gamers to form meaningful connections with friends online. This can be seen in titles like Vortella’s Dress Up, a co-op fashion game with the option to play with real-life friends in safe lobbies. When online play is hosted reliably and with protections, it is a great way for anyone to relax with friends anywhere. ## What Does This Mean For Future Online Gaming? While it is impossible to know the future of browser games, sites like Poki have already seen features like accessibility and speed be improved over time, to a point where hitting ‘Start’ is almost instant. As browser gaming continues to be a great option for those looking for no-download experiences, it is likely to integrate even more features that game lovers are looking for, like niche genres, seasonal updates, and multiplayer features. Ultimately, the future of browser games will definitely continue to focus on everyday, accessible games that value both the player and their time. ### Climbing Games: How an IRL Trend Became a Video Game Genre URL: https://www.superjumpmagazine.com/climbing-games-how-an-irl-trend-became-a-video-game-genre/ Last updated: 2025-12-28T19:55:55.000Z **Climbing has always been a fundamental pillar for communicating verticality and freedom of movement in video games.** Still, it was only a couple of years ago that it began to take center stage in this medium. The connection between climbing and playing games goes to the very essence of the sport. In 2009, climber Kelly Cordes wrote about The Fun Scale, a concept that he heard in 2001 from another climber. The scale separates the fun you have with certain activities into three types: Type I fun, which is pure, immediate fun, or, in his words, *"enjoyable while it's happening."* Type II fun is "fun only in retrospect, hateful while it's happening" (every Dark Souls fan knows this type of fun). Type III fun is horrible in the moment, and it isn't even fun in retrospect, but it might give you a sense of achievement. ![A knight in a grassy graveyard field looks up toward a castle and the Erdtree.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-7.png) Although some fights in the Elden Ring DLC were definitely Type III Fun... Source: Steam The Fun Scale has become a fundamental concept in game design, and almost every game attempts to balance the three types to achieve a satisfying flow between difficulty and reward, tension and release. In previous generations of consoles, climbing meant finding weak spots in giant enemies in Shadows of the Colossus, hiding places in Assassin's Creed, or secret tombs in Tomb Raider. Everything changed with the arrival of The Legend of Zelda: Breath of the Wild for the Nintendo Switch in 2017, where the protagonist Link could try to climb any surface in the game world. The result was impressively effective; the feeling of freedom and accomplishment once you reached the top of a mountain was unmatched. It also added an extra degree of danger to the protagonist's adventure. If Link ran out of stamina during his climb, he would let go of the wall and fall into the void, usually resulting in his death. ![Link climbs a tall wooden pole on the opposite side of a ladder during the sword trials.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/Trial_of_a_Sword_4.jpg) Climbing is also a great way to add verticality to a game. Source: Press Kit However, climbing remained a means to an end, a transitional action on the way to the place where the adventure resumes. Besides planning your route, climbing in Breath of the Wild, as in most video games, consisted of mindlessly pushing the joystick forward, erasing all the complexities and challenges that the real-life sport offers. In the ensuing years, a series of events would raise the public's interest in the sport in ways never seen before. In 2018, the documentary Free Solo, directed by Elizabeth Chai and Jimmy Chin, was released. The story of climber (and absolute madman) Alex Honnold's quest to climb El Capitán without any protective equipment, such as a harness or ropes, had us all on the edge of our seats for its entire 96-minute run. The film received numerous awards, including Best Documentary Feature at the following year's Oscars. The inclusion of the sport in the 2020 Summer Olympics also helped bring the unorthodox sport into the mainstream, with more than 30 climbing gyms [opening per year](https://climbingbusinessjournal.com/gyms-and-trends-2022/#:~:text=32%20net%20new%20gyms%20opened%20annually%20in%20the%20U.S.%20on%20average%20over%20the%20past%2010%20years) in the US and a 58% [increase in visits](https://climbingbusinessjournal.com/new-report-shows-bouldering-expansion-gyms-are-on-the-rise-in-the-uk/#:~:text=Average%20customer%20visits%20in%20the%20last%2012%20months%2C%20for%20instance%2C%20increased%20from%2039%2C569%20in%20the%202019%20survey%20to%2062%2C510%20in%202023%E2%80%94a%2058%25%20jump.) to climbing gyms in the UK since 2019. ![Three climbers (pink, purple, and blue) ascend red desert rocks.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/Copy-of-MESA_Screenshot01.png) PEAK takes advantage of all the collaborative and cooperative elements of real-life climbing. Source: Press Kit Since Breath of the Wild, there has been an interest in video games with more realistic climbing mechanics, perhaps responding to the desire of climbers to see the challenges they encounter on the wall reflected in the games they play. Games such as [PEAK](https://www.superjumpmagazine.com/peak-climbing-and-falling-with-friends/), born from the collaboration between indie studios Aggro Crab and Landfall, which has sold over 10 million units to date, or [White Knuckle](https://store.steampowered.com/app/3195790/White%5FKnuckle/), which combines the need to climb with the need to escape from a monster chasing you from below, have dominated conversations in the gaming world in recent months. I decided to reach out to the developers of some of the upcoming climbing video games to try to understand the effort to create a game that simulates, or is inspired by, this particular sport. ## Climbing, Translated [New Heights](https://store.steampowered.com/app/2179440/New%5FHeights%5FRealistic%5FClimbing%5Fand%5FBouldering/), by Wikkl, took on the challenge in 2023 of portraying the mechanics of climbing a real wall as realistically as possible. I spoke via Zoom with the studio's co-founder, Guido Boogaard, to ask him about his vision for this new trend and whether it is possible to translate a sport into code. ![A woman free climbs a sheer cliff toward a small wood.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-5.png) New Heights**.* Source: Press Kit ### SUPERJUMP Where did the interest in making a realistic climbing video game come from? ### Guido Boogaard Can you guess? ### SUPERJUMP I guess you climb. ### Guido Boogaard \[Laughs\] Yes, I climb. But seriously, it started as just a sketch, because *there was nothing before.* Now there are more \[games about climbing\], but in the past, all the climbing was automatic. If you think Breath of the Wild, it's quite enjoyable, but it's all automatic. Which is a shame, because climbing itself is a puzzle game. I mean, climbing in real life is a puzzle game; it's a very video game-like sport. I do other sports, and climbing is one of the most similar to a video game. So I thought, *why hasn't this puzzle been translated into a computer game?* And then there's the audience issue. Climbers are generally millennials and young people, so they are more likely to play video games. But then I realized that making a game is incredibly difficult; I'm literally still working on the climbing system. ### SUPERJUMP Thinking about what you said about the audience, why do you think climbing has become so popular in that sector? ### Guido Boogaard There's the puzzle aspect, but I also think it's popular because you can do it with your friends, and it's not... *Well, it is competitive, but in a different way.* It's also not a team sport, like soccer or hockey, where you have to be much more committed. And maybe people are more interested in nature than before, because of all the electronic, almost dystopian, stupidity we're getting into. So maybe it helps with that. It helps me, at least. ![A wooded rock face with sheer, jagged cliffs in dappled sunlight.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-6.png) Nature in New Heights is beautifully rendered in a realistic style**.* Source: Press Kit I like being in nature, which completely contradicts the fact that I'm making a climbing video game. But I want to translate this interest into my other interest, which is computer games. ### SUPERJUMP Looking at the game, it's very easy to imagine myself doing all the different movements, applying all the different pressures. How did you manage to translate the feeling of climbing in real life into a video game? ### Guido Boogaard It's very complicated. First, in real life, you have a lot of control. Just standing up and walking is incredibly difficult for a human, which is why children learn it when they are already one year old. So \[in the game\] we have to make it a little easier than in real life. So the character will do their best to get into the position you want them to be in. That's the first thing. The second thing is to calculate whether you can actually do that, whether you are in a position that allows for this movement. So if you're above a hold, you can push; if you're below one, you can pull. It's pure vector math. An incredible amount of vector math. We calculate everything we can, and it's going to look a little rough at times, because if you look at climbing in real life, it's a little rough. --- ## Total Freedom [Cairn](https://store.steampowered.com/app/1588550/Cairn/), from The Game Bakers, was one of the most anticipated video games of 2025, before it got delayed to January 2026\. It combines realistic climbing simulation, survival elements, and an intimate narrative. Its Marketing Manager, Lauranne Caudaro, and the game's Creative Director, Emeric Thoa, kindly wrote to me in response to a few questions I asked them. ![A climber free climbs a sheer, jagged cliff with a backpack full of equipment.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/01_Cairn_Demo_ClimbingGameplay-1.jpg) Source: Press Kit ### SUPERJUMP What were the inspirations for combining climbing with survival? ### **Emeric Thoa** Cairn is the last entry in what we call our freedom trilogy. In Furi, you fight to "live free," and in Haven, you fight to be "free to love whoever you want." This latest entry concludes the trilogy with a powerful theme: *overcoming your limits and achieving total freedom*. That's what alpinism is in real life, too. Why do people climb mountains? What makes them feel the need to risk their lives to reach the summit? It's always been fascinating to me, and it makes a great video game pitch in my opinion. It's simple, but extremely concrete. You're at the bottom, and you see the goal. The survival mechanics work along with the realistic climbing simulation to immerse you into the ascent. You need resources for the ascent (climbing gear, but also food and water). But it’s not a 100% “collect and craft” survival game; *survival supports the main mechanics, which are climbing and planning your route.* ### SUPERJUMP The game has a mix of stylized graphics and realistic mechanics. What was the process for deciding the game's level of realism? ### Emeric Thoa Stylized art directions are a part of our studio’s DNA. It helps our games stand out from other games, but it also means the graphic style never gets old. That’s why we asked comic book artist Mathieu Bablet to join the team and work on Cairn. ![The camp menu; the climber sits in a small tent surrounded by equipment. Their backpack is highlighted.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/4_Cairn_Demo_Bivouac.png) Amidst the different climbs, you can enjoy the tranquility of your camp. Source: Press Kit The stylized art direction drives home the fact that Cairn is a realistic simulation, set in a fantasy world. It reinforces the idea that Cairn (like all our games) is a journey into a different world. ### SUPERJUMP I was wondering if anyone on your team does outdoor or indoor bouldering, or if the realism of the climbing is achieved only by studying. ### Emeric Thoa The whole team has tried climbing. We went to a workshop in Chamonix, in the French Alps. There, we did rock climbing on the cliffs, learned climbing techniques, talked to mountain guides, and to Elizabeth Revol, who’s an alpinist who did several 8000m climbs. We also hiked, all the way up to 3840m high at Aiguille du Midi, face to face with the summit of Mont Blanc. It was a lot of fun and a lot of learning to apply in the game (and a good deal of sore muscles too!) ### SUPERJUMP Do you think that the proliferation of climbing games is happening naturally? Or is it following a trend (IRL or in video games)? ### Lauranne Cauduro Climbing is definitely trending, and going back to what Emeric was saying, climbing gives you a very clear goal; you see a summit, and you have to reach it. I think this translates extremely well in terms of gameplay, and games like Peak, Celeste, or Bread and Fred are great examples! But it’s still a very fresh idea, there’s not that many games really focusing on climbing, and definitely none that do it like Cairn, with a focus on realistic climbing and climbing at the core of the experience! --- ## Far From the Summit Another reason behind the success of these types of games is "kinaesthetic design." This game design technique allows developers to make the player mimic the actions of the characters on-screen, resulting in more immersion. It's not rare to finish an ascent in PEAK with sore hands, tired from holding the controller triggers in order not to fall, just like a climber has to hold a grip on the mountain wall. ![A pair of rough, blistered hands being wrapped in bandages.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/Cairn_OnlyTheMountain_24.png) Been there. Source: Cairn Press Kit However, if the past years in the video game industry have taught us anything, it's that there's always room for reinvention and innovation. This emerging genre of climbing video games is far from having exhausted all its potential. Developers seem to have found an activity that perfectly suits the sensibilities of a considerable niche of players, mixing challenge with personal rewards that go hand-in-hand with self-improvement beyond simply leveling up. ### I Tried Out the New Stranger Things D&D Module… Even Though I’ve Never Seen the Show URL: https://www.superjumpmagazine.com/i-tried-out-the-new-strangers-things-d-d-module-even-though-ive-never-seen-the-show/ Last updated: 2025-12-26T23:36:57.000Z **When I was a university student 10 years ago (oh dear, I am getting old), I was on the committee of the adventure gaming society.** We were a small, but lovable, group of geeks who gathered together every Saturday to play board games and tabletop RPGs of every persuasion. We played a lot of Fantasy Flight’s Game of Thrones board game, which is at its best and bloodiest when you can get a whole table full of players scheming and plotting together. At that time, Game of Thrones was moving towards its sixth season, all the pieces were still in motion, and advancing towards what we were all certain would be one of the greatest climaxes in television history… right? Then, when 2016 rolled around, a new challenger arose for the crown of the best nerdy show in town: Stranger Things, which launched on Netflix on the 15th July. With its strong emphasis on 1980s nostalgia, Stranger Things revitalised interest in everything from Kate Bush’s Running Up That Hill to “New Coke” (which, despite its name, is more than a decade older than I am). ![A classic D&D table map with standees of the various characters.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251113_194647.jpg) Welcome to the Hellfire Club. Source: Wizards of the Coast. Dungeons and Dragons stood at the centre of the spotlight that Stranger Things shone on 80s pop culture. The game is a major plot point in the show, several characters play it, and the antagonists share their names with monsters and mythical figures from the Forgotten Realms. That major public promotion did wonders for the popularity of my modestly-sized university gaming club. We saw a massive influx of new members, something I want to emphasise is unambiguously good. Gaming is a big tent, and bringing more people with diverse ranges of interests and experiences into that tent serves to make the stories that we can tell together more authentic and more interesting. Now, as Stranger Things blazes through its final season, Wizards of the Coast has launchedWelcome to the Hellfire Club, a module containing four Dungeons and Dragons adventures, designed to replicate the experience of playing alongside fictional Dungeon Master Eddie Munson from the Netflix show. RPG Taverns invited me to play the first of these adventures, “The Vanishing Gnome.” Evidently, they still had my contact information after I included them in my piece on [TTRPGs and community building](https://www.superjumpmagazine.com/ttrpgs-can-help-build-positive-communities/). Naturally, I was more than happy to do some dungeoneering, but there was just one issue… I’ve never seen an episode of Stranger Things in my life. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-23.png) "Max, the Daredevil" Magic: the Gathering art. Source: Wizards of the Coast. Everything that I’ve recounted about the show so far, I know either because I have absorbed it from popular culture or I’ve been able to piece it together after some research. I’ve played with the Stranger Things-themed Magic: The Gathering cards, and YouTube’s algorithm has popped a handful of Stranger Things shorts in front of me over the years, but when it comes to actual concrete knowledge of the show, I don’t know the Upside Down from Benny’s Burgers. Nevertheless, I endeavoured to give it a shot anyway. Here’s what I learned. ## In Pursuit of Vanishing Gnomes On a chilly Thursday evening in mid-November, I found myself down in the Hawkins Room of RPG Taverns, which had been decked out with a broad selection of 80s paraphernalia. I had a Stranger Things-themed cocktail in one hand, a collection of colourful dice in the other, and I was ready to search for some missing gnomes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/IMG_6030.jpeg) RPG Taverns, Hawkins Room. Source: Author. This adventure, and I would assume the other three in this set, was clearly designed to mimic D&D as it was during its early days. While the game uses the 2024 edition of the rules (you won’t be making any fortitude saves here), tonally it harkened back to an earlier era. There wasn’t much of an emphasis on storytelling or deep characterisation; the focus was on the fundamentals of travelling into dungeons, bashing monsters, and grabbing loot. A selection of character sheets was fanned out before my fellow adventurers. I chose to play as Nog, the dwarven cleric. Nog, and all of the other options available, are the characters played by the Stranger Things kids in their own campaign. Having never seen the show, I didn’t have much to inform my characterisation. I knew that I was neutral good, that as a cleric, I would presumably be reasonably pious, and that I had a truly magnificent beard. This lack of knowledge was a blessing in disguise, as it gave me a blank canvas I could fill with my own vision of who Nog was. I had a great deal of fun portraying him as pretentious and smug, but ultimately well-meaning. I clashed frequently with Will the Wise, our party’s Wizard, on the issue of science vs faith, and Tayr the Paladin about which of us was truly the most devout. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251202_232700.jpg) Welcome to the Hellfire Club. Source: Wizards of the Coast. There will undoubtedly be other Nogs out there who are significantly more humble and less argumentative than my portrayal, and there’s a degree of charm to that. While other groups will run characters with the same names and based on the same broad archetypes, my Nog was uniquely my own. He was a bit of a jerk, but he was my jerk. As for the quest itself, the titular vanishing gnome gave us a literal call to adventure, inviting us to seek them out, before living up to their title and disappearing. We were off! We ventured into a nearby dungeon, beat up some spiders, entered what was very strongly implied to be the Upside Down from the show, and fought a Demogorgon (that’s the faceless fiend from Stranger Things, not the Demon Prince from the Abyss who would have completely eviscerated our poor Level One party). The adventure was an effective tutorial on how to plunge into dungeons, from the pre-generated character sheets to the streamlined story that guided our party immediately towards the action. This box is clearly designed to show new players the ropes, and in that goal, it’s successful. Personally, I prefer roleplaying experiences that are a bit more narrative-heavy; I’m more of a fan of delving into character motivations than into dungeons. That’s just my own perspective, though, and as an introduction to D&D, the Vanishing Gnome makes the game approachable. ## Maybe the Real Vanishing Gnomes Were the Friends We Made Along the Way ![Will the Wise blasts a demagorgon with magic.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-4.png) Welcome to the Hellfire Club. Source: Wizards of the Coast. So despite my lack of awareness about Stranger Things, I was able to pull off a successful gnome rescue. Were there some winks, nudges, and other scraps of fan service that flew over my head due to my lack of Stranger Things knowledge? Frankly, I have no idea. There weren’t any moments where I felt out of my depth or lost, though, and I glided through the experience comfortably enough. --- RPG Taverns is based at 16 Harper Road in Southwark, London, and they will be running the first two adventures from Welcome to the Hellfire Club (The Vanishing Gnome and Scream of the Crop) from December 14th - 23rd, and then again from the 27th - 30th. Welcome to the Hellfire Club can also be purchased from a variety of online retailers if you’re looking to try it out at home. It’s a good welcoming point to Dungeons and Dragons for fans of Stranger Things, and if you’re not a fan, you’ll probably be able to stumble through as I did. ### WordPlayer: Underneath The Snark, Dispatch Believes in Heroes URL: https://www.superjumpmagazine.com/wordplayer-underneath-the-snark-dispatch-believes-in-heroes/ Last updated: 2025-12-24T14:11:26.000Z **Dispatch, the new superheroic choice-focused narrative game from AdHoc Studio, almost lost me in its opening ten minutes.** In the first action sequence of the game, you control Mecha Man pilot Robert through a series of quick-time events as he takes on the Red Ring gang that has assembled under Shroud, the villain who killed Robert's father. As you fight Toxic, a poison-themed villain who can coat his body in a self-produced sludge, his clothes burn away, leaving him naked. The camera frames Mecha Man through Toxic's legs, his penis hanging down from the top of the screen. "Cool dick," Robert quips. It's not that I am a prude or that I think that superhero stories need some decorum. The thing I'm actually burned out on, I've realised, is when superhero stories turn and wink at the screen and assure us that they're not like the other superhero stories - that this one's snarky and self-aware and knows that, in real-life, a lot of these folks would be psychopaths. You can imagine the conversation in a hypothetical writer's room about how silly the Hulk's stretchy pants are. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-8.png) Source: Steam. This is a wider symptom of the general oversaturation of superhero storytelling: many "different approaches" to the genre have now been taken multiple times. I also think that James Gunn's excellent, fairly sincere Superman movie really reset something in me earlier this year. I'm finding the winks and nudges in the new Marvel movies increasingly unbearable! Or maybe it's just that I watched four seasons of The Boys and kind of lost my stomach for this whole endeavour. Pulling back a bit: Dispatch is an episodic superhero dispatcher game, split between Telltale-style choose-a-response narrative moments and a map interface where you decide which superheroes to send where during a crisis. It's a fun system, one where you need to balance the skills and abilities of each member of your team against what the situation seems to be calling for, and hope that you've made good judgments. Robert, a character with no innate superpowers beyond his suit - which is out of commission following a major battle at the game's opening - accepts the job with the promise that the Superhero Dispatch Network will repair his suit and let him return to his role as a hero by the end of his contract. As the network's newest dispatcher, he's given the least promising squad they have - the infamous "Z-Team", made up of former villains who have been flipped, but who still retain a lot of the spikiness that defined their past lives. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-11.png) Source: Steam. For the first half of Dispatch, I found myself quite liking the dispatcher gameplay, and the general idea of directing superheroes across a city, but struggling to connect to this team of heroes - former villains who had been recruited to the Superhero Dispatch Network, all of them seeking a new start. Robert, their snide, irritated dispatcher (played ably by the great Aaron Paul) was difficult to empathize with, even as the "Z-Team" he was commanding continued to needle, provoke and antagonise him at every turn. Conversations turn into arguments so quickly, and characters snipe and insult each other in a way that felt, to me, a bit forced. The script, I thought, was cringey in places. The jokes weren't totally landing. And the most consequential choices were all focused on which office romance to pursue, which is the sort of choice that bothers me in a game - not because I don't like romance, but because the "here's two girls, choose one" approach feels reductive (especially when one is your boss and the other is your direct report). The other most significant choice in the first half of the game is, as far as I'm concerned, fairly contrived, a real signpost for future conflict that felt awkwardly integrated. So I got to the end of episode 4 (of 8), interested to see where the game was going, but not totally won over. But in the back half of Dispatch, something changed. At the end of Episode 5, Robert is asked to make a decision that is, to my mind, an example of a good choice for a branching game - whether or not to tell his team the truth about himself, which will make most of the team respect him more, but one member of the team really hate him. I made my decision - I told the truth - and felt both the weight and consequences of it. My in-game team did, too. And here, I started to feel a shift in the story. The elements I'd had a hard time with in the first half were, in fact, building towards something. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-12.png) Source: Steam. Dispatch is a game about trying to run a squad of superpowered people who, you realise over time, really want to find a good outlet for their potential. As it turns out, this is not as cynical a game as I thought - it's a story about a team of people realising the true value of actually using their gifts to make the world a better place. And in the back half of Dispatch, a game full of twists and turns, interpersonal drama and snappy one-liners, it starts to really consider what does or doesn't make a person a hero - whether they're a former villain, a bitter old retired superpowered person, a civilian, or someone who has moved into administrative work and finds themselves increasingly disconnected from work in the "field". The SDN itself is often taken advantage of for vanity projects or the capricious whims of the rich and famous, but as you get better at your job - and more connected with your team - you start to see better the real opportunities that exist here, for you and for your team, to do good. The heroes under your command take orders from Robert, directed to deal with issues he never needs to touch, and all the characters handle complex situations without ever necessarily thinking too deeply about their work being "heroic". What eventually turns this team around isn't the work itself, or the adoration of the public; it's Robert (and by extension, you, the player) refusing to abandon or turn on them. At his desk, Robert thinks of himself as someone who has had to abandon heroism while his suit is fixed, but his persistence with this difficult team is really his most heroic act. The notion that the Z-Team has started to see the actual value of doing good - that making the world better is actually rewarding and worthwhile - plays out across the last three episodes of the season, and as this happens, the stakes of the choices you make start to feel much higher. You're being asked to make judgments about an increasingly functional team, one that has really grown under your leadership. By the end, I could truly see the cumulative impact of my choices playing out, and I found myself much more invested in the importance of my decisions. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-10.png) Source: Steam The biggest surprise of the game's final episode - and again, I promise not to spoil anything - is that it gives you the option of making a choice so generous, so understanding, so *right*, and yet so against the established order. I found myself thinking hard, at least for a few seconds, about what should have been an easy choice. Does a character deserve the best possible outcome when they've acted in bad faith? Is redemption always possible? I made the choice I made - the choice most players made, according to the stats - because Dispatch had reminded me that the most important first step to being a hero is finding the courage to forgive the people who most need your forgiveness. That's a pretty nice lesson to fit into a game that features a toxic green dick 20 minutes in, I think. It's a bit of a cliché, but I'm going to say it - some of the best superhero stories remind us how we can do better in our own lives, too. We can't create portals, or turn invisible, or punch a demon really hard in the nards like the folks in this game, but we can think a little bit more about the net results of our actions on the people around us. For all its snark, Dispatch is not totally cynical about heroes - super or otherwise. ### Pine Hearts and the Healing Power of Kindness URL: https://www.superjumpmagazine.com/pine-hearts-and-the-healing-power-of-kindness/ Last updated: 2025-12-28T00:26:40.000Z **I had the pleasure of** [**interviewing the developer of Pine Hearts**](https://www.superjumpmagazine.com/pine-hearts-game-interview/) **two years ago, after playing and thoroughly enjoying the demo.** I was excited to play the game, but as it does, life caught up with me, and I ended up delaying my playthrough until just now. I'm definitely sad that I didn't play this sooner! Pine Hearts is an adorable, heartwarming, and sometimes heartbreaking romp through a small English nature reserve full of fun, quirky characters and memories for our darling protagonist. ## Grief and Moving Forward Pine Hearts follows the story of Tyke, who is determined to climb to the summit of the titular nature reserve, following the journal his father left behind cataloging their adventures in Tyke's childhood. Along the way, Tyke helps the various inhabitants of the reserve to resolve their problems, from a missing performing band to puzzles in castle ruins to shady fishermen and more. Tyke assists others while working through his own memories of his father, all in an attempt to overcome the challenge - both physically and emotionally - of conquering the summit of Pine Hearts. I found this adventure, while brief, to be very satisfying. Tyke never talks, but he certainly feels things deeply. With every memory you uncover in this game, you're presented with a little bit more about his connection to his father, and the sometimes rocky relationship they shared. It's touching to see how young Tyke viewed the world, so full of scary things but easily faced together; at the same time, it's heartbreaking to see how much Tyke lost when he lost his father. At the same time, Tyke doesn't let this grief overwhelm him. Every action he takes is for the benefit of others, often going well out of his way to do so. Rather than simply taking the most direct route to achieve his goals, he engages with this park that's so sentimental to him, building new memories to supplement and support the old ones, and finding closure in other people's stories. I find this deeply beautiful, and I found myself often tearing up throughout Tyke's journey. ![Tyke's dad shows him the plan to reach the summit of Pine Hearts.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/pine-hearts-finale.jpg) Via Hyper Luminal Games. ## Cutesy and Clever Visual Design The aesthetics of Pine Hearts are, in a word, charming. The blobby, noodle-limbed character designs feel like they're pulled straight from a children's show, with matching bubbly background elements in bright, saturated colors that make it a delight to behold. I adored each different area of the game, which felt distinct and yet cohesive as a world, and appreciated the attention to detail that came with each space; there are distinct greens in the golf course and lush gardens in the castle! As a bonus, every animal you encounter in the game is precious, and yes, you can pet all the dogs. The secondary setting - Tyke's memory world - has a lovely cardboard-cutout design that feels like when kids work together to put on backyard plays for their parents, which I think is entirely appropriate. The softness of the world through Little Tyke's eyes, complemented by dreamy overlays and a smaller field of view, gives a lot of weight to the fact that he hasn't been back to this park since his father's passing; all of his memories of it have been aggrandized by time and distance, leaving us with this rounded view. It's a really clever way to include the inconsistency of memory into this game that uses memory as a main plot. ![Young Tyke runs around a dream version of Pine Hearts full of cardboard drawings.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/pine-hearts-memory-world.gif) Via Hyper Luminal Games. ## Metered Progress and Memory-Based Movement The actual gameplay of Pine Hearts is just as solid as the visuals. Though movement through the environment can be challenging at times - the movement controls aren't super precise, and there are brief moments where paths are obscured by the landscape - interacting with it never felt like much of a chore. Progression through the game relies on Tyke collecting teardrops, either from the environment itself or by completing tasks for the various characters within it. When he hits certain milestones, you unlock memories that reveal a new movement mechanic like chopping through blocking logs, digging to reveal hidden items or collect quest pieces, jumping to clear gaps, and a few others. All of the different areas of the largely open world map are explorable using a combination of these abilities, so you're encouraged to return to previous areas and re-explore as you unearth new mechanics. I found this to be both an interesting way of exploring and slightly frustrating at times. Progress was occasionally difficult when I didn't have a mechanic I sorely needed and couldn't figure out how to get around it (though there was always a way to progress without the missing mechanic, even if it wasn't obvious at first). Still, there were always more than enough drops available to ensure I unlocked what I needed eventually. In the meantime, I simply explored other areas of the map and came back to puzzles I got stuck on later. This slow, unlocking progression meant that I was encouraged to interact with everyone and everything, which made for some fun moments I wouldn't have thought about trying otherwise. It was nice to see the interaction prompt pop up in a seemingly random area and watch Tyke do something silly like play hopscotch, roast a marshmallow, or clap at a seal. These little moments always rewarded you with drops, making them both cute and satisfying. It kept me invested and playing for long stretches without getting bored. ![Tyke pets Ranger Marie's dog at the trailhead gate.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/pine-hearts-pet-the-dog.jpg) Via Hyper Luminal Games. ## A Genuine Work of Heart Pine Hearts was so clearly made with a great deal of heart and care that I can't really find any fault in it. It's a wonderful experience to curl up with, especially if you're someone who's experienced a similar grief or shares a similar level of love and respect for a childhood vacation spot. These memories aren't perfect, and they can be difficult to relive, especially if we've lost the person we made them with, but that doesn't mean we have to give up on them, even when things get hard. Helping Tyke to find closure through kindness to others was rewarding in its own right; I genuinely felt like the world had the potential to be a little nicer after finishing the game. You can find [Pine Hearts on Steam](https://store.steampowered.com/app/1781010/Pine%5FHearts/), Nintendo Switch, Google Play, and the Apple Store. **While I was provided with a free press review key for Pine Hearts by the developers, my thoughts and opinions about the game are my own. This is not a paid or sponsored review.* ### Indie Game Club Issue 9: Moonring URL: https://www.superjumpmagazine.com/indie-game-club-issue-9-moonring/ Last updated: 2025-12-20T14:50:42.000Z **Welcome back to Indie Game Club!** This week, I am here discussing my thoughts after trying Moonring by Fluttermind. A retro-inspired RPG with inspiration from 80s computer games, complete with bump interaction and type-to-talk functionality. It's a beautiful game, and if you want to check it out, you can play it for [free on Steam](https://store.steampowered.com/app/2373630/Moonring/)! Now this is where I would announce next month's game so that you could follow along with the series; however, this is the final free indie game that we will be sharing with you in the club. It's been a pleasure hosting the club, and even though you won't see the banner anymore, you can still find a ton of great games made by independent developers by checking back on all of the other great articles published here at SUPERJUMP. So, without further ado, here's Moonring. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251116111920_1.jpg) Source: Author. I was not a gamer when Ultima IV was released; I wasn’t even a person yet. Moonring is the lens through which someone like me can peer backwards with the rose tint of those who look fondly on the era of bump interaction and note-taking. The neon glow of interspersed pixels creates an RPG world of incredible depth and magnitude that I felt as if a TRON digitizer could send me into its lands. The pixel artistry in Moonring is what will suck most people into its world. Seemingly doing so much more with the constraints of only a few pixels has been done a thousand different ways, and yet Dene Carter uses modern effects to achieve a loving ode to its inspiration. This game, with its titanic overworld, can seem really overwhelming for the first few hours you spend there. Even though the game tries its absolute best to avoid note-taking, until I had familiarized myself with the main quest and its major players, I spent a long time organizing notes in the integrated automatic note taker. In some ways, I would’ve preferred to take my own notes. Using the automatic note taker feels similar to using somebody else's cheat sheet on a test, whereas it was more likely that if I had written it myself, I may not have even had to use the notes later. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251104205815_1.jpg) Source: Author. My experience with retro role-playing games begins with some early NES JRPGs, and I haven’t tried to play any older PC RPGs, so I don’t have many games to compare with Moonring's gameplay. That said, I was really impressed with the dungeon hopping (yes, that is what I’m calling it now) as your pixel hero jumps from one tile to the next. Even just being able to crouch into traps to disarm them or kite enemies as your shields recharge becomes an interesting positional dance that you do with all of the dangers lurking in the dark and damp places. I was not able to make it far enough in the handful of hours that I spent with the game to achieve any special or interesting powers, but my time with the fundamentals of combat was more entertaining than I had anticipated. The story of Moonring sucks you right into the action as your character discovers that they are what people call “dreamless”. Typically, a person is devoted to one god in their pantheon by being granted dreams by their patron. You have remained neutral in this, which makes you a candidate to become Archon should you collect the relic associated with each god as a pilgrimage. You have also come by a trinket from a secret group that knows a dark and terrible secret about this world, should you seek them out. On top of the main quest, you can go on a bevy of side quests into optional dungeons for fame and fortune. Moonring is a beast to get started on, much like last month's game. I’m glad that I could break into such a title, though, and this free little game will be living on my Steam Deck for a while as a strong contender for rainy day entertainment. This game is given out for free; however, the donation option Moonring DX lets you give the developer $5.00 USD for his work, and he has earned it here easily. This free indie game is an incredible passion project and with the console release on the horizon, I hope that more people are given access to this awesome gem. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/20251104205954_1.jpg) Source: Author. ### Hotel Barcelona Explores Our Humanity in Fascinating Ways URL: https://www.superjumpmagazine.com/hotel-barcelona-explores-our-humanity-in-fascinating-ways/ Last updated: 2025-12-20T03:21:29.000Z **The world we live in now is daunting.** We are constantly bombarded with headlines and advertisements that either grab your attention or make you want to look away in disgust. Video games help us by allowing us to escape into a worry-free environment where we can confront our problems head-on without any consequences or regret. However, sometimes we should be reminded of the impact of our emotions from playing video games, as I experienced with Hotel Barcelona. While the roguelike gameplay is formulaic through its design, I was intrigued by where the story takes themes like overcoming grief, how we deal with justice, and how we can accept ourselves for who we are. In the game, you play as Justine, a rookie federal marshal looking for a witch who was responsible for the death of her father. She is teamed up with a demonic killer named Dr. Carnival, who just so happens to be possessing Justine to take down other supernatural killers around the surrounding hotel. What I witnessed was a relationship that was strained yet unwavering as the two of them tried to reach an understanding about the mission at hand. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-18.png) Source: Steam. Between missions, Justine and Dr. Carnival argue and bicker. Here, you get to see why they have to work with one another as their ideologies begin to bubble up to the surface. You also see their opposing viewpoints on certain things, like how Dr. Carnival discusses his personal belief on murder as to whether it is justified based on the circumstances. It's conversations like these that give this simple hack-and-slash roguelike some substance, even if the structure of the game is formulaic with repetitive combat. Now, the bosses that you fight in Hotel Barcelona do have intriguing backstories that you learn once you defeat them in battle. Each one is influenced by recognizable horror genres like the baseball-wielding killer Jacob, whose backstory is that of Jason from Friday the 13th. Like the horror icon, Jacob seemingly fell into a lake near a campsite while trying to catch a flyball. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-17.png) Source: Steam There is also the media influencer Eve, who happens to be an alien lifeform who arrived on Earth, disguising themselves as a global fashion model that others find desirable because of their outward appearance. This goes with the Witch wanting to use others by her side because of the obsessions that they have. While Hotel Barcelona has an interesting concept - an undead killer and a capable federal marshal who wants to solve their father's death - I feel like the ideas and themes are much more compelling than the average player realizes. This is certainly something that both Swery65 and Suda51 have meant to tell in the game, even if the combat isn't exactly engaging for long stretches of time. Both creators are definitely game designers who are more concerned with wanting to convey style with imaginative flair than creating dynamic gameplay systems that will surprise and delight the masses. While Hotel Barcelona has combat that can be described as "janky" by some, I feel like it doesn't really matter for a game like this, as long as you are engaged with the narrative. There have been plenty of games that don't have high-caliber performances or transformative gameplay, but will influence video games for years to come. Sometimes a video game just needs themes and ideas that will make you think after you finish it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-1.png) Source: Steam. I would say that Hotel Barcelona is a game worth playing, with engrossing ideas that will make you feel attached to the characters and the story being told. You just need to ignore the repetitive combat, unexceptional enemy design, and shallow roguelike structure. Sometimes, games are at their best when they present their ideas in such gripping fashion that you think about them for several days, if not even for a few weeks afterwards. That's the power of an irresistible theme. ### An Interview With the Developers of Winter Burrow URL: https://www.superjumpmagazine.com/an-interview-with-the-developers-of-winter-burrow/ Last updated: 2025-12-28T00:26:58.000Z **Recently,** [**I reviewed Winter Burrow**](https://www.superjumpmagazine.com/rebuilding-the-past-in-winter-burrow/)**, an adorable yet deeply real, cozy survival game.** Benjamin Salqvist, the CEO and Creative Director at Pine Creek Games, kindly agreed to chat with me about its development! Here's what he had to say. ### SUPERJUMP **Winter Burrow is a 2D isometric survival game where we play as a mouse trying to survive the harsh winter. What inspired the story behind the game?** ### Benjamin For some people it would be a surprise that the zombie survival game 7 Days to Die has inspired the cozy Winter Burrow, but the idea to make a game that explores the cross section between a harsh outside and a warm safe inside come directly from an experience in the game of running around in a cold rainy world shrouded in fog, searching for the base, and while completely frozen finally seeing the warm light from the base through the fog and entering a room with a warm fireplace. I can't remember where the idea with woodland creatures came from, but it just seemed like an exciting twist to the survival genre, and that made me think of the book The Wind in the Willows, which was a huge inspiration, and from there things just popped in by themself. Like, when we decided to go with 2D isometric graphics, Don't Starve naturally popped up and we played that and realised that we wanted something where it was more straight forward to build on your progress instead of losing it all when you die, and that was what started the idea of a cozy more forgiving survival game, which I'm perfectly aware that some people think defies the genre, but we felt it had a potential and it turned out to be true. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-19.png) Source: Steam. ### SUPERJUMP **Can you dive into the mechanics of the game a little? Aside from the usual food, shelter, and defense systems, what else can the mouse do?** ### Benjamin Well, those three things are a big part of the game. But besides that, you can engage in the story of the different characters of the game, and through them, you will progress in not only the story but also the game itself. You can also furnish and decorate your home burrow to make it feel more like home to you. But besides that, the game is mostly about exploring the different woodland areas, knitting nice clothes, and baking warm pies. ### SUPERJUMP **This is definitely an example of a cozy game despite the darker stories of some of the similar titles in the genre. Why did you choose this warm, comfortable tone? Are there darker elements to the game beneath the surface?** ### Benjamin We believe that the contrast between the cozy elements and the darker elements of the game enhance each other, which points back to the initial inspiration, as a warm safe burrow just feels much more cozy when there is a freezing snowstorm outside, in the same way as it is cozier to cuddle up under a blanket on a rainy day than when it's warm and sunny outside. And yes, there are darker elements beneath the surface, but they are not that dark. You can find some unfortunate souls who didn't survive the winter, and some of the characters have some emotional stories to tell, but that is it. Oh, and then the spiders, they put some people off as well. 😄 ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-20.png) Source: Steam. ### SUPERJUMP **What was your favorite part of the development process for this game? What was the hardest part of development?** ### Benjamin It's when everything comes together for the first time, and gameplay and visuals and audio are all there, and you play through this game and feel that you are in a different world, that's an awesome feeling after so much pre-production time. The hardest part was probably to find the right balance between cozy and survival. It hasn't really been done before, so we had to move forward on our own, doing trial and error. It's still something we are very aware of and still tweak a bit based on feedback from players. ### SUPERJUMP **Just for fun, what do you think the cutest item or character in the game is?** ### Benjamin I love the Forest Strawberry that the Mole hands you late in the game. It just looks too nice and delicious and has this surprising contrast to the earth tones and winter setting of the game. For characters, it would probably be either the Toad or the Squirrel. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-21.png) Source: Steam. ### SUPERJUMP **Is there anything else you'd like to share with our readers?** ### Benjamin There is actually much to learn about nature and biology by playing the game. The Toad is called Bufo, and the scientific name for the common toad is *Bufo Bufo*. Or when the aunt is called Betulina, which is part of the scientific name for Northern Birch Mouse (*Sicista betulina*). And then almost all of the plants and growths are from the real world, and their location is usually close to where they would normally grow; for example, the Shrimp Mushroom grows in the pine forest where they usually would. And there are plenty more examples in the game, but I won't spoil more here. 😄 **Winter Burrow is available on PC (Steam & Microsoft Store), Switch, Xbox Series, Xbox One, and Xbox Game Pass. You can learn more about the game* [**here*](https://noodlecake.com/games/winter-burrow/)**.* ### Hidden Gems of Game Design Vol 42 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-42/ Last updated: 2025-12-15T02:25:28.000Z **Plenty of amazing games go unnoticed and are not played widely, for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers at SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## Josh Bycer ### Kokoro Clover Season 1 (2022) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-34.png) Source: Steam. As a shocker, it may be surprising to hear that video games are often inspired by anime, and my pick for this month is a game that is meant to take you back to the days of waking up to watch your favorite Saturday morning series. [Kokoro Clover Season 1](https://store.steampowered.com/app/1822230/Kokoro%5FClover%5FSeason1/) is an action game where you play a girl who has the power to summon elemental spirits to help her. She must use the power of friendship to save the world from evil. And with that, we’re off on a Saturday morning adventure as we explore the world, meet lots of friends, and get into fights. The aesthetics and style are some of the best parts of the game, complete with its own anime-inspired intro that would have fit right in watching cartoons in the '90s and end credits previewing the next episode. source: In line with the subject matter and cuteness, this is not a hard game. You begin with the power to do the monkey and become immune to all damage, with each stage usually having one boss fight and one short platforming level. Aesthetics and charm are the reasons to play; however, all the cuteness in the world can’t make you ignore some annoying technical issues. There are no volume sliders, and the game doesn’t work right in full screen. Still, this is a great family-friendly game for anyone looking to recapture the feeling of watching their favorite cartoon. At this moment, there is a season 2 planned and a [mini-season available](https://store.steampowered.com/app/3175530/Kokoro%5FClover%5FSUN%5F%5FPrehistoric%5FInvaders/) on Steam. ## Ben Rowan ### Rytmos (2023) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-94fbf7a8-8934-4ee8-81af-b3d0394a2c14.jpeg) Screenshot by author I came across [Rytmos](https://store.steampowered.com/app/1634220/Rytmos/) on Steam and grabbed it out of curiosity, drawn in by its unique style and my love for music and quirky puzzlers. Expecting something rhythm based, instead I found a puzzle game with a musical twist. This indie title by Copenhagen-based [Floppy Club](https://floppy.club/) turned out to be a pleasant surprise, a relaxing line-drawing head-scratcher set across the faces of cube shaped planets. It wasn't what I expected, but after a few levels I was hooked. Each stage is the face of a floating cube or planet in space. The goal is simple enough: draw a single continuous line that loops from a starting point, passes through all the target cylinders, and returns to where it began. The line can only move straight until it hits an edge, and you can't reuse the same path or trap yourself. Early planets are gentle, but later ones had me thinking carefully about how to steer my line around the cube. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-59562ce0-eb81-4572-bff6-485be0b79185.jpeg) ****Screenshot by author** It never becomes punishing. Rytmos sits firmly on the relaxing side of puzzle gaming with a fairly low difficulty curve. I breezed through most levels in a try or two, although a few clever layouts took multiple attempts before that satisfying moment of realisation. There's no penalty for experimenting, and rotating the cube to try a different side keeps the mood calm and meditative. What really makes Rytmos shine is how each puzzle becomes a cute little musical journey. The game is arranged like a miniature universe of solar systems, each themed around a different musical style or culture. One moment I was wandering through the smooth melodies of Ethiopian jazz, the next I was nodding to the pulsing thump of German electronica. The soundtrack ranges from Indonesian gamelan to Japanese ambient, so it's full of global character. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-c7172b45-aed7-4bb0-abaa-fa99dd6e09e4.jpeg) Screenshot by author Each solar system has its own colour palette and visual identity that matches the music, so every world feels fresh. As puzzles are solved, each line connection adds a note or beat to the background. By the time a cube is complete, you've built an entire track for that genre. The music here is a reward rather than a mechanic, but it's a wonderful one. Finishing a system unlocks an instrument from that culture and lets you play freely on a looped beat. Whether I was tapping on a kalimba, a synth or tweaking a low pass filter, recording a short riff to be saved on a virtual vinyl was a satisfying touch. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-3f199d40-1080-42e5-9d06-132a2940eed2.jpeg) Screenshot by author The presentation is clean, colourful and smooth, and the sound design is gorgeous. With good headphones the experience is super immersive and relaxing. Rytmos ended up being a zen-like adventure that left me feeling refreshed. If you're looking for a cozy puzzler that explores a wide range of auditory styles and musical history, this is a hidden gem worth adding to your playlist. ## **Anonymous** ### **Grand Theft Auto (1997)** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-35.png) source: IMDB From fan theories and reactions to release-date delays, not a week goes by without Grand Theft Auto VI making games-industry headlines. While the original from 1997 had frenzied car thievery worthy of its name, its top-down perspective and blocky graphics looked nothing like GTA 6’s near-photorealistic visuals. In the original GTA, you started as a small-time crook in Liberty City before moving to San Andreas and Vice City, locations explored extensively in later titles. They were based in New York City, San Francisco, and Miami, respectively. Instead of a central plot, Grand Theft Auto tasked you with getting points to open up new portions of the game. Points could be earned by clearing missions that usually involved stealing cars or transporting shipments, outside the occasional gunfight. The game’s four weapons (pistol, machine gun, rocket launcher, and flamethrower) were a far cry from the sequels’ massive arsenals. But that kept GTA’s focus on its driving. Despite its primitive visuals, running over pedestrians with a sleek sedan or turning cops into puddles of blood would remind you of its M rating. Driving was a chore, with iffy camera angles that wobbled during car chases putting a dent in your bonnet before the maps’ dead ends did. Liberty City’s bridges made this worse, forcing you to backtrack if you made a wrong turn. While that is a laundry pile of flaws, revisiting the original is an eye-opening experience. The franchise may have hit its stride after switching to a third-person perspective in Grand Theft Auto III, but its first game did have escalating cop chases, tussles with gangs, and epic getaways. It even had pedestrian routines, simulated traffic, and quick responses from ambulances, fire engines, and cops. Grand Theft Auto isn't exactly a hidden gem, but it remains a pilgrimage worth taking before GTA 6 creates ripples across the cultural discourse once more. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### Trust, Tension, and Touch: The Tactile Terror of Little Nightmares III URL: https://www.superjumpmagazine.com/trust-tension-and-touch-the-tactile-terror-of-little-nightmares-iii/ Last updated: 2025-12-13T02:56:53.000Z **The third instalment in the celebrated horror puzzle-platformer series, Little Nightmares III**, **follows best friends Low and Alone as they navigate the shifting dangers of The Nowhere.** While this piece focuses on gameplay—especially the haptics design—I’ll touch lightly on a few non-story spoilers from my time with Low. ### **The Tactile Heart of Little Nightmares III** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/Screen-Shot-2025-12-02-at-11.27.30-AM.png) Source: Little Nightmares Press Kit. Little Nightmares III is, above all else, a tactile game — one that insists you pay attention to the smallest physical details. From the opening moments, the controller stops functioning as a mere input device and becomes the medium through which Low’s body speaks. The haptics heighten this effect, stitching your tension to his with every subtle pulse and shiver. This begins with the simplest actions. Holding RT to grip a ladder while nudging the left stick upwards doesn’t feel like a standard command — it feels like bracing yourself, hauling weight rung by rung. Many games automatically secure you to ladders, smoothing away resistance. Little Nightmares III refuses that ease; It wants every grip to matter. I learned this immediately when I relaxed the trigger and tumbled off my first ladder. I had treated the game like any other, but it politely corrected me. This deliberate resistance isn’t clumsy design; it’s the point of the entire experience. Smooth, forgiving controls create confidence. These nuanced, sometimes stubborn mechanics create unease, and unease is the emotional core of Little Nightmares. Flipping a lever, turning a gear, edging along a collapsing platform: each action demands precision that mirrors the real-world gestures they mimic. Turn too far, and a mechanism overshoots. Misjudge a ledge and Low slips. These moments aren’t failures so much as beats in an ongoing conversation between you and the world, a negotiation of weight, pressure, and intent. The game asks your body to participate long before your mind has time to analyze. Through constant gripping, crouching, adjusting, and scrambling, you don’t just control Low—you inhabit him. It’s a quiet example of ludonarrative harmony, where mechanics carry the emotional story as surely as any cutscene. ### Dystopic, Delightful Design ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/scuxct.jpg) Source: Little Nightmares Press Kit. Ludonarrative refers to the relationship between gameplay (“ludo”) and story (“narrative”). When the two align, you get ludonarrative harmony; when they clash, dissonance. Little Nightmares III leans strongly toward harmony. Even before I understood the specifics of the plot — truthfully, I didn’t grasp the full narrative until later, and even then, only after reading more about the game —the feeling of the world was unmistakable. The mechanics and the atmosphere were telling the same story. This isn’t a horror game built on shock or gore, though it certainly offers a few grotesque images and the occasional combat encounter. Its real power lies in how it positions you. The game wants you to feel small and endangered in a world that dwarfs you. Every narrow squeeze, precise jump, or careful shuffle reinforces that imbalance. You’re not told Low is scared; his fear is performed through your cautious inputs, the slight hesitation before a drop, the careful adjustment before a jump. What surprised me most wasn’t any singular scare, but how *ordinary* actions carried so much weight. Because the controls require steady, deliberate motion, even simple interactions become sources of tension. A climb, a hop across a gap, even shifting a crate—each one is a quiet gamble between you, the controller, and the world’s indifference to Low’s survival. On paper, these interactions are simple. In play, they become stories. Turning a rusty crank feels agonizingly slow when you suspect something is watching. Edging along a narrow beam becomes a minor crisis when your thumb drifts a millimetre too far. The game amplifies these moments by refusing to tidy them up. It doesn’t auto-correct your footing or polish out mistakes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-13.png) Source: Steam. One of the most difficult challenges in a particular boss sequence wasn’t combat or stealth—it was pressing jump at the correct time. Jumping, a foundational action in most platformers, becomes charged with uncertainty because you know a mistimed release might send Low peeling backwards into darkness. Each jump becomes a small spike of anxiety, giving weight to the action. After many (*many*) failed attempts, jumping became a source of fear, frustration, and even a bit of anger. That tension sharpens whenever danger creeps into the frame. Threats aren’t only visible or audible, they’re physical. In tense sequences, the controller thumps with a slow pulse that seems to settle in your chest. A distant footstep or slamming door reaches your palms a fraction of a second before you register it on-screen. The world doesn’t simply show you fear — it transmits that feeling to you. The controller’s heartbeat grows heavier, more insistent, as if Low's terror is vibrating straight into your hands. You begin to recognize those thumps the way you would musical cues in a horror film — not as a flourish, but as a warning. Something is approaching. Move carefully. Keep your grip. Don’t let go. And once the game has built this steady rhythm of stakes — this constant physical vigilance — it becomes impossible not to grow protective of Low. That heightened awareness, that embodied caution, lays the groundwork for connection. Tension becomes the first thread of attachment, one that naturally extends toward your companion. It makes the presence of Alone feel like more than a mechanic. It feels like relief, like someone sharing the weight you’ve been carrying in your own hands. ### **Two-Character Tactility (Even in Single-Player)** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/sco1av.jpg) Source: Little Nightmares Press Kit. The tactile design doesn’t stay confined to Low—it extends, almost unexpectedly, to Alone. Even in single-player, where she is AI-controlled, the game frames your partnership through shared physical cooperation rather than exposition. You don’t bond through dialogue, you bond through motion. Many of Little Nightmares III’s puzzles rely on synchronized actions: pulling levers together, boosting each other to higher platforms, matching timing across a collapsing structure, coordinating jumps on a trapdoor. In these moments, the controller becomes a conduit for collaboration. You press, hold, and adjust your movements knowing that Alone must respond—and she does. Sometimes I moved to support Low; sometimes I moved with Alone. The boundary between those states blurred so effectively that Alone's presence felt physical, not just programmed. There’s a subtle but important difference between moving *for* Low and moving *with* Alone. The former is simple input; the latter begins to feel like choreography. Haul a lever, and she braces beside you. Leap for a distant edge and she catches the opposite side a heartbeat later. These exchanges create a kind of dual-tactile awareness. I feel my character, and I feel the presence of the other. That awareness deepens through Alone’s responsiveness. She positions herself exactly where—and when—you need her. When she clasps your hand and pulls you through a tightening doorway, you feel the jolt of shared momentum. When she darts ahead to finish off one of the game’s unsettling puppets (arguably the most disturbing enemy you’ll meet), you tense instinctively, trusting her to defend Low in the split second you cannot. When she steps beneath a ledge without prompting so you can reach safety, the sensation of collaboration is unmistakable. The game conveys something wordless but clear: you are not alone, even when you’re technically playing alone. Over time, these rhythms settle into your muscle memory. You begin to anticipate Alone’s movements the same way you anticipate Low's. The trust you build isn’t abstract or even story-driven — it’s embodied. It grows out of the same gripping, bracing, and balancing that have defined your entire journey. And once the game has woven that sense of shared physicality into its moment-to-moment play, the emotional connection feels natural; you've internalized the partnership between Low and Alone. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/12/image-14.png) Source: Steam. ### Conclusion What Little Nightmares III demonstrates, more than anything, is that tactile design can be emotional design. The haptics, the grip mechanics, the small negotiations of pressure and timing — these aren’t embellishments. They’re the means by which the player, the character, and the companion become intertwined. Alone doesn’t need dialogue to feel significant. The game’s physical vocabulary does the work for her: your grip, her answer; your hesitation, her support. It’s rare for a game to make trust something you *feel* rather than something you’re told. Rarer still for that trust to emerge from actions as tiny as holding a trigger or matching a partner’s step. But that’s Little Nightmares III’s quiet triumph. It demands your attention, it borrows your body, and in return, it offers a connection that feels earned, corporeal, and strangely tender amid the dark. ### Donald Trump, the Cannibal: Twenty-Seven Years of Grand Theft Auto Parodies URL: https://www.superjumpmagazine.com/donald-trump-the-cannibal-twenty-seven-years-of-grand-theft-auto-parodies/ Last updated: 2025-12-12T03:40:57.000Z **Rockstar Games is encouraging its fanbase to touch grass again, having delayed Grand Theft Auto VI’s release by another six months.** This decision has caused outrage across the world from the cesspools of Reddit to the halls of Poland’s parliament, for some reason. However, the GTA series is no stranger to controversy, from its portrayal of drunk driving, to its potential for drug trading, to its parodies and satires of real-world celebrities. Politicians, lawyers and magnates are among those who have been skewered since the franchise launched, some still with us, others who have since fallen by the wayside. --- ## Donald Love ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-17.png) Love gives Claude his first mission. Source: Author. There are hundreds of repulsive caricatures of Donald Trump that have appeared in media over the past few decades, showing up in works as varied as Back to the Future to Sin City to Netflix’s Green Eggs and Ham. However, among the most repugnant portrayals is Donald Love, real estate magnate, media entertainment mogul, and cannibal. Love is introduced in Grand Theft Auto III as one of mute protagonist Claude’s numerous bosses, hiring Claude first to stage a jailbreak to get his tai chi teacher out of prison. (His teacher, the Old Oriental Gentleman, had been arrested by immigration authorities.) Love then orders Claude to incite a gang war between Liberty City’s Yakuza and the Columbian Cartel, with the intent of driving down real estate prices, before disappearing from the story. Love recurs in the prequels Grand Theft Auto: Vice City and Grand Theft Auto: Liberty City Stories. In the latter, he runs for mayor in the aftermath of Liberty City’s mayor’s assassination at the hands of protagonist Tony Cipriani. (Chipriani? Sipriani? Kipriani? The pronunciation is always unclear.) Love pays Cipriani lavish sums of cash to campaign for him, crush the opposition, and rig the election, before being publicly outed and forced to declare bankruptcy after losing the race. Love later pays Cipriani to destroy an entire city block for him to redevelop, before picking up a deal putting him back in the black. Along the way, Cipriani procures numerous corpses for Love to eat, among them a John Doe, a reporter for the Liberty Tree, and Love’s former mentor, Avery Carrington. ![A cartoon of a crab on a table AI-generated content may be incorrect.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-5ca53c4a-7b66-4369-acb9-7d8c9c5fcf9f.png) Donald Love is a man of refined taste. Source: Author. Love’s failed campaign and bankruptcy are allusions to Trump’s various failed political campaigns and financial endeavors that plagued him throughout the '90s and '00s. His cannibalism is a reference to Trump’s many accusers saying he lacks respect for the dignity of the human body, though Trump has mainly been accused of sexual assault and harassment as opposed to eating human flesh. However, all three games depicting him came out before Trump’s 2016 campaign, making his portrayal hilarious (or harsh) in hindsight. ## The Statue of Happiness ![A Statue of Liberty with Hillary Clinton's face.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-d7a749c4-f639-4e27-b8b6-4358c0fc5e81.png) A face only an immigrant could love. Source: Author. The Statue of Happiness from Grand Theft Auto IV is the beaming green statue greeting immigrants as they arrive to Liberty City’s shores—before inevitably being funneled into the city’s prostitution rings, drug-smuggling operations, and Alderney State Penitentiary. Although the statue’s obvious parallel is the Statue of Liberty in New York City, the Statue of Happiness’s face bears a striking resemblance to a former first lady of the United States. Furthermore, a proto-influencer who appears in The Ballad of Gay Tony critically pans the statue, saying, “I could swear that disgusting strange smile on her face reminds me of someone, too. That's the face of a woman who needs some work done, or some action, or both! I mean, she is seriously living a lie, that one, and for what? If I was married to that cold slab of stone I'd be off with any fat bird who'd take me.” The statue’s face is an obvious reference to Hillary Clinton, whose husband did indeed go off with any lady who’d take him, among them Monica Lewinsky. Hillary Clinton, in the aftermath of the infamous San Andreas “Hot coffee” controversy (including a cut sex mini-game still present in the game’s files), threatened numerous legal actions against Rockstar Games. Among them she drafted legislation prohibiting the sale of M or AO-rated games to minors, with randomized audits of stores by the Federal Trades Commission an accompanying fine of $5,000 for selling such games to minors. The bill died in committee; nevertheless, Rockstar was not one to forgive and forget, and so used her as inspiration for an uncanny, clownish statue with a face leering at Liberty City and a backside pointed towards the Old World. While the Statue of Liberty carries a glowing torch in real life, the Statue of Happiness carries a coffee cup, a likely reference to the *San Andreas* “Hot coffee” scandal. Both statues have the date of American independence inscribed on their tablet, while the Statue of Happiness’s tablet additionally includes a poem reading: > “Send us your brightest, your smartest, your most intelligent, > “Yearning to breathe free and submit to our authority, > “Watch us trick them into wiping rich people's asses, > “While we convince them it's a land of opportunity." ## Jock Cranley ![A demonic grinning Jock Cranley stands in front of an American flag with the text "Jock Cranley for governor."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-2764d475-c7a1-4fd6-b570-1c7d3798c769.png) "We've cared about you for too long! I'm giving you all the finger!" - Jock Cranley Source: Author. Jock Cranley is a never-seen-in-gameplay former actor who had a prosperous acting career years before the events of Grand Theft Auto V; protagonist Trevor Philips is mistaken for Jock by sightseeing eccentrics [Nigel and Mrs. Thornhill](https://www.youtube.com/watch?v=jKi0sybJNys), likely due to them both having crazed attitudes. Cranley is also a wife-killer, having murdered his wife Jolene Cranley-Evans by throwing her off a cliff to make it look like an accident after she opposed his acting dreams. Jolene's ghost appears at midnight near where, if approached, she disappears, leaving a single bloody message: “JOCK.” Unlike fellow woman-killer Peter Dreyfuss, there is no way to bring Cranley to justice. Aside from being a wife murderer, Cranley is something much worse: A political candidate. As one of the main candidates in the San Andreas gubernatorial race, he has all the charm of Arnold Schwarzenegger (his primary inspiration) and the moral bankruptcy of Ronald Reagan. Cranley pledges to slash the state's education budget if elected and sell off all state parkland, and publicly admits to hating immigrants, gay people, law enforcement, old women, labor union members, and people with disabilities. He additionally smears his opponent, Sue Murry, to no end, portraying her as an eye-bleeding demon in his attack ads. Unlike the Governator, Cranley appears not to have won the election, as five years later he is a sports commentator for the Maze Bank Arena. ## Tom Goldberg ![A lawyer says, "Guns don't kill people, video games do."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/gta55.png) No, Mr. Goldberg, Niko Bellic kills people. Source: Author. Tom Goldberg in Grand Theft Auto IV is a partner at the law firm of Goldberg, Ligner & Shyster, a hard-hitting pitbull bulldog of a social crusader, and probably a pedophile. Having uncovered dirt about corrupt police officer Francis McReary, McReary sends Niko Bellic to assassinate Goldberg during a job interview. At the interview, Goldberg is friendly with Niko even as Niko pulls out a firearm. From there, Goldberg says, “I’m all about the Second Amendment. Guns don’t kill people, video games do.” (Niko quickly gives him the third eye.) Goldberg is an obvious reference to Jack Thompson, a notoriously litigious lawyer whose targets over the years have included rap music, gay people, and video games. The quote, “Guns don’t kill people, video games do,” has variously been attributed to him among with many variants, though there is no evidence he ever said those exact words. Thompson took on Rockstar in numerous lawsuits throughout the 1990s and 2000s and was ultimately disbarred for his antics in 2008\. Thompson furiously threatened Rockstar with further litigation when he learned a parody of himself was going to included in their next game; however he never filed a suit. Niko doesn’t need to kill Goldberg with just a handgun; Rockstar anticipated a wide variety of ways to kill him, such as with a baseball bat, a grenade, a Molotov cocktail, or a rocket launcher. If Niko uses a knife to slit Goldberg’s throat, he can even leave the building quietly without having to flee from the police. ## Lester’s Targets ![Franklin identifies a CEO he's been hired to kill on a bus.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Screenshot-2025-11-14-17.06.46.png) Yes Franklin, it is. Source: Author. One of Grand Theft Auto V’s most startling mission sequences, in retrospect, is a series of tasks given by hacktivist Lester Crest. Lester tasks protagonist Franklin Clinton with assassinating various corrupt CEOs, among them Brett Lowry, whose pharmaceutical company peddles harmful erectile dysfunction meds; tech mogul Jackson Skinner, who collects and sells his users’ data illegally; and tightfisted cheapskate Isaac Penny, an investor who plans to buy an automotive company and fire a quarter of the workforce to fatten the bottom line. It was jarring on a recent replay to find myself being paid to assassinate morally bankrupt CEOs, after a CEO himself was gunned down in my hometown in real life, allegedly due to his insurance corporation’s morally bankrupt practices. A [Steam account purportedly belonging to Luigi Mangione](https://steamcommunity.com/profiles/76561198111618038/games/?tab=all), the accused shooter, does not list any *Grand Theft Auto* games in the library. He has, however, played some *Undertale*, so he is at least likely familiar with the concept of pacifism. ## Jay Norris ![Tech mogul Jay Norris answers a phone call on tv.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-414a2634-4c33-400a-b50e-e80efd3bc438.png) Jay Norris, seconds from dying. His last words? "Hello?" Source: Author. If you’ve ever found yourself fuming over an unnecessary change to Instagram or Facebook’s user interface, or Meta’s support of hate speech, then the mission “Friend Request,” from Grand Theft Auto V is the mission for you. In it, Lester Crest tasks protagonist Michael de Santa with sabotaging the launch of LifeInvader’s new mobile phone. LifeInvader is Grand Theft Auto’s equivalent of Facebook, debuting in V. It bills itself as “The reason the world never gets anything done any more.” Throughout the game, various characters post their responses to the protagonists’ antics as they shoot their way across San Andreas. (Bleeter, the equivalent of Twitter, debuted in 2009’s The Ballad of Gay Tony. As Instagram was not as prevalent in 2013 as it is today, it has no in-universe equivalent.) LifeInvader’s CEO is Jay Norris, having founded Lifeinvader in his parents’ poolhouse in the Carraways (GTA’s equivalent of the Hamptons). Norris boasts about his company’s practices to thunderous applause: “We have put a billion people's private data in the public domain, and we have milked every penny we could in the process. And we have one of the youngest work forces in the world! An average age of only fourteen point four years. That's not just impressive. It's revolutionary!” Aside from selling its user data to corporations, LifeInvader and Norris are implied to be working with the IAA (the in-universe equivalent of the NSA and CIA) to spy on America’s public. With the eyes of a dead fish and the humanity of a slug, Norris is an obvious parody of Mark Zuckerberg, with some elements of Steve Jobs mixed in. The most disturbing part of the mission is the mission’s finale, where it is revealed how Michael sabotaged LifeInvader’s new phone prototype while infiltrating its offices. During Norris’s demonstration of the new phone, Michael calls the prototype, triggering the explosive he planted in the device for Lester and blowing Norris’s head off. Even Michael, the cold-hearted bank robber, is momentarily shocked. LifeInvader’s stock crashes after the assassination, and does not recover for the rest of the game. --- The Grand Theft Auto games are more than violence simulators; they also include biting satire of contemporary trends and public figures. Any number of fictionalized celebrities may appear in Grand Theft Auto VI, such as an HD variant of Donald Love as President of the United States; an electric car-touting mogul named Esau Stank with sixty-nine children; a podcaster named Andrew Lyle being brought up on Transylvanian-related underage sex charges who’s fled to the state of Leonida; or any number of celebrities. We’ll find out when Grand Theft Auto VI releases—if that ever happens. ### Pokémon Legends Z-A’s Real-Time Combat Is a Breath of Fresh Air URL: https://www.superjumpmagazine.com/pokemon-legends-z-as-real-time-combat-is-a-breath-of-fresh-air/ Last updated: 2025-12-11T13:27:18.000Z **Ever since its first games, one staple of the mainline Pokémon series has been its turn-based combat.** Giving commands to the Pokémon from our team that was currently out in the field is a strategic task, and defeating adversaries depends at the very least on understanding weaknesses and core advantages of each move, especially when playing against other players. Pokémon Legends Z-A, however, introduces real-time combat to the mix, fundamentally transforming many of the mechanics. While other spin-offs, such as the Pokémon Rumble line, sometimes offered a more action-oriented experience, they were very different approaches with many fewer elements to factor in. As such, there’s a significant novelty to what Z-A adds to the pile. ## Moving in Real Time ![A screenshot of the player and their Ampharos moving between ceiling areas while targeting a Panpour.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/pokemon-legends-za-ampharos-on-the-roofs.jpg) Screenshot from Nintendo Switch. Source: Author. Just as has been a staple of the main series so far, players can have a team of six Pokémon, each with four moves at most. In battle, only one of them is controlled at a time, giving players direct control over moves with a simple press of the button, as each move is linked to the corresponding position on the Joy-Con (A/B/X/Y). Drawing from some of the design choices of Pokémon Legends: Arceus, players control their avatar directly, and their partner works in tandem with them on the field. When facing wild Pokémon, they may attack the player directly, making it important to dodge out of harm’s way and be cognizant of your surroundings at all times. Though battling against the Pokémon that are owned by other humans is safer, your position matters, as it will impact your partner. The Pokémon follows the player around while no orders are given; this can be used to have some control over their positioning. It’s also possible to switch them with another or bring them back to the Pokéball and use this as a way to avoid a powerful move that could otherwise kill them. To attack, players must hold the ZL button to focus on a target first. Especially when facing groups of wild Pokémon, this lock-in mechanic becomes very important. When not using it, the player can use the items in their inventory, like Potions, to restore HP. Pokémon can also hold items, which wasn’t an option in Legends: Arceus. ## The Impact of the Cool Down System ![Rogue Mega Camerupt battle screenshot, the player uses a Binacle to fight it. The Bulldoze move is recharging.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/pokemon-legends-za-mega-camerupt.jpg) Screenshot from Nintendo Switch. Source: Author. Adapting the combat format to real-time actions also necessitated reformulating various aspects to make it work better. One such example is the limitations on using moves, which went from a point system to a cool-down timer. While the traditional games in the series present each move as having a limited pool of PP to use, Z-A makes it so that the Pokémon needs to recharge before using a move again. This change affects moves in two very distinct ways: they are now infinite and impossible to abuse continuously. Players don’t have to worry about spending all their uses anymore, as there’s no more “PP” to limit them, but the cool-down factor helps keep the experience balanced, as players can’t just hit the same move over and over until the enemy is gone. The enemy will likely have a move to make in between recharging, so players have to consider carefully what to do. This wait also helped give extra value to moves that aren’t focused on damage. When facing an enemy that has one specific dangerous attack, using Protect or Double Team at the right time can keep the player safe from harm for enough time to punish the enemy with attacks. Some well-known moves, like the aforementioned Double Team, now have different effects, taking into account what could be more useful in the real-time format. Especially for players who have mostly focused on having their Pokémon learn only damaging moves, the cooldown system makes it so that the player has more reasons to plan out the variety of the pool instead of just using the same move against the same Pokémon each turn. As a result, even basic stat-decreasing moves like Leer become more relevant, as it’s faster to use it than to strike twice with the same attack. ## Range and Status Conditions ![Screenshot of a battle, the protagonist and Flaaffy hold the upper ground while using Thunder Shock to hit a Binacle from afar.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/pokemon-legends-za-flaaffy-versus-binacle.jpg) Screenshot from Nintendo Switch. Source: Author. Another aspect that changed significantly is the importance of the range of your attacks. Some moves depend on approaching the enemy before striking, while others can be done from afar. The scenery can also obstruct these attacks, either through objects working as literal walls or because differences in height make it hard to go after an enemy (like a Pokémon that’s flying away). Personally, I found long-range moves to be a little convoluted to pull. Instead of simply attacking from where they are (unless they were out of range), the Pokémon have to move to a spot closer to the player. This movement takes into account the player’s current position, but it can take a while to get used to it when using close-range attacks as well. Most status conditions have changed as well, with Sleep being changed to Drowsy and Confusion making behavior erratic rather than being a cause for occasional self-harm. Poison and Burn still work as usual by causing damage to the Pokémon over time, but a Paralyzed, Drowsy, or Frozen Pokémon will have their movement and attack speed affected, each in different ways. ## A Breath of Fresh Air ![Sitting on a bench that's not visible from the angle, the protagonist looks at their team (Fletchinder, Espurr, Bayleef, Binacle and Flaaffy) loafing around.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/pokemon-legends-za-team-resting.jpg) Screenshot from Nintendo Switch. Source: Author. All of these changes are relevant ways that the game adapts itself to a new real-time format. Not only are they a matter of balancing, but they also help create a consistent system that’s a breath of fresh air for the series. While I’m very fond of the turn-based games and hope to see what the series brings to the table for them in the future as well, Pokémon Legends Z-A shows how much Game Freak can bring to the table when they have the chance to experiment with the format, and the series is in a much better place for having it. ### And There Is No New Thing Under the Sun URL: https://www.superjumpmagazine.com/and-there-is-no-new-thing-under-the-sun/ Last updated: 2025-12-11T00:39:11.000Z **The villainess of Final Fantasy VIII wants to destroy time because the villain of Final Fantasy VIII is time itself.** > *The thing that hath been, it is that which shall be; and that which is done is that which shall be done; and there is no new thing under the sun.* > > *Is there any thing whereof it may be said, See, this is new? it hath been already of old time, which was before us.* > > *There is no remembrance of former things; neither shall there be any remembrance of things that are to come with those that shall come after.* Ecclesiastes 1:9–11 What I mean by that is: Ultimecia, through some possessions during the past, is trying to transform Time, which is a line (or a lot of lines, a rhizome) into a dot, a point, because then all of the world’s suffering will end. The heroes of Final Fantasy VIII are controlled by destiny to stop her because destiny is nothing more than Time’s Holy Ghost. Its purpose is to make sure that everything will always fall into the right place. By her instrumentalized Logos, Ultimecia understands that time is what makes people suffer, because all idiosyncrasies are scrutinized through contrast and comparisons, and all pain is little more than immediate. Her people were persecuted, and at the same time, fate itself led her to become a villainess who would try to destroy time and would be stopped by a military group that only exists to stop her. This military group finds out that they have already known each other forever. Being just pawns of fate, playthings, metaphysical jokes, they were destined to strengthen lines that were previously decided as places from which they would hang, hold, but never let go. Transforming this line into a point, where everyone has access to every point in time simultaneously, each person can choose whichever moments they would live, in the order they want, passing through everything that was pre-established, but not in a linear fashion. Ultimecia doesn’t want to destroy destiny; she wants to *destroy time* to *control destiny*, a very congruent objective, because her own existence is not denied, just unfairly treated. To deny the denial of existence, you need to *deny existence itself* — and only then can true freedom be reached again. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-a4f2977c-3827-4789-9139-750c700302a4.png) Final Fantasy VIII Remastered. Source: Author. The issue is that a ball of yarn is still composed of lines. Things had to happen until time compression existed. Something needs to occur within time so time can be destroyed (or affirmed). Determinism is kind of like a cuck, but it’s also conformed and comfortable in all of its victories, accepting things good and bad as only Real. It wants us, the inhabitants of its thread, to reach the same “clarity”: accept that things exist instead of lamenting decisions taken, mistakes made, or even celebrating when things work. Time is stoic in a teenager's way. It also doesn’t have a choice; therefore, nobody should have one. Time marches on regardless of us. We, however, are too creative to avoid suffering. We imagine other times, where yeses are nos, and nos are yeses, maybes are yeses or nos. We imagine that the mistakes we made apart from our words wouldn’t have happened, and we wish the mistakes others made had bigger consequences. We imagine that endings would have continued, that new beginnings would be derivative from old ones, that wills would be denied, wishes would be controlled, and censurings would be indulged. The point of all that imagining is that we don’t, won’t, didn’t have any answers. We know that for every question asked, we don’t just choose *an* answer — we choose to *not choose* every other answer. Time, in a way, allows infinity in its restriction: if it were freely accessible, it would be only reducible in the most varied ways. It is what it is, and what it was, and possibly what it will be too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-cebc8ce3-b925-48f4-80d0-306cc1e87ac3.png) Final Fantasy VIII Remastered. Source: Author. To play a video game is to time-travel. We go back in time when we mess things up. We talk to time travelers from the future, people who have already gone through our ordeals, whenever we search for things on the internet. We relive times we liked whenever we replay something, and we deny times we dislike, banishing them to the void whenever we abandon a game. All characters from all games are victims of our control; we are Time to them, and their programming is their fate. Final Fantasy VIII is a game that wants to Exist, and therefore uses its own determinism to destroy what makes it a game. Beating Ultimecia frees her from the shackles of fate. Now she can be whatever she wants; she has fulfilled her destiny, and her reward is liberty. She’s not a being chained to an attack cycle that can be easily negated by 99 Meltdowns in our menu. She can become something. Her destined cycle will be repeated every time someone plays the game until the end, and every time she will be freed to turn into whatever she wants. Meanwhile, all of the other characters will remain there in a perpetual interaction cycle amongst themselves, going to the same party while the credits roll, eating the same hot-dog, repeating the same dance, and looking out of the same window. Death gives Ultimecia her victory, and her liberation from fate by people who are just following theirs. It's the ultimate objective that she designed, beating time, controlling destiny, and controlling us, as well, since we are the beings who instrumentalize the characters to complete their tasks. Final Fantasy VIII was not the first to explore the idea of a Digital Nirvana (it’s something explored through the minds of any person who left their legacy digitally) but Ultimecia is maybe the first character to beat the suffering of being a prisoner to the cycle of lies that we call a narrative. ### Indie Monthly: November 2025 URL: https://www.superjumpmagazine.com/indie-monthly-november-2025/ Last updated: 2025-12-09T00:49:10.000Z **So another year draws to a close.** Once again, Steam has set a record - with a month to go, [VG Insights](https://app.sensortower.com/vgi/steam-market-data) is showing slightly more releases than in 2024\. Depending on how you categorize everything, we're going to see close to 20,000 releases this year, and I've only been able to show off the tiniest fraction of that. Even so, we've learned a lot about the world of indie games in 2025\. Doing the research for this year's State of Indie was particularly enlightening, and if you haven't read that one yet, it's [here](https://www.superjumpmagazine.com/the-state-of-indie-games-in-2025-and-beyond-part-1/) and [here](https://www.superjumpmagazine.com/the-state-of-indie-games-in-2025-and-beyond-part-2/). The short version, though? This year was promising, brutal, surprising, unfair, inspirational, and wide open - the same as it is just about every year. In any case, please enjoy my last four reviews for the year, as I will be taking December off. I could use the break. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/HANGRYB.png) Source: Author. ## [HANGRY](https://store.steampowered.com/app/2601510/HANGRY/) HANGRY is a sci-fi ARPG with a focus on crafting. It's an action-heavy, story-light game that's all about eating, cooking, and evolving. Hangry is a hunter in a region of space where fine cuisine is the center of everything. Restaurateurs and food processors are the power brokers, and a rare cut of meat is the most valuable thing there is. Hangry would be the best at what he does, were it not for his habit of nibbling on the product. With the help of his boss Goutra, a chef and underworld caterer, he'll have to navigate the gastronomical politics of his world - and maybe come out stronger on the other side. The gameplay loop of HANGRY centers on visiting various planets, tracking rare animals, and taking them down while dealing with robotic game wardens. The combat is fairly standard for action RPGs - using combos of light and heavy attacks plus specials - but HANGRY also has a focus on stuns. Each enemy has a Poise meter that is depleted by rapid, precise attacks and the enemy is knocked senseless if their Poise falls below a certain threshold. Beyond its obvious tactical advantage, stunning an enemy gives the player a choice as to how to finish it off, with different finishers providing either short- or long-term benefits. A ravenous finisher - in which the protagonist partially devours the target - gives a large amount of experience, but destroys the meat and can ruin a quest if done recklessly. By contrast, a clean finisher yields a large number of ingredients that can be used in cooking later. The cooking minigame is a significant part of HANGRY. It's done at the end of mainline quests, but players are also free to cook for their own benefit using either found recipes or experimentation. Well-made dishes give experience, but can also grant permanent stat bonuses, making them key for more powerful builds. Overall, HANGRY is a solid choice for action fans, offering a satisfying combat system and lots of opportunities to develop a character. HANGRY is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/APizzaDelA.jpg) Source: Author. ## [A Pizza Delivery](https://store.steampowered.com/app/3415450/A%5FPizza%5FDelivery/) A Pizza Delivery is a short, surrealistic narrative game focused on themes of humanity and memory. Taking on the role of a pizza delivery girl only known as "B," the player has a very mundane task: deliver a pizza. There's nothing mundane about the delivery route, though. B's world is a bizarre, dreamlike place, one that's almost devoid of life. The only instructions come from a disembodied voice at the other end of a series of pay phones. It's a mystery as to who would have a pizza delivered across such a strange land, but the few people B encounters suggest that pizza might be more than mere food here. A Pizza Delivery leads the player across a series of surreal, often melancholic locations, each of which has a puzzle or two, and most have one lost soul eager for a chat. The puzzles and challenges are mostly intuitive, and there's little that will stop a dedicated player from finishing the story. Beyond the main plot, A Pizza Delivery truly revels in environmental storytelling, with lots of odds and ends pointing at events happening behind the scenes. The core story explores a few themes. The copy suggests that the story is about human connections, but a bigger element might be time. Most of the characters appear to be stuck in a timeless space, unable to process the past or find a new future. Memories are a key part of this, with some discussion about whether memory is a positive force or something that holds people back from moving on. Overall, A Pizza Delivery is a typical narrative adventure with some really nice visual imagery, and it should appeal to anyone who's into more surreal and symbolic storytelling. A Pizza Delivery is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/DarkQuestA.jpg) Source: Author. ## Dark Quest 4 is a party-based TRPG dungeon crawler with some minor simulation elements. It features a distinctly old-school vibe that's bound to appeal to fans of tabletop and older PC RPGs. Dark Quest 4 is, both mechanically and aesthetically, modeled after a kick-in-the-door tabletop game. There is a minimal storyline, only enough to guide the player through a series of dungeon encounters. The player selects a party of three adventurers from a total of ten, eight available from the start, with two more in need of rescuing. For each section of the dungeon, the objective is to reach an end goal while collecting money for upgrades. Both combat and exploration are straightforward. The player advances through the dungeon one turn at a time, with the party members moving and acting independently. Once a member sights an enemy, the game shifts into combat mode. Each character on either side gets one action per round, with the order dictated by an initiative roll. All characters, be they PCs or NPCs, have a basic melee or ranged attack and (usually) one or more special abilities that can be used once per fight. Dark Quest 4 also features some light simulation elements. As much as you might want to pick one party and build the members into powerhouses, that's not really an option. Party members return from the dungeon beaten and exhausted, lowering their hit points until they've had a chance to rest. Between the low starting HP totals and minimal healing, tackling a dungeon at less than full health is not recommended, and a smart player will need to rotate party members to keep them all in fighting shape. It's probably not wise to put too much focus on individual party members anyway. The player can use looted money to buy skills and equipment for the PCs, but this isn't the kind of game where one can grind their way to success. End-game characters will be stronger than they were at the start, but not enormously so, and victory is more about strategy and risk management than raw numbers. Overall, Dark Quest 4 is a respectable choice for fans of old-school tabletop, but it won't have as much appeal to those who prefer more complex modern RPGs. Dark Quest 4 is available for PC via Steam, for [PlayStation](https://store.playstation.com/en-gb/concept/10014878), Xbox, and [Nintendo Switch](https://www.nintendo.com/en-gb/Games/Nintendo-Switch-download-software/Dark-Quest-4-2949261.html). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/BITS_A.png) Source: Author. ## [Berserk B.I.T.S](https://store.steampowered.com/app/2348540/Berserk%5FBITS/) Berserk B.I.T.S is an idler in the vein of Rusty's Retirement, meaning that it doesn't obscure the entire screen. It's a game designed very much with Mega Man fans in mind. As with other games in this category, Berserk B.I.T.S runs in a frame (or in this case, a series of frames) along the bottom of the screen, leaving the top two-thirds unobstructed. There is a range of options that allow the game to float on top of other windows, adjust the size relative to the screen, and move or hide individual frames. The game itself is an autoplaying RPG modeled heavily on the Mega Man Battle Network series. The player drops the BIT - the main character - in one of several areas in the explorer frame, where the character will fight through a dungeon with minimal to no direct input. A second frame houses the simulation element. The player can keep a certain number of supporting characters, including robots that periodically yield resources and programs that, as long as they are fed and cared for, allow the BIT to perform special attacks. Berserk B.I.T.S is more hands-on than other games in its genre. Most functions can be automated, and the game can eventually be fully idled, but it will take slightly longer to reach that point. And while the BIT will use special abilities as they are saved up, some difficult fights may require the player to manually choose skills to optimize their effectiveness. Unusually for these types of games, Berserk B.I.T.S does have a story. It isn't immediately apparent, but plot elements will begin to creep into the gameplay starting around an hour or two in. This is another element that calls upon a bit more attention than similar idle games. Overall, Berserk B.I.T.S is best for anyone who likes idlers, but wants a little more involvement in the action. Berserk B.I.T.S is available for PC via Steam. A copy was provided for this review. --- And with that, Indie Monthly is done for 2025! We wish all of our readers a wonderful holiday season, and we will see you right back here in 2026! ### Ghost of Yōtei Doesn’t Try To Be Tsushima URL: https://www.superjumpmagazine.com/ghost-of-yotei-doesnt-try-to-be-tsushima/ Last updated: 2025-12-07T01:51:58.000Z **Many underestimate how difficult creating a successful sequel can actually be.** How does one, as a creator, capture the essence of what made the original well-liked enough to be successful while still elevating it intuitively? What drives the series forward? It is not a task I envy a creative team going through, for there is a lot of thought process that goes into it. In some sense, it gives you pause when winding back to output criticisms. I believe many in gaming critique tend to forget the human beings behind these art pieces we so enjoy. If you are to look at games as art, then the common decency you should have is to treat the artist with due respect. That reason is why I find myself in a very odd spot with Sucker Punch’s Ghost of Yōtei. Sony’s exclusives tend to follow the lines of very safe sequels, for better or worse. The games remain mostly the same, iterated upon to a certain extent. Insomniac’s Spider-Man 2is a great example of this. It ends up being a high-quality game, though just on par with the original. Sony isn’t the only studio guilty of these “safe sequels,” however. Star Wars Jedi: Survivor is yet another one of these, giving players more of the same overall with some minor improvements. With that in mind, I was curious how Sucker Punch would handle their sequel to 2020’s Ghost of Tsushima. A “safe sequel” isn’t anything inherently bad, but it creates a very gray area where it becomes hard to critique. If it is just as good as the original, then perhaps it should be rated the same, shouldn’t it? Perhaps it deserves to be critiqued more harshly for *not* iterating enough on the formula that the first game established. It almost sounds derogatory to say, “If you liked the first game, you’ll like this one.” It has the energy of “This isn’t anything to write home about otherwise.” I have to praise Sucker Punch for deciding not to go for a direct sequel at all with Ghost of Yōtei, though it still finds itself in some areas where it feels safe. Ghost of Tsushima was Sucker Punch’s first foray into a new IP after their previous work in the Sly Cooper and Infamous franchises. Tsushima followed the story of Jin Sakai, a samurai who had to learn to forgo his code of honor in order to defeat Mongol invaders. Ghost of Yōtei is a very notable departure from both this setting and theming. Yōtei instead is centered around a revenge arc, with its protagonist, Atsu, hunting down a group of six men who tragically ruined her life when she was young. It takes place over 300 years after Tsushima, setting it firmly apart from its predecessor in a way that makes it feel standalone. References to the events of the first game are far and few between, reduced to minor passing mentions or easter eggs. It is remarkably refreshing, and I'm happy that Sucker Punch decided to go this route. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/scawfp.webp) Jin Sakai's story had a bow tied on it and did not need to be continued. Source: Press Kit. Jin Sakai’s arc was over. He did not need a direct sequel whatsoever. Often, when we try to force more plot onto a character whose arc is already over, it can feel forced. I respect the decision to refrain from touching Jin again, especially since he became such a beloved gaming protagonist. I had this issue with Senua’s Sage: Hellblade II, a game that felt like it didn’t really need to exist. Senua’s arc was already over, so did we really need to try to extend it further? I’d likely compare this to a D&D character being forced into another plot after the current Dungeon Master finishes their story. That character was meant for a standalone story, so anything else featuring them would only feel strange at best. I make this point to say that while Ghost of Yōtei has the right idea in mind when it comes to storytelling, I left it rather confused. I was puzzled by my own thoughts about the game. I was more prepared than anyone to give the game a fair shake, having only played Tsushima for the first time a month earlier. I found myself struggling to really convey what caused me to feel this way. My gut-check reaction upon completing the game was to say that it was great, but it was missing *something*. Whatever that *something* was became lost in the aether, like a word stuck on the tip of your tongue while being just out of reach. What I can manage to do is to convey what worked and what did not for me. More importantly, I can stop to recognize what Sucker Punch was attempting to do here. ## Yotei Remains Familiar, But Fresh ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/scwk6i.webp) Source: Press Kit. Gameplay-wise, Ghost of Yōtei is stellar. It iterates in all the proper ways you would want from Tsushima. It feels familiar, yet fresh at the same time. Much of what players had grown familiar with in the previous game appears again here. The hot springs that allow the protagonist to reflect and permanently increase their health are still here, alongside the bamboo cutting challenges for Spirit boosts. Even these open-world side activities have been iterated upon or touched up in some shape or form. Bamboo cutting now occasionally will have a piece of bamboo fly into the air, forcing the player to input a combo of buttons quickly in order to cut it. Exploring the parkour-based shrine trails now has a convenient method of fast-traveling back to the entrance of the trail to save yourself time. There are new activities provided here as well. Since Atsu is not a samurai, she wasn’t taught in the ways of haiku like Jin Sakai in Tsushima. As a result, that activity is absent in this game, though Atsu is still creative in her own right. There are places found while exploring where Atsu can sit down to create Sumi-e paintings, or to play her Shamisen for a while. It adds some very needed characterization to Atsu, a softer side that she rarely shows from simply playing the story alone. It does a lot in making her relatable. Even as the throes of life take us on their headwinds, we all still have that place or hobby where we can simply sit down and be at peace, a place where we can be serene for a while. I found myself going out of my way to have Atsu do these activities because of that inherent relatability. The region of Ezo (what is now known as Hokkaido) is also a wonderful setting for the game. It is stunningly beautiful to explore, even from the first area. It is quite possibly one of the greatest impressions a game could give a player from the standpoint of a sense of wonder. If there is anything to take away from the experience Ghost of Yōtei offers, it is that Sucker Punch is remarkably talented at inspiring awe in its players. The sprawling fields of the Yōtei Grasslands, damasked by the distant mountain looming, are marvelous. This extends even to later areas in the game, where the development team must be praised for their art direction. Teshio Ridge is still wonderful to look at despite being snowy, and an area such as the Nayoro Wilds perfectly invokes the sense of being in a temperate forest. Oshima Coast, which players will not see until Chapter 2 of the main story, has plenty of delightful cherry blossoms dotting its landscape. All-around stellar work was done to nail the setting. Gameplay is where Yōtei begins to deviate from the previous series entry. The sense of exploration is splendid right from the beginning of the game, and while Tsushima did have solid exploration, Yōtei really banks on this aspect, almost to a fault. From the very start, Atsu can roam anywhere she really wants. I’d perhaps compare this to Elden Ring or Breath of the Wild, where once the prologue ends, you can simply *go* wherever you’d like when it comes to exploration - or at least, that’s the illusion they wish to give you. You’ll quickly find that once 3 of Atsu’s six targets are dealt with, the story will force the player into Chapter 2, which is essentially the endgame. It is rather unfortunate; the ability to beeline straight to target 5 or 6 immediately would add a lot to Yōtei’s replayability. I digress, however, for this is the story Sucker Punch wishes to tell. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/scwk6l.webp) Atsu hangs the names of the Yōtei Six from her belt, coating them with blood when she kills each one. Source: Press Kit. This feeds into one of Yōtei’s core issues: story pacing. If one was to hard-focus the main storyline of the game, they’d find it to be surprisingly shorter than expected. After the prologue, you’ll engage in questlines where Atsu hunts the next two targets on her quest for revenge. Then you’re shoved directly into Chapter 2 of 3\. Chapter 2 has its own singular, short questline, though this leads directly into the abruptly short Chapter 3\. Chapter 3 feels as if it could’ve been included with Chapter 2 since it only encompasses the finale. Perhaps Ghost of Yōtei did not need ‘chapters’ at all; labeling them as such creates the assumption that they’d be lengthier or more focused than they actually are. To counter this, I presume that stellar exploration is meant to act as proper padding for the main story. In that sense, exploration is the driving factor behind the gameplay. Even side quests are not found in the usual way as they were in Tsushima, where NPCs will have a bubble over their head detailing one for you. Here, the player is instead encouraged to find these things on their own. At times, you’re not even given a direct location of where to go. Yes, the guiding winds return from the first game to give you the correct direction to proceed, but often you’re encouraged to suss it out for yourself. There are many side quests you will miss out on purely because you never ran into their quest-giver. Assassin’s Creed: Shadows attempted a similar design with its quests as well, calling the information gained a “lead”, which you’d then seek out within the related area. Although I am of the mind that Ghost of Yōtei excels above Assassin’s Creed Shadows in almost every way, I did enjoy having the option to have more traditional quest markers in Assassin’s Creed. I’ve always been a side quest junkie, and it made me sort of sad that Yōtei regressed so much in how it handled its side quests. The "leads" only appear on the map screen in Yōtei, and you find yourself having to cycle through them with just the D-pad alone. There is no Journal or Quest Log menu in the options. It is incredibly unintuitive to use, especially when considering the weapon-unlocking Sensei quests and main story quests are also slotted in as leads. I understand what Sucker Punch wanted to go for here, nonetheless, but I did not particularly find myself enjoying it during my playthrough. Combat and stealth have remained relatively the same, which is not a bad thing. Tsushima’s combat was great, and the rock-paper-scissors aspect of switching stances based on the enemy you were fighting was really enjoyable. Yōtei freshens this up by introducing weapons instead, each weapon taking the place of one of the stances. Enemies with shields will be weak to the Kusarigama, for example, while bruiser enemies will be weak to the lumbering Odachi blade. Although these weapons will be of great assistance during your playthrough, you can, in theory, miss out on some of these if you skip over the respective Sensei quests, where Atsu will be trained how to wield them by a master in the weapon’s craft. These weapons add a much-needed amount of flair and spice to the combat formula of Tsushima. Although it is still *functionally* the same, it works well in making the game feel different *enough* that it still feels fresh. If I may add a minor nitpick to these weapons, I find the visual to be a little awkward when you switch between them on the fly mid-combat. Since the animation needs to be snappy in order to make the combat still feel smooth, you have to sacrifice a bit of immersion for the sake of that. While I do prefer that, I still found the motion of swapping from a weapon like the Odachi to dual katana to be a tad off. ## Revenge Arcs Aren't Anything New ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/sctzwv.webp) Unlike most enemies in Tsushima, your enemies in Yōtei will be Japanese instead of Mongols. Source: Press Kit. Now, I’d like to delve into the story side of the game, but the issue here is that I cannot elaborate to an extent that makes my points clear unless I actively dip into spoiler territory. I’ve structured this intentionally so that you can still read *most* of this review up to this point entirely blind to the game’s story content. I am still going to be very careful about what I do spoil here, nonetheless. I will avoid naming specific characters or explicitly detailing events that occur in the story beyond the prologue of the game. I’ll refrain from spelling out the finale or the ending, but I will be talking about the game’s overarching themes, so please keep that in mind. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Spoilers_Ahead-1.png) Story spoilers ahead for the game. The immediate notion that will hit you right away in Ghost of Yōtei, as a major shift from Tsushima, is Atsu herself and the identity of the ‘ghost’. In Tsushima, there was a slow build-up to the idea of Jin Sakai donning the ‘ghost’ persona. Atsu, on the other hand, takes on the persona almost immediately in the game. Once you’re done with the prologue, Atsu’s identity is very clear. She is dubbed an Onryō - a vengeful spirit in Japanese folklore. Onryō are brutal and ruthless in their intention to right the wrongs they’ve suffered. Atsu, as a character, is meant to embody the Onryō, which is partly why her characterization in that aspect really works for me. Atsu is remorseless toward her enemies. She’s often blinded by her rage and need for revenge to the point where she sometimes makes irrational decisions, ignoring the well-being of others simply for the sake of it. At times, this makes Atsu a frustrating and frankly unlikeable protagonist. This is by design, I presume, for NPCs in the game that Atsu interacts with are sometimes even put off by Atsu’s persona as the Onryō. This all makes me struggle with how much I actually like Atsu. At times, she’s relatable, someone you can sympathize with. Her struggle feels real, her aforementioned hobbies as outlets are quite relatable, and she surprisingly has a dry sense of humor as well. On the other hand, I can’t find myself really getting behind her as a protagonist. There’s a certain level of likability Jin Sakai had that Atsu does not. It took me a while to figure out why exactly that was, though, following more pondering, I deem the reason to be that Atsu’s personal quest is more selfish than Jin’s. His story feels heroic because he’s fighting for something bigger - repelling the Mongol invaders on Tsushima. Atsu is hunting six men who wronged her in the past, and is completely justified in doing so when you learn the reasoning, but Atsu does not care about being part of something bigger. She actively shuns that idea even when it presents itself to her. When given the choice of rescuing others or satisfying her bloodlust against the Yōtei Six, she chooses her blade. In a way, I can see the value in Sucker Punch attempting this type of protagonist. Rare are the protagonists in games that have you questioning their goals or morals in this type of way. I find this to be both frustrating and utterly fascinating - because Atsu is indeed well-written, but she is also a protagonist I struggle to connect with. I am able to appreciate what Sucker Punch has done with her from a writing standpoint, but while playing the game, I found myself checking out. What really doesn’t do Atsu any favors is the overarching plot and thematics of the story, which feel tonally inconsistent to the point where it somewhat cannibalizes itself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/sctzwr.webp) Atsu is a protagonist that likely invokes mixed reactions, but is overall well-written. Source: Press Kit. Of course, this story is a revenge arc. You’re not given a fully detailed depiction of what happened on the tragic night that kick-started Atsu’s quest for revenge, not ever. You’re given a brief glimpse of it, a drop in the water to send you on your way, so you understand her motivations at a base level. As the story progresses, you are drip-fed flashbacks to the “Night of the Burning Tree” to 1flesh out Atsu’s motivations further. Upon revisiting Atsu’s childhood home, you’ll also be able to experience some more pleasant flashbacks that harken back to Atsu’s family as well. While I am glad it wasn’t all spelled out at once for me, it is splintered enough that it is hard to grasp the order of events that happened on that evening or how the puzzle pieces exactly click together. It is still a good set of motivations for Atsu, nonetheless. My real issue is that Yōtei diminishes how hard this revenge arc actually hits the player. Right at the beginning, you’re given a minigame where Atsu writes the names of all of the Yōtei Six members she intends to hunt down. However, the prologue alone has you kill one of the six. Having Atsu so quickly form into the Onryō feels rushed, really. Being the ‘ghost’ from the start makes sense with context, but it lacks the build-up it had with Jin Sakai in Tsushima. One of the most iconic moments of Tsushima is when Jin finally unlocks the Ghost Stance, which is symbolic of his growth as a character. Atsu does not really have a moment like that ever in the story. She begins with a nerfed-down version of the Ghost Stance called Onryō’s Howl, which ends as soon as the player gets a single kill with it instead of being on a time limit. When Atsu finally unlocks the proper Ghost Stance, it comes in a moment where it feels comparatively awkward to Jin’s and even relative to Atsu’s own story. To avoid spoiling exactly when, it comes in a very late-game story quest against a boss - one that Atsu does not even kill, instead keeping them alive to use as bait for a subsequent quest. Ghost of Yōtei could’ve benefited much more from Atsu embracing the Onryō persona. In the prologue, it is implied that there is indeed a supernatural element involved in Atsu’s story. After the fight with the first member of the Yōtei Six, Atsu is thought to be dead, both she and her target killed in the trading of blows. Even an onlooking civilian remarks in shock that Atsu was ‘dead’ when she awakens. The implication here is that Atsu is indeed an Onryō, and cannot exactly die until she exacts her revenge. Unfortunately, Sucker Punch doesn’t do anything at all with this idea. I understand their intention to make a story that is immersive and grounded within its setting for the most part, but there are supernatural elements that crop up in side quests as well, namely the “Mythic Tales”. It ties into a sentiment that I couldn’t let escape from my mind once I completed Ghost of Yōtei in its entirety, for I was not very enthused by the resolution of Atsu’s story. Sucker Punch sadly utilizes the tired and rather dull trope of a revenge-driven character realizing they’ve been consumed by revenge, instead of attempting to change for the better. I nearly rolled my eyes when I realized that was where the plot was going. It doesn’t really land for me when we’ve been conditioned the whole game to see Atsu being embroiled by her Onryō persona. I’ve seen some call Tsushima’s plot cliche, but I never found that apt. The trope of someone attempting to come to terms with forgoing their code of honor is much more interesting than a revenge arc concluding with the protagonist realizing they’ve been consumed by revenge. It has its own beauty and resonance as a trope. I have no qualms with it inherently, but I find it disappointing. ## Sucker Punch Invokes Reflection With Yōtei ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/scwk6m.webp) Source: Press Kit. We’ve seen this type of plot in fiction plenty of times before - even in other PlayStation exclusives. I felt like Sucker Punch had the chance to do something really unique and hauntingly tragic if they set their minds to it. I would’ve liked to see Atsu embrace her Onryō persona instead, being consumed by it in a bittersweet way at the end of her arc. Lean into the fact that Atsu is consumed by bloodlust; don’t try to redeem her at the last minute. Dare to be different in the ocean of your own trope. To their credit, Sucker Punch does have Atsu stick to her need for revenge as long as possible, but as soon as Chapter 3 begins, it is like someone snapped their fingers to change Atsu entirely. It almost conveys the idea that Sucker Punch was rushing to wrap up its own story. As I suggested in my review of Ghost of Tsushima, I believe Sucker Punch should look at implementing the Karma system that appeared in the Infamous series within their Ghost series of games. That Karma system would’ve fit splendidly with the themes present in both Tsushima and Yōtei, while adding a needed amount of player agency to the experience. I don’t entirely mind what Sucker Punch has made here, regardless of my qualms. This is the game they wished to make, and I still appreciate it from the perspective of their vision for the experience. What it tries to do is worthy of acknowledgement. It is historical fiction at its finest - excellent combat, a sprawling, grounded setting to become immersed in, and gameplay that gives the player a needed amount of freedom. I’ll look back on my experience with Ghost of Yōtei positively for those reasons, but I’ll also remember feeling very disconnected and conflicted. I would be entirely remiss if I were to say I enjoyed it as much as Tsushima, but that’s not a bad thing. Yōtei is a game I greatly respect. I want to leave things by actually giving Sucker Punch my thanks. Ghost of Yōtei was an interesting experience, for in all the time I have been looking at games critically, never have I found myself in the midst of a conundrum such as this one. I am of the mind that is where the beauty lies in this game. It does not set out to please everyone. It does not intend to embrace returning players from Tsushima. It doesn’t try to be its predecessor, and it does not try to be a sequel in the standard sense of the word. While it feels familiar to play, it is remarkably standalone. Ghost of Yōtei stands as an experience that taught me about my own taste, of what I look for when it comes to the type of stories I want to enjoy. It’s a great game that will remain in my mind as one that left me fulfilled, not from the game itself, but rather from reflecting upon it - and for that, I cannot thank Sucker Punch enough. ### Rebuilding the Past in Winter Burrow URL: https://www.superjumpmagazine.com/rebuilding-the-past-in-winter-burrow/ Last updated: 2025-12-04T23:49:08.000Z **With the cold part of the year quickly closing in and the holidays coming up, there's really no better time, in my opinion, to curl up with a cozy game and get lost in a world that's a lot smaller than yours.** In Winter Burrow, the latest release from Pine Creek Games, this idea is pretty literal - it's hard to get much smaller than a mouse's world. ## Hope, Hardships, and the Meaning of Home In Winter Burrow, you play as a plucky little mouse who moves back to their childhood woodland home after the passing of their parents in the big city. They return to find the place worn down and slightly dilapidated, having been left in the care of an aunt who has had some difficulty maintaining it with her age and the harsh winter conditions. It's now your job to rebuild your home and protect the only family you have left. In the process, you meet your neighbors and help them resolve their own issues. The various animals of the woodlands have problems they can't solve alone - missing friends and family, misplaced resources, dangerous predators, and more become the focus of your interactions. Each character must learn to trust and confide in you to gain your help, and give you something in return; you all grow stronger and safer together. This game is delightfully precious. It had me tearing up in the intro; though we never get a name for our little mouse, I wanted to protect them immediately. The game's story explores the ideas of grief and hardship, but also love and community during difficult times. It's an exploration of interdependence and support, where even the harshest worlds can't keep you isolated or underfoot forever. I feel like that kind of hopeful commentary is especially poignant at the moment, and I'm happy to see the game tackling these concepts with sensitivity and kindness. ![The mouse goes to the fireplace in his house as it snows outside.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Winter-Burrow-gifs-13-.gif) Via Pine Creek Games. ## A Nostalgic Art Style What really drew me to this game in the first place was its aesthetic. Winter Burrow has a cartoon style that looks like a hand-drawn movie from the early '90s. My first thoughts were of The Secret of Nimh, An American Tail, and The Rescuers - the woodlands portrayed here could easily be a part of any of those stories. There's a bit more realism, though, that I deeply appreciate. The world feels grounded, fantastical, but following a sort of logic that mimics our world. I absolutely adore all of the deep, woodsy scenery (especially the reflective puddles! What a nice touch.) The character designs are equally wonderful, reminding me of series like Redwall and Watership Down. The animals look more realistic, but still wear adorable Victorian-English-style clothes. They fit so well into their little burrows and camps, looking quaint and charming while keeping some of the darkness that seeps from the background of the game's story. I especially love Bufo the Frog with their button-up dress at a mason's table. The music that accompanies your adventure is subtle, orchestral, and adventurous without taking over the scenes or taking you out of the semi-isolated experience. My favorite track is the one that plays as soon as you leave The Burrow; it feels foreboding, perfect for braving the wilds to rebuild and reclaim your home. ![The mouse walks through a puddle full of rowan berries.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Winter-Burrow-Screenshot--38-.png) Via Pine Creek Games. ## Interesting Mechanics and Gameplay Winter Burrow's mechanics are pretty standard fare for a survival game, with a few interesting additions that caught my attention in the trailers and have become some of my favorite aspects of play. The gameplay loop reminds me of Don't Starve. You have four attribute bars to manage: Health, Hunger, Warmth, and Breath. The first three are standard fare. Being attacked by a bug (the antagonists in the setting) will lower your health, but sleeping will renew it. Your hunger goes down naturally over time, but you can forage and cook food to refill it. Your warmth goes down over time when you're outside, especially at night, but can be refilled at any fire or in your home, and heat loss can be slowed by upgrading your clothing or eating certain foods. I found the addition of Breath interesting; it's a measure of exertion that, if it runs out, limits your ability to interact. For example, chopping wood or picking stone will deplete the bar, and once it's empty, your character pants and will not continue the action until it refills. Though the refill is quite fast, taking only a few seconds, it can be inconvenient if it happens mid-combat! I thought it was a clever way to remind the player that exerting energy in a freezing environment is a challenge, and you need to be clever with your action economy. I also love that the main mechanics of the game include knitting; I get to spin yarn and knit cute little outfits to keep my mouse warm! It's great! Their little needles are so cute in the menu animation. Aside from knitting, you can also cook a variety of sweet and savory treats and brew up teas for your mouse to enjoy, all made from the meats, berries, and nuts that you forage. The crafting system is simple and straightforward, with organized menus of raw materials and tools, furniture sorted by type, and various other extras that help you on your journey. I do have two small gripes about the mechanics. First, there is currently no map of the forest for you to reference, which can make quest completion difficult and often means you get a bit lost if you stray too far. This can be dangerous if you're not carrying a campfire kit, kindling, or food. There are plans to implement a map according to the development notes on Steam, so I have no worries about this as a long-term issue. Secondly, there is no way to sort your inventory, either on your person or at the Burrow. This is a bit frustrating and can make finding the materials you need or checking to see how much of certain things you have tedious and frustrating. Yet again, though, there is an inventory management system in the works, so I am content to be frustrated a little longer. Other than that, I deeply enjoy the loop of the game. It's satisfying to play for long stretches; you always feel like you have something to do without your list of quests feeling overwhelming. The open-world setup makes hopping between tasks easy and allows you to build your skills over time. If you get stuck on something, you can put it on the back burner until you have the experience or materials necessary to complete it without any consequences. I really appreciate the variety of characters and quests, and how they interact with each other to create a cohesive world. ![The mouse sits in his armchair to knit.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Winter-Burrow-gifs-31--1.gif) Via Pine Creek Games. ## Winter Burrow is Wonderful Overall, I'm thoroughly impressed with Winter Burrow and the team at Pine Creek Games. They've managed to create something that soothes the cozy game itch perfectly, without feeling like it's just another farming sim slop piece in an extremely saturated genre. The unique and beautiful art and music, mixed with engaging NPCs and solid, simple mechanics, make for a relaxing, comforting experience that you're happy to dive into for hours at a time, fully immersing yourself in this lovely little world. I can't wait to see where Winter Burrow goes from here, and how the community - which is already growing - thrives as the game matures. I definitely believe that, in a too-fast, too-big real world full of over-our-heads problems, sometimes scaling it back to mouse-level can give us the clarity and comfort we need to make it through the darkest part of the year. **While I was provided with a free press review key for Winter Burrow by the developers, my thoughts and opinions about the game are my own. This is not a paid or sponsored review.* ### The Stories Within Our Artifacts URL: https://www.superjumpmagazine.com/the-stories-within-our-artifacts/ Last updated: 2025-12-02T23:00:17.000Z **Being a collector can mean many things.** Most associate physical media collecting with geeks surrounded by bookshelves of video games that will never get played. Others will hold five PlayStation games in their hands and feel just as much pride in their collection, however small it may be. We hold on to our discs and cartridges even today, as they hold the memories of our experiences. In some cases, an actual memory card holds the record of an actual beautiful memory associated with the game. Whether it's the game that had a best friend coming to your house every day over a blistering summer or the game that finally got your parent to enjoy your favorite hobby with you, only a physical copy will hold those memories. Displayed below are artifacts held dear by our SUPERJUMP writers, and the memories they contain. ## Nathan Kelly ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-f3cee17b-6251-426e-bdfe-e583406b4c57.jpeg) The Legend of Zelda Twilight Princess on the Nintendo Wii. Source: Nathan Kelly. I present my copy of the Wii version of The Legend of Zelda: Twilight Princess. I remember my first experience with this game. I was at the house of one of my mom's friends as a kid, and I didn’t have too many people to hang out with at the time. I was just eating some party snacks or something, and upon entering the living room, they had a copy of Twilight Princess just sitting on their Wii. Immediately, I was sold by the foil art cover. Being a PlayStation kid, I had no idea what The Legend of Zelda even was at the time, but I had only ever seen two other boxes that looked nearly as good as this one: Kingdom Hearts and Kingdom Hearts 2, my favorite games ever at the time. My family had a Wii that they had bought, hoping that it would get the kids up and moving (still a highlight of that console and something that the Switch has mostly left behind). I went to my dad and practically begged him for a copy of Twilight Princess, which he insisted that I would have to pay for myself. I used a collection of roughly 1,200 US nickels that a grandparent had given me at the time. I felt bad about this trade for a number of years. But as I grew older, I never gained an appreciation for coin collecting, so the only regret I still have over this is paying back my dad in a rather annoying currency. I was so excited to actually have the game in my hands as I eagerly popped it into my Wii. I played through the opening village and admittedly ran into a problem. Like many others at the time, I was too confused by the opening village area to actually trigger the events to go on the rest of the adventure. In my defense, you have to get a cat to follow you by fishing and then get it to chase you around; It was cryptic for a child. I put it down for a while, but eventually my dad came to me and mentioned how we went through such a hassle trading nickels for a game that I didn’t even play. This got me to actually sit down and play through the rest of the game, and I’m glad I did. The Legend of Zelda: Twilight Princess is the greatest Nintendo action RPG I’ve ever played, and I doubt that I’ll ever trade it away. ## Mike Wilson ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-3474d6e6-4c7d-49ee-b9c5-1c177c7e6ff6.jpeg) Dream On Volume 18 on the Sega Dreamcast. Source: Mike Wilson. It can be incredibly challenging to name your favorite game when someone asks you to do so. In theory, this is something that could always be changing. If you’re a massive fan of the Zelda franchise, you know there will always be the next one coming, and it has a chance of supplanting your past favourite. But when someone asks about your most important game ever, well, that’s something else. We’re talking not just preferences, but something more meaningful and tangible, something that is part of your gaming history. Historically, I’m a Nintendo nerd. Raised on Hylian princesses, Italian plumbers, and Kongs called Donkey, I had an incredible upbringing in the gaming world. So it’s a huge surprise, even to me, that perhaps my most important game is, in fact, Virtua Tennis on the Dreamcast. I *was* Nintendo through and through. I always got to play on my friend’s Mega Drive, but at no point did I ever consider it superior to my SNES. Then SEGA threw a curveball and released the futuristic (for its time) Dreamcast. Incredible 3D graphics, amazing CD-quality sound, access to the internet, and still my favourite little thing, the VMU. Being the underfunded young man I was when I bought the Dreamcast, I wasn’t able to pick up many games. I obviously had to buy the Blue Blur in his first mainline 3D outing in Sonic Adventure, but outside of that, I didn’t have anything else. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-30.png) Virtua Tennis. Source: Moby Games. Thankfully, there was the Official Dreamcast Magazine (ODM) here in the UK, and for the first time as a gamer, I was able to play demo discs. As an owner of the N64, I was always jealous of other console users with their demo discs from magazines, and now here I was, doing it myself; incredibly exciting times for this Nintendo fanboy. ODM issue 17 gave us Dream On Volume 18, consisting of two videos of upcoming games and four demos for me to enjoy: Sega Extreme Sports, Dave Mirra Freestyle BMX, Ducati World, and, most bizarrely, my most important game, a demo of Virtua Tennis. As with a lot of SEGA games at the time, it was a port of their arcade version from 1999, but it now allowed multiplayer madness in the home. I didn’t have a clue about this or the arcade version at the time, and I didn’t care; I was just excited to play something new that wasn’t Sonic. And play I did; I enjoyed choosing one of the then-famous players and seeing who I felt was more accommodating to my play style. I enjoyed playing a best-of-three sets with the computer, and I absolutely loved playing with and dominating my friends. Just to prove how incredible the VMU was, as you played the game, there would be a little matchstick equivalent of the game happening on the screen of the VMU. Who needed a massive TV with incredible graphics when you have a tiny pocket-sized one that does the same damned thing? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-31.png) Virtua Tennis. Source: Moby Games. This demo of Virtua Tennis was exciting, fluid, and just simply fun. It wasn't overly complicated and was so easy to just jump right into, even if you were a novice. This game kept me engaged with the Dreamcast; it kept the system alive while I saved up for an actual new game or waited for something for my birthday. It seems bizarre that this bite-sized demo, of all things, I consider to be my most important game, but I see it as something that truly opened up my gaming mind to things outside of just Nintendo. It taught me that even the simplest of things can be engaging and provide hours of smile-producing fun. To this day, I always make sure to get the latest system from each company so that I can play all games from across all the systems. Although Nintendo had my heart from the early days, SEGA stole it from them right at the end. Eventually, I was able to get Shenmue, and my word, did this really make the Dreamcast my most beloved console of all time. But whereas Shenmue made me fall in love with the Dreamcast, it was this small demo of Virtua Tennis that made me fall in love with gaming beyond Nintendo. ## PJ Walerysiak ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-8e4b2cee-844e-41c5-8229-672a9716efce.jpeg) Final Fantasy Tactics on the PlayStation and Final Fantasy Tactics: The Ivalice Chronicles on PlayStation 5\. Source: PJ Walerysiak. I was declared a traitor by my brother and cousins when I bought myself a PlayStation back in the early 2000s. We were a *Nintendo* family; how dare I turncoat for a competing console?! It wasn’t a desire to forsake Nintendo that drove me towards buying a PS1, for I would always love them. It was a desire to have something of *my own*. The Super Nintendo and N64 belonged to my older brother, and he would regularly exercise his dictatorship over their use. Being seven years younger, I could do little to stop him. I eventually saved up enough money from my paper route and made the leap. I bought a PS1, Crash Bandicoot, and Final Fantasy 7\. I had never experienced a game like FF7 before, so ripe with deep narrative and heavy themes, somewhat beyond what my eleven-year-old brain could fully comprehend. There was a story here far beyond saving the princess/realm/universe, complete with characters whom I bonded with over dozens of hours. It felt like I had discovered a vital element that I was missing before. I needed more! I immediately became hooked on RPGs, especially Final Fantasy. I devoured FF8, then FF9\. When I saw Final Fantasy Tactics in the store one day, I bought it without a second thought. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-32.png) Final Fantasy Tactics: The Ivalice Chronicles. Source: Square Enix. And once again, a veil was lifted from my adolescent brain, revealing to me an incredibly detailed medieval fantasy world of political intrigue, class warfare, treachery, and sacrifice. Characters had their naivety laid bare, their values challenged and demonstrated through combat. Systems of government and economics were exposed and torn apart through sharp rhetoric. Again, I could not grasp the full depth of its arguments, but it felt profound even then, as if the lessons buried within were relevant to life and I could hopefully decode them someday. All of this was built upon the most foreign game design I had ever encountered. Every game I had picked up until then felt intuitive, even if I blasted through tutorials. With youthful hubris, I reckoned myself smart enough to figure this game out quickly. *Boy, was I WRONG.* Why were my attacks missing so often?!! Why couldn’t I move my character as far on this grid as the enemy could? Did that guy just destroy my armor? What the heck!!! I gave the protagonist the same birthday as me, but why in the world did that matter? I shelved FFT for a few months, frustrated after being confronted with my own naivety and defeated so soundly in Dorter Trade City time after time. But it had a hold on me, pulling at me to give it another shot. So I resolved to take the time to learn. Thus, a lifelong love of this game was born, and I learned a lesson about my own capacity. I hadn’t realized that a game could teach me more about myself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-33.png) Final Fantasy Tactics: The Ivalice Chronicles. Source: Square Enix. I got my best friend to try it out, and he enjoyed it just the same. In future sleepovers, I would bring my PS1 over and we would play FFT literally all night, trading the controller in 3-hour shifts. The person not playing would either catch up on sleep or help the other as a consulting tactician. I would go back to play FFT every few years and found that each time the story and its themes hit me in a new way. Even today, as I’m playing through the recently released Final Fantasy Tactics: The Ivalice Chronicles, I’m taking screenshots of lines of dialogue that feel FAR too relevant to today’s political atmosphere and class inequality. When I think back, attempting to pinpoint what games were pivotal in stoking my love of storytelling and desire to write, FFT is chief among them. FF7 may have opened my eyes, but FFT opened my mind and continues to do so today. Young PJ would be happy to know that I finally understand everything that this wonderful game offers and all that it has given me. ## Jahanzeb Khan More than any of the latest, increasingly expensive gaming tech, Atari has been responsible for rekindling my love for video games and their rich history. The launch of the + Platform really opened the door for both lapsed gamers and newcomers to connect with Atari's history. Both the 2600+ and the 7800+ consoles are designed to play nearly all cartridges right out of the box. Not only the old cartridges that are out in the wild, but even modern homebrew releases from publishers like Atari Age. Atari themselves have even been commissioning and publishing new releases, not just reprinting their legacy software but even brand new ports, such as the recent 7800 port of Tiger-Heli. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-ab165e3f-aac6-4b04-b2a5-7a3346f75170-1.jpeg) HERO on the Atari 2600\. Photo by Jahanzeb Khan. For me, the + Platform really opened up a whole new world of gaming and game collecting, and being able to play these ancient cartridges on hardware that connects with ease is just one of the coolest gaming alternatives. One of my favourite things to do is to go out and hunt for Atari cartridges, and I've done this every chance I can get when exploring Melbourne or visiting any city in Australia. I'm often amazed to find some really good hauls in the most unlikely spots, and more often than not, I can get them at a pretty good price. If you're going to a retro game shop, chances are that the business owner will know what the games are worth, and so you want to head into pawn shops and thrift stores that are not gaming-specialised, where you are likely to find a random haul of old games that they'd rather get rid of quickly. Oh, and you can always count on your local Rotary Club op shop to give you the best possible deal on games! In my many hunting adventures, I've stumbled upon some really rare Atari games, especially when it comes to the North American releases that were released much later in the lifecycle of the original 2600 VCS console. One of my favourites is this copy of HERO, an adventure platformer that was truly ahead of its time. It was like Metroid before Metroid was even a thing. I was on a trip to Sydney and about to board the train to the airport to catch my return flight, when I suddenly had this weird hunch to check out a random pawn shop in Chinatown. I'm glad I listened to my sixth sense because the secondhand jewelry shop had a random assortment of cartridges tucked away in a corner. I think the owner was surprised that I was interested in buying these, and so I paid nearly nothing for them. My haul from there included the aforementioned HERO and lesser-known 2600 ports of Rampage and Double Dragon. HERO in particular is quite expensive and hard to find in Australia, and so it's the thrill of discovering these hidden gems in the wild (at a great price!) that makes Atari game hunting one of my favourite travel pastimes. Be sure to let us know in the comments about your favorite gaming artifacts!! ### Creating Yōtei, New Vegas Novels, and the Gamified Friend List URL: https://www.superjumpmagazine.com/creating-yotei-new-vegas-novels-and-the-gamified-friend-list/ Last updated: 2025-11-30T06:20:11.000Z November 2025 edition _This post is for subscribers only._ ### Now Playing at SUPERJUMP: Issue 36 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-36/ Last updated: 2025-12-01T01:41:40.000Z **We're back with a brand new Now Playing.** Our team is playing a bit of everything this month, which isn't a surprise with our diverse roster of contributors who jump in each month.We have the latest FPS, celebrated indies, roguelikes, and AAA masterpieces.No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ## Charlotte Huston ### Battlefield 6 I found myself rather intrigued by the prospects a new Battlefield game would potentially have to offer. I’ve always had a love for the FPS genre, and we haven’t really seen the genre’s flagship IPs shine in recent years the way they did in the late 2000s or early 2010s. Those who aren’t familiar with the FPS genre are likely confused about why Battlefield has captivated so many in its launch. It’s been a long time coming for a franchise such as Battlefield to return to glory, to deliver an experience that players truly want. I was hoping Battlefield 2042 could’ve been that game, but it unfortunately had its own fair share of issues while also losing the plot on what makes the Battlefield IP so lovable. Perhaps it sounds simpler than it actually is, but that stellar sandbox-y immersive gameplay fans want from Battlefield does not cater to taking notes from Call of Duty’s Operator format in the way 2042 attempted. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-20.png) Battlefield 6\. Source: Steam. As much as the two franchises get compared, any FPS fan will tell you that the two games play quite differently. Whereas Call of Duty is known for very fast-paced arcadey gameplay, Battlefield prides itself on playing objectives alongside team cohesion. Now was the right time for Battlefield. This moment in time is the perfect instance for Battlefield to truly nail what their fans want, and they were successful in doing that. Interest in Call of Duty has reached an all-time low, with the franchise cannibalizing its own identity with out-of-place collaborations. The average FPS fan does not want to see animated characters running around in their games. They want a game that invokes the feeling of being grounded in reality; the “mil-sim” experience, if you will. When a game like Battlefield 6 releases in a state where it provides exactly what FPS fans are starved for, you get a game that blows up the way this one does. It’s beautiful to see, and it’s an absolute blast to play. I’ve always been a casual fan of Battlefield, so you won’t get a nuanced breakdown of what’s different in the gameplay from me. The game is enjoyable, and that’s all that matters. It feels wonderful to have a Battlefield game we can consider great once again. We should be rooting for Battlefield and even Call of Duty to be great. Call of Duty is feeling clear pressure, as evidenced by the Black Ops 7 beta. Activision is finally giving in and rectifying long-standing fan complaints about the series. When there’s steep competition in a genre, we get better games out of it. The winners here are the consumers, who have higher-quality games that they can enjoy. It’s what we want from AAA shooters, and I’m very happy to see Battlefield doing well for that reason. I’d happily recommend giving it a shot if you are looking to hop back into one of these types of games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-21.png) Dead Cells. Source: Author. ## B. Cantrell ### Dead Cells OK, I’ll admit it: I’m obsessed with Dead Cells. I’ve bought it on almost every platform I own. The only major frustration for me is the lack of cross progression. With a game this deep, progress ends up scattered across devices, and my hard-earned unlocks stay trapped where they were earned. Cross-platform saves would be a godsend. Of course, the smart move is to stick with one version for the long haul, and for me, that’s on the Switch. Because, you see, Dead Cells is very much a long-haul game. By sheer hours alone, it sits near the top of my library, and even after six years of playing it still finds new ways to surprise me. By far, the main thing keeping me hooked is the razor-sharp combat. This is pure action, with every slash, arrow shot, and firebomb feeling visceral. I just love the way busted-up baddies burst into smatterings of crunchy pixel-art confetti - it never gets old. Kills matter too, because enemies drop glowing orbs, which are the currency for permanent upgrades, so you’re incentivised to fight hard and clear every room (unless you're attempting a speed run, of course). Biomes are procedurally generated, and you choose different routes each time, so layouts, mobs, and secrets keep shifting. The roster of levels is huge, too, from toxic sewers and sunset ramparts to haunted shipwrecks and gloomy castles with vampires; there's always something new to see. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-22.png) Dead Cells. Source: Author. Have I gushed about the combat enough? No? Well, here's some more. Enemy encounters are fast and fluid, playing out like a Doom-esque dance of two-dimensional combat chess. You weave sword strikes, projectiles, and tossed grenades while dodging and sliding around hazards. On higher difficulties, it becomes a high-stakes ballet. When it clicks, it feels incredible. But when things fall apart, you usually know why, which makes heading back in for just 'one more run' an easy choice. The epic boss fights really seal the deal, too. Every few biomes, things build up to a frantic test of everything you’ve learned on the run so far. One mistake can end it all and send you back to the start, which makes endgame victories feel like glorious fist-pumping wins. Another aspect I love: beating the final boss is only the beginning. Boss Cells (rewarded after completing a successful run) let you raise the difficulty for bigger rewards. Each Boss Cell added throws down tougher enemies and new hazards, but also higher-tier loot. That moment I realised that finishing my first run was only a warm-up blew my mind. Years later, I’m still discovering new weapons and hidden rooms I’ve never seen. Dead Cells feels fantastic to play and offers depth and replayability in equal measure. For me, it's easily one of the best action roguelites ever made. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-23.png) Keeper. Source: Steam. ## CJ Wilson ### **Keeper** Keeper had my interest based on my experience playing many of Double Fine’s previous games, like Psychonauts, Costume Quest, and Stacking. It’s very much a narrative game with some straightforward puzzles to solve. The gameplay largely revolves around you controlling a sentient lighthouse while also moving a bird who opens doors or turns levers to progress to the next level. While there is no spoken dialogue, the game makes you care about the friendship between the lighthouse and the bird as they make their way towards a mountain. The visuals feature some gorgeous landscapes with psychedelic effects that make Keeper stand out from the games I normally play. As something you can play on Xbox Game Pass, I highly recommend you play it if a short, calming narrative experience interests you. ### **Ryse: Son of Rome** This is an underrated game that I have played several times now, but I just finished it yet again on my Series X on Legendary difficulty. It’s always fun to replay a game that you enjoyed before, and I just wanted to get more achievements after playing some newer releases this year. ### **Dispatch** I finished playing Dispatch earlier this week, and I was pleasantly surprised by the writing and gameplay. I laughed out loud many times as I went through each episode. I appreciated the management sim elements of choosing which hero would work best for a given scenario and seeing the synergies formed among the heroes you create. Certain emotional narrative moments will definitely stick with me for a long time, along with the tough choices I made along the way. I definitely would want to replay it to see what the other choices would look like and see if there are any meaningful changes within the story. Dispatch is certainly a game that I see being one of my favorites for this year. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-24.png) Hollow Knight: Silksong. Source: Steam. ## PJ Walerysiak ### Hollow Knight: Silksong Silksong delivers on every expectation I held in my heart and mind. The combat is far more varied and feels more difficult than its predecessor. Its hauntingly beautiful soundtrack enhances both story and environment. And speaking of the story, the narrative threads are woven more tightly throughout every location, every interaction, every item. Yet it doesn’t forcefully drill into your head with its storytelling. It all feels delicately connected yet reactive to your influence. You can see the web and touch the web, even change the web. In short, I’m consistently admiring Silksong’s narrative design; in a word, I’d describe it as thoughtful. I love how small interactions over time can develop the environment or NPCs, as well as a player’s fondness and understanding of them. It is remarkable how those relationships have the potential to be radically altered in a single moment. I particularly enjoy playing Hornet’s Needolin for every NPC after exhausting their standard dialogue. Each sings a unique song, with words they would not share otherwise. Their tune, their message, gives you an intimate glimpse into their culture and soul: Sometimes it’s funny, and sometimes it’s profoundly sad. Yet it is always an enriching and thoughtful coda from Team Cherry. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-25.png) The Outer Worlds 2\. Source: Steam. ### Fallout: New Vegas & The Outer Worlds 2 I’ve been on an Obsidian kick lately. I’m lumping these two games together since I’m not particularly far in either at the moment. This has been a good year for Obsidian. Avowed is an excellent experience, and one I’ll miss since I cancelled my Game Pass subscription – though I’m eagerly waiting for a Steam sale. In the meantime, I decided to buy New Vegas on PC and play through it for the first time since 2010\. Then I just couldn’t help myself and bought The Outer Worlds 2 as well. It’s great fun so far, making me consistently chuckle at its hilarious writing. It feels very cool to see that Obsidian has kept its core DNA active and alive over the decades. New Vegas encourages an immersive role-playing experience, constantly offering ways to utilize your chosen skill choices through gameplay mechanics or dialogue. It wants you to commit to a character choice, rather than being a Jack-of-all-trades. The Outer Worlds 2 follows suit, jamming every conversation with skill-related options and presenting various ways to utilize your abilities (as long as they’re leveled up appropriately). Both games wind up feeling very rewarding while simultaneously instilling in you a yearning to build an entirely different character next time. Between these two games, I feel spoiled. The writing in each is great. Their stories have me captivated and entertained. Both do a good job of signposting where you need to go to progress the story, but neither ever tells you how you should do it. You have the agency to choose, which is what a good immersive RPG is all about. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Possessors-rift-screen-featured-image.png) Possessor(s). Source: Steam. ## Bryan Finck ### Ghost of Yotei My main gaming endeavour over the last month has been the fantastic sequel from Sony's first-party studio, Sucker Punch. I'm not quite done with it yet due to the fractured nature of my available playtime, but I'm guessing that the end is near. I've loved the fresh story, enhanced and expanded combat, and the multiple relationships that heroine Atsu develops with the various NPCs in and around Ezo. I think it might be padded out a bit too much, but I've rarely felt that any of the activities are dull or repetitive. The visuals are absolutely stunning, a true testament to the power of the PS5, and I'm constantly staring at the horizon and the incredible level of detail in every corner of the world. Make sure you don't miss this one! ### Possessor(s) I [reviewed the new side-scrolling Metroidvania](https://seasonedgaming.com/2025/11/11/review-possessors-a-devilishly-good-time/) from developer Heart Machine Games over at Seasoned Gaming, and really enjoyed my time with it. Combat and traversal are quite enjoyable, with a wide variety of tools available to aid your destructive tendencies and keep things fresh even after many hours. There is ample reason to chase 100% completion, plumbing the world for all its secrets and goodies. The story made me want to keep playing, and there were plenty of late nights spent just wanting to see what was in the next area because the game simply looks fantastic. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Thoughts on Silent Hill F URL: https://www.superjumpmagazine.com/thoughts-on-silent-hill-f/ Last updated: 2025-11-29T15:08:42.000Z **Silent Hill F is not only the first brand new survival horror game in the franchise in a long time, but also the series' first spin-off, bringing the action to new locales and situations.** We leave the horrors of America for a trip to 1960s Japan. While the game presents a fresh take on the series, its gameplay feels like it's being pulled between two horrors. ## Cursed All Over The story follows Hinako, a teenage girl in a rural mountain town. One day, a fog rolls in that seems to cause everyone to disappear, and the town is now full of strange monsters out to get her. She not only needs to navigate the town with the remaining survivors, but a strange man haunts her nightmares. The story is great, and the game avoids retreading the themes and plot of prior games in the series. Hinako is portrayed as a tomboy and someone who does not like that women are seen as nothing more than a traditional housewife to a man. This upsets her father, who views her as less than her older, married sister. The girls of the village treat her as an outsider and a freak because she doesn't act like the other girls, and because her best childhood friend is a boy. The impact of misogyny and how it can be inflicted by both men and women is on display here. While the story may be different, you're still going to wander around seemingly normal environments, getting into fights and puzzle-solving. Silent Hill F, however, does things a bit differently with both. ## Spooky Soulslike? The combat system here feels like an attempt to mirror the more personal and methodical fighting of a Soulslike. You'll pick up weapons from the environment in the everyday world, while the nightmare world has stock weapons. The everyday weapons have durability and can break after being overused, but tool kits can be found to enact repairs. Inventory management is a big deal, as you start with limited inventory slots and will want to fill them up with the various recovery items that heal or provide other bonuses. You can find inventory upgrades that are definitely worth seeking. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-26.png) Combat plays a far larger role here than in previous entries, which does distract from the exploration. Source: Author. Sanity is a new resource that works with the advanced techniques for fighting. You have a light and heavy attack, which both drain stamina on use. By holding down the focus button, you'll consume sanity to either charge for a strong attack or attempt to counter the enemy when they flash to perform a stunning blow. Sanity can also drain if you are hit by certain attacks, and running out means you take increased damage. You can sell certain items for "faith" at the local shrines/save points that can be used to upgrade your stats and equip Omamoris that provide passive boosts. The enemy design here is great despite the presence of just a few main types. Each one moves and behaves differently, with a lot of idle animations and weird posturing to make it hard to read them. These are not your basic mannequin monsters from the previous games, and that extends to the newly designed boss fights that are far more lively than previous ones. I'll talk about this further down, but the combat feels less about survival horror and more like a slower take on a Soulslike. ## Brain Scratching Scares For those fearing that a new Silent Hill wouldn't have fiendishly difficult puzzles, I can put those fears to rest. The puzzle design returns to the roots of the series and survival horror, as you must use knowledge both in and outside of the game if you want to solve them. I played on the highest puzzle difficulty, and it was certainly a challenge. Some of the puzzles require you to understand logic or information without giving you the reference points or material you need, which can lead to frustration. For the very first and last puzzles, I had to look up the solutions, and even knowing it, I had no idea how the clues were supposed to reference the answer. That represents a breakdown in puzzle design – if the clues still don't make sense after you solved it, then the puzzle and/or clues weren't good to begin with. It's like asking someone to solve a puzzle related to John and Jane's favorite colors, but the game never tells you who John and Jane are and expects you to know who the game developer's friends are as a reference. This feels like a return to the player-unfriendly puzzle design that dominated the adventure genre starting in the 80s. The one upside is that the puzzles come paired with an excellent journal system, not only keeping track of the characters and monsters, but also providing a collection of all found hints and their relation to each puzzle. This is something I would love to see standardized among adventure games. However, this does come at a cost; there are far fewer puzzles compared to previous entries, and a greater focus on combat, which takes me to my main issues with the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-27.png) While the game purports to be survival horror, there are a lot of action game and Soulslike design features, including unblockable grabs. Source: Author. ## All the Action and Survival Horror Combat has never been the focus of a Silent Hill game, and has functionally been a bit janky at best. This is the first game to have a fully built combat engine; however, "combat engine" and "survival horror" don't really work together. The aforementioned Soulslike style, on paper, seems like it would work for a survival horror game – Hinako has very long wind-up and recovery animations, so every attack has to be planned out. However, you also have a dodge with I-frames and a punish attack. The game is heavily focused on stunning enemies to deliver more damage, which heavy strikes, focus strikes, and your punish can achieve, and the game is really going to make you use them. This is by far the most combat-intensive Silent Hill game I've seen yet. The horror of being in a town beset by a curse starts to fade after your umpteenth fight as you rip apart your enemies. What I really didn't like from a horror standpoint is that the game wants you to avoid combat and gives you the option to sneak by enemies in spots...and then it locks you into arenas to fight your way out. At one point, the game practically gives you a devil trigger and asks you to rip and tear until it is done. Regarding enemy design, I understand the subtext of featuring an enemy that is about the horror of birth in a game about a girl struggling with misogyny. That said, having an enemy that can infinitely respawn other enemies, in a required arena, in a survival horror game, starts to get annoying, not scary. When you are in those high-action segments, you are still using the very slow, very stilted combat system. While you can upgrade your stamina and sanity, along with the help of the Omamoris, they don't suddenly make the combat faster or provide a new dynamic, such as the auto locks featured in the Callisto Protocol. Sometimes, the enemies just refuse to use any counter-able attack, and you'll need to rely on hopefully getting the stagger off, or you will be attacked easily. There are some Omamori that are really good, but they are tied to the random draw, proving the real psychological horror is gacha. The very fact that there are repeated arena fights in a Silent Hill game makes it tempting for me to give this game an F just on that alone. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-28.png) Even with different endings, you're still going to be hacking and slashing through the game's combat portions. Source: Author. ## Not So Final Perhaps the biggest disappointment is that all this was designed around playing the game a minimum of 3 times, with a total of 5 endings. This is the only horror game I could think of that actually adds new challenges and puzzles on repeated playthroughs of the main quest, but it's all built on the same annoying puzzle design and repetitive combat. I do like that the world is different, leading to more information and additional content, but you must go through the entire game again to begin seeing this. The best parts of this game are when you get to wander around looking for clues and investigating, and you can do far more of that on your second playthrough and beyond. Besides having upgraded stats to decrease the difficulty, just having more inventory space to hold and experiment with the additional items also makes things easier. An item I neglected on my first run that would have helped tremendously is the one that gives you infinite stamina for a few minutes. However, asking the player to repeat the majority of what they just did so that the story makes sense doesn't really work in my opinion. Either the game needs to feel like a different experience, such as Madhouse mode from Resident Evil 7, offer a brand new experience like the Route A/ Route B setup in Resident Evil 2, or just let the player tear through everything they've already done to get to the new stuff. ## A Loud Failure For me, Silent Hill F fails when it comes to puzzle and combat; as a survival or action horror game, it just doesn't work. I wonder if the developers saw the success of Resident Evil 7 and its successors, and felt that the solution to bring back Silent Hill was just to add more combat and action. The story and monster designs are great, but focusing so much on combat, even to the game's difficult final boss, feels like a bit of a betrayal of the series. It's hard to be introspective and learn more about yourself and society when you're busy dodging multi-hit combos from all sides while trying to find the punish tell. *(Note: This review was written with the 1.0 version of Silent Hill F. Following the release, the game has had a balance patch that has reduced the difficulty and the amount of encounters, but I have not had a chance to replay it to see the exact changes).* **Be sure to follow me on* [**Bluesky* ](https://bsky.app/)**for all my updates on design talks and random game design questions* ### WordPlayer: It Takes a War Is a Sad, Loving Ode to Your Friend List URL: https://www.superjumpmagazine.com/wordplayer-it-takes-a-war-is-a-sad-loving-ode-to-your-friend-list/ Last updated: 2025-11-26T14:38:03.000Z **It Takes A War - the new game from Thomas Mackinnon, developer of** [**The Corridor**](https://store.steampowered.com/app/1347030/THE%5FCORRIDOR/) **\- opens in a way that few single-player games do:** by pretending to check your Internet connection and microphone before dropping you into the first round of a fake, Counter-Strike-inspired deathmatch game. As you run through the TDM\_FILTH map, gunning down the enemy team with a small variety of generic weapons, the rest of your team is filled out with a squad of players who all clearly know each other and have a history of playing games together. You're the lone rando, and you're told your microphone privileges will only activate once you've played a match through to completion. In other words, you can't join in on the conversation, but you're going to have to listen to it. What feels like it's going to be a quick game soon turns into something else entirely: a seemingly never-ending, increasingly existential experience, one that you're going to have to ride out with these strangers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-10.png) Source: Steam I'm going to do that annoying rhetorical thing where I admit that I have to really talk *around* It Takes A War somewhat in this article. I'm not going to say you should go into the game completely blind - I would like you to stick around to read this piece, after all. This isn't a game predicated on a massive twist so much as it does a bunch of fun and interesting stuff across its 45-odd minute runtime. I can say that the game gets weird in ways that I liked, that I'm comfortable recommending it to anyone who likes interesting narrative experiments, and leave it at that. What I can say, without spoiling any of that weirdness, is that It Takes A War is a single-player game about playing games with your friends. Perhaps more pointedly, it's about your *friend list* \- that list of people on your system that you, ostensibly, could jump into a game with at any time. If you're anything like me, you've accumulated a lot of people on your friend lists across multiple consoles over the years. It could be that you have a dedicated group of people you play with often. Perhaps you'll go online one day and see an old friend playing the same game you wanted to jump in on, and you'll join their game, giving them a little thrill as they see (and perhaps shoot at) a familiar face. Maybe, like me, you really enjoy seeing what other people are playing, but don't often jump into games with them anymore. The story in It Takes A War is about a group of friends who play together, and a conflict that has arisen within the group. Is this friendship, which has become so built upon these games, an equal friendship? Does it extend beyond the game they're all playing together? The game - which is somewhere between a shooter, an art piece, and a very light horror experience - explores these questions with your teammates before turning the question right back on you. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-11.png) Source: Steam The way it represents that conflict is interesting, and I won't spoil it here; suffice to say that it tapped into something I was already feeling - a sort of melancholy for the increasingly quiet online spaces of my life, the ones I still pop my head in on without engaging as directly as I used to. I'm in my late 30s now, and it's been a long time since I last got seriously invested in an online team-based game. Back in the Xbox 360 days, I would play online with friends regularly, jumping in at various points throughout any given week to see what the folks on my friend list - a mix of real-life and online pals - were playing. We jumped between different games regularly, but tended to concentrate on shooters - lots of Call of Duty, lots of Halo, and a dabble in Gears of War. The one that sticks out the most in my mind is Battlefield: Bad Company 2, a game that I would reliably play with these friends a few times a week over a period of at least several months - possibly as long as a year. Now and then, I'll look through my friend list on each system. On every list, there are people who have simply disappeared, both from my friend list and, by extension, my life. The Xbox friend list is the worst offender for what I think are probably obvious reasons, but all my other friend lists also contain people who simply stopped logging in one day. Many of them are people I met on gaming forums that no longer exist, or social media that I no longer post to, or through my work as a writer, where I've seen so many people exit. I see their names and remember that we were once people who played together, as younger adults. I think about the parts of my life that have changed since we played together, and I wonder about the ways their lives have changed, too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/202511-1.JPG) Screenshot taken by author Recently, I made my Steam activity private for work reasons I won't get into here. It means that whenever I log in and play a game - including It Takes A War - no one can see that I'm doing it, and to anyone who monitors their friend list and sees my name, it'll look like I have not played any games on Steam in a few months. To people whose only remaining connection to me was their Steam friend list, it might look like I'm disappearing, too. They can't see that I am playing this game and thinking about them. It Takes A War understands this melancholy. The shooter you're playing is pointedly out of date, the sort of game that you might have enjoyed with less irony 20-odd years ago over a crappy Internet connection - a throwback to a different time. It's the kind of game I more actively seek out now; a short, single-player, narrative-driven experience that gives me something to think about and then lets me move on. It's somewhat ironic that it has left me thinking about the past so much. To all the old friends who made those Xbox 360 shooters so fun to play online, and to all the folks on my PlayStation, Nintendo, and Steam lists who simply stopped logging in one day - hello, I hope you're still out there, and I hope you're well. ### Celeste on Trans Remembrance Day URL: https://www.superjumpmagazine.com/celeste-on-trans-remembrance-day/ Last updated: 2025-11-26T03:48:10.000Z **Playing Celeste was a good idea, but I didn’t make any progress until a friend took pity on me.** He gave me instructions on how to activate the game's invincibility mode. As Madeline, whom I renamed Angel because the game gave me the option, I was navigating a dangerous mountain with numerous supernatural obstacles and strawberries as a bonus reward. Celeste updates haven’t been my top priority. I knew about the 8-bit spinoff but had otherwise put Celeste out of mind. Finding out that the game became a symbol for the trans community snapped me back to attention. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/data-src-image-8900fa56-26f3-4ebc-ba37-d40e0f840226.png) Source: Maddy Makes Games. On November 20, 2019, during Trans Remembrance Day, the Celeste crew posted the above screencap. You reach this point in the climb at the first chapter’s conclusion, where you can pay homage to the other mountain explorers who didn’t survive. The game does, with the memorial reading “This memorial dedicated to those who perished in the climb.” Soon after, Madeline has a nightmare of a dark self and her past haunting her, with a phone call to someone she knows would never dial her. ## A Climb to Crack Your Egg It struck me, as more trans people are fighting for the right to exist, how Madeline is determined to climb. The mountain residents and guests like Granny and Theo ask her why she does it. She doesn’t have to traverse this mountain all the way to the top. Theo explores the ruins while Granny provides meals and instructions for the visitors. Madeline can’t answer the question, admitting that she doesn’t know why she needs to climb, only that she must. It’s not that she expects to see or experience an epiphany at the peak; Madeline feels that she needs to complete the journey. The mountain helps people uncover their psyches and selves. Madeline’s insecurities, anger, and fear manifest in doppelgangers and colorful hazards. The more she persists, the more trigger-happy the obstacles become. Madeline wants to succeed because she needs to bring out that darkness and all her fears. She had an egg to crack. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/celeste-1.png) Source: Steam. ## What Did Celeste Uncover? Developer Maddy Thorson is trans; she came out [on Medium](https://web.archive.org/web/20201212011516/https://maddythorson.medium.com/is-madeline-canonically-trans-4277ece02e40) in a post that also revealed that the fictional Madeline is trans. Obviously, a gender identity doesn’t stay solid and can take a while to explore, so that gender could change in a few years or not at all. Thorson puts it best in the opening paragraph: > “But these are things that I was not aware of during the development of Celeste, where I was writing Madeline and speaking from her perspective. Creating Celeste with my friends helped me reach the point where I could realize this truth about myself.” The team had also discussed revealing Madeline’s identity in the Chapter 9 DLC, an additional adventure that allows the player and Madeline to give a proper farewell to an important character. I haven’t heard of creating a game that helps the egg crack, but it makes sense. Jane Schoenbrun said they wrote I Saw the TV Glow to talk about their transition experience, and a good number of viewers mentioned they realized they were trans or nonbinary as well after seeing the movie. Co-star Jack Haven, who plays Maddy inTV Glow, came out as nonbinary after the movie’s premiere. Nate Stevenson mentioned that, in hindsight, concept art for the graphic novel Nimona, with the title character shapeshifting into a beefy man, was his subconscious speaking. For better or for worse, someone’s identity may not manifest as soon as they enter this world. It can take years, not helped by societal pressures or expectations. There’s a reason why many gay men and women end up in conventional relationships at a young age, only to languish within such a sham. Sometimes creations have those hints of what the subconscious knows. Internal crises show up within the narratives or character designs. Video games provide an excellent way to explore these conflicts because many different avenues allow us to play as different people, creatures, or beings. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/celeste-screen-1.png) Source: Steam. ## Uncovering Your Uncertainty Madeline has to climb the mountain to deal with the growing storm within her. The natural hazards bring out her inner doubts and fears as Badeline, a floating entity that sends monsters to chase her host. While at first all Madeline can do is run, she tries to fight back at the first opportunity. She insists halfway through the game that she doesn’t need Badeline. Who wants a doppelganger chasing after them and trapping them in mirror temples? Badeline seems bad for Madeline’s health and later Theo’s well-being. Unfortunately, we can’t escape our negative feelings or doubts. We all fear failure and have hope right before life dashes it to bits. Badeline affirms violently that Madeline can’t tell her to go away or use a breathing exercise to fend her off. The two have to come to an agreement. To truly reach the top, Madeline has to reconcile with Badeline. Every human has those doubts and fears. If you have generalized anxiety, the anxiety is trying to keep you safe even as it makes you physically ill. Fighting it only makes you feel worse; what helps is when you confront it and communicate with others about it. ## Keeping Trans People And Representation Alive 2025 has truly become the year where we find out who we are. Who are we when our vulnerable neighbors and their creations are attacked? What will we do to resist the absurdity? I’ve seen those who stand up, communicate with their Badelines, and face pure evil. Others fold, and still more cheer on the cruelty. We have to keep climbing. If we don’t need to climb, we can provide support for those at the mountain base. It’s a good time to return to Celeste and the mountains that we have to climb. I understand Madeline better with this concept, and I hope more people climb the mountain, making it to the top. ### The Interplanetary FINAL FANTASY IV URL: https://www.superjumpmagazine.com/the-interplanetary-final-fantasy-iv/ Last updated: 2025-11-24T20:33:33.000Z **The implementation of so much innovation rarely goes as well as it does in Final Fantasy IV.** In every area, Cecil’s fantastical road trip to the moon innovates and improves on the mechanics and writing that Final Fantasy III set out to do. For the first time, we see Final Fantasy begin its inexorable crawl towards action gameplay by implementing the ATB (Active Time Battle) system. The extra storage afforded by the Super Famicom allowed for a story and characters deeper than we had previously seen in the series. All of this culminated in the incredible adventure that finally redeemed the Dark Knight and sent Final Fantasy into space. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Spoilers_Ahead.png) Major spoilers ahead for Final Fantasy IV. ## An Epic Tale Final Fantasy IV’s story is in stark contrast to the tale of the four nameless Warriors of Light seen in the previous game, even though a surprising number of elements have remained the same. We start our story as Dark Knight Cecil, who is in service to the King of Baron and tasked with bringing the mad King all of the world's crystals of light. The crystals are currently owned by each region's ruling group, and Cecil comes to realize that his task would involve robbing these mostly defenseless people. This task leads him out of Baron and through a cave to the small town of Mist. I want to highlight our main party quickly, as I think that they are the strongest part of this game. They help tie the narrative together and give me a better reason to care about the fate of this world. Cecil is our main character; overcoming his manipulation at the hands of the Baron and becoming the warrior of light is his heroic trait throughout the story. Seeing his unwavering dedication to his mission, while watching Kain continue to serve Golbez, makes him an outstanding main character that is easy to grow attached to. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/20250930125007_1.jpg) Ah the Mist Dragon of Mist Cave on my way to Mist Village. Source: Author. Kain is the foil to Cecil; his betrayals lead us to believe that the manipulation Golbez achieved while Kain was in the Dragoons and Cecil commanded the Red Wings was so absolute that Kain would give up his best friends for the mad sorcerer. Out of all of the comings and goings, I really only appreciated how they handled Kain's. Also, jumping is the best move in Final Fantasy, and I know it’s not actually stronger than other moves, but the big number makes me feel really good. Rosa is Cecil's main love interest, characterized by her loyalty to Cecil, never straying far from his side. She also never gives up on Kain, making the friendship between the three of them shine amongst all of the other characters. Rydia is the girl that Cecil finds after destroying all of Mist. I kind of wish that there were more of a father-daughter relationship between her and Cecil; however, I also really like that she gets to find her spiritual plane and have the independence to learn her craft on her own. ## Battling With Time Coming in pretty hot off Final Fantasy III, the ATB bar caused me immediate distress. Even though I knew that wait mode was enabled, I still felt the pressure of that little bar pleading with me to navigate the actions menu as fast as possible. This isn’t so bad after a few battles when you have only Kain and Cecil to worry about, but seeing a wizard's whole spell book caused me to concede to the clock as I would decide which spell to use. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/20251102173336_1.jpg) Bone Dragon. Source: Author. After beating the game, I admit that I really enjoyed the ATB system. It’s no Chrono Trigger, but unfair comparisons aside, it helps make battle much more engaging. I hadn’t realized, but from the NES trilogy, I had developed a habit of taking a drink or throwing a few chips in my mouth as soon as a battle started. That is NOT something that you can do in this game. Well, you can with the wait mode; it’s hard to explain, but that little meter demands your attention even if it does wait for you. After 20 hours, I still could never convince myself that the enemies would actually wait in wait mode. Another growing pain that I faced was just having to pay attention to both the menu bar and the action happening above. Very often, an enemy would attack at the exact moment that one of your character's ATB meters filled. My attention was drawn to the menu, causing me to miss the damage number shown after the enemy took a swing at a party member. There were so many times that I would choose to heal a party member only to find that a different party member had just lost half their life, chunked away by an enemy attack. Mastering the ability to watch these numbers is really thrilling. I used to play healer in Final Fantasy XIV for exactly the same rush of managing multiple health bars and timing them with your own cooldowns. I think many of the damage dealers also function in such interesting ways. Queuing up damage feels so good as you are inputting new moves while watching Kain come down from a Jump that you sent him on a few seconds before, then all the action stops as Rydia calls in an epic Summon. Removing the turn-based action and allowing the characters' actions to be just slightly delayed brings us a bit closer to actually seeing a live battle happening in the main window. --- Cecil finds out too late that the price of his loyalty to the King was to genocide the summoners living in the town of Mist. He then learns that the King was only a puppet to a dark sorcerer named Golbez, who wants the crystals so he can activate the Tower of Babel and reach the Moon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/20250930125449_1.jpg) I QUIT! Source: Author. My only complaint with the story is that the pacing is absolutely atrocious. Every single dungeon in the first half of the game will swap party members and tell all of their stories in fairly compact chunks that I wish were expanded throughout the journey. Many of the characters are actually put on bed rest after the overworld section, as they don’t have any story left to explore. The side quest format of Final Fantasy III is used to tell these characters' tales when they easily could have been woven into the main plot and explored over many hours instead of only one or two. I thought that I really disliked the ATB system in the first hours of Final Fantasy IV because of the overload of looking through the enormous spell libraries of Tellah, Palom, Porom, and Rosa. After finishing the game, I know now that my problem was not with the ATB system, but the storytelling method in which characters are so frequently added and removed from your party. Perhaps fans of this game think that this type of gameplay variety enhances the experience. I found that it caused combat encounters to feel slightly rushed, as you fumble through spell selections to cast something from a list that you only received about 30 minutes prior, which won't be used again after that specific cave. Notably, this section contains Cecil’s redemption, in which his class is changed from Dark Knight to Paladin. Veterans of the series up to this point will be familiar with the Dark Knight twist, which most Final Fantasy games rely on; the classic Star Wars reveal, where the dark knight is revealed to be truly good at their core. The Paladin transformation, however, is wholly unique to Final Fantasy, and for the first time, we see a true departure from the “Dark Knight is Darth Vader” plots that we’ve seen before. Well, at least for now, that is; more on that when we discuss the ending. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/20251013214844_1.jpg) The child of light. Source: Author. It is soon revealed that Rosa has been captured by Golbez, who demands the final crystal as the price for setting her free. Cecil hands it over without any other plan, and the group makes their escape from what was definitely a trap to kill all of them. Their destination is quickly revealed: Apparently, there is a whole other land that lies beneath Earth's surface, and they must go there to stop Golbez from taking the four crystals of darkness. This underworld segment puts the gang on a bit of a losing streak. They are, time and time again, unable to stop Golbez from taking all of the crystals. I had really started to feel bad for the party, and even worse, almost all of their friends had to sacrifice themselves to effect the narrowest of escapes. Towards the end of this act, Kain even comments on how insane it is that people keep giving their lives without thinking about another way first. In the wake of losing Yang, Cid, and Tellah, it’s becoming too much. So let’s talk about Tellah. He is, without a doubt, my favorite character, with only Kain as a close second. Tellah’s daughter Ana runs away with Prince Edward early on in the game and is consequently blown to smithereens by the Red Wings during a bombing raid. Tellah then tracks down Edward and beats him black and blue while calling him a “spoony bard” until they are forced apart. He then swears to learn the most powerful spell in Final Fantasy and kill Golbez all by himself. There is a section where he learns Meteor and yells, “I am doom itself!” and runs out of the room to go find Golbez. The man was crazy. He gets his encounter with Golbez, but it doesn’t go well, as ultimate magic in the Final Fantasy universe drains your life force if you aren’t strong enough to use it. He fails to kill his mark and loses his life in the process. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/20251013215234_1.jpg) Oh Tellah, you legend. Source: Author. Throughout Final Fantasy IV, you have to fight the four elemental lords much like you do in Final Fantasy I. These fights are largely unremarkable except for Rubicante. In the underworld, you team up with a young Ninja named Edge, whose parents have been turned into monstrosities by Doctor Lugae. They are being held by Rubicante in the Tower of Babel. In a heartbreaking scene, you watch Edge's parents kill themselves to prevent harming their son, then you must face Rubicante. This is an extremely difficult boss fight and becomes one of the biggest failings of this early implementation of the ATB system. Without telegraphed moves like you would see in a game like the beloved Chrono Trigger (which came along 4 years later), timing these hits the way that the game wants you to is hit or miss (literally). Many online guides recommend that in most of these fights that ask you to learn timings, you are advised to just smack with Cecil and ignore the mechanic almost entirely. This is easier than timing casts of Blizzaga, but Rubicante is still no pushover, and if you can’t survive his larger attacks, you won’t be able to pass him. Golbez finally arrives on the moon with all of the crystals. We still don’t know what he wants there, but we know that we have to stop him. In the same town that you rob at the beginning of the game, the village elder raises an excellent airship (spaceship?), the Lunar Whale, from the ocean to send you and your party to the moon. At this point in the game, you are free to do a few side adventures that involve getting all of the summon spells for Rydia and smacking Yang on his bald monk nogin with a frying pan. I really enjoyed the Land of Summons quest line, and its rewards make it a great detour. Bahamut's Mega Flare is the coolest magic spell in the game, and it never gets old. On the moon, you learn that Cecil is actually the descendant of a race of Lunarian people and that Golbez is his brother (see, I told you we’d still get our Darth Vader story). Golbez was being used as a puppet by Zemus, which makes Kain a puppet’s puppet, which is hilarious but also shows the reach of Zemus’s manipulation. Golbez uses the crystals to summon the Giant of Babel from the black pit to destroy the entire world. One giant kaiju robot fight involving dwarven tanks and mage airships later, and we are in the final dungeon, on our way to the core of the moon to stop Zemus for good. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/20251103203900_1.jpg) Zeromus, Master Manipulator. Source: Author. As always, the final dungeon in a Final Fantasy game is the most intense and the most fun. You command the main party that you’ve been honing for the past 5 hours, and your skill in ordering them should shine through brilliantly across all of the challenges on the moon. Sadly, though, the final segment highlights all of the issues that I had with the early hours of the game. Swapping party members over and over doesn’t let you feel the progression of your party, and to see all five main protagonists operating at full strength right at the end emboldens that fact. Cecil watches as FuSoYa and Golbez fight with Zemus. Killing him sheds his physical body to reveal something else. With the prayers of your friends aiding you, you dispel the illusion and reveal Zeromus (the spirit and hate of Zeromus made incarnate). This fight was tough, but I’m four Final Fantasy games in, so I know the drill. There was no way that I could survive the final boss's party nukes, so I ground out ten more levels on the moon. Thank god for the Pixel Remaster; I just cranked experience gain up to 4X and fought 8 Behemoths and 6 Dragons, and I was ready. With proper management of my health and good Dragoon-jump timing, Zeromus goes down without a sweat, and the world is saved. Typically, I would have given this a few more tries before grinding out levels to see if I could beat it with some skill and a big spoonful of luck, but they had placed a five-minute unskippable cutscene right before the fight, so my tolerance was a little lowered. All in all, I enjoyed this fight just as much as Chaos from the first game, though out of the four games so far, Chaos is still the most fun to actually fight. --- I love the cyclical nature of Final Fantasy. For me, there doesn’t have to be any additional reason why evil exists. Good and evil are forces of nature, two sides of the same coin. Zeromus reminds us of that as he is defeated, and our heroes despair. “How can we truly win?” they ask, a little dejected. Cecil is the warrior of light and the embodiment of good, the force of nature sent to balance all things. And when the light grows too strong, the warriors of darkness will be sent to balance things just as Cecil has. Every Final Fantasy to this point follows this ideology: for every dark god possessing a power-hungry man, there is a warrior of light sent to stop him. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/20251102205121_1.jpg) That's my bestie Bahamut. Source: Author. Final Fantasy IV treads very neatly in the lines of tradition while striking out and blazing a new action-combat trail that will eventually lead to Final Fantasies more resembling Devil May Cry than its Dragon Quest roots. Despite lulls in the story's pacing, I relished every bit of character development and each fast-paced battle. This is widely recommended as an excellent starting point for the series, and I wholeheartedly agree. Final Fantasy IV feels like the start of something big, and if I were playing this as a kid in 1991, I would be on the edge of my seat waiting for whatever Hironobu Sakaguchi would make next. ### Shipwrecked 64 Has an Upcoming Sequel URL: https://www.superjumpmagazine.com/shipwrecked-64-has-an-upcoming-sequel/ Last updated: 2025-11-22T15:11:01.000Z **Did the success of a horror ARG made by one college student surprise you in 2024?** That one person who looked at the genre of mascot horror and grounded it in a plausible time period? It surprised me pleasantly. As an animation nerd, I appreciated a game that understood how important research is for immersive meta-fiction. Shipwrecked 64 supplemented its story-within-a-story, of a company overworking employees it exploits in unusual ways, with jumpscares and gorgeous animation. Now the world of Broadside Animation is back with hotels! We don't know if it has men with axes or twin girls since all the characters in-game are anthropomorphized creatures, but we know the hype is real. Note that the ARG isn't over; Broadside Animation's shenanigans will unfold over a series of website updates before releasing a Steam game titled Hotel Investigation 09\. The updates, titled "Phases," will crack the Easter eggs, revealing what happened to Broadside after the CEO engaged in unethical deeds, and not to improve stock options for investors or to fuel his ego. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-15.png) While we have to wait for the full HI-09, as creator Squeaks d'Corgeh abbreviates it, a preview game is available online. Go to[ https://hi-09.com/](https://hi-09.com/) to play a demo nicknamed The Waiting Room. If you would rather get the Cliff Notes, there are playthroughs and [streams](https://www.youtube.com/watch?v=EFlhEOoa1nw) online. ### What To Know About Squeaks d'Corgeh Squeaks d'Corgeh has worked on Shipwrecked 64 for three to five years, first releasing the game in 2022\. Squeaks then retooled the game and reintroduced it to the world in January 2024. Full disclosure: Squeaks and I both support the YouTuber Nightmind through Patreon, and thus know each other in a social Discord. In fact, Discord was how I first found out about Shipwrecked 64 when Nightmind started streaming and analyzing it. He's also shared some progress with little spoilers, and I may have the twenty-second song stuck in my head for a while (I hope it becomes a meme with the full release). Squeaks also offered to read this draft and fact-check it, and he has permission to modify anything that seems too spoiler-y. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-16.png) ****Message from Squeaks during Nightmind's stream of The Waiting Room. Source: Discord.** If you want a detailed recap of what happened in [Shipwrecked 64](https://www.superjumpmagazine.com/shipwrecked-64-is-the-2024-horror-sleeper-hit-we-needed/), my thoughts are here. But to make a long story short, a cutesy video game paying homage to the Nintendo 64 era had evidence of murder. Not just murder, but also rich people trying to emulate Victor Frankenstein while adding cute mascots to the mix. One heir to corporate corruption mixed with generational trauma wants to find the truth, but releasing it to the world may have dire consequences. ## The Hotel Update In line with Broadside Animation attempting to prove it could compete with Disney during its 1980s flop era, they opened nine hotels to host Studiogrounds theme park guests. Only eight opened, while the ninth one became a ghost-hunting spot. The new game, where we literally have to wait for the next round of horrors, is set inside this mystery hotel. In the Waiting Room demo on the H09 website, Stumbler comes back for an encore from Shipwrecked 64\. He serves as our introductory narrator, though Chief Wulf also makes audio cameos. An artist who lost his hands but has great dreams, Stumbler gives random facts about Leonardo da Vinci and discusses procrastination. He shows more awareness of his plight and the reasons behind his creation, both inside and outside the Broadside canon. Tragically, Stumbler knows there's nothing we can do to fix his situation. He knows he was created for the developer to vent about a real person. The player has to either follow the rules or break boundaries, which hurts the NPCs; we don't have a compromise or a means to help Stumbler. Stumbler uses his narration to vent about his plight and provide necessary exposition. Meanwhile, the player is a new animal, Officer Howlz. Howlz has to explore this recreation of Hotel 09 to rescue a hostage. He seems to take Stumbler's monologuing and warnings in stride despite Stumbler's occasional nihilism. So far, Howlz and the player can use his camera to uncover secrets. The rooms, however, don't yet allow for progression beyond that. ![A chalk drawing on a wall of a camera, telling the player to press B or Q to use it.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-41.png) The Waiting Room. Source: Broadside Animation The Waiting Room hints at a meta-narrative that covers crossover episodes. Howlz isn't part of the original Shipwrecked 64 crew, instead hailing from another Cogware Game, Blundercover. It makes me wonder why he's game jumping to solve this mystery. A real-life Nintendo equivalent would be Mario tunneling into the Castlevania world to stomp on vampires, while in edutainment, it would be Reader Rabbit running to help the Cluefinders. Some fans have theorized that the Waiting Room and the Hotel 09 ARG are preparing players for a Blundercover "recreation". If the secrets of Shipwrecked 64 involved murder and necromancy, what could Blundercover reveal that would be even worse or more dramatic? What *is* worse than murder? ## Come Play With Howlz and Chief Wulf That Squeaks has been able to keep spoilers under wraps is amazing. He has an audience that wants to uncover more Broadside Animation secrets. One video game has linked the company to workplace abuse and murder. We aren't going into the theme park, but Hotel 09 may have its own secrets without needing the Disney or Universal analogy. It's going to be a long wait for the whole game to be released and for the next Broadside chapter to be revealed. Still, the community is waiting patiently, carefully viewing every update and Easter Egg. Saving Bucky was not an option, but maybe the other NPCs still have a chance. ### The Retired Fallout Modder Who Now Writes Novels URL: https://www.superjumpmagazine.com/the-retired-fallout-modder-who-now-writes-novels/ Last updated: 2025-11-21T01:06:35.000Z **Since its release in 2011,** [**Fallout: New Vegas**](https://store.steampowered.com/app/22380/Fallout%5FNew%5FVegas/) **(FNV) has had no shortage of mods—initially to keep the game from crashing and allow the player to move faster than a snail.** Soon, however, the modding market quickly branched out into a vast array of weapon mods, companion mods, sex mods, weapon companion mods, weapon companion sex mods, and most notably, quest mods. The Nexus page for FNV has over a thousand quest mods, among them mods allowing the player to [build their own casino in Primm](https://www.nexusmods.com/newvegas/mods/40433), [rebuild the Enclave](https://www.nexusmods.com/newvegas/mods/39531) (but as good guys), or travel to places like [California](https://www.nexusmods.com/newvegas/mods/45138), [Utah](https://www.nexusmods.com/newvegas/mods/63332), or [Oregon](https://www.nexusmods.com/newvegas/mods/68009) to spread their ideals. Many of these mods are ambitious undertakings, with some taking years to build. However, a second category of ambitious quest mods exists in which modmakers make several mods over the years, each with its own story, but also telling an overarching narrative. Though the most prominent such modmaker is [Someguy3000](https://next.nexusmods.com/profile/Deleted2159825User/mods?gameId=130&sortBy=endorsements), other such modmakers include [Rikkurikku](https://next.nexusmods.com/profile/rikkurikku/mods?gameId=130&sortBy=endorsements), [CellblockPsycho](https://next.nexusmods.com/profile/CellblockPsycho/mods?gameId=130&sortBy=endorsements), and [Th3Overseer](https://next.nexusmods.com/profile/th3overseer/mods?sortBy=endorsements), whose six-mod series has racked up nearly 400,000 downloads—and who, in a virtually unprecedented move, is now adapting those very same mods into novels. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-8.png) A world of depravity beckons in Fallout: New Vegas. Source: Th3Overseer. Th3Overseer got into the Fallout series in 2009 with Fallout 3, and loved it so much he preordered Fallout: New Vegas as soon as possible, which was a terrible error as FNV at launch was virtually unplayable. Time went on, however, and he discovered YouTuber [Alchestbreach](https://www.youtube.com/alchestbreach), who both played and made his own mods and showcased them on his YouTube channel. Galvanized by Alchestbreach, he decided to give modmaking a shot, and after a few smaller mods, produced the quest mod “[The Initiation](https://www.nexusmods.com/newvegas/mods/62365),” which expanded the Great Khans’ quest line. “\[The Initiation\] was atrocious in hindsight, but proved I could make these things,” says Th3Overseer. “The Initiation sucks, and I regret everything. Baby’s first mod, and all that.” Despite its professed shortcomings, the mod has garnered over 2,000 endorsements and nearly 40,000 downloads on Nexus. Following The Initiation, Th3Overseer began creating a follow up: His next mod, “[Eliza](https://www.nexusmods.com/newvegas/mods/64352),” features a fully-voiced companion of the same name. Eliza, admits Th3Overseer, “genuinely is two mods that are sloppily tied together. One was a western storyline with the Khans and a wacky new companion character, and the other was a thing about criminals and espionage.” He welded them together and got the idea while he was making it to tell an overarching narrative across his mods. Although he was dissatisfied with the fusion in the mod, “Eliza” remains the favorite of prominent New Vegas YouTuber [Mike Burnfire](https://www.youtube.com/user/mikeburnfire). Burnfire likes Eliza because, in his eyes, “She's a memorable traveling companion that confidently asserts herself without becoming overbearing or obnoxious, which can be a tough line to walk.” The story of The Initiation continues in Eliza and then into the next mod in the series, [Headhunting](https://www.nexusmods.com/newvegas/mods/65790). During Headhunting, the Courier (the hero of New Vegas) tracks down bounties on people all across the wastelands, from disc jockeys to bridge sellers to ransom-seeking kidnappers. The Courier even has a massive shootout with a sprawling family of inbred moonshine-swigging hillbillies. Eventually, the skeleton of the series' story arc was formed, with most of the plot driven by two dueling antagonists: Senator Burke, a corrupt New California Republic senator who represents the worst aspects of the Old World; and Sheridan, a notorious psychopathic raider leader who represents the worst aspects of the New World. Sheridan’s associates provide violent, overpowered targets for the Courier to fight across the series, while Burke’s associates try to hamper the Courier politically and send assassins after them when all else fails. Another recurring organization is the Office of Mojave Affairs, a shady NCR agency working in the background with enigmatic motives and loyalties. The plot line of the series would see the Courier working to take down Burke and Sheridan, taking lots of drugs and making lots of money along the way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-9.png) Ultraviolence plays a large role in Th3Overseer’s mods, as in the main game. Source: Th3Overseer. "[The North Road](https://www.nexusmods.com/newvegas/mods/66160)" came next, where the Courier roams a devastated part of Nevada north of New Vegas to capture or kill a child molester, in a plot line Th3Overseer says was inspired by Sin City. It was followed by "[The Depths of Depravity](https://www.nexusmods.com/newvegas/mods/68893)," in which the Courier confronts some of the most evil and corrupt aspects of the NCR. True Detectiveseason one was a major inspiration for Depths; however, as with The North Road, its story quickly became its own unique and fulfilled plot line. “[The High Desert](https://www.nexusmods.com/newvegas/mods/71514)” is the unintended conclusion to the series, in which the Courier helps set up a saloon in Primm, goes on a drug trip in a commune of kooky characters, and works for a lesbian pirate. The series was well-received by the community. Aside from the thousands of downloads and endorsements, other prominent YouTubers like [Ramblelime](https://www.youtube.com/@ramblelime) have spoken of their fondness for the mods. “\[Th3Overseer’s\] mods improve over time and build on each other,” Ramblelime says. He views that as one of their strengths, together with how the mods fill out the world of New Vegas. He added, “My favorite is The Depths of Depravity…it’s a fascinatingly gritty mystery; a mod has never been able to give me that pit-in-my-stomach feeling before or since.” Ramblelime even made [a retrospective video essay analyzing the series](https://www.youtube.com/watch?v=X6dSQfQYqlY), speaking to its strengths and weaknesses. --- Despite having five or six more mods planned, the series was discontinued after The High Desert. In 2021, Th3Overseer was already taking a break from FNV to focus on other projects. Then Nexus Mods, the massive modding website that hosted all his mods, announced a series of sweeping changes to their policies. Most notably, Nexus removed the right for mod authors to delete their own files from the website, something Th3Overseer publicly protested as unethical. Nexus removed his announcement, accused him of spreading misinformation, banned him from posting images on the site, and threatened to terminate his account if he ever criticized Nexus’s staff again. Th3Overseer was incensed, deciding to semi-retire from modmaking and not to release any of his future quest mods on Nexus again. He has released a series of humorous mods, such as adding Dr. Gregory House to the Lucky 38; anime girls to Red Rock Canyon, the Pip-Boy, and the Powder Gangers; and Sonic the Hedgehog to a set of armor. He's also made a few serious quality-of-life mods. None of these mods has been released on Nexus. In 2022, as it became evident he was unlikely to work on any more such mods in the near future, Th3Overseer released an outline of his future unmade mods, explaining how the Courier would wipe out Sheridan’s gang and deal with the Burke family. He answered various questions on his Discord and other social media about his various plans as well as other unresolved plot threads, but for the time, it looked like that would be the end of the Overseer series. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-18.png) Source: Th3Overseer. In 2025, however, things changed. Th3Overseer (just barely) makes ends meet doing various freelance writing gigs and is currently trying his hand at his own low-fantasy series. In the midst of his writing career, an idea came to him: Modmaking had many sloggish elements, and he admits he was never as competent as other modders. The Initiation, in particular, is a coding mess, as he freely admits. Modding also pays very poorly (which is to say not at all). Nevertheless, he wanted to finish the story he was telling and satisfy the fans, and the result is The Sunset Frontier. The Sunset Frontier is Th3Overseer’s solution, a planned series of novels under the pen name J. Marshall, meant to retell the events of the mod series and eventually draw it out to its originally planned conclusion. The first novel, released on Amazon in September, titled [Headhunting](https://www.amazon.com/dp/B0FPXCQRV6?ref=cm%5Fsw%5Fr%5Fffobk%5Fcp%5Fud%5Fdp%5FES5PRMG9YS38KZ97YN80&social%5Fshare=cm%5Fsw%5Fr%5Fffobk%5Fcp%5Fud%5Fdp%5FES5PRMG9YS38KZ97YN80&bestFormat=true), largely adapts the plot of the bounty-hunting mod by the same name. Rather than have the Courier, the protagonist of Fallout: New Vegas, be the main character, Eliza is instead the heroine. Although all Fallout intellectual property belongs to Bethesda, it was easy enough for Th3Overseer to lift his story lines into a new setting. Though Las Vegas is briefly teased at the start of the story, Eliza ultimately settles in the novel’s new main setting in the ruins of Barstow, California. The New California Republic (NCR) becomes the Western Government Coalition (WCG); Caesar’s Legion becomes the American Restoration Authority; the Fiends and the Great Khans become the Wreckers and the Kestrels. All original characters, such as Burke, Eliza, Sheridan, and so on, retain their names. A few gags are present for longtime fans of the mods, among them references to the prevalence of oldies tunes blaring across the wasteland’s airwaves, as well as the platoons of Legion hit squads that regularly ambush the vilified Courier outside the offices of Tully Headhunting. The ease of the transition has been a pleasant surprise for Th3Overseer. The sole other main change was realism. “I made a decision very early on that I wanted the adaptations to hew to realism far closer than anything in the game settings would allow.” Though he likes learning things, he admits, “There’s still a lot more moving parts here \[as opposed to\] the mods, where I can just shrug and go: ‘Yeah, but the vanilla game doesn't care that much about making up fictional landmarks and hand-waving logistical details, so...’” This means no ghouls or other irradiated mutant monsters exist in Barstow that are easily found in the Mojave Wasteland; humans are the real monsters, after all. Due to differences in storytelling between video games and books, Th3Overseer has a few advantages. The order of events can be more strictly controlled than in a video game, or shuffled around, and a greater sense of progression follows as a result. Headhunting takes place before the events of Eliza’s gang initiation, as told in the Eliza mod. The events of the Eliza mod take place before the events of Headhunting, for various story-related reasons. Other changes can be made based on how Th3Overseer’s writing has matured. Eliza, Th3Overseer felt, was obnoxious in her initial incarnation. With a second crack at things, he can fill out her character better. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-19.png) Danger lurks behind every target Tully Headhunting wants dead. (Aside from the radio host.) Source: Th3Overseer. As of right now, Th3Overseer plans to conclude the series eight years in the making. “Unless I hit some big financial emergency where I must drop everything and devote myself entirely to some horrible job, yes, I intend to finish the book series even if it doesn’t, in and of itself, pay my bills. It's a step in my desired path of being an author.” Eliza is the planned protagonist for most of the series, but other fan favorites from the mods, like depraved junkie Todd and traumatized hitwoman Charlie, are also intended to be point-of-view characters. --- Scant literature exists that analyzes story mods in video games, despite their prevalence and popularity. Technically, all story mods are fanfiction, even if they do not contradict canon, and there is a history stretching back two decades now of authors creating successful book series based on their fanfiction. Tremaire by Naomi Novik began as Master and Commander fanfiction; Cassandra Claire's The Mortal Instruments series began as Harry Potter fanfiction; and Tamsyn Muir's breakout hit The Locked Tomb is theorized to have begun as Homestuck fanfiction. Th3Overseer concedes the point about story mods and fanfiction, but says that "Mods are more technical than fanfiction, but the basic idea is more or less the same. It's unauthorized, third-party writing set in an existing IP that the author doesn't have official permission to use." There are degrees to it, he argues. "A quest mod that purports to give the player the untold early-life story of Fantastic, a vanilla NPC, is very deep in 'fanfiction territory,' whereas my own content, while originally utilizing the setting of FNV, was able to be very cleanly divorced from the Fallout IP and made into its own thing." In any case, Th3Overseer is travelling uncharted waters in the field of video games and literature. Plenty of novels set in video game franchises exist; some of them are actually good. But a modder adapting their stories for another medium—and even making (some) money off of it—is an unprecedented move. The degree to which the series will become popular is currently unclear; it may only stay in the circle of Th3Overseer's dedicated fans and their immediate friends. But perhaps one day Th3Overseer may be cited as one of the first transformational authors of the third millennium in a postmodern world. Or maybe he'll win the lottery like [Oliver Swanick](https://www.youtube.com/watch?v=4hMC73W53Q8) and ride into the sunset to bury some treasure in Lake Ivanpah before even publishing book two. Whatever the case, his fans can look forward to a true conclusion to the series and the ultimate confrontation with Sheridan and the Burke family. **You can download Th3Overseer’s mods* [**on his Nexus page*](https://next.nexusmods.com/profile/th3overseer/mods?sortBy=endorsements) *(be aware you may have to turn on “Show adult content” to see most of his story mods). You can buy the first book in* The Sunset Frontier [**on its Amazon page*](https://www.amazon.com/dp/B0FPXCQRV6?ref=cm%5Fsw%5Fr%5Fffobk%5Fcp%5Fud%5Fdp%5FES5PRMG9YS38KZ97YN80&social%5Fshare=cm%5Fsw%5Fr%5Fffobk%5Fcp%5Fud%5Fdp%5FES5PRMG9YS38KZ97YN80&bestFormat=true)**.* ### Kingdoms of the Dump: Trash Talk with Creator, Roach URL: https://www.superjumpmagazine.com/kingdoms-of-the-dump-trash-talk-with-creator-roach/ Last updated: 2025-11-19T02:18:34.000Z **Like the old saying goes: "One man's trash is another man's treasure."** As if fished out from some old bin at a yard sale, Kingdoms of the Dump feels like a lost classic that somehow flew under your radar for years. Perhaps a childhood favourite, discovered by chance at a used game store, a blind purchase of a dusty cartridge with the promise and allure of adventure, nothing but a cover image to stir the imagination. We all have such tales of childhood revelry, where a passion for the medium burgeoned into a flame. Long drives home looking at the manual in the back seat, late nights lost in a magical world, bathed in the glow of the CRT TV, your hand gliding across the static of the screen. If there is nostalgia in these words, then this is the cartridge for you. Creators Roach and Everdredd are no strangers to the world of the used and discarded. Working as janitors for the past 13 and 9 years, respectively, the two envisioned a magical world of garbage, born of grime and waste. "They say 'write what you know,'" said creator and director, Roach. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Kotd_Screenshot_01.jpg) Source: Press Kit. Roach and Everdredd were neighbors as kids, and they began creating games early. From crude board games to a Pokémon knock-off on business cards, to eventually working with RPG Maker on the PSX, it was a passion that lingered into adulthood. > *"I wanted to create a children's book as a commercial side project*. *Pulling from my job as inspiration, we started to work on creating the concept of the Lands of Fill, and what would eventually become the Kingdoms of the Dump. I became so enamored with the world we were creating, it wasn't long before I turned back to what I knew best: creating games. It was easy to convince Matt (Everdredd) to expand it into a full outline. The story came to us almost fully formed in our minds, and while we would spend the next decade shaping it into what it is today, the initial concept was so strong, much of it remains intact."* But the two knew they would need a team to reach the vision they had created. RPG Maker had its limitations, and there were the vast visuals to think of and music to accompany it. So they created an RPG Maker proof-of-concept to recruit their team. > *"Maybe fifteen years ago? My composer bobbyghostly sought me out on AOL instant messenger, after seeing some of my screenshots in an rpgmaker forum. We collaborated on Eagleland (an Earthbound fan game) together after that, and he made some seriously impressive work that unfortunately never saw the light of day. I immediately had him in mind when I was developing the KotD prototype, and he made the midis that were used in it. So he has been on board from the beginning."* Roach and Everdreddwould go on to recruit William Kage, known for his stellar SNES-inspired albums and sound fonts. They even had a guest track by Hiroki Kikuta of Secret of Mana and Koudelka fame, bringing a touch from those golden years, from whence melodies still echo in your head. > *"William Kage was brought on in 2017 when we moved out of the prototype phase and into pre-production. I had seen him at MAGFest showing off his SNES sound fonts and kept him in the back of my mind. Later, I pitched the vision to him via email to see if he would be interested in joining forces. The balance would be kind of a Mitsuda/Uematsu split ala Chrono Trigger. We've been working together ever since."* DM404, Cosmocha33, Evgenij, and Francis Coulombe joined as their art team, bringing an authentic SNES aesthetic. Their combined efforts are both rich and detailed, making a landfill a thing of beauty. > *"Solar Mongoose, our programmer, was found on reddit and before long we brought in the "Dreamsloth" devs from Duelyst II to lend more muscle getting the game finished."* And so the two janitors were now a small team, and with that, "The Sanitation Department" was formed, and The Lands of the Fill came to life. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/MAP-GARBAGIA-1.png) Source: Press Kit. Kingdoms of the Dump revels in its garbage influence. From the environment, characters, and even down to game mechanics, it uses every bit of its source material creating an imaginative and unique world. It's a world filled with scrap dragons, toxic sludge snails, warrior roaches, and a fridge with something left inside too long that now hungers. A giant washing machine looms over the countryside, oozing bubbles unceasingly, home to the Laundromancers of the Kingdom of Detergos. An ornate, bookshelf tower rises high into the sky, where the Librarians of Book's End seek what is overdue. Cardboard Knights guard the Castle of Garbagia, nestled between mountains of trash, tires, and exports of moldy vegetables. *"We've spent many years creating the Lands of Fill in over-detail. I think players will be surprised how in-depth it all is."* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Kotd_Screenshot_03.jpg) Source: Press Kit. Roach and Everdredd mined their concept down to the very bottom of the dumpster, finding inspiration in their everyday work. Every item, bug, mashed-together object, and mysterious thing better left unknown, was potential for the Lands of Fill. > *"'Garbage Juice' is the Elixir of the game, that's what all the Janny's call the liquid that collects at the bottom of the dumpster. Something truly foul to us is one of the best healing items in the game."* Even their breaks would surprise them with inspiration. > *"I remember writing a serious council scene, and I was at work in the breakroom. And there's a pile of junk in the corner, a green bean bag, a water cooler, and a cardboard box with a globe on it. Boom. We had the whole council right there. From a sad pile of trash to some of our core side characters."* They wouldn't be the only trash-inspired characters. Kingdoms of the Dump follows Dustin Binsley, the trashcan squire, on his quest across the Five and Half Kingdoms of the Dump to rescue the trash-picked King and defeat the Toxic Grimelin Army. He will be joined by his best friend Ratavia (a thief rat), Walker Jacket (the most feared librarian in Book's End), Lute (a broken instrument and understudy to Walker), Cerulean (a wizard of the wash), and Musk (a stinkbug and master of infiltration from the Buggarian underworld). Together, they will journey across the kingdoms to hopefully prevent all-out war. > *"It could, you know, come off as just a goofy thing, the whole idea. It could get really stupid if you let it. My favorite joke in the whole game is that it treats the concept completely seriously. It's got a garbage coat of paint but it's full of soul inside."* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Kotd_Screenshot_07.jpg) Source: Press Kit. Alongside that coat of garbage, Kingdoms of the Dump is designed to evoke a 90s JRPG flavour, a trait it pulls off so well it feels less like tribute and more like time-travel. But the creators didn't want to be constrained by the limitations of the SNES. > *"Our goal was always to capture the spirit of the times, not to be overly hung up on the restrictions. The SNES was all about doing clever things with what they had, and we try to keep true to that."* What emerges is something new that *feels* like your memory of that time and those games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Dustin-final.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Page_Ratavia.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Page_Walker.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Page_Cerulean-1.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Page_Musk-1.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Lute-final-1.webp) Source: Official Website. Unrestricted, Kingdoms of the Dump knows what to pick from its dumpster diving. It incorporates many fan-favourite elements of JRPGs and combines them in one package. It's narrative-based, featuring turn-based combat with tile effects and timed hits. Field exploration features jumping and climbing, adding layers to exploration and moving around hazards and enemies. Players can quickly toggle between the characters on the field to use their unique abilities, like scraping junk and metal enemies as Dustin, shooting as Walker, and climbing ropes as Ratavia. Lastly, there is a large Mode-7-inspired world map to explore by land, sea, and air. Something new from something old. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-13.png) Source: Official Website. Trash is a funny thing. What we see as garbage is the amalgamation of things that were once special to someone. It's made up of once-cherished possessions, wrappings for a gift, things used so much they eventually broke, scraps of that which nourished us, things that just helped us through a day, and the lost things never to be found. It is like a book at a yard sale with a message of love scrawled inside, or that favourite game someone outgrew. It was a Super Nintendo cartridge I had found as a kid, later sold away; a cartridge that made my love of storytelling and this medium grow and set me on a writerly path. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/kotdgif.webp) Source: Kickstarter What makes Kingdoms of the Dump special is that Roach and Everdredd took the old and discarded, making a world that reignites its purpose and beauty, and they deliver it in a package reminiscent of the old. Those games that are special to us, those pixels and stories created memories that last forever. > *"Classic JRPGs and Super Nintendo games are what Matt and I grew up playing as kids, so we knew the power they had. I remember us renting "Final Fantasy III" (6) and "Mario RPG" from Wow! Video for weeks on end, playing through the entirety of the games that way. Now the idea that others could be picking up our game, and be inspired and go on to create something of their own one day... how cool is that?"* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-14.png) Source: Official Website. ### The Throwback Nostalgia of Monochrome Heights URL: https://www.superjumpmagazine.com/the-throwback-nostalgia-of-monochrome-heights/ Last updated: 2025-11-16T21:43:02.000Z **As a child, my favorite type of video games (and the only ones I played) were platformers.** I (and my parents) staunchly opposed “Traditional” video games, which I (and my parents) believed to be filled with violence and kissing and swearing—but most importantly, they cost money, and required *downloading something to the computer!* How frightening. Browser platformers were different. Platformer games had none of the violence my parents might object to, required no downloading, and were free to play. As such, I essentially had free rein. I adored tackling the various Flash games on Nick Jr.’s website, along with Playmobil and Lego platformers as well. I became a skillful manipulator of the arrow keys and spacebar, conquered my fears of patrolling enemies, and rejoiced in my ability to get all (or at least most) of the points in each level—whether they be gears, bricks, or panda toys. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-3.png) Happy is the robot protagonist of Monochrome Heights, a new platformer. Image courtesy of Patrick Knisely. Over the years, I aged and moved on. Flash got discontinued. I got a Steam account. I would still dream sometimes about my old platformers, but I didn't touch a platform game for years. Then came the chance to review [Monochrome Heights](https://store.steampowered.com/app/2336210/Monochrome%5FHeights/), released on Steam on October 7th, developed by [Patrick Knisely’s](https://patrickknisely.com/) company, [One Frog Games](https://www.linkedin.com/company/one-frog-games/). Patrick Kniseley had previously worked in a variety of creative industries, such as puppetry, podcasting, sketch comedy, and many others, before releasing his debut, Monochrome Heights. The game was billed as “Traditional tough-as-nails platforming meets a novel phase mechanic where players must swap between black and white to avoid hazards and land on platforms.” I was greatly intrigued, especially by footage of the demo. When I picked up Monochrome Heights to review for SUPERJUMP, I thought it’d be a throwback to my early gaming days, and the skills I picked up years ago would come in handy now. I forgot one key thing: I’m terrible at platform games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-2.png) [“Swiper the Explorer”](https://www.youtube.com/watch?v=RXH6zIgP0Bs) was a favorite of mine as a child. The reason I haven’t touched a platform game in years is that I have money and a computer and freedom; freedom to play Minecraft and Grand Theft Auto and Thief, freedom to play games that have three dimensions and voice acting, and above all else, no challenging jumping from here to there. Monochrome Heights is a fantastic game, with such a simple yet fun twist: Aside from traditional platform mechanics and hazards, a primary mechanic of the game is *phasing*. The player can *phase* between black and white, allowing them to stand on similarly-colored platforms—they simply go right through the color they are *not* currently in. By phasing from black to white, protagonist Happy can scale obstacles, dodge enemies, and avoid traps. The themes of the game are rich and timely, tackling matters like transhumanism, consciousness and self-awareness, and the place of robots in society. The plot itself revolves around a robot, Happy, trying to stop another robot, Layla, who sees liberating robotkind as a worthy goal in a world ravaged by climate change. To stop the enemy, Happy must ascend Layla’s tower, using phasing powers while avoiding enemies and encountering other robots along the way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-4.png) I do, Phasebot. I’m supposed to be beating the game. The plot is fascinating and the gameplay challenging. But I am terrible at platformers. I struggled with Adobe Flash games made for young children, and Monochrome Heights is “Tough-as-nails.” The game itself is fantastic. It requires considerable rewiring of the brain to acclimate to the simple notion that “Robot=black, robot stand on black, fall through white; Robot=white, robot stand on white, fall through black.” Nevertheless, once I started to get the hang of it, it became immensely satisfying. I was able to beat the second level. I was phasing from black to white in mid-air, zipping back and forth, then dying and taking things slowly—both options suggested by the game: “Tight, simple controls that allow players to blaze forward with speed and momentum, or take it slow and patiently progress.” Watching Happy forge through platforming challenges that had stumped me ten minutes prior was like an injection of dopamine into my soul. Wait, is the soul affected by dopamine? There’s one for the metaphysicists. The nearly two-hour-long [soundtrack](https://www.youtube.com/watch?v=bDxliTKs-3o&pp=ygUSTW9ub2Nocm9tZSBIZWlnaHRz), by video essayist and composer [Bent Neatley](https://www.youtube.com/BentNeatly), is sublime. Even as I racked up triple-digit deaths each level, the soundtrack was there, gassing me up and encouraging me to move along. Each level had its own leitmotif that imbued it with charm and kept things fresh. In terms of complexity, the story itself isn’t the stuff of the Mahabharata, but it was still quite engaging. Happy has a mysterious relationship to the archnemesis Layla, and Layla’s motives are not entirely black-and-white. Each named robot has its own unique, equally simple and cute design—even Layla, who boasts a mop of black hair. (Hair? Do robots have hair? Can robots have hair? *Should* robots have hair?) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-5.png) Move over, GLaDOS: You’ve got competition. Image courtesy of Patrick Knisely. The game has a singular flaw that stands out to me: If Happy phases while touching the opposite color, Happy dies and gets reassembled at the nearest checkpoint. On numerous occasions, Happy must jump from one black square to one white square above. On such occasions, the blocks are spaced so far apart that it requires near-pixel-perfect timing to get on top of the platform above without dying. While I could easily move on from all the other frustrations, Happy’s jumping skills in that department irked me. (Can robots train and upgrade their skills at the robot gym?) The challenge actually made me nostalgic in a way. Once I realized what I was in for and tempered my frustration, I felt a sort of fondness for my archnemeses of childhood: The Snappity-Snap Fish in [Wubbzy’s Underwater Adventure](https://www.youtube.com/watch?v=8rjIvBTBSTU); the heated vents in [Junkbot](https://history.jakelee.co.uk/lego-junkbot-technical-and-historical-decompiling/); Francine in [Prankster Planet 2](https://www.youtube.com/watch?v=O4qs%5FZ2B%5FbM). This was what I had been training for the whole time: To stop Layla. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-6.png) The robot chicken in “Wubbzy’s Big Adventure” was sure to give any eight-year-old a run for their money. In the end, Monochrome Heights is a fantastic platformer, a satisfying debut for One Frog Games. The next planned game by OFG, [Detective Mane](https://store.steampowered.com/app/3186840/Detective%5FMane/), is a cozy mystery revolving around the theft of a parallelogram, investigated by the eponymous lion, Detective Leonardo Mane. Patrick Knisley and his studio are going places, unlike me, trying to play Monochrome Heights. For myself, I am forced to paraphrase [Charles Farrar Browne](https://quoteinvestigator.com/2015/09/09/like-sort/): “For people who are good at the kind of video games like Monochrome Heights, Monochrome Heights is just the kind of video game such people are good at.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-7.png) Image courtesy of Patrick Knisely. ### Pokémon Legends Z-A: Interesting New Take on the Old HM Formula URL: https://www.superjumpmagazine.com/pokemon-legends-z-a-brings-an-interesting-new-take-on-the-old-hm-formula/ Last updated: 2025-11-15T19:44:22.000Z **Pokémon Legends Z-A is the latest entry in Game Freak's monster-catching RPG franchise, bringing many interesting new takes on what the series is all about.** While I'm still playing through it and enjoying the sights, there's one small aspect I'd like to talk about first: how the game reinvents the classic formula of HM field moves once again. ## The Hidden Machines ![A screenshot of Pokémon Legends Z-A showing the list of TMs obtainable in the game through Mable's Research, with Rock Smash highlighted in the menu.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/pokemon-legends-za-tm-obtaining.jpg) Screenshot from Nintendo Switch. Source: Author. As part of exploring the various areas, Pokémon used to have a system called Hidden Machine (HM). Pokémon Sun/Moon replaced it with Poké Rides, with later games having their own versions as well. The idea was to have specific moves that could be used outside battles to progress through areas, making it so the player would cut down trees blocking the path and whatnot. This system was a clever way of keeping the player from advancing too quickly and sequence-breaking the game, forcing players to progress through the gyms in the intended order. However, it was also a liability that limited the player's team composition options. Since having monsters in your team with these specific moves was required to proceed, this created a phenomenon popularly known as "HM slave," or just having a dedicated team member to handle this situation. This ally would not even be part of the main team, but just a tool to deal with the pesky traversal obstacles. Eliminating the HM system was liberating for players who didn't like the restriction, allowing them to further experiment with making unique teams and sticking to them throughout the whole game. However, it also meant losing the connection of having party members deal with practical traversal issues, often relegating it to hired services, like in Pokémon Brilliant Diamond/Shining Pearl's Hidden Moves Pokétch app or the Ride Pokémon of Sun/Moon. ## Pokémon Z-A and Its Field Moves ![A Pokémon Legends Z-A screenshot featuring the player character and a Bayleef looking at an ice bridge connecting two areas.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/pokemon-legends-za-ice-bridge.jpg) Screenshot from Nintendo Switch. Source: Author. For Pokémon Z-A, right around the beginning of the game, the player has to meet the acting director of the Pokémon Research Lab, Mable, and get the TM Rock Smash. Just like in the old games, this can be used to destroy boulders that are blocking the path. Besides the rocks, there are also other obstacles that can be found at times, including sludge piles and thorny overgrowth. It's also possible to create paths between two buildings or over water bodies by opening a web or ice trail, respectively. The big novelty here is that, instead of having to use a specific move, there's a pool of options now. As long as a player's partner has an attack that can burn or cut, it's possible to handle the thorny plants. For sludge, a water or psychic skill may do the trick. As a result, it's really easy to have at least one skill that can accomplish the task, and if the player doesn't, it's hardly an issue that can keep them from progressing. These traversal gimmicks keep players from reaching areas in exploration, but not from advancing the story itself. ## Freedom to the Moves ![A Pokémon Legends Z-A screenshot featuring the player character and a Binacle in front of a building. Binacle has just used Water Gun to attack a Mega Stone on a building wall, which is indicated by an interface message on the right side of the screen.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/pokemon-legends-za-mega-stones.jpg) Screenshot from Nintendo Switch. Source: Author. Furthermore, there are no longer any major restrictions to moveset change like there were originally in the series. Back in the day, HMs had very specific rules, like only being erased by a Move Deleter NPC. This was likely meant as a security measure so that players wouldn't just end up locked in an area they reached with no way back. In the same vein, HMs had infinite uses so that the player would always have a way to teach them again to a Pokémon. On the other side, there were the TMs (Technical Machines), which included other moves that the player could teach compatible Pokémo. These were much more limited, so that it was a strategic option to use them on a specific partner. Just like HM's obligatory usage created the HM slaves, TMs' limited usage ended up making them more used by competitive players rather than general players. Scarcity often made them into one of those items that are just kept inside the inventory, never to be used, something RPG fans with a penchant for stocking up on resources are familiar with. This whole concept was changed back in Generation V (which started with Pokémon Black/White), with TMs also having infinite uses so that players were more willing to use them. The games after that toyed with these concepts, eventually removing HMs entirely from the process (Sun/Moon) and reintroducing single-time usage move learning but making the items much more readily available (Sword/Shield). ![A Pokémon Legends Z-A screenshot featuring the move menu for a level 41 Meganium. Various moves that it has learned are listed on one side, while the other shows the four "current moves."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/pokemon-legends-za-meganium-move-list.jpg) Screenshot from Nintendo Switch. Source: Author. For Pokémon Legends: Z-A, we again get infinite TM uses, but it also comes along with a much more practical interface. Moves are now permanently stored as ideas that the creature can forget and learn again at any time, a feature it inherits from Legends Arceus and Scarlet/Violet. As a result, every time a Pokémon learns a new move, whether through leveling up or a TM, it's always possible to move it around and rearrange your strategy. While the game sticks to the restriction that a Pokémon can only have four moves at a time, which has been the staple since the franchise's inception, the ability to freely adjust moves makes it much easier to change strategies. For the field use of moves, this means that as long as a Pokémon has learned an attack, it'll be possible to make the necessary changes to use it to clear an obstacle. As the box that contains more Pokémon is also accessible at any time except for in the middle of battles, even if it's necessary to bring out an ally that's not part of the team at the moment, it's hardly an issue to have a Pokémon available to handle obstacles. ### The Missing Surf There's one specific aspect that the game doesn't account for and, considering the series' history, it feels like a significant oversight. In every main game in the series, it was a huge part of the game that the player would have to cross bodies of water using the Surf move or an equivalent, like the swimming forms of Scarlet/Violet's legendary Pokémon. ![A Pokémon Legends Z-A screenshot featuring the player character, a Binacle and an NPC looking at a river. An Altaria can be seen on the other side, but there's no way to cross.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/pokemon-legends-za-river.jpg) Screenshot from Nintendo Switch. Source: Author. For Pokémon Legends Z-A, there's nothing of the sort, leaving players to walk around the lakes and rivers of Lumiose City. There are Pokémon in there, like Magikarp and others of water-type, but the player's interaction with the water is from the sidelines, only throwing Pokéballs and their partners to attack. When a close combat move is used, the attacker may travel on top of the water, whether by jumping in directly or using a buoy item like the one in Scarlet/Violet. There's a significant difficulty to putting this back in the series, which is also part of the reason that substituting HMs for Poké Rides was a smart way to cut production costs. Back when the system was available, instead of seeing the creatures themselves, there was a generic icon for surfing that was the same for every Pokémon (with some exceptions, like Sharpedo in Omega Ruby/Alpha Sapphire). As the franchise continued and graphics became more detailed in 3D, this generic representation felt at odds with the improvements. The result was that it made more sense to create a single Pokémon that would be used instead, as making every single partner option possible would be very demanding in time and resources. From a programming standpoint, they'd have to make many riding models, which gets even less feasible when every game in the series would introduce even more allies. On the other hand, the substitution for the function in the classic HM Fly was very easy by simply teleporting the player to the area they wanted with no animation. Quick travel has become quite common in big open-world games, so this is by no means a surprising element, but it's interesting to note the difference, as it was the other major staple in the franchise. ### A New Possibility for Moves ![A Pokémon Legends Z-A screenshot featuring the player character, their Meowstic and an enemy Gastly engaging in battle. The move Psybeam is used and Gastly's HP is reaching 0.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/pokemon-legends-za-gastly-battle.jpg) Screenshot from Nintendo Switch. Source: Author. Pokémon Legends Z-A's use of TMs as a way to interact with the world once again is a remarkable way to reconnect the series with what had once been a major aspect of progressing through the regions. However, it's not just a rescue of an old staple, but a thoughtful new way to present it. Having a large pool of options to deal with obstacles rewards players for trying out different moves. It may seem like a small detail at first, but it goes a long way into making the world feel more immersive and alive when moves have practical applications beyond battle. ### Indie Game Club Issue 8: The Elder Scrolls II: Daggerfall URL: https://www.superjumpmagazine.com/indie-game-club-issue-8-the-elder-scrolls-ii-daggerfall/ Last updated: 2025-11-13T23:10:04.000Z **Hi all, and welcome back to Indie Game Club!** Today, I will be discussing the influential Elder Scrolls II: Daggerfall by Bethesda. While this isn't an indie title, we also aim in this club to highlight free games that players may not know are accessible to them. If you are looking to play Daggerfall, you can download the game from Steam for free. I also recommend the incredible fan patch called Daggerfall Unity; however, use your own discretion when modding PC games. Next month, we will be playing Moonring by Dene Carter. This is a traditional role-playing game in the same vein as Ultima or Nethack, but with all of your modern conveniences. If you want to play along, you can download the game on Steam for free. Alright, with housekeeping out of the way, here's what I thought of The Elder Scrolls II: Daggerfall! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Screenshot-2025-10-14-155354.png) Source: Author. ## Nathan Kelly Being asked to create a character when you know very little about the challenges that await creates a troublesome undertaking. I find that my best work is done by simply role-playing a thematically appropriate character and moving on from there. I made a Kahjit Barbarian and proceeded to birth him into the world of Daggerfall without a second thought. When you start a character in Daggerfall, you are dropped into a dungeon full of sinister monsters that will send you straight to the starting screen if you aren’t careful. This is an Elder Scrolls game, so it has just the very basic amenities when it comes to adventuring work. I played the Unity modded version of the game that expands on some of the tutorial, and I’m very glad that I did. You are given a brief overview of the inventory, and the game lets you swing your weapon a few times, but then you are at the mercy of the dungeon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Screenshot-2025-10-10-151005.png) Source: Author. This starting dungeon will make or break players. It requires quick mastery of its combat and fancy footwork to make it through alive. For the first time in a long while, I caught myself making multiple save states so that I could traverse different paths in the introductory labyrinthine structure. If I had the gaming experience that I had roughly 2 years ago, I might have let the clunky controls and brutal difficulty send me packing to a different game. Recently, I’ve been in my dungeon-crawling era, and with that came the willpower to dive into these hallowed halls to find treasure and kill beasts. After googling how to actually swing an axe in this game I was ready to slay each skeleton blocking my path and make it to the end of the tutorial. Gods, it has never felt so good to see the skybox on the outside of a dungeon. It felt good, really good. I can’t help but be excited to go back into more dungeons. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Screenshot-2025-10-14-161619.png) Source: Author. Leaving this dungeon peels back the initial layer to reveal a mammoth-sized mercenary immersive sim. Learning how to find your way around and talk to citizens is a little clunky in the modern era, but it's a breath of fresh air after scrounging through dank hallways. In Daggerfall, your main activities are shopping and questing. This is dungeon diving in possibly its simplest form, and I admire its mission to create this specific experience. After questing for a while, it was apparent that I would never reach a good stopping point at which to write my impressions. This game is open-ended in every brilliant way, and I write this now so that I can return to Daggerfall and keep playing dungeons. At the price of free, I would recommend this to any and every fantasy nerd who can handle a large amount of save scumming and intense dungeon diving. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Screenshot-2025-10-14-160313.png) Source: Author. ### The State of Indie Games in 2025 and Beyond, Part 2 URL: https://www.superjumpmagazine.com/the-state-of-indie-games-in-2025-and-beyond-part-2/ Last updated: 2025-11-12T00:19:31.000Z **Welcome back to The State of Indie Games in 2025 and Beyond!** In Part 1, we delved into topics ranging from the various genres indie devs are exploring to the ever-growing catalog and subsequent discovery issues of Valve's mega-platform, Steam. Between the dawn of a new console generation, the delay of some of the industry's biggest titles, and the long-awaited release of others, 2025 has offered small developers a narrow avenue of victory. But how does one achieve that? As the video game industry has expanded and opened up, the keys to success have grown more complex. There are hundreds of factors determining the games you get to play and whether the people who made them get to reap the rewards. Which genres are the money makers, and which are the dead ends? How do developers navigate a market where a generation's worth of games come out every few months? Who funds smaller games, and what happens when that investment money goes away? How are new tools and technologies changing the game? And what black swans are over the horizon, ready to turn everything upside down? I've been keeping tabs on this part of the industry for five years. Some of the issues facing these developers are evergreen; others are brand new. All are changing the future of video games. [Click here to jump back to Part 1](https://www.superjumpmagazine.com/the-state-of-indie-games-in-2025-and-beyond-part-1/) to see the full list of the developers I talked with for this year's study. Now on with Part 2! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/2025IndiePub.png) Source: Author. ## Opportunities for funding are increasingly scarce Beyond the eternal issue of Steam's oversaturation, the next biggest problem cited by developers is funding. Years ago, video games - including those by smaller studios - were widely seen as a growth area. Everyone from venture capitalists to some of the world's biggest corporations was pouring money into the market. But with the sector hit with post-pandemic shrinkage and stagnation, the money has gone to safer harbors. For most developers, there's only one significant source of funding left: Publishers. Not everyone sees third-party publishers as critical. "Publishers as they stand right now are not worth the effort," says Janssen. "They will need to change, or they will be phased out for a big part of the industry. They brought that on themselves, tho." However, with so few alternatives for securing outside funding, most developers are holding out hope for landing a deal with one of the significant indie publishers. "\[P\]ublishers are the biggest opportunity to get enough financing and/or visibility," says Emiliano Pastorelli of Hammer & Ravens. "Everything mostly relies a lot on luck, going \[viral\], or that very 1-in-a-million fantastic and unique and not too expensive game idea." There's no question that games released through publishers do better on average than those that are self-published. [An Over Powered Game Marketing analysis of games released in 2024](https://opgamemarketing.substack.com/p/the-2024-indie-and-aa-game-market) showed that third-party published games had a mean revenue twice as high and a median revenue five times higher than games without a publisher. Data from VG Insights backs this up, showing that third-party published games are twice as likely to earn at least $5000 and four times more likely to earn at least $200k. Of course, there remains the causality issue that I identified a few years ago. Do games with publishers overperform because they enjoy increased resources, or do publishers select for games that are likely to overperform? There's no way to rerun the universe to find out which is true. Even so, in a world where a developer must capture a would-be buyer's attention at a glance, publisher resources can offer the professional gloss needed to stand out from their rougher competition. ## Developers are getting less money from publishers The problem is that securing that publishing deal is getting harder all the time. VG Insights shows that the proportion of games on Steam with a publisher has been declining for years. The recent downfall of several high-profile publishers is contributing to this, but the primary issue is how publishers distribute their money. With most publisher revenue coming from a small number of games, it makes more sense to focus on properties that they know will return a profit. This approach is not a secret. Devolver, one of the larger remaining publishers, released an [investor presentation earlier this year](https://investors.devolverdigital.com/files/downloads-and-publications/DEVO-FY24-Investor-Presentation.pdf) that laid out its strategy in clear terms. Moving forward, they plan to focus on DLC and sequels for their more popular games and series while cutting the amount spent on new titles. This isn't speculative, either - Devolver already reduced the average spending per game from $3 million in 2022 to $2 million in 2024, with plans to lower that to $1 million by 2026. This is a shift that squeezes developers from two directions. The overall erosion of publishers means fewer opportunities, more competition, and longer odds of securing support. Meanwhile, the strategic shifts by these developers mean that the few winners are getting less working capital. The best news about publishers is that, however useful they may be, they aren't necessary. While non-publishing funding sources are scarce, they do exist in the form of grants and cultural funds offered by some countries. Even for those who can't lay their hands on any capital, the current market offers lots of opportunities to succeed without it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/2025Advantages.png) Source: Author. ## New tools are changing development "It's never been easier to start making a game, there are tonnes of great tools that are very accessible, and digital distributions are more open than they've ever been," says Dave Lloyd of Powerhoof. "So you can start a business with very little overhead, without needing to depend on a publisher to get your games on shelves, etc. Very different to when I started making games in the early 2000s!" The biggest opportunities for growing without a budget always lie in the development tools. The off-the-shelf engines that made indie games viable in the first place are still working their magic, and the 2023 Unity scandal hasn't shaken anyone's confidence. That growth has run both directions, as the expansion of the indie game market has also increased the visibility of off-the-shelf engines, particularly Unity and Unreal. Per [VG Insights](https://vginsights.com/assets/reports/The%5FBig%5FGame%5FEngines%5FReport%5Fof%5F2025.pdf), more than three-quarters of games released in 2024 used one of these engines, almost double the proportion from a decade before. "There are so many tools that just didn’t exist 20-30 years ago," says the developer behind Human YoYo. "For example, I find it insane how I can install a free engine that handles physics, graphics, shaders, audio, animation, and so much more." As with nearly every other field, most of the attention is on so-called AI tools. "The whole AI thing is a game changer," says Roger Gassmann. "It's easier to develop a prototype or find problems in coding. Unlike new tools, which are complex and require specialized know-how and therefore pose a problem for small companies, AI is different." AI is a broad media term that isn't always useful. It can encompass everything from backend workflow management software to assistance programs for animation and sound to generators for the wholesale creation of assets and code. The latter group has been highly controversial, stoking fears of an unstoppable flood of machine-generated shovelware ready to drown the market at any time. In reality, adoption of these tools has been broad but limited, and this has changed little in the past 12 months. According to the [2025 Unity Gaming Report](https://unity.com/resources/gaming-report), developers are primarily using automated tools for bug testing, enhanced animation, and moderation for online games. These numbers have stayed steady over the past year. There is one category where use of automated tools has declined significantly: Writing. Perhaps due to the backlash over machine-generated assets, there's much less automation in the more creative aspects of development. Among developers, the outlook here is far more positive than negative. Asked about potential problems and obstacles, Jeroen Janssen says, "...AI is not on this list at all, not even slightly \[worried\] about games done by AI. There is no soul and no vision there, and there never will be." ## Web games are a growing niche While no one I surveyed mentioned it, we should take a minute to discuss another growing trend: The return of the browser-based game. The no-download online game was killed off with the end of Flash. It was partially revived with HTML5 and .io games, but it's only within the last year or two that they've gained any real footing with a mass audience. Developers are happy to provide, with [15,000 games hitting the web in the first half of 2025 alone](https://wiki.playgama.com/playgama/articles/introducing-web-based-game-engine-rankings-first-issue-h1-2025). According to the Unity report, about 11% of developers are considering making a new web game or creating a web-based port of an existing game. That's still a tiny group, but it grows to nearly one-third for the smallest dev teams. These upstarts are more willing to overlook the drawbacks of web games, which are easy to make but difficult to monetize. At the moment, it's very hard to say how much of an impact these games will have. As a fan of the wild creativity of the old Flash days, I'd like to say that this is a genuine revival. However, the fact that no one mentioned them to me suggests something else. Web games may be of greater interest to mobile developers trying to avoid the overcrowding of their own markets. So while this is an interesting phenomenon that bears watching, it may amount to very little for the kind of developers with whom I work. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/SteelkrillPQ.png) Source: Author. ## Game cloning has gotten much worse Bad actors are a persistent problem in any field these days, and I don't have to tell you how common scams are. Grifters are targeting everyone involved in games, from consumers to developers, all the way up to storefronts. But there's one particularly crude form of deceit that got a lot of attention this year: The theft and cloning of entire games. It's a simple grift. The thief purchases a copy of a game, extracts the executable, makes a few superficial changes, and then uploads it onto another platform under a different title. In some cases, the thief may even upload the cloned game back onto the same platform where they bought it, effectively forcing the original developer to compete with themselves. This isn't a new practice by any means, but it has expanded in an unexpected way. Typically, thieves would transfer games back and forth between Steam and the Android Store, as those markets have notoriously lax standards for entry. This year, we saw cloned games show up on online stores for the consoles, markets that are supposed to be harder to access. [Such was the fate of Steelkrill's The Backrooms 1998](https://www.reddit.com/r/gamedev/comments/1ix993g/a%5Fbig%5Fscam%5Fcompany%5Fjust%5Fstole%5Fmy%5Fwhole%5Fgame%5Ffrom/), which was cloned by a company widely known for sketchy practices and then dumped onto all three major consoles. The clone was eventually removed from the consoles, but only after a viral Reddit thread and an ensuing pressure campaign. "\[S\]ituations like that show how tough it can be for indie devs to protect their work," says Steelkrill. "I still love what I do, but it's definitely getting harder on most parts." ## International markets keep growing in importance I'd now like to diverge for a moment to talk about Sultan's Game. The game by Hangzhou-based developer Double Cross is an odd presence on the list of top-selling indies. It's a narrative-heavy game by a developer with little previous presence, one not based on an existing IP or featuring co-op or any other trendy elements. Nevertheless, Gamalytic estimates that it has sold over a million copies, making it competitive with the likes of Deltarune and REMATCH. Gamalytic also suggests that more than four-fifths of those sales were to people in the People's Republic of China or Hong Kong. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/2025ChinaMarket.png) Source: Author. Maybe that's to be expected when a game comes out in such a massive market, but it's also true in smaller countries. Plenty of commentators noted the surprise success of Little Fighter 2 Remastered, a Steam rerelease of a Flash game from the early 2010s. Most of the discussion focused on the growing popularity of these Flash rereleases. Nobody bothered to note that a majority of those sales - as much as 60% - came from the Republic of China, where the game was developed. Perhaps that's not surprising either, but we can't always chalk this up to national pride. Two Point Studios isn't based in the PRC, but Gamalytic estimates that over a third of all sales of Two Point Museum were in the Chinese mainland. This would mean that there are twice as many Chinese owners as American owners. It's not a secret that China is important in the video game space, but it's not the only fast-growing market. Poke around and you can find similar results for Brazil, Germany, and the Republic of Korea, among others. This is just a reminder that as the overall market for video games has grown, we've seen a similar trend in indie games. This is something I harp on every year, but I've often neglected to point out that the development side is every bit as global. The entire industry is becoming more decentralized due to some of the very factors mentioned above. This has resulted in small teams popping up all over the world, as well as international teams. This year alone, I spoke to developers based in, or with members from, Australia, Belgium, Canada, the Czech Republic, Estonia, Germany, Italy, Finland, the Philippines, Spain, Switzerland, and Thailand - and I'm sure there are other countries I overlooked. The world of video games is getting larger, but in this respect, it's shrinking. We no longer live in a world of markets gated off by economics or regulations, but one where everything is available to everyone. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/AdvongerPQ.png) Source: Author. ## Developer communities are strong in tough times This global character isn't simply a matter of distribution, either. The global marketplace has given rise to a sprawling network of aspiring and experienced developers. For many people, their ostensible competition is actually a tremendous asset - a valuable source for advice and information. "The global connectivity of the industry is a major advantage. It has never been easier to learn from others, access powerful tools, and share experiences," says Kipwak Studio founder Guillaume Mezino. "Small developers can now connect, collaborate, and benefit from collective knowledge, which helps speed up development and reduce costly mistakes." Dave Lloyd echoes the sentiment: "One of my fav things about the industry is how it's always been very open to sharing and teaching others, and there's also so many people making games that you don't have to do it in isolation. So many cities have game-dev meetups so you can hook up with other devs, get inspired, and find help when you need it." The more time I spend in online developer communities, the more truth I can see here. Without access to the analytical tools and expertise used in the A-tier, small developers instead rely on the behind-the-scenes data of those who've gone before them. The same goes for technical advice, which can range from opinions on the best development platform to detailed information on implementing specific features. And if one person has found a useful tool or an amazing bargain, it doesn't take long until everyone else is in the loop. Many developers can achieve the same kind of support from the player base. Among my respondents, few had anything too negative to say about the players, and some had already developed healthy communities around their games. Asked about what it's like dealing with the audience, Vasily Mostovshikov of Mostly Games says, "So far, so good! We have a fanbase, and it did not morph into a toxic dump full of weirdos. Not yet, at least." That last bit is probably about half joke, half serious. Anyone with a fan base has to wonder if it's going to get disturbing, though this seems mercifully rare. Lloyd says, "95% of players are awesome, it's a very small (unfortunately vocal) minority that aren't awesome people that share the same passion for games that you do." Comments like these are a reminder that a game - or any similar project - succeeds or fails based on the people who choose to support it. ## Developer advice The developers are not at all in agreement on the state of the market. They are a mix of optimists and pessimists, idealists and realists. Yet even the most cynical among them are not without hope, and there's no one who would outright discourage someone from making a game. It's all a matter of knowing the angles. Most of them see value in being distinctive and not chasing trends. "The biggest opportunity lies with the unique, but easy to understand game, the concept that attracts masses, or which is unique enough to find its own players," says Vladislav Polgar of Keen Software House. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/ZeroSunPQ2.png) Source: Author. This isn't solely a practical issue - independence means being able to pursue one's own interests without having them restricted by market forces. "The best thing the indie scene can offer is the opportunity to make exactly the game one wants to, without feeling the need to chase trends or try to copy the formulas of the big hits," says Francisco Gonzales. "Indie games can be as weird or as niche as the developer wants. I think players appreciate uniqueness and fresh ideas." "I think the biggest opportunity for any developer is to make a game in the genre they love but feel a specific aspect is being underserved," says Adam Kugler. "If you are playing a game and are like - 'this game would be so much better if...' That is the thing to chase." This line of thought illustrates the single greatest advantage that small developers have over their A-tier overlords. Massive games with massive budgets need to make massive amounts of money. This is what inclines bigger companies toward playing things safe and going with the same boring handful of genres year after year. Upstart developers don't have those same limitations, and that leaves them free to explore new ideas. In fact, one of the amusing things to come out of this year's surveys was the respondents who thought their biggest advantage was not being AAA companies. "Biggest opportunity for small teams right now is the fact that AAA and AA sectors are fumbling, and people becoming more aware and willing to consume indie products," says Halil Onur of Team Machiavelli. "With the increased technology in terms of game engines and softwares, you can get something very good with a focused gameplay and the current player base would accept it. If you can go even a little bit bigger, you can even challenge industry giants." John Szymanski has a similar thought: "Players (specifically the core set of the gaming audience) are currently a lot less impressed with cutting-edge tech and scale and more impressed with games that speak to them more directly. The opportunity to make a low-budget hit (even a small-scale hit) is really high, and won't stay around forever." The bottom line is that the paths to success are narrow, but they are still there. It's easy to get lost in the shadow cast by bigger titles, but audiences are also bigger than ever, and more varied. There's no telling exactly where the next big breakout will come from. In the meantime, it's important for developers to stay grounded and remember that money isn't always the goal. "\[T\]he reward is usually not only financial," says Borja Corvo Santana. "Creating a game is in itself a great personal achievement, and seeing how other people enjoy it, no matter how few, is an even greater satisfaction. So I simply encourage all those who want to try it." ## The cracked crystal ball In lieu of making any predictions for the next year, I'd like to do something a little bit dangerous and look back at some of my old predictions. You are free to scrutinize my [2021](https://www.superjumpmagazine.com/lost-sacred-gems-the-state-of-indie-games-in-2022-and-beyond/) and [2022](https://www.superjumpmagazine.com/state-of-indie-games-survey-2023/) predictions and see how many of them failed to come true, either because the market completely changed (remember when every major corporation was trying to build a game streaming platform?) or because I just plain missed the mark (the Steam Deck didn't bring back 2D platformers and I don't think anything ever will). Here are a few of my favorite bad predictions. But there was one area where I was correct beyond all expectations. First, in 2021: > Live service-like features will become more and more common in indie games. This will include a greater proportion of titles released in early access, “road maps” with regular scheduled updates and integrated social media features. And then following up in 2022: > Live service games will hit a saturation point where a combination of excessive competition and rising costs put the style into a slow but steady decline. Despite this, features associated with live service games - what I've called "live service lite" elsewhere - will become increasingly common and will be especially important for profitability in the indie space. Something interesting happened in 2025\. Live service games, which have dominated the industry for a decade, finally reached saturation. It's the fate of any business based on perpetual growth: Eventually, you run out of customers. Currently, live service games are at a zero-sum point. It's still possible for an individual game to grow, but only by poaching players from the competition. This is probably going to become a negative-sum in a few years as an aging youth demographic drops out of live service games - and perhaps out of video games altogether. This isn't exactly the "death of live service" that commentators have been prematurely celebrating for the past few years. The biggest games and franchises will still be there and I suspect they'll hang around for a good long while. They just won't be exerting the same gravity on everyone else. Still, the the business model had an impact and the influence will live on, and it will enjoy a particularly robust afterlife in the indie market. As wrong as I may have been about marketing trends or the behavior of big companies, I hit the bullseye on this one. A growing share of games is now devised as ongoing projects rather than one-off releases. Growing from that, I will make a new prediction: Over the next decade, indie games are going to get bigger. I don't mean that they'll sell bigger, but that the games themselves are going to be a lot more grand and epic. That's a pretty bold forecast given how much time I've spent talking about how there's no working capital in the market anymore, and the only way to turn a profit is with smaller games. But all of that assumes that a game is a discrete product that's released once. The live service lite model allows a developer to release a complete game, then continue developing it for as long as it takes, using early sales to fund later development. One could spend a decade building a game out, turning something humble into something massive, one piece at a time. There are still many risks here, and this approach won't work for everyone. Even so, I think that the next gigantic phenomenon game will be released this way. There it is, quietly sitting on Steam with a modest yet positive review total, a humble exterior hiding a fanatical team ready to spend years and years working on it until it becomes the next great obsession. It might be out already. Maybe you've seen it. Maybe you bought it on sale on a whim and it's sitting in your unplayed section, waiting for you to stumble across it on some dull afternoon. See you next year. ### The State of Indie Games in 2025 and Beyond, Part 1 URL: https://www.superjumpmagazine.com/the-state-of-indie-games-in-2025-and-beyond-part-1/ Last updated: 2025-11-09T14:38:03.000Z **Every year is a magnificent year for indie games - and also a terrible year.** Between the dawn of a new console generation, the delay of some of the industry's biggest titles, and the long-awaited release of others, 2025 has offered small developers a narrow avenue of victory. But how does one achieve that? As the video game industry has expanded and opened up, the keys to success have grown more complex. There are hundreds of factors determining the games you get to play and whether the people who made them get to reap the rewards. Which genres are the money makers, and which are the dead ends? How do developers navigate a market where a generation's worth of games come out every few months? Who funds smaller games, and what happens when that investment money goes away? How are new tools and technologies changing the game? And what black swans are over the horizon, ready to turn everything upside down? I've been keeping tabs on this part of the industry for five years. Some of the issues facing these developers are evergreen; others are brand new. All are changing the future of video games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/2025SurvResp2.png) Source for all images: Steam. It's one thing to run down the stats, but no one understands the trials of development like a developer. So I asked around. The following individuals and groups agreed to answer my questions: - [Advonger Games](https://advongergames.com), developer of [Realms of Madness](https://store.steampowered.com/app/2501920/Realms%5Fof%5FMadness) - [Amistech Games](https://www.amistech.com/msc/), developer of [My Summer Car](https://store.steampowered.com/app/516750/My%5FSummer%5FCar) - [BenBonk](https://slimekeep.fun/), developer of [Slimekeep](https://store.steampowered.com/app/1552500/Slimekeep/) - [bit ManiaX](https://www.bitmaniax.com/), developer of [V's Rage](https://store.steampowered.com/app/2167530/Vs%5FRage/) - [Broken Bird Games](https://brokenbirdgames.com/en/), developer of [Luto](https://store.steampowered.com/app/1729740/Luto/) - [Burgee Media](https://burgeemedia.net/), developer of [Erenshor](https://store.steampowered.com/app/2382520/Erenshor) - [Cyan Avatar Studios](https://bsky.app/profile/motemancer.bsky.social), developer of [MoteMancer](https://store.steampowered.com/app/3320980/MoteMancer/) - [DYSTOPIAN](https://bsky.app/profile/gnomes-the-game.bsky.social), developer of [Gnomes](https://store.steampowered.com/app/3133060/Gnomes) - [Roger Gassmann](https://paxaugusta.ch/de/kontaktformular/), developer of [Pax Augusta](https://store.steampowered.com/app/1989760/Pax%5FAugusta/) - [Green Tree Games](https://burdenofcommand.com/), developer of [Burden of Command](https://store.steampowered.com/app/887490/Burden%5Fof%5FCommand/) - [Grundislav Games](https://www.grundislav.games/), developer of [Rosewater](https://store.steampowered.com/app/1226670/Rosewater/) - [Hammer & Ravens](https://www.hammerandravens.com/), developer of [Ale Abbey - Monastery Brewery Tycoon](https://store.steampowered.com/app/2789460/Ale%5FAbbey%5F%5FMonastery%5FBrewery%5FTycoon/) - [Happy Volcano](https://www.happyvolcano.com/), developer of [Modulus](https://store.steampowered.com/app/2779120/Modulus/) - Human YoYo, developer of [CleanFall](https://store.steampowered.com/app/2769780/CleanFall/) - [Keen Software House](https://www.keenswh.com/), developer of [Space Engineers 2](https://store.steampowered.com/app/1133870/Space%5FEngineers%5F2/) - [Kipwak Studio](https://www.wizdomacademy.com/), developer of [Wizdom Academy](https://store.steampowered.com/app/2668000/Wizdom%5FAcademy/) - [Kylyk Games](https://kylykgames.com/), developer of [Urban Jungle](https://store.steampowered.com/app/2744010/Urban%5FJungle/) - [Joshua Meadows](https://joshuameadows.com/), developer of [Alcyone: The Last City](https://store.steampowered.com/app/1074830/Alcyone%5FThe%5FLast%5FCity/) - [Mostly Games](https://mostlygames.gg/), developer of [PEPPERED: an existential platformer](https://store.steampowered.com/app/1883370/PEPPERED%5Fan%5Fexistential%5Fplatformer/) - [mrkogamedev](https://discord.gg/RM5hktBqrv), developer of [Metro Gravity](https://store.steampowered.com/app/2986450/Metro%5FGravity/) - [Paintbucket Games](https://paintbucket.de/en/), developer of [The Darkest Files](https://store.steampowered.com/app/2058730/The%5FDarkest%5FFiles/) - [Powerhoof](https://www.powerhoof.com/), developer of [The Drifter](https://store.steampowered.com/app/1170570/The%5FDrifter/) - [Sleepy Mill Studio](https://sleepymillstudio.com/), developer of [Drop Duchy](https://store.steampowered.com/app/2525310/Drop%5FDuchy/) - [Sobaka Studio](https://sobakastudio.com/), developer of [Kiborg](https://store.steampowered.com/app/2405060/KIBORG/) - [SolarSuit](https://solarsuit.games/), developer of [Static Dread: The Lighthouse](https://store.steampowered.com/app/3298940/Static%5FDread%5FThe%5FLighthouse/) - [squid\_lawyer](http://bsky.app/profile/squid-lawyer-dev.bsky.social), developer of [Mage Tower Massacre](https://store.steampowered.com/app/3625340/Mage%5FTower%5FMassacre/) - [Steelkrill Studio](https://steelkrill.com/), developer of [The Backrooms 1998](https://store.steampowered.com/app/1985930/The%5FBackrooms%5F1998%5F%5FFound%5FFootage%5FSurvival%5FHorror%5FGame/) - [John "Ducky" Szymanski](https://bsky.app/profile/ducky-dev.bsky.social), developer of [Secret Agent Wizard Boy and the International Crime Syndicate](https://store.steampowered.com/app/3111080/Secret%5FAgent%5FWizard%5FBoy%5Fand%5Fthe%5FInternational%5FCrime%5FSyndicate/) - [Team Machiavelli](https://linktr.ee/teammachiavelli), developer of [Castle of Alchemists](https://store.steampowered.com/app/1724770/Castle%5FOf%5FAlchemists/) - [Trese Brothers Games](https://www.tresebrothers.com/), developer of [Cyber Knights: Flashpoint](https://store.steampowered.com/app/1021210/Cyber%5FKnights%5FFlashpoint/) - [Zero Sun](http://www.zerosungames.ca/), developer of [Astral Throne](https://store.steampowered.com/app/2560500/Astral%5FThrone/) If you'd rather hear me read the article, check out the video. Source: Youtube. Again, the list of factors affecting indie game developers is almost beyond counting. However, there are a few big ones that came up repeatedly from developers, press, marketers, and the public at large. I've winnowed this down to fourteen key takeaways that are important now and will likely remain important for the foreseeable future. ## Emergent and old-school genres are still the best for developers The modern gaming environment contains a multitude of genres, but they aren't all equal. AAA developers are known for sticking to a handful of safe, proven genres at any given time, releasing the same basic games on a regular cycle. There's far more liberty among smaller developers, and the choice of genre is one of the most important factors affecting a game's success. The general rule hasn't changed: Indie developers are strong where A-tier developers are weak. These stronger genres fall into two very different categories. First are the new wave genres essentially developed in the indie space, including open world survival, deckbuilders, and some roguelike subgenres. Second are traditional genres largely abandoned by A-tier companies, including city builders and many RPG subcategories. These are far and away the safest for upstart developers, as there is less risk of being overshadowed. Horror is a perennial example of a genre in which small developers have an edge, and Borja Corvo Santana of Broken Bird explains the advantages: "It is also a genre that in some way facilitates the entry of many developers, both because of the ease of making a horror game where the interest lies in fear and not necessarily in the mechanics, and because of the players, who normally value all kinds of works, some of them even very amateurish." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/2025GenreRevenue.png) Source: Author. But everything is relative, and competition in some of the more profitable genres can be intense. Several of the surveyed developers have games with roguelike elements. For several years, this has been a popular style among small developers. It's easy for them to manage while also being broadly popular. As the style has matured and grown in popularity, it has taken more work to get noticed. "The genre is bigger than ever, and is growing like crazy," says Slimekeep developer BenBonk. "That being said, the competition is much fiercer and seemingly every week there is a new flashy roguelike with a catchy hook like \[insert traditional game here, such as chess or roulette, etc\], but a roguelike. So developers can obviously find huge success in this genre, but need something to differentiate them more than ever." This hints at something important about the current market: It's no longer enough to make a good version of a popular type of game. Something so standard will inevitably get lost in the shuffle. For a game to succeed, it's also necessary for it to have a unique hook. "I think the Automation genre still has a lot of unexplored space to delve into, and I do think that MoteMancer is carving a little more into what fantasy can do since there are so many industry-focused games right now," says Adam Kugler of Cyan Avatar. "\[M\]y mindset and advice for making games continues to be: make a game that deserves its place. Focus on bringing something new to the table, be mindful of what has come before, and respect the player. Any game that is mostly derivative of other games will have a much harder time finding its audience." Some development teams deliberately target growing genres. A representative from Do No Harm developer Darts Games wrote [an extended post on Reddit about the complex process they used to decide on their next title](https://www.reddit.com/r/IndieDev/comments/1ltduxs/how%5Four%5Findie%5Fstudio%5Fpicked%5Fits%5Fnext%5Fgame%5Fafter/). Others go even further. "We have developed our own analytics tool that gathers data from the Steam platform, allowing us to track market trends," says Dmitrii Belei of SolarSuit. "We released a horror game with simulation elements, and during development, we noticed that, overall, the horror genre has nearly doubled in size from 2024 to 2025." Still, for the typical developer, it's all a matter of luck. They may design a game that falls into the right genre at the right time, but it started as a desire to make something. "Games need to be passion projects that explore some new areas and present fresh thinking," says Johannes Rojola of Amistech Games. "Calculative thinking can get you only so far - these days, probably nowhere. Doing that is still difficult and requires a lot of work, so with the same trouble it is better to do something different, new, interesting. Something the developer actually cares about." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/SAWBPQ2.png) Source: Author. ## Other genres are a lot tougher - but profitable niches exist At the other end, those genres dominated by A-tier developers tend to be an uphill trek for small developers. These games are often directly compared to others with far higher production values, and the smaller company rarely wins those matchups. Action RPGs, first-person shooters, most types of strategy, fighting, and racing are all rough genres where even high-quality games can end up being ignored. Comparison to AAA games isn't the only problem that can confront developers in difficult genres - less flashy games can also be a tough sell in general. "Turn-based strategy games often have a hard time standing out in showcases, social media, and other spaces that favor fast-moving, easily 'clip'-able games," says Jay N of Trese Brothers. "The death or corporate gutting of so many game news sites really hurts genres that need someone to invest more time into a game and summarize a deeper / more complexly fun experience than can be communicated in a GIF." Traditional adventure games are another interesting genre to examine. They're harder to pitch as they're not very dynamic, but have a well-defined audience that's larger than people think. Several responding developers released adventure games this year, and their perspectives run the spectrum. "The general market is not favorable for the kind of serious games we make," says Jörg Friedrich of Paintbucket Games. "The games we are doing are certainly niche - however, since almost no one else is catering to that niche, we can live from it." "Thankfully, there's still a demand for narrative/point & click adventure games," says Francisco Gonzales of Grundislav Games. "However, it's now even harder to get noticed. It used to be hard enough to get any coverage or attention as an adventure game in the indie game sphere; now there's the added challenge of breaking through all the other amazing adventure games being developed." Niche genres can be a great opportunity for new developers, but they can shift from good to bad without warning. Small, underserved communities are open territory that get crowded in short order. Like the games in winning genres, the ones in tough genres still succeed or fail based on their innovative traits. A game made in a fiercely competitive or narrowly popular style can still make a mark if it contains something new and exciting. "\[I\]t's really easy to see something that does big numbers and just feel like you should try to copy that to ride the wave," says John Szymanski. "In reality, there are going to be hundreds of other studios and individuals also copying that same idea - it's better if you just take the best ideas of what you have and try to make something different with it." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/DrifterPQ2.png) Source: Author. ## Multiplayer (especially co-op) is a major force "\[O\]nline multiplayer is a really big selling point right now, so even if there's a lot of competition in that space, there's still a pretty hungry market for it," says Szymanski. "I'd never recommend making a multiplayer-only game (it's a bit of a roll of the dice whether it will work out), but with something like Secret Agent Wizard Boy, where the game functions as well with multiple people as one person, there's not a great reason not to at least entertain the idea." Many teams are now pursuing multiplayer features, whether that's true multiplayer or less significant networked features. According to the [2025 Unity Gaming Report](https://unity.com/resources/gaming-report), a majority of developers are working on games that are primarily multiplayer, including a plurality of teams with fewer than six people. By contrast, very few teams are working on games that have no online features whatsoever. In a networked world, even something as minor as a leaderboard can make a difference. However, the real winner for 2025 has to be co-op multiplayer. The popularity of Chained Together in 2024 already suggested that co-op could be a big deal, but the smash success of R.E.P.O. and Peak - both among the year's top-selling indies - is solid proof. This is hardly the first time that co-op has been big, but there's a specific dynamic at play that favors smaller developers. The modern co-op environment doesn't have a lot of matchmaking - even if the games are online, people prefer to play them with real-life friends. This means that prospective players have to talk 3-5 of their friends into buying the game as well, and price carries a lot of weight. It's far easier to convince someone to roll the dice on a $10 game than on a $60 game. As such, [it's unlikely that A-tier developers will have the same success should they try to enter the co-op space with their premium-priced titles](https://newzoo.com/resources/blog/r-e-p-o-another-early-access-success). There's another wrinkle to the success of these budget-priced co-op games. The average play time is very low compared to most live service and online games, with R.E.P.O. players averaging just six hours per month. This could be because of what you might call "non-traditional gamers" - people for whom video games are not a significant part of their lives. Early adopters are bringing non-game-playing friends into the indie space. This doesn't mean those people are going to stick around, but it's one area where small developers have made definite inroads. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/2025WTA.png) Source: Author. ## Modern indies are winner-take-all In a typical year, indies generate revenue somewhere between $2 billion and $3 billion, and that money is not equally distributed. Games from well-known studios, titles with trending gameplay styles, and viral hits are responsible for the lion's share of the money. In 2024, a record-setting year, the top 1.5% of indie games (those making approximately $1 million or more) generated more than half of all indie revenue. This feast-or-famine environment is also clear at the individual level. The median indie game in 2024 made around $180, with games at the 30th percentile generating $30 or less. This increased to $28,600 at the 90th percentile, $1.4 million at the 99th percentile, and $15.1 million at the 99.9th percentile. While this resembles the consolidation that we've seen in the A-tier space, I believe there's a different dynamic at play here. The indie market is not concentrated, but rather driven by hits. 2024 was a great example of this dynamic, as Palworld generated about half a billion dollars itself. Put simply, the strength of any given year is based on how many breakaway hits there were and how big they became. For the typical developer, little has changed on the sales front over the past half-decade. The main issue is one of expectations. A developer assuming that they'll sell a million copies is likely to be disappointed, while another developer with more realistic expectations can still do fine. "By the metric of, say, Schedule I, the games I make are only tapping into a small fraction of a percent of the market base as a whole - the difference in sales is on orders of many, many magnitudes," says Szymanski. "But to me, my journey so far has been greatly successful in that I've made enough on a month-to-month basis to be comfortable, reached a lot of people, and have been able to keep a couple of other developers afloat through a really rough patch in video game development jobs." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/2025SteamGrowth.png) Source: Author. ## Steam is still growing out of control This talk about hits and misses is skirting a major issue, one that almost every developer brings up: There are a massive number of games coming out every year. The growth of the Steam library is an evergreen topic. The rate of growth is slowing down, but 2025 is still likely to be another record-setting year, with the total size of the library approaching 150,000 titles. On average, more than 300 games hit the storefront each week. The launch window for a game is important for most indies, so dropping that game in a strongly competitive week can have brutal consequences. Many developers list this among their challenges. Joshua Meadows offers a representative comment: "In the same way that things are more accessible than they ever have been before, I think there's more over-saturation than there ever has been. It's very difficult for smaller or independent developers to get attention and break through the noise and I think a lot of very good games go ignored because there's just so many and there's only a certain amount of attention available." Steelkrill offers a similar sentiment: "In such a saturated market, it's really easy for a small developer to go completely unnoticed. \[I've\] seen some great-looking games get no love at all. Then I've seen some not-so-great games, going viral." The quantity of releases is assuredly an issue, though I've always wondered if it's as impactful as everyone thinks. The age of indie shovelware is over, but a lot of smaller games still have an unpolished, unprofessional look that makes them far less competitive. I've done a bit of a dive into that myself. [After reading a thread by a Reddit user analyzing every game released in a 24-hour period](https://www.reddit.com/r/gamedev/comments/1lfd9z6/i%5Fanalyzed%5Fevery%5Fsteam%5Fgame%5Freleased%5Fin%5Fa%5Fday/), I did a cursory comparison of trailers for games at different revenue tiers. There's a marked difference between your typical game at the 75th or 95th percentile and one at the 30th percentile. The latter are hardly competitive, and they only get worse below that line. Source: YouTube. I'm comfortable saying that most of the games hitting Steam, while better than the median indie from a decade ago, are still unexceptional. In an environment like this, reaching a baseline level of professional competence can be enough to stand out, if insufficient to achieve broad success. ## Steam discovery is getting less useful But there's a related issue that makes this massively overcrowded market even harder to break through. Steam - still the main home for small developers - has its own share of internal problems. "Steam’s 30% cut drains a significant amount of revenue from developers for a platform you increasingly have to bring a lot more traffic to yourself to get any real boost from," says Jay N. "Steam’s analytics and reporting are ancient, frequently unreliable, and difficult to turn into anything actionable. Support is hit or miss, even if you’re a studio that drives hundreds of thousands of dollars in revenue for them. Lots of featuresets (Steam curators, groups, large chunks of Steamworks) haven’t been updated in years." That first point is particularly important. [A recent Newzoo analysis](https://newzoo.com/resources/blog/steam-discounts-are-now-4-times-less-effective-at-driving-game-traffic-in-than-in-2019) demonstrated that the proportion of internal traffic driven by Steam has declined significantly over the past five years. Steam's discovery system is now less effective, as are most types of sales. This means it's more important than ever to gain attention from outside of the platform. It's an environment that favors larger, established teams and games from famous IPs. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/AlcyonePQ2-2.png) Source: Author. This isn't a secret to developers, and it's widely known now that success depends on drawing attention before launch day. "Steam’s algorithm rewards traction, so unless your game starts generating revenue quickly, visibility will be limited," says Burgee Media. "That means your pre-launch marketing, community-building, and product positioning need to be on-point before you ever click 'publish.'" Of course, for those who are able to find that early traction, the system can work wonderfully. "The hardest part is getting enough wishlists to get Steam working for you," says Tommy McKay of DYSTOPIAN. "If you can get yourself to about 10,000 or so, you'll find that Steam does most of the heavy lifting, and all you need to do is make sure your game slaps so get good reviews and retain your players." ## Marketing remains a serious challenge Unfortunately, getting those first few wishlists requires doing something that every small developer dreads. For people in any creative field, marketing is more critical now than it's ever been. It's a stumbling block for most, either because they don't know how to do it or because they're resentful of the whole idea. Pax Augusta developer Roger Gassmann has a lot to say about the importance of marketing: "I'm no expert, but over time, I've met many small development teams. The biggest problem seems to be marketing. 1) They lack the knowledge of how to market, and 2) it's extremely neglected. I've seen so many exciting game concepts over time that will never make it because they can't/don't advertise them." But what means of marketing are available for resource-poor developers, and how do they know where to best spend their advertising dollars? Game developer Reddit is full of posts like [this one from the developer of a game called Frostline, breaking down the relative value of advertising on different platforms](https://www.reddit.com/r/gamedev/comments/1n5o512/the%5Fcost%5Fof%5Fa%5Fwishlist%5Fpaid%5Fadvertising/). The most obvious choices aren't necessarily the best ones - and the best ones overall might not be best for everyone. "\[Y\]ou can't just do run-of-the-mill marketing," says Gassmann. "Small schools don't have the budget for that anyway. The important thing is: 1) you need a marketing strategy, and 2) you should start as early as possible." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/StaticPQ-1.png) Source: Author. Aside from lacking the money for conventional advertising, developers are limited by the time and skills necessary to mount any real campaign. It's easy for the usual suspects to shout the words "social media" and act as though everyone has the keys to the kingdom; in reality, it's far more complex than that. Even those developers who've found some degree of popularity on these platforms have often struggled to turn that popularity into attention for their games. And even that assumes that one is inclined to cultivate an online audience. "Other people seem to build audiences with social media, streaming, and TikTok/YouTube, but that seems like investing more time and resources into building a following there instead of directing it towards the thing you're actually trying to make," says Joshua Meadows. "I don't personally have a lot of interest in trying to cultivate a Twitch audience or Discord community that I then have to engage with, monitor, and manage to hopefully be able to leverage it into attention for my game/writing/art — other people seem to manage this so no knock against them, but it doesn't appeal to me." For most developers, content creators are still the only viable method of gaining exposure, but these connections can be harder to make and less valuable than they were years ago. The developer of a game called Astoaria says that [they net an average of one wishlist per 50 views on a video featuring their game](https://www.reddit.com/r/gamedev/comments/1mbmbqh/i%5Femailed%5F100%5Fyoutubers%5Fto%5Fplay%5Fmy%5Fgame%5Fand%5Fhere/). That's a ratio that demands either massive, broad coverage or being featured by a huge creator. Regardless of the approach one attempts, it's clear that marketing is simply an essential headache. "\[Making\] great games is not enough these days, you need to research your business case and have great marketing," says Jeroen Janssen of Happy Volcano. "It's kinda always been like this, but so much more important as nobody takes any risks anymore. All hail the \[algorithm\]." --- We're just getting started with State of Indie Games 2025! [Click here for Part 2](https://www.superjumpmagazine.com/the-state-of-indie-games-in-2025-and-beyond-part-2/), the other half of this opus of industry reflection, when our contributors get into topics like funding their games, development tools, and so much more! ### Caves of Qud Wins Top Video Game Prize at the 2025 Hugo Awards URL: https://www.superjumpmagazine.com/caves-of-qud-wins-top-video-game-prize-at-the-2025-hugo-awards/ Last updated: 2025-11-06T14:00:51.000Z **Attending the Hugo Awards, as always, can be lively and unpredictable.** This year, we had hosts who struggled with name pronunciation, and lots of singing (later, we attendees found out that a lack of rehearsal didn't help). But we now also have a seemingly permanent awards category to celebrate video games. The Best Game or Interactive Work Award started as a one-off; in 2021, members submitted a proposal to make this category permanent. Hades won this award in 2021, but it did not become a regular fixture until 2024, with Baldur's Gate 3 winning that year's Hugo. [Cave of Qud](https://store.steampowered.com/app/333640/Caves%5Fof%5FQud/) won the second annual 2025 Hugo for Best Game or Interactive Work. Given the sheer amount of cheers from the audience, I could tell there was a lot of love behind it. The game was actually in development for more than 17 years when the 1.0 full release came out on December 5th, 2024\. The developers were thrilled to come onstage and thank the Hugo-attending audience for the nominations. This category was also one of the few announcements that didn't receive some level of criticism about the choice. Other nominees included Dragon Age: The Veilguard, The Legend of Zelda: Echoes of Wisdom, Lorelei and the Laser Eyes, Tactical Breach Wizards, and 1000xRESIST. Admittedly, I haven't played Caves or these other games, as the 2024 games I did play tend to be underdogs that don't end up on award dockets. Nevertheless, witnessing this camaraderie and appreciation for the visual narrative reminds me why WorldCon can be fun to attend. Why did Caves of Qud win? I believe that Hugo voters appreciated the care that goes into the game's user experience. You can and will die a lot, but the right player mode can make you feel better about it. Yes, you can pet the cat (they are their own faction in the game), and though they have nothing to say or trade with, you get some nifty perks as a result. And with the right choices, you can convince some cats not to hate your player character. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-45.png) Caves of Qud. Source: Steam. ## What is Caves of Qud? Caves of Qud is a 2D adventure roguelike with four modes. In what the developers describe as a "retro future" with sentient planets, the player can choose their territory. You can find long-lost civilizations and go on quests while choosing to play as a True Kin — the game's term for humans — or a mutant. What used to be Earth is now Qud, and you occupy a land of deserts and mountains. No tropical rainforests or oceans for this player. But there's a catch: your character is assigned a random reputation. That reputation determines just how many tribes and NPCs tolerate you or attack on sight (my people-pleasing side screamed on the inside when finding out about that mitigating factor). Doing water rituals, since water is a necessary resource and a form of currency, can help you build or destroy that reputation. Although the art pays homage to early roguelikes, the developers add another crucial element: user settings customization. There are four modes: Roleplay allows save points, while Classic pays homage to traditional Roguelikes by eliminating save points. Daily is Classic mode with the option to choose the town where you start, while Wander reduces your player's reputation to zero, so specific NPCs won't attack you on sight. The game is still hard, but it understands the player wants to have fun. One thing about roguelikes is that they can frustrate a newbie. Also, practically every NPC or obstacle hates you. You may die even if you play as a pacifist! I remember when I played Spelunky for a few hours and only learned after the fact that there were no save points. By then, however, spite and determination mixed with the sense of accomplishment I got after reaching a level, and I was in too deep to quit and find another addictive game. Games need to be fun when they present near-impossible goals to the player. The enjoyment is why we boot up our PCs, Switches, and other gaming devices. Learn more about Caves of Qud with this [amazing, in-depth feature from Leonard Orloski](https://www.superjumpmagazine.com/caves-of-qud-a-weird-journey-into-the-future/) here at SUPERJUMP. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-46.png) Caves of Qud. Source: Steam. ## Caring about the user I appreciate that the Caves of Qud dev team cares about the players. The various gameplay modes let players decide for themselves how much of a challenge they'd like to experience. Other roguelike developers make the user experience the same, with little flexibility. Spelunky creator Derek Yu has explained in some interviews how he maximized the game's difficulty as punishment. He characterizes the player as a villain, a treasure robber rather than an archaeologist. I always found this sus because it's not like a player can play Pacifist on their first run, even if they wanted to stay peaceful. Most roguelikes toss hostile NPCs at you so that you don't have a choice but to retaliate in self-defense. I think Hugo voters responded to this care and attention. Text expositions detail what happens when you travel to a distant city or cross a river, and what surprises might ambush you. NPCs give you the necessary backstory as standard, but they also explain how society evolved accordingly. Everything is hostile in the land of Qud, but it doesn't have to be that way forever. Your choices determine that; a player can learn to live with the hostile creatures and minimize conflict. --- The 2026 Hugo Awards will take place on 30 August, 2026 in Los Angeles. Stay tuned to SUPERJUMP to learn more about the game that takes home the big prize! ### Ghost Of Yōtei's Rob Davis On Samurai Films, Open Worlds, And Authenticity URL: https://www.superjumpmagazine.com/ghost-of-yoteis-rob-davis-on-samurai-films-open-worlds-and-authenticity/ Last updated: 2025-11-08T12:46:42.000Z **When Rob Davis came onboard as the campaign director for Ghost of Yōtei, developer Sucker Punch's follow-up to their 2020 PS4 epic Ghost of Tsushima, he knew that the previous game had set certain expectations.** Davis had come from the God of War team, and was moving from a series that leaned on Greek and Norse mythology to one that was more grounded in cinematic language. The first game had featured an optional Kurosawa mode, which added a film grain over a black-and-white image to replicate the feel of director Akira Kurosawa's *jidaigeki chanbara* films. The second game in a series can often set the tone for what that series is going to be going forward, and for the second game in the Ghost series they wanted to lean in further to that feeling that players were in the middle of a playable samurai movie. "I made a rule for myself that I would watch a samurai film every night for a year," Davis tells me. "Not a bad gig, actually." I spoke to Rob Davis in a meeting room at a hotel room a short distance from the Melbourne Convention Centre. The night before Rob Davis had delivered a panel to an eager crowd at PAX Australia. It was the first stop of a small Australian tour for Davis, who was born in Sydney and previously worked for several local development studios (credits include Ty the Tasmanian Tiger 3, Destroy All Humans 2 and The Saboteur) before moving to the US in 2010 to work for Microsoft on various Kinect titles. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/Ghost-of-Yotei_Red-1.png) Source: Press Kit. --- > "I made a rule for myself that I would watch a samurai film every night for a year." > > **ROB DAVIS** > **Campaign Director** --- As Campaign Director, Davis was responsible for directing Ghost of Yōtei's missions and much of its open-world material. "The running joke at Sucker Punch is I am the person who plays the game more than just about everyone," he says. "I was always playing through different builds of the game and working with the designers on the moment to moment pacing and on the overall adventure." "Our goal is to take the initial really inspiring pitch from (Creative Director) Nate Fox and (Art Director) Jason Connell of a wandering mercenary on a tale of vengeance in the lethal land of Hokkaido beyond the border of the south, and then look into every mission of the game, every part of exploration and ask ourselves: how can we get the maximum flavour of a wandering mercenary out for vengeance? How can we tell the tale of Atsu as someone who has an emotional and action-filled story ahead of them?" Turning to cinema was a good starting point for Davis. There were many older classics among the films he watched, and he particularly enjoyed the Lone Wolf and Cub series, live-action adaptations of Kazuo Koike's legendary manga series: "Ogami Ittō is a particularly cool wandering mercenary who always sort of gets the job done and has a trick up his sleeve." The classic anime series Rurouni Kenshin was a highlight, as was Ugetsu, a ghost story from 1953\. Some of the influences of the films Davis watched during this time are felt quite overtly in the game. The Takashi Miike visual filter available in this game pays tribute to his samurai films, with 13 Assassins (a tremendous film) in particular standing out to Davis. Kurosawa, inevitably, remained a fixture: films like Ran, Seven Samurai, and especially Yojimbo served as key inspiration. "Yojimbo was pretty much *the* film," he says. "You ask yourself the question, 'what if we could bring this to life through the game?'" ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/GameplayReveal_060_Special-Modes.png) Source: Press Kit. --- > "How can we get the maximum flavour of a wandering mercenary out for vengeance? How can we tell the tale of Atsu as someone who has an emotional and action-filled story ahead of them?" > > **ROB DAVIS** > **Campaign Director** --- But while Yojimbo is about a gruff mercenary who plays two warring clans against each other, Ghost of Yōtei is, fundamentally, a revenge story about a young woman going up against the Lord who murdered her family, and the coterie of masked villains who serve him. For inspiration, Davis and the team turned to another movie about a woman on a trail of bloody vengeance. "The original inspiration for Kill Bill, and (director) Quentin Tarantino is quite open about this, is a classic film called Lady Snowblood", Davis says. " Like Ogami Ittō or like Atsu, Lady Snowblood is not afraid to get the job done. And she's not honour-bound, she's hell-bent on getting vengeance. But like Ghost of Yōtei, the emotional cost of her humanity on her vengeance quest becomes more than the initial start point." As part of their research for Ghost of Yōtei, Rob and other members of the team travelled to Hokkaido to immerse themselves in the culture and environment they would be depicting. The Ghost series has a solid following in Japan, and the team understood that representing another country and culture in a game that they were going to sell back to that region required consultation and education to get right. "Honouring the samurai cinema and honouring Japanese culture is incredibly important to us," Davis tells me. "Building off the success of Tsushima, we were able to get our process quite tight. But at a human level, when we went to Hokkaido ourselves and saw it and felt it and touched it, it makes you want to try even a little harder. And it makes you feel the pressure a little bit. But it also makes you inspired to do right by those whose culture you're honouring." Davis, in fact, studied Japanese at college, but had not returned to the language in some time. "I'd sort of forgotten how much I love Japan and Japanese culture," he reflects. "I woke up a little part of myself that I hadn't seen in 10 or 15 years." Throughout the project, there was a sense of "pressure and responsibility to do right by Japanese players"; many of the processes and advisor relationships they'd set up for Tsushima were returned to. Physical sales figures show that the game's launch was the biggest for a Sony-published game in the region since Spider-Man 2 in 2023\. Making a game set in 1603, in the area now known as Hokkaido, also meant engaging and consulting with the Ainu people, the island's indigenous people. For Davis and the rest of the team, making sure to honour the Ainu people, including "the patterns, shapes and architecture" that arose from Ainu culture, was important. "We partnered with Ainu advisors, and we were fortunate enough to meet with them when we went over to Japan," Davis says. As part of this meeting, the visitors from Sucker Punch went on a foraging expedition with them, and viewed objects and art from the period at a museum. "There was a lot of learning to do about the myths and about the different beliefs of the Ainu," Davis says. "We were able to put certain assets and certain materials in front of the Ainu, and then quickly turn them around if it wasn't working." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/GOY_SHOT15-1.png) Source: Press Kit. --- > Making a game set in 1603, in the area now known as Hokkaido, also meant engaging and consulting with the Ainu people, the island's indigenous people. For Davis and the rest of the team, making sure to honour the Ainu people, including "the patterns, shapes and architecture" that arose from Ainu culture, was important. --- Ghost of Yōtei is built on the same engine as Infamous: Second Son, released for the PlayStation 4 in 2014\. While that might sound creaky by today's standards, if you've played the game, the results speak for themselves. Institutional knowledge within the studio, and familiarity with the tools, sped certain processes up. "We've gotten quite fast as a team at changing something that doesn't work or honouring a detail from our advisors when we get feedback," Davis says. Rob Davis might be the person on the team who has played the game the most, but by the time the game was released, everyone on the team had spent a lot of time with it: every six weeks, the whole team would spend their Friday playing through the game to see what kind of shape it's in. "We're trying to have each other's backs, check in on each other," Davis tells me. "We see how we're doing as a team, see how we felt about it compared to Tsushima." "And, yeah, it takes a bit of time to take the whole team offline every six weeks to play through the game. But the taste and talent of our team as it relates to honouring Ghost as a franchise, honouring Japanese culture, and honouring Atsu as a brand new origin story hero, is a lot of work. And there's lots of things we have to edit and change along the way as well. That constant playtesting and constant checking in on each other has really helped to see how we're actually doing." By the time we spoke the game had been out for nearly two weeks, and Davis was relieved - the game was well-received by players and critics. "One thing we've noticed coming out of the early players is just how much people are loving the open world," he says. "We're so used to looking at every little piece in isolation that seeing players respond positively to the open world and to Atsu and to the combat in this game has been very satisfying and heart-warming." "We came back to a simple philosophy throughout development. We know players are intelligent. We know players are curious. We know players loved Tsushima. We can trust ourselves and we can trust players. We know that if we inspire players to be curious and make the world interesting to explore, and if we create content that, when you arrive, is meaningful and is interesting or challenging or mysterious. We can make players a convincing promise that exploring will be worth it." Ghost of Yōtei is available now on PlayStation 5\. ### Donkey Kong Bananza: The Emissary of Innovation URL: https://www.superjumpmagazine.com/donkey-kong-bananza-the-emissary-of-innovation/ Last updated: 2025-11-05T16:33:38.000Z **DK Island and Emerald Rush DLC code provided by Nintendo.* **Nintendo are the masters of reinvention.** As I noted in our [recent Switch 2 launch video](https://www.youtube.com/watch?v=tM12zTfd86M&t=1s), Nintendo recruits beloved, familiar characters to guide players into novel experiences. These characters never remain completely static; they grow and change over time, just like the players who love them so. While nostalgia always has its appeal, I personally gravitate towards *surprise and delight*, especially as I grow older. I can always go back and play the older games (well, *mostly*); the challenge for Nintendo (and for every game developer, really) is to *show me something new - something I couldn't have imagined before*. Donkey Kong Bananza does just that. Yes, it offers a mild makeover for Donkey Kong himself, but that's really just a footnote: on almost every level, Bananza is a bold reinterpretation of Nintendo's oldest mascot and the world he inhabits. It's wonderfully fitting that a personality who is one of the poster children of "retro gaming" has now become the ambassador of the cutting-edge. Donkey Kong, my friend, you deserve nothing less. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/NS2_DonkeyKongBananza_SCRN_06.png) Source: Press Kit. --- > These characters never remain completely static; they grow and change over time, just like the players who love them so. --- ## A friendship for the ages I finished Donkey Kong Bananza several weeks ago (although I'm still playing through the post-game experience and the recently-released DLC). Time and distance act a little like a sieve; the truly impactful memories continue to shine through and the more forgettable elements fade away. Now that I think about it, one of Donkey Kong Bananza's greatest triumphs is the genuinely touching friendship between DK and Pauline. Pauline, as a character, is as old as DK himself; you might remember her as the damsel in distress that Mario was tasked with saving (from DK!) in the original Donkey Kong arcade game. In more recent times, we saw her re-emerge, all-grown-up, as the mayor of New Donk City in Super Mario Odyssey. Donkey Kong Bananza completes the retcon by depicting her as a shy and loveable little girl who, through her unlikely journey with everyone's favourite Big Ape, grows into a confident, self-possessed hero in her own right. The interactions between Pauline and DK are touching, adorable, often hilarious, and always handled with masterful restraint. These two characters couldn't be more different but this - as with many famous duos - is what makes the relationship work so well. A shared love of music is both a uniting force for the pair while also cleverly acting as a gameplay device in multiple ways (most obviously as a unique method for subtle way finding, should you get distracted and forget where your next objective is located). DK can't speak in any human language and his emotions are mostly conveyed through wonderfully expressive body language, including what is possibly the widest range of elaborate facial expressions yet seen from a Nintendo character. Pauline understands DK, of course, and she happily chatters away in response. I was surprised to discover the profundity of this friendship as the game progressed. There are no damsels in distress here; Pauline is every bit DK's equal and the pair's hand-in-glove relationship finely balances their interconnected strengths and weaknesses. DK encourages Pauline to confront her fear of singing before an audience, which, as mentioned above, serves multiple diegetic purposes as opposed to being merely cute window-dressing. And Pauline's smarts and lateral thinking are essential fuel for DK's impressive braun; his progress is driven in large part by her guidance, curiosity, and tenacity. Mario and Luigi. Banjo and Kazooie. Donkey Kong and Pauline. After only a couple of hours of play, the friendship at the core of Donkey Kong Bananza didn't feel at all novel; rather, it was as though this pair had been adventuring together for many years. This might be the highest compliment I can give and it is a testament to Nintendo's thoughtful and nuanced approach here. Pauline herself has quickly become an iconic mascot; I'd happily play a game starring her, and I'd be more than delighted to see these friends reunite again in future Donkey Kong games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/NS2_DonkeyKongBananza_SCRN_10.png) Source: Press Kit. --- > There are no damsels in distress here; Pauline is every bit DK's equal and the pair's hand-in-glove relationship finely balances their interconnected strengths and weaknesses. --- ## A life of lessons learned You probably have a favourite Nintendo era, which is likely influenced by your age and when you first discovered the company. Let me say, though, that I believe Nintendo are at the top of their game *right now*. Donkey Kong Bananza is a perfect example of the convergence of two important principles: - Building on historical lessons and experience and; - Leveraging these foundations to push innovation even further. It's very likely that you've read/watched plenty of reviews by now or that you've played the game and you're keen to read another opinion on it. You might have noticed that much of the preview and early review coverage compared Donkey Kong Bananza to Super Mario Odyssey, often proclaiming it as Mario's spiritual successor. Now, sure, there are some obvious and inexpensive comparisons that can be made between the two games: they're both 3D platformers and Bananza shares some structural elements with Odyssey (objectives are plentifully littered throughout the worlds, and those worlds are self-contained, high-density puzzle boxes). But when I look at Bananza, I don't *just* see Super Mario Odyssey. I see Breath of the Wild and Tears of the Kingdom. I see Splatoon. There's even a little Kirby and the Forgotten Land DNA here. In other words, Donkey Kong Bananza liberally draws from a wide range of Nintendo experiences. I assure you, though, that this isn't a reductionist perspective: Bananza never *apes* (🙊) any of these games in superficial ways. It is, rather, something *entirely new* that simultaneously couldn't exist without the many prior experiments its design builds upon. ### Controlled chaos I won't touch on the plot too much (while I don't think anyone would expect a particularly deep plot from a platformer, there are nonetheless plenty of surprises and fascinating characters to encounter through the journey). What I will say, though, is that Donkey Kong Bananza's central premise is the idea that you're tunnelling your way down to the planet's core. Each level takes place on its own distinct subterranean layer, and these layers must be unlocked by completing primary objectives (which are roughly divided into collecting Banandium Gems and defeating bosses). This concept pairs with DK's new ability to punch his way through terrain. In fact, almost all of the terrain in each level is completely destructible. It's quite possible, if you're patient enough and can keep the RSI at bay, to smash apart a level such that there's virtually nothing left. A clever combination of thoughtful animation and force feedback means that all this excavation *feels satisfying* \- not unlike Mario's jump. It's clear that the development team spent a great deal of time nailing this specific mechanic. DK can punch forwards as well as up and down, which makes it easy to quickly bore your way deep underground or back up to the surface. Importantly, the digging itself isn't the goal here; although it's fun, it's still a means to an end. Exploring underground will frequently reveal collectible items and treasure, as well as hidden objectives and other surprising discoveries (including, at times, entirely obscured parts of the level that lead to further objectives, unique challenge stages, and more). No matter how far afield you go, you'll never get lost. You can quickly pull up a 3D map that provides a clear overview of the entire level including key points of interest. In addition, Pauline can guide you to your next objective in real time. Despite the considerable freedom you have to explore, it's still possible to encounter impassable boundaries (there's only so far down you can dig before you hit physical barriers, for example). Rather than simply wrapping each level in these boundaries, however, Nintendo still employs them in clever ways throughout each space and they often play a role in environmental puzzle solving. In other words, Donkey Kong Bananza presents the best of both worlds: it offers greater freedom than virtually any other Nintendo game (except perhaps Tears of the Kingdom) while still offering clear primary objectives and a central progression path. Don't let the flexibility on offer here leave you with the illusion that Donkey Kong Bananza isn't packed full of sharp, focused platforming challenges: Its levels, despite being highly malleable, are also among the most cleverly-designed in the history of Nintendo platformers. Your ability to reform the terrain around you often unlocks all sorts of lateral possibilities in terms of how you proceed forward. For example, you can grab clumps of earth in your hands and throw it against a wall to create climbable "stairs" up an otherwise impossible-to-climb surface. Enemies, too, can be defeated in a variety of ways and will sometimes require quite advanced techniques to dispatch quickly. Enemy design is balanced against the range of materials in the world. For example, grabbing and throwing soil might prove effective for very simple enemies, but you'll need to break apart rock (including a special explosive variant) for armour-clad foes. Exploration through the world is also ring-fenced by different types of materials, each with their own properties (including a kind of difficulty rating that determines how strong DK must be to pick up or break a given material). This is just a small example of the many different elements that are folded into Donkey Kong Bananza's design: sharp, precise platforming; non-linear sandbox-style worlds; environmental destruction; and a wide range of materials that each have their own unique properties. Donkey Kong Bananza builds on Super Mario Odyssey's intricate "miniature garden" worlds and dramatically extends Breath of the Wild's chemistry simulation in service of something that is at once far more ambitious *and* incredibly approachable. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/NS2_DonkeyKongBananza_SCRN_14.png) Source: Press Kit. --- > Donkey Kong Bananza builds on Super Mario Odyssey's intricate "miniature garden" worlds and dramatically extends Breath of the Wild's chemistry simulation in service of something that is at once far more ambitious *and* incredibly approachable. --- Much to my surprise, DK now has various skills that can be levelled up throughout the adventure. These include his core punching strength (you'll really want this to smash through much tougher materials later in the game), his total health, and his special *Bananza transformations*. In this iteration of Donkey Kong, you won't ride other animals...*you'll transform into them*. Each of these transformations is fun in its own way - and there are special levels that are entirely built around them, which offer additional variety - but honestly, they feel more like delightful bonuses than critical aspects of the experience. Playing as DK with his core mechanics is just so satisfying that I never found myself pining for the refreshment that the Bananza transformations offer. ### Beyond imagination Donkey Kong is both Nintendo's oldest mascot and - thanks to Bananza - its freshest face. It's true that the developers redesigned the character, taking great care to both respect his history while exploring an updated design language. As Daisuke Watanabe, the game's Art Director, says: > "People's impressions of Donkey Kong actually vary quite significantly from person to person. Donkey Kong began life in the arcades as Mario's nemesis, but since then he's had many guises depending on the game, be that a cool, rugged king of the jungle or a lovable goofball. So, rather than just giving him a simple design update, we strove for a design that would get to the core of what makes Donkey Kong who he is, bringing out his unique characteristics and appeal." > > **Daisuke Watanabe** > **Art Director** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image.png) Source: Nintendo. While the developers don't specifically cite Splatoon as an art influence, I found myself seeing a lot of Splatoon in this experience. It's not just that music plays a big role in the story and its presentation (including oversized vinyl records acting as special objects and DJing being a major theme); it's also that the general approach to art design is sharp, fresh, youthful, and at times imbued with a distinct urban flavour (no doubt to harken back to Donkey Kong's origins in a neon-soaked NYC stand-in). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/image-1.png) Source: Nintendo. Donkey Kong Bananza references history without ever becoming trite. The developers took the time to dig into the underlying meaning of the franchise's earlier aesthetic and then leveraged this understanding to build something entirely new: > "Our goal was to make the Underground World feel like an entirely separate civilisation to that of the surface and to cram it full of variety. We felt compelled to create a fresh new world for Donkey Kong, so instead of sticking to what past games in the series had done, we made sure each Layer had its own unique world and flavour. That said, we did draw inspiration from Miyamoto-san’s original vision of Donkey Kong. By weaving neon colours into the visuals as a key element, we aimed to create something fresh while still evoking the feel of the original arcade game. By the way, the pink and light-blue neon tones were inspired by the colours of the ladders and steel beams in the original game." > > **Daisuke Watanabe** > **Art Director** When you sit down to play Donkey Kong Bananza, you never know what to expect from one moment to the next. The entire experience - from each interaction you have within each level, through to the remarkably wonderful meta traversal system that carries you between levels - is so finely tuned to continuously and consistently deliver nuggets of awe that you'll lose the ability to stop smiling. Nintendo's developers are so experienced and have become such masters of delight that they can afford to step out on the furthest limb and reach for the most mind-bending creative ideas (ideas that very few game devs could so confidently execute). It's akin to blasting off to explore distant planets with the world's most talented crew on the world's most advanced spacecraft; every time Donkey Kong Bananza reaches out to us with a furry paw, beckoning us to explore and play, we unflinchingly do so because Nintendo - and the game itself - has earned our confidence. I can almost hear DK whispering "Trust me, you'll love this" every time I encounter something new here. Donkey Kong Bananza is held aloft by its three equally important legs: gameplay, art design, and sound design. Every leg is doing its job here. Sound design is masterful, including fantastic dialogue (DK's grunts, Pauline's singing and playful chattering, and the deviously fun tantrums of the Void Co. villains), sound effects (smashing up earth and rocks can only be described as ASMR-like), and music (from stunning, epic orchestral arrangements through to remixed classics and clever atmospheric soundscapes). I want to specifically highlight the music, because it fittingly lives up to Grant Kirkhope's legacy without leaning on historical crutches. Certain tracks - like the infamous DK Rap - are playfully injected into the experience in creatively diegetic ways. But so much of the approach to music here feels genuinely novel, including the wonderful ebb and flow of musical energy that peaks and troughs as you explore further and deeper into this world. Beautifully quirky tracks like [Fractone Village](https://www.youtube.com/watch?v=AAHfR1LN%5FEY&list=PL3Ydt8g2VQ4Hrag6mehy1t9P3p2im57as&index=11) perfectly complement the art and sound design of the level and express its inherent sense of whimsy. [Hot-Hoof Heater](https://www.youtube.com/watch?v=zDmghSKnqXw&list=PL3Ydt8g2VQ4Hrag6mehy1t9P3p2im57as&index=21) presents a DK-flavoured spin on the traditional sand/lava environment. [Mine-Cart Ride](https://www.youtube.com/watch?v=6n93dW7IsHg&list=PL3Ydt8g2VQ4Hrag6mehy1t9P3p2im57as&index=62) feels suitably epic and *precarious*. And then, when you least expect it, you arrive at The Divide: Source: YouTube. I won't tell you what The Divide is. But I remember feeling a mix of emotions when I first arrived there. It may sound absurd - we're talking about a platformer after all - but this moment almost brought tears to my eyes. The way it's introduced, the role it plays in the larger experience, and the pensive tone of the music - its restraint in particular - got to me. There are two thoughtful variations on this piece that are utilised at specific moments within this area that demonstrate such brilliant attention to detail. ## Post-game experience Donkey Kong Bananza might be a highly innovative experience, but it's also certainly a product of its time. Single-player games in the 2020s rarely just "finish"; there's usually some sort of post-game experience, and Bananza absolutely checks this box in two distinct ways. There's the included post-game experience; this is what you get without the recently-released DLC. I must say, it's pretty robust. You'll unlock new goals/quests after rolling the credits, special challenge stages, two 'rush' modes (one against regular enemies and one against bosses), and quite a bit more (including a range of new cosmetic items and so on). It's hard to sneeze at any of this, given the impressive breadth and depth that the main game already offers. I found myself unable to peel the controller out of my hands after the final boss, and so, these additional bits and pieces were very welcome. I also purchased the DK Island + Emerald Rush DLC (note that for the purposes of this story, one of my colleagues received a download code via Nintendo - but this main review was written with a purchased copy). If you have read or watched any reviews about this DLC, just bear in mind that much of the controversy surrounding it is based on a significant misalignment between expectation and reality. If you're expecting entirely new worlds with new collectible Banandium Gems/quests, new bosses, and so on (in other words, a direct "extension" of the main game), then you absolutely don't get that here. And if that's a deal-breaker for you, then I wouldn't recommend the DLC. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/NintendoSwitch2_DKBDKIsland_EmeraldRush_scrn08.png) Source: Press Kit. --- > I won't tell you what The Divide is. But I remember feeling a mix of emotions when I first arrived there. It may sound absurd - we're talking about a platformer after all - but this moment almost brought tears to my eyes. --- I really didn't go into this DLC with any expectations. The prospect of at least one new locale - the titular DK Island - was enticing enough for me to jump in without hesitation. DK Island acts as the 'hub' and starting point for the new Emerald Rush mode. Emerald Rush reminds me a *lot* of Salmon Run in Splatoon; you drop into an existing level that is filled to the brim - both above and below ground - with emerald crystals (which, functionally, work a lot like gold from the main game). Your goal is principally to smash up and collect as much emerald as you can within a time limit (there are also special Banandium Gems scattered throughout the level for you to find). Within this context, you'll receive dynamic challenges as you play (which typically involve beating a particular enemy, collecting a particular banana, and so on). Beating these challenges is one way you can unlock stackable bonuses/abilities that improve your performance. You'll need to reach certain performance grades to unlock Emerald Rush across more levels. Emerald Rush is a lot of fun, especially if you are looking to kill some time and jump into a quick game without a big time commitment. Yes, it offers you more of the same, but that's fundamentally why it's appealing: it gives you an excuse to dive back in and see if you can beat your personal bests as you push further and further to drive up your score and acquire more and more boosts/bonuses. Emerald Rush fittingly emphasises the most mechanically rewarding aspect of Donkey Kong Bananza: smashing stuff. By adding dynamic goals, you're given a *reason* to smash more stuff over and over again; there's always some new goal to drive for. But as I said above, you're not really getting additional levels, new enemies, or new bosses here - so, I wouldn't recommend this DLC to players who have no interest in returning to existing levels purely for a smash-fest. ## Final thoughts I am honoured to be joined by two of my colleagues - Jahanzeb Khan and Harel Cohen - to present our final thoughts on Donkey Kong Bananza. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/james.png) #### James Burns I have been sitting with Donkey Kong Bananza for quite some time before writing this review. After several weeks, do I still feel as giddy about the experience as I did initially? In short, yes: I am confident that Donkey Kong Bananza represents Nintendo at the height of their platforming powers. Here's a game that pushes the genre further than ever before; I absolutely know how bold this statement is, given the stunning examples of platformers we've seen in recent years (both from Nintendo and many other developers). But I stand by it. Donkey Kong Bananza is an ambitious and creative re-invention of a beloved, classic franchise. It's a thoroughly joyful, at times surreal, and utterly delightful journey through the imagination of the world's greatest game developers. And it is, in my view, the Switch 2's first must-own game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/harel-1.png) #### Harel Cohen To say that Donkey Kong Bananza is the game I bought a Switch 2 for would be an understatement. Anyone who knows me knows I love platformers, and with this being the latest game from the team behind Super Mario Odyssey, I was there on launch day. This is the killer app for Switch 2 at publishing. It’s exciting, challenging, and even cathartic. In past platformers, breaking objects in the environment was a minor gimmick. Here, it’s a core mechanic. Running through open levels, smashing objects, using the environment to fight enemies, or creating shortcuts to bananas is endlessly satisfying. With tight controls, catchy music, and a simple but impactful story, Bananza stands out as a brilliant entry in Nintendo’s catalogue. Boss fights can feel repetitive, and the game drags near the end, but these are minor complaints. This adventure absolutely deserves a golden banana! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/11/jahan.png) #### Jahanzeb Khan “Oh, banana!” It’s a phrase that works for both joy and frustration. I hope it catches on — the perfect thing to say after stubbing your toe. I also hope Donkey Kong Bananza becomes an all-time Nintendo classic, a must-have for Switch 2 alongside Mario Kart World. Nintendo lore is funny. Even if you try to piece together the Donkey Kong timeline, Bananza turns it upside down. Who is Cranky Kong if he’s not the original Kong from the 1981 arcade game? But does it matter? Donkey Kong likes bananas, and he needs them all. But are the bananas in Bananza real? They look like mineral deposits — banana-shaped, not bananas. Does it matter? Probably not. It’s Donkey Kong, and he’s just gotta have 'em. Bananza reinvents the 3D platformer collectathon: digging through terrain to uncover secrets and turning variable landscapes into clever levels. It’s a new Kong, but he still loves his bananas. ### Hidden Gems of Game Design Vol 41 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-41/ Last updated: 2025-11-03T01:36:42.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Please share your favorite hidden gems in the comments. ## Josh Bycer ### [Tactical Nexus (2019)](https://store.steampowered.com/app/1141290/Tactical%5FNexus/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-42.png) Source: Steam. This month, we turn to one of the most niche of the niche games. Tactical Nexus is a game designed by, and for, every tactical RPG sicko out there who has ever thought to try and master one of these games. Are you someone who: 1. Has taken a character to level 9999 in Disgaea? 2. Has not only learned, but broken, an SRPG? 3. Is looking for a game that has at minimum 1000 hours of gameplay? If you answered yes to any of those points, then this is the game for you. Tactical Nexus is a Puzzle RPG in a similar style to Desktop Dungeons. The idea is that you must conquer a stage by figuring out the exact order of items to pick up and enemies to fight. Where the challenge comes in is that every stage is made up of multiple maps, with enemies and items strewn about. Fighting stronger enemies early can net you more experience, allowing you to level up, but if you take too much damage, then you won’t survive to the end. Multiple keys unlock different routes, and you must figure out which routes to take, given what you have in a level so far. All combat is handled simply by bumping into the enemy and letting the stats do the talking. After a level is over, you are graded on how much of it you managed to clear and on finding bonus score items hidden behind the harder gates. The reason why this matters is what takes Tactical Nexus’ gameplay into overdrive. With Desktop Dungeons, while there was meta progression with unlocking new characters and items, the character’s progression always resets to 0\. Here, the meta layer allows you to permanently boost your starting stats – enabling you to fight enemies more easily, take on harder fights earlier, or access the many harder gates that you couldn't before. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-35.png) I don't think I can post a single screenshot that would make sense to someone who hasn't played this. Source: Steam. The game only tracks your highest score per stage – if you want more juicy rewards, you’ll need to play better. And yes, all these upgrades carry across all stages. The different levels start out being balanced around having no upgrades, but you will eventually need those boosts if you have any hope of continuing. Tactical Nexus’ MO is about quality over quantity; it’s not about giving you hundreds of stages to play, but stages that take a long time to master on top of the meta progression. The developers understand that their game won't be a mainstream success, and have factored that into their monetization structure. The first two chapters of the game are 100% completely free to play, and you can easily get dozens of hours just out of those two alone. If you want more, there are multiple chapters available as DLC that add more challenge, new mechanics, and more meta progression. The developers have gone on record stating that they will never put their DLC on sale, with the idea that the DLC is meant for the hardcore fans who want more. This is the perfect game for the Hidden Gems series, as most of you reading this probably have no idea that it even exists. It is not for everyone, but if you fall into the highly specific group that wants this kind of game, I hope you enjoy your next obsession. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/data-src-image-29bc81ae-b2da-4877-a768-6ec406a69688.jpeg) ****Source: Author.** ## B. Cantrell ### [Flinthook (2017)](https://store.steampowered.com/app/401710/Flinthook/) Lately, I’ve been grappling through the galaxy with Flinthook, and it didn’t take long for this roguelite to hook me in. Another hidden gem from Montreal’s [Tribute Games](https://tributegames.com/) (hot off last month’s [Steel Assault](https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-40/)), it casts you as a masked space pirate armed with an anchor hook, plasma pistol, and time-slowing belt, raiding wooden spaceships for randomised loot. The snappy controls give you instant agility, making it feel like you’re a tiny pirate Spider-Man zipping through zero-gravity galleons. Swinging through procedurally generated levels, fighting bandits, and hoovering up treasure is the order of the day here. You latch onto golden rings and ping pong around enemies and traps, with a generous aim assist that lets you flow from ring to ring without touching the ground. Combat blends with movement as the hookshot crosshair doubles as a blaster reticle, so you can fire in any direction mid-swing. Slowing time with the Chrono Belt to slip between lasers, blasting foes, and grappling out feels super fluid and satisfying. True to its roguelite roots, Flinthook delivers an addictive loop of looting and leveling up after death. Each run is a fresh gauntlet of gold, enemies, traps, and surprises. One moment you’re dodging spike balls and laser beams, the next you’re dueling mutant buccaneers. Cracking open chests and crates is super satisfying as coins burst out, just like smashing up urns on a Hades run. Flinthook passes the pottery test with flying colours. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/data-src-image-8d5f43e6-5e58-4080-9507-d1a8b2de5043.jpeg) ****Source: Author.** As with any good roguelite, you start lightly equipped and grow stronger through steady meta-progression. Treasure and experience unlock perk cards and permanent upgrades that boost health, extend slow motion, or enhance attack power. It nicely captures that ‘one more run’ feeling, where even after a sudden defeat, you’re eager to jump back in. I died plenty early on, but I never felt like quitting. The responsive controls turn every setback into a lesson, and finally conquering a brutal room or boss feels genuinely rewarding. Using that right trigger to fire the hook shot is just really addictive. Flinthook’s fluid pixel-art and catchy chiptune soundtrack capture the spirit of the 16-bit era while layering in modern design touches that add depth and replayability. It reminds me most of Flying Oak’s [ScourgeBringer](https://store.steampowered.com/app/1037020/ScourgeBringer/), with its classic roguelite map grid and flowing, omnidirectional movement that keeps you in constant motion. Released in 2017 on Steam, consoles, and later Switch, Flinthook slipped under the radar despite earning solid reviews, likely overshadowed by the wave of major releases that made 2017 one of gaming’s all-time great years. Regardless, Flinthook remains an overlooked gem that deserves another chance to shine. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-43.png) ## Priya Sridhar ### [Tiny Terrors (2025)](https://store.steampowered.com/app/3897480/Tiny%5FTerrors/) As I was trolling Steam for Halloween-themed games, Tiny Terrors popped up as a free-to-play new release. The art style matched what I like, so I started playing. Tiny Terrors is hard. You play as a ghost teaming up with a jack-o-lantern to collect candy amid hostile monsters and spirits. Rather than fighting or jumping, you have to strategize to dodge everything and everyone coming your way while grabbing candies. It’s a case where going in circles is a good idea. Though I won a few times, more times my ghost got their candy stolen. The replay value was fairly high as a result. The animation is gorgeous with apropos background music. I hope the developer, Shiromi, has other games in the pipeline. ## Julia Hu ### [Tyranny (2016)](https://store.steampowered.com/app/362960/Tyranny/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/data-src-image-8f84031c-c651-44b4-94a9-ab9fdf27f7a9.png) source: Developer Tyranny is a 2016 CRPG developed by Obsidian Entertainment and published by Paradox Interactive. Though both developer and publisher are household names among gamers, this particular title tends to be the forgotten child on their resumes. This is a shame because Tyranny offers such a unique premise among RPGs, as it is one of the rare games that lets players indulge in being the bad guy. The game opens with our player character, a Fatebinder serving the mysterious god-emperor Kyros, being tasked with crushing a rebellion in a conquered land while navigating the conflict between two bickering factions, the Scarlet Chorus and the Disfavored. Unlike most RPG protagonists, our Fatebinder is not some no-name warrior but starts as a high-ranking officer in Kyros' army, capable of invoking an Edict of Kyros (a magical weapon of mass destruction that only Kyros can deploy) as a way to both channel Kyros’ authority and as a threat to achieve Kyros’ aims. Along the way, we enjoy classic CRPG mechanics such as recruiting a colorful cast of companions, managing their gear, seeing their interactions, and making impactful decisions that change the story. We ultimately choose whether to ally with the Scarlet Chorus or the Disfavored as their war escalates (or neither and ally with the rebels themselves!). Then, after a plot twist, we choose how we manage the resulting conflict with the other Archons and potentially Kyros themself. These dramatically branching choices make multiple playthroughs of Tyranny feel like wholly different stories. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-44.png) Tyranny. Source: Steam. Yet, I think one reason why Tyranny has been underappreciated is that the game's plot feels awkwardly unfinished. As engaging as the game's story and worldbuilding is, Tyranny feels like the middle installment of a trilogy. The game opens with a retrospective text sequence, similar to Mass Effect 2 or 3’s, asking about your Fatebinder’s key decisions during Kyros’ unseen past campaign, with these answers determining the starting state of the world and its factions for the playthrough. The ending of the game is jarringly abrupt, wrapping up with a narrated summary of the wider consequences of our choices on the state of the world and Kyros. As one gamer aptly said, Tyranny feels "more like a proof of concept than a game." We can only guess why the game was made in this rushed, incomplete state and then barely marketed. A potentially morally gray game in a niche genre would point to a low sales forecast, which likely impacted the amount of funds Obsidian had to work with. Whatever the reason, no plans for a sequel have followed in the nine years since launch. Even so, I greatly enjoyed my 70+ hours spent completing all story paths in Tyranny. I hope the industry will continue taking creative risks and making experiences for the moments when gamers want to fantasize about not being the hero. ## Anonymous ### Tarzan: Return to the Jungle (2002) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-36.png) source: Amazon Tarzan: Return to the Jungle built upon the foundation of its 1999 Game Boy Color predecessor with combat, improved character sprites, and stronger backgrounds. His acrobatic abilities grew, bringing activities like tree surfing into the fold. While the Game Boy Advance game still had the film star collect bananas, they were no longer essential to beat levels. Instead, objectives ranged from stampeding boars and mining cart hops to finding dinosaur eggs. Tarzan was a joy to control, with his love for bananas taking him on sprints, slides leading to leaps, and vine swinging into vibrant water pools. The platforming segments tested your timing and attention to detail, with vines often concealed just out of sight. Foes included beehives, leopards, and hogs that looked like The Lion King’s Pumbaa. I fell in love with Return to the Jungle’s playgrounds. With vivid colors, gorgeous backgrounds, and the occasional instant-death obstacle, I enjoyed exploring every level for collectibles. The deep water swimming areas, filled with secret sections, were particularly memorable. If you tapped the L-button, Tarzan let out a mighty scream or a scrawny squeak, depending on how old he is in-game. Doing so near statues brought jungle creatures to your aid, bringing an elephant to clear a path or an eagle to lift you to your next objective. Crash Bandicoot and Mario indeed got more creative with their levels and mechanics. But if you loved watching the jungle man’s exploits on the big screen, you’d have a great time with Return to the Jungle. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### Indie Monthly: October 2025 URL: https://www.superjumpmagazine.com/indie-monthly-october-2025/ Last updated: 2025-11-03T01:36:49.000Z **It's a bit of a slow month here at Indie Monthly - just two games on offer this time.** There's a good reason for the sparseness, though. I've been putting all my effort into finishing up this year's State of Indie report, and it's shaped up to be a real winner. More respondents than ever, lots of information about the trajectory of the industry, plus a look back at the assumptions of previous years. Until then, please enjoy October's offerings, a survival horror-flavored roguelike and a magical realism-themed adventure game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/HouseOfNecroA.jpg) House of Necrosis. Source: Author. ## [House of Necrosis](https://store.steampowered.com/app/2005870/House%5Fof%5FNecrosis/) House of Necrosis is a dungeon-crawling RPG themed after 90s-era survival horror games, most notably Resident Evil. It's a real throwback that's more accessible than such games tend to be while still providing a significant challenge. The player takes control of a lone agent exploring a suspiciously familiar forest-bound mansion, which has become overrun with deformed creatures and the living dead. It turns out that even death offers no escape from the mansion, as the protagonist awakens again within its walls, no matter what grim fate befalls her. Her savior - a strange merchant with an annoying laugh - can only tell her that the sole way out is to go deeper and discover what lies at the heart of the mansion. House of Necrosis is a true roguelike RPG. More than mere procedural generation, it features mechanics, visual layouts, and even a control scheme similar to early Mystery Dungeon games such as Torneko or Shiren the Wanderer. Gameplay is turn-based, with everyone acting simultaneously, though the player's actions usually get priority. Attacking, taking a step, or throwing an object takes a turn, while turning in place does not. On most floors, the goal is to find the exit and escape while fighting off enemies. Certain floors house a boss monster that must be killed to open the exit, but others allow a quick sprint for the door. Of course, as with any good dungeon crawler, the fast approach means giving up experience and gear. This includes melee weapons, firearms, and jackets (all of which can carry various bonuses), anonymous potions, throwable hexes, and a range of navigation-enhancing consumables. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-33.png) Source: Steam. Unlike most similar games, this equipment is not necessarily lost after a run. Some items offer permanent run-to-run boons, such as spells that can be used once per run and pack upgrades that increase carrying capacity. Other items can be stored or retrieved from chests that appear in safe rooms after bosses or carried out by using a special escape item. The ability to retain equipment is just one aspect that makes House of Necrosis more forgiving than most similar games. Traps are relatively rare, while healing items are abundant. There is no equipment durability, and only certain weapons and pieces of armor are at risk of breaking. Many items are unidentified, but there are easy ways to identify them, and they are seldom deadly to the player. All of this makes House of Necrosis a good entry point, though it's still a healthy challenge for more experienced players. Overall, this is a top-notch roguelike with a satisfying, well-balanced campaign - and it gets extra points for its commitment to the PlayStation-era aesthetic. House of Necrosis is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/SopaA.jpg) SOPA - Tale of the Stolen Potato. Source: Author. ## [SOPA - Tale of the Stolen Potato](https://store.steampowered.com/app/1935330/SOPA%5F%5FTale%5Fof%5Fthe%5FStolen%5FPotato/) Sopa is an adventure game set in an enchanted, magical-realism-inspired version of Latin America. Most of the appeal comes from the surrealism of the concept and the implications of the main character's actions. Young Miho's grandmother has a simple job for him - go into the pantry and fetch a potato for the evening's soup. Miho doesn't expect to watch a giant frog steal the sack of potatoes and then disappear into a sprawling jungle located behind the shelves. With his grandmother skeptical about his claims, Miho's only option is to chase the frog thief into the jaws of danger - all for want of a single potato. Sopa is a conventional adventure game with the occasional minigame or QTE thrown in for variety. The core puzzle-solving gameplay takes place across a handful of areas, all styled after places from the fiction and heritage of South America. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-32.png) Source: Steam. Both the puzzles and the minigames are relatively easy - there's some moon logic here and there, but there are also a lot of clues, and the signposting is good enough that anyone familiar with adventure games should be able to get through the story without getting stuck for too long. A typical player should expect the game to last 2-3 hours, depending on whether one opts to seek out achievements. The story is fairly freewheeling, and much of it is merely implied. Miho's journey is simple enough, but there are a lot of details regarding his family, friends, and possible connections to other characters that are left as an exercise for the player. Don't expect a really tight narrative - this one's more about time and place than anything else. Overall, Sopa is a respectable choice for adventure game fans, but it's going to appeal more to those who already have a taste for magical realism. [SOPA](https://sopagame.com/) is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at the indie games that caught our attention in October! Keep your eyes peeled for the upcoming State of Indie article, and as always, be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Hotel Barcelona Is Video Game Counterculture URL: https://www.superjumpmagazine.com/hotel-barcelona-is-video-game-counterculture/ Last updated: 2025-10-31T23:24:17.000Z **Hotel Barcelona is one of those games that everyone really needs to experience for themselves**. I'm not suggesting that this is one of those absolute must-have AAA releases; it's no Ocarina of Time or Halo (although mind you, there are perfectly valid reasons for not liking either of those games!) Instead, this is one of those innately polarising games where reviews are all over the place, and so each player needs to make up their own mind about it. This is no surprise, given that the game is the product of a dream collaboration between two of the most controversial game creators today. These equally enigmatic creators each impart their unorthodox game development styles and philosophies upon the game. To step into Hotel Barcelona is to step into a truly one-of-a-kind meeting of the minds. In an age of big budgets and high production values, the expectations heaped upon video games have never been higher. Everything from a glitch-free experience to the professionalism of the voice acting comes under microscopic scrutiny. Game developers have also become less daring and adventurous (unless your name is Hideo Kojima, that is). There was a time when big game publishers were not afraid to take risks, to sell game design choices that were quirky yet innovative, and they appreciated the value of catering to niche audiences to build a cult following. This unhindered approach to game development and design really peaked during the sixth console generation, with SEGA's Dreamcast setting the example and Nintendo's GameCube and Sony's PlayStation continuing to be a haven of cool ideas. Not every game needed to score a 90% average on Metacritic to be deemed a success, as it was simply enough to create a compelling title for its intended audience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-29.png) Source: Press Kit. Nowadays, you'd be hard-pressed to find such experiences from big publishers, but there's certainly no shortage of these flawed but creative efforts from up-and-coming developers in the indie scene. There's still a void when it comes to new ideas from true industry veterans, but thankfully, there are two names who continue to march to the beat of their own drum: Goichi Suda (a.k.a Suda51) and Hidetaka Suehiro (a.k.a Swery65). As game directors, both have incredible resumes, but if one title were to define their respective game development philosophies, then for Suda51, it would be No More Heroes, and for Swery65, it would be Deadly Premonition. These signature titles have garnered a loyal fan following over the decades, and the impact these games have had on the gaming zeitgeist can't be understated. They are unique in their directorial styles and yet so alike. One thing is clear: their games are all about the profound intangibles, as these games often have subtext within the narrative and game design that tap into a gamer's psyche like no other. As experiences, these are games that challenge the very notion of 'play' in video games, and not only that, they challenge the idea of what it means to be a 'gamer'. They've always gotten along as comrades in the same industry, but fans have often wondered what would happen if they collaborated on a project. In fact, some wondered if such a thing were even possible, simply because Suda51 and Swery65 are just too alike. Could two uniquely creative volcanoes find compromise and balance when bringing highly volatile ideas together as one? Turns out, it was possible after all, and the end result of bringing two mad geniuses together to create a video game is Hotel Barcelona. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-30.png) Source: Press Kit. A fundamental commonality between the pair is also evident here: their games are unapologetically 'janky'. This 'jankiness' is evident in the gameplay systems that are often simple and effective, but lack fluidity and polish, especially in combat and shooting. The graphics aren't AAA quality either, instead emphasising artistic expression over texture mapping polish. Not only that, but the performance rarely hit a stable 60 frames per second. Some wonder if these passionate game directors deliberately make 'bad' games, and, well, of course they're not; it's just their intentions and emphasis are different from typical game directors. This can be contrasted with other media like film and music, but let's go with music to illustrate a point. You can pick up the latest mainstream pop record, and chances are you will be treated to a polished musical experience where the vocals are always on key and the instruments are mixed to sound as clean and pleasant as possible. And yet, there is an audience for the unrefined and unpolished, where instruments are allowed to make raw noise and unconventional singers are allowed to express unhinged ideas; that right there is punk. It's a counterculture for the sake of alternative expression, to challenge conventions and the status quo. That's what games by Suda51 and Swery65 are: the punk rock equivalent of gaming. And so, Hotel Barcelona is the ultimate punk rock album by two industry legends. It's a dream team to be sure, and the result is a game that will be truly appreciated by its intended audience, perhaps even more so over time. Hotel Barcelona is a roguelite, and while there are numerous roguelikes and roguelites in the indie scene, they don't compare to the vibe and style that Suda51 and Swery65 have created here. Think of it as a punk rock video game by two industry legends who don't need millions to express their wild creativity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-31.png) Source: Press Kit. It's an effective 2.5D action game oozing with style. The core gameplay loop is enough to keep players coming back for more, and each return trip opens up more of the creativity. There are homages to gaming's past here, and plenty of powerful and provoking meta-commentary tucked away in both the game design and narrative flow. It's a violent game, but one for the thinking gamer. In the signature style of these developers, video game violence thrills are presented with a contemplative subtext. No one writes a protagonist quite like Suda51 and Swery65, and here we have Justine, a complex and reluctant anti-hero who expresses deep monologues as she wrestles with her demonic alter ego. The premise is gruesome and unkind, and yet there is a wicked sense of humour to it all, especially in the playful dialogue flow. It's all about style, with a range of visual styles delivering a story that only Suda51 and Swery65 could dream up together. Speaking of the former, Suda51 has always been about boss battle presentation, and Hotel Barcelona delivers its cast of eccentrics in a style most game directors could only dream about. Aside from Kojima, nobody writes boss characters quite like Suda51\. The first boss theme song samples 'For Whom The Bell Tolls' by Metallica, and the rest of the presentation isn't shy in referencing all kinds of media from heavy metal to horror cinema. The bosses are cool, and their presentation showcases true pop culture passion, but it's just too bad that the core gameplay makes the actual battles feel tedious. I described the game as effective, and it is, but that's about the most glowing praise the core gameplay earns. Take away the layers of style and personality, and you're left with an action game that features cumbersome combat and dull level design, one where the set pieces and platforming rarely gel well with the clunky mechanics. It's all competent and serviceable enough, but oh so very dull. It also speaks volumes about how attractive the presentation and vibe of Hotel Barcelona can be; it's exciting enough to make the majority of the sluggish gameplay worth enduring. Maybe persevering through rusty gameplay is the point of it all. Even when parts of the gameplay don't feel great, the sum of the many parts that make up the experience, whether it's the music or character designs, creates a whole that feels special. Put it this way: Black Sabbath didn't have an opera singer on vocals. The point isn't to have a good singer; the point is Ozzy Osbourne was the only voice to bring together the many imperfect yet unique parts of the Black Sabbath sound. Hotel Barcelona is a flawed and imperfect game; it's not a low-budget indie game created by green developers, nor is it a AAA title backed by reputable industry veterans. Instead, this is a perfect in-between: it has modest production values and yet perfectly expresses lofty and ambitious ideas. It's a bit like when a punk rock band goes from playing small clubs to selling out stadium shows, without losing their artistic edge. Forget the reviews and forget the accepted norms of AAA gaming; Hotel Barcelona is a title that will be savoured and studied for decades, long after games like Battlefield 6 have shut down their servers. Review key provided by Neonhive and CULT Games ### Blippo+ Celebrates the Lost Art of TV Watching URL: https://www.superjumpmagazine.com/re-blippo-celebrates-the-lost-art-of-tv-watching/ Last updated: 2025-10-30T00:56:54.000Z **It's a quiet evening after a long day of work, or it could even be a lazy Sunday. Y**ou're keen to just sit back and watch something, and so you log into one of the many streaming services you've subscribed to. Except, you don't actually watch anything; instead, you cycle through menus and previews without really committing to anything. In the past, when most of us used the old TV antenna or a cable box, this idea of non-committal watching was a bit more entertaining. Instead of cycling through the menus of a streaming app, we would do what was known as "channel surfing." We would jump from channel to channel and sample whatever came our way, and some nights all we did was burn an hour or two sampling random programs, but more often than not we did eventually commit to something... only to fall asleep. Blippo+ is a strange release for the Nintendo Switch, because it almost feels like you're accessing a bizarre intergalactic TV station of some sort, but it is meant to be an interactive gaming experience. It's really about just consuming content, and while there is no traditional gameplay here, there is legitimate player agency involved, as you have the absolute power to change the channel as many times as you want. It's essentially an FMV adventure game told via multiple disjointed TV programs. Eventually, the different programs and shows progress along, and there is a timeline, but getting through it involves the patience to sit and watch through hours of bizarre content. I personally don't recommend extended periods of watching, as some of the content may change the way you view the real world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-28.png) Source: Press Kit. The main interface emulates TV boxes of old, and when you first boot up the game, it will spend a minute scanning for channels. Once you're all set up, there's a channel list and even a digital TV guide. Speaking of, if they ever do a physical edition of Blippo+, it better come with a printed TV guide. There is an intranet built into the TV interface, mainly a text-based service where you can find dating classifieds, among other things. Long before the days of Smart TVs that connected to your WiFi, there were ways to connect your TV to certain satellite networks. Some of these services would even allow you to download games to your Mega Drive and SNES. It wasn't always practical or affordable to most consumers, but you'd be surprised how tech we take for granted today often has the most unlikely and surprising origins. When it comes to the actual programming, to be honest, there isn't much here that will keep you glued. It's all very strange, quirky, and bizarre. The acting is intentionally campy, and the production values are clearly meant to look low-budget. There is variety in terms of the type of programs, everything from newscasters to music videos to exercise shows, but the actual content isn't enough to keep players engaged for hours. What's here is delivered in short bursts, but even so, committing to the full experience through repeated plays is difficult when the actual stories don't do enough to keep viewers interested. Weird and quirky TV can only go so far before wearing out its welcome. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-27.png) Source: Press Kit. At best, Blippo+ is a fun little diversion, and if you look into its history, the title was originally released as part of the Playdate seasonal library. If anything, the specialised handheld platform executes the design ambitions of Blippo+ much better than the standalone version for the Nintendo Switch. On Playdate, the programming was released over a period of time with content progressing in real time. The design feels much more suited to that setting than other platforms. The main benefit of the Switch version is having everything in full colour. There was a time in gaming history when FMV games were seen as the future of gaming, expected to become essentially interactive movie experiences. Panasonic really tried to push for it with their ill-fated 3DO console, and SEGA tried to do the same with their Mega CD/Sega CD add-on for the Mega Drive/Genesis. It didn't quite work out the way game developers had hoped, as the tech at the time didn't stream the best video quality even by VHS (that's Video Home System to you kids) standards. Still, FMV had a lasting impact on gaming by allowing developers to convey a story via cinematic sequences. Dedicated FMV games aren't entirely extinct today either, as numerous Japanese crime and detective thrillers work really well in this format as an interactive visual novel. And so, Blippo+ is a good example of how videos can be used to create unique gaming experiences. It's definitely on the experimental and off-kilter side, but the effort and dedication that went into creating its unique TV universe are still admirable. The only thing that would complete the experience is a mandatory TV remote accessory, without which you wouldn't be able to change the channel. This could be the ultimate challenge in Blippo+: finding the remote. ### Mobile Game Marketing in 2025: Trends and Strategies That Work URL: https://www.superjumpmagazine.com/mobile-game-marketing-in-2025-trends-and-strategies-that-work/ Last updated: 2025-10-27T00:16:27.000Z **The world of mobile gaming is moving faster than ever.** What started as simple fun on our phones has now grown into a massive global industry—shaped not only by technology, but also by how people connect, play, and share experiences across cultures. Staying ahead of this curve requires businesses to adopt agile strategies, and collaborating with experts in app marketing [here](https://netpeak.us/services/app-marketing/) can provide the edge needed to compete in an increasingly crowded market. ## Key Trends and Strategies for Mobile Game Success In 2025, the mobile gaming landscape demands more than [catchy graphics](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/size/w600/2025/06/Sonic-Racing-Crossworlds-Preview-Feature-Image.jpg) and addictive gameplay. Marketers must understand player behavior, leverage new technologies, and build communities around their products. A one-size-fits-all approach no longer works; instead, developers and publishers need targeted strategies that enhance user engagement and retention. Here are some of the most effective marketing approaches shaping the mobile game industry today: 1. Hyper-personalized advertising – create ad experiences tailored to player preferences, using data insights to deliver campaigns that feel relevant and engaging. 2. Influencer partnerships – collaborate with gaming creators on TikTok, YouTube, and Twitch to reach highly active communities that value authentic recommendations. 3. Playable ads – allow potential users to try mini-versions of a game before downloading, significantly boosting install-to-play ratios. 4. In-game events – host seasonal challenges, cross-promotions, or limited-time offers that keep existing players returning while attracting new ones. 5. Community-driven content – encourage user-generated videos, fan art, and forum discussions that spread organically across platforms. 6. AR and VR integration – experiment with immersive technologies that extend beyond the screen, delivering memorable interactive experiences. 7. Subscription models – provide exclusive perks, ad-free gaming, or bonus content for players willing to pay for premium engagement. 8. Localization strategies – adapt games for cultural and linguistic differences, ensuring global audiences feel fully connected to the product. 9. Data-driven retention campaigns – monitor player churn closely and use targeted re-engagement campaigns to bring lapsed users back. 10. Sustainability and social messaging – align your brand with eco-conscious initiatives or charitable causes, appealing to values-driven players. By combining these methods, developers not only attract new players but also cultivate loyalty among existing ones. This dual focus ensures both short-term downloads and long-term community growth. ## The Importance of Adaptability in 2025 One of the defining characteristics of successful mobile game marketing this year is adaptability. Trends emerge and fade quickly, and platforms constantly update algorithms that affect visibility. Marketers must remain flexible, testing new ad formats, experimenting with fresh creative assets, and refining their messaging based on real-time analytics. Equally important is cross-platform presence. Gamers are no longer confined to a single ecosystem; they interact across social media, forums, and streaming platforms. Effective marketing ensures consistency across these channels while tailoring messages to suit the unique culture of each space. The result is a cohesive brand identity that resonates with diverse audiences. Adaptability also extends to understanding evolving player expectations. Today’s gamers value authenticity, transparency, and social responsibility from the brands they support. Mobile game marketers who adjust strategies to highlight inclusivity, sustainability, or community-driven initiatives are more likely to build long-term loyalty. This human-centered approach, paired with data-driven precision, ensures campaigns remain both relevant and impactful. Staying adaptive also means being willing to pivot quickly when a tactic underperforms, redirecting resources to strategies that show stronger results. In 2025, the brands that embrace change instead of resisting it will be the ones that achieve lasting success. ## Conclusion Mobile game marketing in 2025 requires a blend of creativity, data intelligence, and community engagement. By implementing strategies such as influencer partnerships, hyper-personalized ads, and immersive technologies, businesses can thrive in a fast-moving market. The [Netpeak Agency](https://netpeak.us/) specializes in helping developers and publishers achieve these goals, providing tailored marketing solutions that drive measurable growth. With their guidance, mobile game creators can focus on building world-class experiences while ensuring their titles reach the right players at the right time. ### Returning to Revachol, Material Play, and Gaming's Funky Uncle URL: https://www.superjumpmagazine.com/returning-to-revachol-material-play-and-gamings-funky-uncle/ Last updated: 2025-10-26T05:07:36.000Z October 2025 edition _This post is for subscribers only._ ### Final Fantasy Tactics, and Repeating History URL: https://www.superjumpmagazine.com/final-fantasy-tactics-and-repeating-history/ Last updated: 2025-10-27T21:21:44.000Z **We have entered a new age of absurdity in national and global politics.** Woefully, the specifics don't matter. If, like me, you live in America, you are plagued daily by horrors, idiocrasies, and agendas that often feel as if they were ripped straight out of Les Misérables; but on the bright side, we have entertainment to distract us. Certainly, a remaster of a thirty-year-old PlayStation fantasy RPG will be enough of a break from the ongoing farcical events that dictate our daily lives. Video games, after all, are not inherently political, don't contain groundbreaking stories, and cannot subliminally or thematically impart lessons. They are mere sources of entertainment—digital events to be consumed, taking up the ticking hours of our miserable lives as we trudge onward from day to day. Blessedly, games are free of historical references, societal mirroring, and philosophizing. Is the sarcasm thick enough, or do we need to spill some blood? ### The Will to Resist Yasumi Matsuno's grasp of politics and historical perspective is evident within minutes of beginning his games. The original Final Fantasy Tactics, released in 1997, was initially inspired not only by historical events, but by his displeasure at the bureaucratic management of SquareSoft in the late 1990s. Never one to mince words, Matsuno's perspectives have always been plain on the page—or the screen. Vagrant Story, Final Fantasy XII, and Tactics Ogre are all about civil unrest, opportunistic sects, autocratic governments, and corrupt religions. Metaphor or no, Matsuno's ink is wet on history's page. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025093014050600-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. For the launch of Final Fantasy Tactics: The Ivalice Chronicles, Matsuno had something to say. "Nearly 30 years ago, the collapse of Japan's bubble economy engulfed the nation's financial institutions in mountains of bad debt, triggering a wave of corporate bankruptcies, a sudden and extreme rise in unemployment rates, and stagnation of Japanese society as a whole," [Matsuno said via social media](https://www.gamesradar.com/games/rpg/the-will-to-resist-is-in-your-hands-final-fantasy-tactics-writer-puts-capitalism-on-blast-as-the-strategy-rpg-returns-nearly-30-years-later-to-a-world-still-filled-with-inequality-and-division/). "It was an era when many were robbed of hope, when dreams were measured by their price tag." "Against this historical backdrop, I crafted a story. It was the story of Ramza, a young man who fought tirelessly against the entrenched social class system. It was the story of Delta, who sought to take advantage of this confusion and despair to advance his own social position. It was the story of a peculiar destiny, in which friendship and betrayal intertwine. "And now, in 2025—a time when inequality and division are still deeply rooted in society—I offer this story once again." We are, again, a society at war with debt, fascism, and sophistry allowed by inept leaders who view the common people as bleating vassals of an unchangeable system. ### The War of the Lions Despite nearly three decades removed from our current political climate, the similarities between FF Tactics' war-embroiled story and our current societal state are a mite eerie. History repeats, and all that. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025093016344400-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. The game begins at the end of a five-decade war of attrition. During those fifty years, noble houses and poor families donated the lives of their young men to soldiering, all to protect the realm of Ivalice. The realm, now without an obvious successor, is split into two factions: The Black Lion and the White Lion. The Order of the Northern Sky–The White Lion, Prince Larg—and The Order of the Southern Sky—The Black Lion, Duke Goltana—vie for the monarchy, each an opportunist hoping to control Queen Louveria and King Ondoria's successor. While these rival orders and their all-important war rage on within a kingdom that has not had time to recover from its previous wars, promises fall on the deaf ears of the commoners, the regular folk who have given everything to the powers that be and are asked to do so once again. What do the two powerful groups on either side of the metaphorical aisle have to offer the average farmer, blacksmith, or butcher? Nothing, except continued poverty, mounting debt, and hungry families who must either believe in the sham or pursue alternative routes of salvation. So begins the War of the Lions, and from the mounting frustrations of the commonfolk emerge various rebellious groups. One such force, named the Corpse Brigade, seeks to resist and even punish the crown when possible, resorting to kidnapping, assassinations, and subterfuge in an attempt to right the course of history through terrorist acts. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025100115315700-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. Deeper still is the truth of a nefarious plot, one whose strings are pulled by the Church of Glabados, a theocratic arm of Ivalice whose legitimacy is feigned by the claim of Saint Ajora's divinity. The church also has its own military sect: the fanatic Knights Templar, a group of holy swordsmen capable of sowing disorder not only through their supernatural military might, but also by directly attacking the hearts and faith of the people, creating disorder in the name of defeating Ivalice's secular powers. While the White Lion and Black Lion contest for the meaninglessness of a political seat, those behind the church attempt to restore an infamous legend: The Zodiac Braves. Hailed as heavenly heroes once sent to rectify a shattered realm, the truth behind the Zodiac Braves and their chilling pieces of auracite is something far more evil—the monsters Lucavi, errant dark passengers of a godhood that may or may not exist, whose true aim is to resurrect their master, Ultima. ### Historical Recurrence Beyond the more fantastical details of Final Fantasy Tactics' setting, students of history might notice aspects of the game's plot that feel uncanny. A binary system of woeful leaders pretending to put the people's best interests at heart while they plumb society's coffers for their unimportant war; Religious sects carving out their places in susceptible hearts to deliver fictitious existential opiates; Groups of extremists preying upon the fear of hardworking, everyday commoners to steamroll their terrorist agendas. The game's dramatic historical fictions feel relevant both then and now because we continue to live within the boundaries of deeply corrupt governments and religious groups who view fear, chaos, and an incapable populace as opportunities. It is easy to cheer on Ramza as he weathers the storm of bureaucrats, mercenaries, and traitors who treasure the advantages the status quo might offer them, while going against the tide in the name of honor and moral decency. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025100419072700-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. Time and again, Ramza is called out by name, accused of holding tight to the Beoulve honor once displayed by his father and the more respectable members of his noble house. Ramza learns that it *is* the nobility that is responsible for enabling and perpetuating the terrors that plague their society, and that the only way to protect the common folk is to dismantle the very systems that uphold the standards of corruption and inequity. Final Fantasy Tactics sets the stage by revealing hidden history, showcasing a grand secret buried by those who would control the flow of events. Ivalician history discounts Ramza as a bit-player, a heretic of no significance whose interference disrupted the War of the Lions. This account, presented to the player, aims to set the record straight from the point of view of Arazlam Durai, providing a more accurate account of the Zodiac Brave Story. It reveals the murderous and manipulative actions of Delita Heiral, as well as the selfless heroics of Ramza Beoulve. Life does not award us opportunities to experience the "reality" of history. As an American, I was raised to believe in the heroic accounts of white slave owners who committed genocides and colonized the North American landscape away from its Native population. Children are fed propaganda that enhances the view of the state and discredits its enemies with fictitious accounts that sanitize war, slavery, and the theft of land. While we are only presented a small window of Ivalician history in Final Fantasy Tactics, the game's narrative (and the expanded Chronicle in the Ivalice Chronicles edition) focuses on the crimes of the monarchy and ludicrous fictions of the church. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025100821322000-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. What is maddening is that the supposed modern-day account of Ramza has been occluded by the church until now. It shows that just like Ramza's uncovering of the church's misdeeds through the Scriptures of Germonique and the truth of St. Ajora during his lifetime, the church's power has not waned in Ivalice: they continue to mitigate the actions of heroic men and women that paint them in a poor light. The Durai Papers—uncovered by Orran Durai's descendant, Arazlam Durai—attempt to correct these lies centuries later. ### Men and Chattel Regardless of what version of Final Fantasy Tactics you play, the core themes of political intrigue and religious corruption remain. The Ivalice Chronicles has further refined Alexander O. Smith's luscious and Shakespearean script from The War of the Lions, and Yasumi Matsuno's new dialogue adds layers of complexity, drawing out characters who had little to no interaction before. Final Fantasy Tactics' earliest and most refined case of bourgeoisie depravity is Argath. Introduced during one of the game's first battles, and under duress, Argath is a low-ranking member of the nobility, his purview corrupted by the fall of his noble house. Argath tells Ramza a fanciful tale about House Thadalfus, recounting how his grandfather's capture led to betrayal and a stain on his family's name. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025100108384200-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. Argath is a character obsessed with reputation and status. As Ramza and Delita pursue the Corpse Brigade, Argath's true colors are immediately marked in crimson. As a sullied member of the aristocracy, Argath believes it is the divine right of his name and blood to rule over those lesser than him. He views the common folk as "chattel" and pins his bigotry on god and the state. > "How can you nobles live as you do and yet hold your heads so high? We are not chattel! We are humans, no less than you! What flaw do you hold there to be in us? That we were born between a different set of walls? Do you know what it means to hunger? To sup for months on naught but broth of bean? While you wage your wars that you might grow fat, we are made to starve! You call us thieves, but it is you who steal from us the right to live!" - **Milleuda Folles** In the slums of Dorter, Argath, Ramza, and Delita question a lone swordsman of the Corpse Brigade. "You nobles are...are all the same," he says. "You think every man...born outside a castle's walls...less than human. We fought for this kingdom at peril of our very lives. Yet...yet the moment the war was ended...you turned us out into the streets. What do you think makes you so special? Birth? Blood? What difference does it make?" Ramza begins to question the world around him. Born into the nobility and of a high-ranking house, Ramza Beoulve believes only in the moral authority of his father, who upholds the qualities of servitude and honor. Argath is a representation of the truth, a pawn of the status quo whose faith in the destructive laws of class defines him. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025101522404200-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. We live in a world of inequity, our modern lives reinforced by the importance of monetary value in a corrupted system of capital, racism, and religious difference. Matsuno aimed to bring these ideas to the forefront in a fantasy setting, to showcase that even when your story is spiced with magic and dragons, the importance of its narrative can remain unchanged. > "The truth is, the themes I’ve included in my games have usually reflected the people and the situations I was working in at that time. For example, in Final Fantasy Tactics… the theme of the class-based society, of nobles and commoners, that came about because when I joined Square, as you can imagine, there were individuals there who were like royalty: their talent, and the social capital they had amassed… it made me doubt whether someone without those gifts could ever succeed there, no matter how hard they tried. And those ideas found their way into the game." > **Yasumi Matsuno,** [**1999 Developer Interviews**](https://shmuplations.com/vagrantstory/) Matsuno's disdain for meritocracy during his tenure at SquareSoft inspired him to look deeper into issues of societal disparity. Inequity does nothing but cause strife, formulating boundaries that enable those in power to direct history by taking the reins of class and maneuvering those deemed "lesser" any which way they deem necessary. Final Fantasy Tactics—and the other games within the Ivalice canon—aim to teach the player while entertaining them. ### If It Can Be Endeavored, It Can Be Done In the fog of political intrigue, betrayals, conspiracy, and bloodshed, Ramza forges a more difficult path, turning his back on the aristocracy and the church, entrenching himself as a man of the people. The heart of Final Fantasy Tactics is a tragedy, rearing its head as the death of the innocent, the betrayal of family, and the manipulation of history. What is most heartbreaking is the intimate, and inevitably irreparable, relationship between Ramza and Delita. The son of vassals who owed fealty to House Beoulve, Delita and his sister Tietra became like family to Ramza and Alma, the children blind to the hierarchical ways of the world. The game's prehistory sets the stage by telling the player that although Delita is named the hero of the War of the Lions, in truth, he was a crass manipulator who schemed to cut out the rot at the heart of Ivalice, his ambition to remake the world inevitably leading him to be crowned king. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025100111113300-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. It was the early lessons of an unfair life that led Delita to become the scourge of the monarchy. Before Tietra became a victim of the apathetic nobility, Delita long despised the aristocracy for how they treated commoners, while also swearing vengeance against a church that subjugated the weak by hiding behind god and salvation. Delita's true tragedy is that while he hardened himself against society's most powerful figures, he also hardened his heart against the people who meant the most to him. Final Fantasy Tactics frames heroism as a twofold path. As young men, Ramza and Delita are swayed by the truth spoken by Wiegraf, the leader of the Corpse Brigade. "We must make for our children a fairer future than the past you and I have known," Wiegraf says. "They must not suffer as we do." It is maddening to live in a society that is so corrupt that the very act of bearing children feels like a cardinal sin, to know that the government is so corrupt that the individual cannot count on the blessings of a supportive state, but must pay taxes into a foundational evil, eternally obsessed with warfare and the preservation of the powerful. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025100422195000-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. ### The Scorned and the Subjugated Imperialist systems retain their power through the belief that their citizenry is weak and must be corralled. In the final battle against Gaffgarion, Agrias says: "The fear of a woman who defies your expectations, or indeed anyone who fits not your view of the world. To protect your fragile self-worth, you scorn those who share not your values—those such as myself and Ramza." Societal boundaries are crafted from the illusion of beliefs. Suppositions that women are inferior, that god places the nobility, and that common people are lesser because of their birth. Whether a real war or fictional, bodies and munitions are taxed from everyday people as rights of the state; the meager are eternally punished simply for existing within a war-mongering system. > "My lord brother and Duke Larg seek to ignite war to further their own ends! Yet who is it that would be made to suffer? It is the soldiers, who fight and die with their names unknown to their lords! It is the veterans, who are cast aside when their swords are no longer needed! It is the commonfolk, who are bled dry by taxes and levies! After fifty long years of conflict, the kingdom was finally beginning to know peace again... But now a privileged few would shatter that peace for personal gain! If such a thing is not foul, ser, then pray tell what is!" - **Ramza Beoulve** Ramza cannot abide a world in which inequity is the norm. Whether it be the church or the state, it is intolerable to have the powerful few dictating the lives of the majority. These days, we have become used to cries of fascism and intolerance, of wars and genocides, of the privileged few. Food has become intolerably expensive. An entire generation cannot afford the homes purchased by their parents and grandparents. And these same common, hard-working folk are inured by the daily repetition of what they must do to make rent and put food on the table. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025100309112700-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. Yasumi Matsuno's script for Final Fantasy Tactics is built upon the intolerance of intolerance. In 1945, [Karl Popper ](https://plato.stanford.edu/entries/popper/)wrote that a society must deny tolerance to the intolerant, that rational argument is not always the best defense, and violence may sometimes be the answer to those who would undermine society through their intolerance. While even Ramza may admit that violence should not be the answer, the state will never hesitate to utilize force to keep its citizenry in line. As new plots unfold and Ramza learns that something demonic is behind the church's machinations, he does not waver. Branded a heretic and an enemy of the state, Ramza continues to push forward and uncover plots that will eventually celebrate him as the true hero of the War of the Lions and a man of the people. Alongside his sister Alma, Ramza discovers that the patron saint of the Church of Glabados, St. Ajora, was not a priest but a spy for another nation whose body became the host for the Lucavi, Ultima. Again, the church's dangerous lies are laid bare, altering the course of history. ### The True Hero As is made clear in the game's prologue, Final Fantasy Tactics is about the pursuit of truth. In the face of power, of ostracization, of total loss, Ramza and his comrades believe that the truth is more valuable than anything. It is not easy to walk the true path. Those of us who believe ourselves to be decent are riddled with doubt because our consciousness consistently checks us for our morality, asking us if our ambitions stay the course. Final Fantasy Tactics regularly toes the line between purpose and meaning, facts and fanaticism. This is more than a political backdrop, but a mirror for what we face every day. For those of us who count ourselves among the commoners, who do what we can to live while resisting the cruelties of the aristocracy, the evildoers, the manipulators, it can be exhausting. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/2025101620322400-D4547B712700925A5C866595884C358A.jpg) Screenshot from Nintendo Switch. Source: Author. "It was an era when many were robbed of hope, when dreams were measured by their price tag." Matsuno's words, delivered nearly thirty years later for the remaster of such a special game, may feel initially hopeless. What purpose is there in a society that does not grow or change, one whose scheming Haves are significantly more powerful than the Have-Nots? The timelessness of Final Fantasy Tactics is not only in the artistic beauty of its music, its gameplay, and its presentation. There is meaning in the reminder to fight, to remain wary of those in power, to craft art that remains necessary decade after decade. As with Metal Gear Solid, 1000xResist, Disco Elysium, and other video games that walk the line between education and entertainment, there is value in spending your time ruminating over the political facades of the world—and how our actions might better them. ### Gamescom Asia 2025 Bangkok: Indie Highlights From the Show Floor URL: https://www.superjumpmagazine.com/gamescom-asia-2025-bangkok-indie-highlights-from-the-show-floor/ Last updated: 2025-10-26T00:52:15.000Z **In October 2025, Gamescom Asia teamed up with Thailand Game Show to bring Southeast Asia’s largest gaming event to Bangkok.** The vast Queen Sirikit National Convention Center was packed for four days of world premieres, hands-on demos, cosplay contests, esports tournaments, and exclusive merch. I only had one day to explore it all, and it absolutely was not enough. That said, here are the best indie games I played during my time there, along with a glimpse at all the big booth action throughout the event. ### HellHeart Breaker (BattleBrew Productions) My first stop was [HellHeart Breaker](https://store.steampowered.com/app/3439410/HellHeart%5FBreaker/) and it delivered. From Singapore’s BattleBrew Productions, this hack-and-slash action roguelite isn't just another Hades clone, although it certainly makes a few nods to Supergiant's classic. The unique twist here is the way it mixes an isometric action-RPG with Asian mythology and a light dating sim. Set in a mystical underworld inspired by 1920s Shanghai and East Asian folklore, you battle through procedural dungeons and meet monsters from across the region. Not content with just fighting them, you can choose to romance the baddies for power-ups, or snub them instead and face their wrath as bosses. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Gamescom-Asia-Photos-BCantrell-3.jpg) Source: Author The combat feels great with fluid animation, flashy elemental attacks, and a strong mix of melee and ranged weapons. I didn't get enough time to really check out the dating elements, but the combat flow was very responsive, and the dev said there are more than 35 weapons on rotation. The art pops with vibrant colours and crisp anime-style characters, and the underworld village hub is gorgeous. The BattleBrew team was a friendly bunch, too, handing out stickers and chatting as we played. HellHeart Breaker adds literal heart to the roguelite formula and was one of my favourite games of the show. It's slated for release in 2027. ### Wild Woods (OctoFox Games) Next, I jumped into some co-op action with [Wild Woods](https://store.steampowered.com/app/1975580/Wild%5FWoods/) from Hamburg's OctoFox Games. Already in early access, this one's an action roguelite designed for 1-4 players where teams of weapon-wielding cats defend a wooden wagon as it travels through an enemy-packed forest. Think Overcooked with a wagon and goblins, and you're getting close. By day, you gather wood and food, and by night, you fend off waves of creatures trying to wreck the wagon. While that's all going on, you must keep the lantern alight; otherwise, you'll be fighting hordes in the dark. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Gamescom-Asia-Photos-BCantrell-2.jpg) Source: Author In our demo, we juggled keeping the candle ablaze, repairing bridges with planks, and smacking gremlins and wolves in the dark. The art is charming, the cats are adorable, and it really shone with two players, though it clearly would be a hit with four (I need more friends!) I hope Wild Woods hits consoles too, as it would be perfect on a big TV. ### Combo Critters: Battle Checkers (Twitchy Finger Ltd.) Ever heard of battle chess? [Combo Critters: Battle Checkers](https://store.steampowered.com/app/3513440/Combo%5FCritters%5FBattle%5FCheckers/) asks "Why not *battle checkers*?" Developed by Hong Kong's Twitchy Finger Ltd., a studio moving from mobile over to Steam to escape all that free-to-play baggage, this game is fast, addictive, and one of the most original I tried at the show. Boiled down, it's a strategic, combo-driven twist on checkers. The board looks somewhat familiar, but your pieces are cute koalas facing off against an army of ninja enemies. Now, I’m no checkers expert (I actually have no idea how to play it), so the dev walked me through the basics, which I picked up in no time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Gamescom-Asia-Photos-BCantrell-5.jpg) Source: Author Moves play out like classic checkers with jumps, but the twist is setting up multi-jump combos. Long chains wipe out packs of ninjas in a flurry with a rising combo counter. Levels often limit your moves, which adds a puzzle layer, while power-ups and special abilities deepen the strategy. Once it clicked, it was super satisfying to slice through enemies and get a nice 'PERFECT!' at the end. The demo is on Steam now, with final release TBA. If you like strategy or want to see checkers reinvented in a cute but much more violent way, keep watching this one. ### TaKhon: Into Spirit’s Realm (PlayAlone Team) This was a treat. TaKhon is an unreleased student project from [PlayAlone Team](https://www.instagram.com/playalone.team/), inspired by Thai folklore and the 'Phi Ta Khon' ghost festival in Thailand. It won First Prize in the Software Game category at the Thailand Game Festival 2025\. Here, it was highlighted in a special 'Thai Games' indie section, and it drew me in with its striking art of ghost masks and spirits. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Gamescom-Asia-Photos-BCantrell-7.jpg) Source: Author The game plays like a 2D Metroidvania in the vein of Hollow Knight, with tight platforming and melee combat in a world full of spirit houses and ghosts, which are a big part of traditional Thai culture. As a prototype it felt polished. Controls are smooth, the hand drawn art is beautiful, and the music is haunting. It's the kind of early slice you only find at shows like this. As a fan of Hollow Knight and Thai folklore, I loved the concept. ### Cat Girl Survivor 2: Beyond the Veil (Minimum Studio Corp.) The most kawaii title on the show floor goes to: [Cat Girl Survivor 2: Beyond the Veil](https://store.steampowered.com/app/3756910/Cat%5FGirl%5FSurvivor%5F2%5F%5FBeyond%5FThe%5FVeil/). While the original leaned towards a 'Vampire Survivor-esque' roguelite loop, the sequel instead shifts to a 2D beat ’em up with very cute art style and local co-op, kind of like a fantasy-styled River City Girls. I swooped in and parked myself on a stool, playing co-op with the dev as magical cat girls against waves of monsters. Combat is snappy and old school with light and heavy attacks, jump kicks, dashes, and big flashy special moves. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Gamescom-Asia-Photos-BCantrell-6.jpg) Source: Author Elemental magic adds flavour too; I picked an ice build and it was very satisfying to freeze mobs into blocks and shatter them into ice cubes. Stages throw waves of enemies at you while you collect XP and power-ups, and between stages, you unlock upgrades. The pixel art is cute and colourful with chibi characters and detailed animation. There is a Steam demo available now, and it's slated for a full release in May 2026 on PC, with a possible console release later. If you love classic beat ’em ups or couch co-op with cat girls, check it out. ### Woodo (Tiny Monk’s Tales) After all that intense action, [Woodo](https://store.steampowered.com/app/2572040/Woodo/) was the perfect cool-down. From a small dev team of three people, it's a cosy 3D puzzle game with diorama art, all built in Unreal Engine 5\. It feels like exploring an interactive wooden toy world with photo-realistic graphics. In the demo, I explored a miniature scene, searching for items such as glasses, a hat, and a tiny toy duck, then placing them in the right spots to trigger little animations and sounds. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Gamescom-Asia-Photos-BCantrell-4.jpg) Source: Author In true cosy-game fashion, there is no timer and no enemies, only soft music, gentle discovery, and a warm, comforting glow. Everything looks handcrafted and just plain lovely. A Steam demo is already available, with the full release for PC and consoles, including Switch, coming at a later date. Easily the coziest game of the show. ### Final Thoughts Overall, the atmosphere of Gamescom Asia was huge and buzzing. Massive crowds with cosplayers in all directions was definitely the order of the day. I was surprised to see Xbox showing a strong presence despite its small market share in Asia. Fans could go hands-on with the new ROG Xbox Ally X handheld, Ninja Gaiden 4, and Call of Duty: Black Ops 7. At the other end of the hall, PlayStation drew long lines for Ghost of Yotei. Nintendo’s area was pure delight with Switch 2 titles like Donkey Kong Bananza and Mario Kart World, although I didn't see any sign of a playable Metroid Prime 4\. HoYoverse drew massive queues for Genshin Impact, Honkai Star Rail, and Zenless Zone Zero. There were cosplaying Genshin characters all over the place, showing how popular the game is across Asia. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Gamescom-Asia-Photos-BCantrell-8.jpg) Source: Author On the esports stage, Konami’s eFootball and EA Sports FC packed out separate arenas with loud, high-energy tournaments. Capcom kept the fighting game crowd engaged with a strong Street Fighter 6 presence and live matches. Elsewhere, newcomers like Mecha Break were pulling serious attention too, and dozens of other games and competitions kept every corner of the hall bustling. My only regret was not having more time. Next year, I’m blocking out two full days minimum, and possibly cosplaying as a cat-eared Genshin character just to earn some free merch. *Enjoy the article? Feel free to check out more of my work on SUPERJUMP* [*here*](https://www.superjumpmagazine.com/author/bcantrell/)*, and follow my social media* [*here*](https://linktr.ee/launchcannon)*. Thanks for reading!* ### Skygard Arena Review URL: https://www.superjumpmagazine.com/skygard-arena-review/ Last updated: 2025-10-23T21:41:28.000Z **Whatever else Skygard Arena may be, it’s undoubtedly ambitious.** It aims to unify the character diversity of a MOBA, like League of Legends, with the turn-based tactical combat of something like XCOM. The game doesn’t quite succeed in reaching its loftiest ambitions, but it makes a valiant attempt. Skygard Arena is the debut title from French studio Gemelli Games. For a small team, they’re attempting a pretty vast undertaking here in creating a potential eSport. Players can build teams featuring three of ten possible champions, each of whom can adopt one of two different “personas”, which are effectively alternative playstyles. Champions can also be equipped with a variety of different relics that further change their loadout. ![A video game screen shot AI-generated content may be incorrect.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/data-src-image-8a4c123e-a38c-49c7-8ff2-08ec13fdc864.jpeg) Skygard Arena. Source: Gemelli Games Brewing up different team combinations is where the game is at its most engaging. Combining the strengths of different champions in synergistic ways feels very rewarding. For example, Na Jima, the archer, dishes out heaps of damage to enemies in a straight line. Since the other team isn’t likely to helpfully arrange themselves in a single-file formation, though, you can support Na Jima by playing her alongside Champei, the Wind Guardian, who excels at manipulating the position of the opposition. Not every fighter in this arena is 100% balanced. The developers recently had to rein in Daerio, a rapier and pistol-wielding duellist whose single-target damage output could shred through the competition a little too quickly for comfort. Since Gemelli Games is monitoring the meta, hopefully nothing too broken will emerge without being patched. ![A screenshot of a video game AI-generated content may be incorrect.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/data-src-image-1aa79b7e-c421-47f9-af32-c295c59ae860.png) Skygard Arena. Source: Gemelli Games ### 13-mission-long Aside from online matchmaking, there’s also a 13-mission-long campaign that takes approximately six hours to complete. The story here sadly doesn’t have the same depth as Skygard’s tactical combat. The world is populated by five factions, which have a lot of scope for interesting conflict, though it sadly never quite gets fully explored. Some of the dialogue also comes across as a bit wooden. This may be a localization issue, and the original French script may have flowed more smoothly, but characters will often employ idioms that don’t quite sound right and speak in slightly stilted sentences. ![A screenshot of a video game AI-generated content may be incorrect.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/data-src-image-d60d1dfc-caa7-4fe8-8ae9-bfcaad13f947.png) Skygard Arena. Source: Gemelli Games There are also some issues with the level of polish given to the game's systems. A major part of the play experience is applying buffs and debuffs to bolster allies and hinder opponents. While all of these effects have their own icons in the interface, they don’t get displayed on characters to show when they have been pumped up or weakened. This information can still be gleaned by mousing over them, but it would be very useful to be able to see this at a glance. Similarly, one of the missions in the campaign revolves around seizing an objective and holding it for ten turns. No countdown appears on screen to indicate how much of this time has passed and how long remains, though, leaving the player needing to track this information mentally. These problems aren’t deal-breaking and could be resolved with an update, but as it stands, they add friction that makes the experience less smooth. One aspect of the game that’s not lacking in polish, though, is its menus. This is especially true for the main campaign interface, which is a giant scrollable panorama depicting key scenes from the story. It’s a lot like the Bayeux Tapestry, except it’s elves, angels, and magically enhanced bear folk duking it out rather than Saxons and Normans. ![A screenshot of a video game AI-generated content may be incorrect.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/data-src-image-ba11d5ff-b9c5-420f-bb27-ca1c169ffb16.png) Skygard Arena. Source: Gemelli Games Skygard Arena is an ambitious project, and Gemelli Games’ goal of creating a grid-based DOTA is certainly exciting. The core gameplay is engaging, and team building offers a variety of tactical decisions. Unfortunately, issues with its presentation, a story that doesn’t entirely utilise the world that has been built for it, and the brevity of its campaign hold Skygard Arena back from fully realising the grand objectives of its designers. Skygard Arena is [currently available on Steam](https://store.steampowered.com/app/2148970/Skygard%5FArena/) for £12.79, or $14.99. A review key was provided by the developer. ### The Fundamental FINAL FANTASY III URL: https://www.superjumpmagazine.com/the-fundamental-final-fantasy-iii/ Last updated: 2025-10-21T16:06:20.000Z **I was dreading my playthrough of Final Fantasy III the most.** This title is known by fans for containing the most forgettable narrative and some of the most grueling and intense dungeon crawling in the entire series. After playing through the game, I wouldn’t disagree with any of those opinions, but only in hindsight. Looking back on my time with Final Fantasy III feels like I had just done a handful of random tasks and then killed god and all 50 of her friends. Actually playing the game feels like going through a light and breezy fantasy adventure and then being rewarded for trying each class in the game prior. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/20250907104327_1.jpg) Just four onion knights. Source: Author. In Final Fantasy III, you create four heroes of light who are destined to defeat the encroaching darkness on the land. They stumble upon the first crystal of light and learn that this fated meeting would gift them the power to push back against evil, the power to get a job. Not the type of job with a retirement plan or a 9-to-5 schedule; these jobs allow our heroes to specialize in various forms of combat that will help them face adversity in their travels. The heroes are instructed to go out and defeat evil and defend the light against the darkness seeking to overtake the land. My main issue with Final Fantasy III has to be one of preference, I think. The game's earliest segments see the player facing enemies that can only be beaten by employing singular strategies and equipping specific jobs. These strategies are generally told to the player by NPCs beforehand. They are also easy to pivot to if you are playing the Pixel Remaster like I was, which actually makes this part of the game relatively easy and painless. My biggest gripe with this is simply that I hate being shown a world of options only to be pigeon-holed into a specific play style. Being told that I have to make my tank into a mage just to kill a rat makes me feel like I am giving up build expression and creativity to satisfy a boss gimmick; that my free will in team building is secondary to the puzzle presented. I can see how some players would really enjoy employing many different strategies to tackle niche tasks, but when a game presents me with options, I normally want those options to be viable during the following challenges. I wanted to get this out of the way early because I believe that my biggest nitpick is entirely a personal gripe that won’t apply to most players. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/20250920102307_1.jpg) The Garuda strategy, all Dragoons. Source: Author. One thing that Final Fantasy III does extremely well is exploration. During my Final Fantasy II discussion, I said that the high encounter rate made exploration so much of a slog that it was worth it to just use a guide so that you could avoid the extra combats that would occur while wandering around. I was really pleased to find out that Final Fantasy III would lower the encounter rate to a level where it was a treat to find my own way, talk to NPCs, and discover on my own where to go next. I didn’t use a guide except at the very end to clean up side content that I missed, and even then, by talking to the townspeople, it would have been enjoyable to find these places on my own. This is made so eventful because, in essence, Final Fantasy III is an RPG Metroidvania. As the game expands for the player, it does so by offering them new and varied tools that reveal hidden or expanded portions of the world. This is mostly delivered by offering the player better airships. Vehicles are a large part of this game, and getting a new one is an exciting experience as you suddenly remember that you can get to a place that an NPC told you about or finally fly over that mountain range to access a new town. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/20250923172756_1.jpg) Moogle Shop. Source: Author. I want to say that this is the definitive blueprint of Final Fantasy, because it introduces many of the elements that have become series staples. Chocobos make their first appearance and allow you to traverse the world without getting into enemy encounters. Every major summon from Ifrit to Odin make their debut as the powerful abilities of the summoner class. But we would see most of the games' identity as highlights of what made past games great. The job system is similar to the classes from Final Fantasy I, that made a return due to the unpopularity of Final Fantasy II’s skill system. Airships that expand the world and allow access to more areas. Temporary characters that come and go with the story, some even sacrificing themselves for the cause. For all these reason, this is the fundamental game of the series only because it highlights every major concept that makes Final Fantasy into Final Fantasy. And it feels hollow. In every other entry, Final Fantasy is known for taking mechanical risks, pouring heart into its stories, and applying unique art styles to its worlds. This game does none of those things and succeeds at being a mediocre role-playing game about generic heroes doing generic hero tasks. The one thing that makes this game special is its job system and it prohibits you from experimenting with it on your own terms until you get to Act 3. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/20250928144427_1.jpg) The Crystal Tower, at the gates. Source: Author. Act 3 is the strongest section of Final Fantasy III, and it is also what scares fans the most. Once you enter the ancient maze, there is no inn where you can rest. You are sent through a gauntlet of challenges broken up by dungeon crawling and treasure hunting. In previous versions of this game, the player was reliant either upon classes that didn’t use MP or saving all of their Elixers for this section. Luckily, in the Pixel Remaster, checkpoints that heal and restore the party were added into World of Darkness, so that this was not so much of an endurance run. There are no bosses in the final dungeons that ask you to employ certain strategies to beat them. This is when the job system becomes the JRPG playground that I craved since the beginning of the game. I was able to use my favorite team to go round after round with the hardest enemies in Final Fantasy lore, and every floor of Syrcus Tower is a treat because of it. I think that my distaste for the early sections of the game is entirely due to the fact that the end of the game shows you exactly what the whole game could have been like. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/20250928143430_1.jpg) Oh god Behemoth casted the move! Source: Author. I had my Geomancer able to roll the dice on his craziest skills, my Dark Knight slinging blades through enemies, my Dragoon up in the air all day, and my White Mage on full babysitting mode. This was my Warrior of Light machine running on all cylinders. This will be the only time that you hear me say that I’m glad that the bosses have turned into damage sponges with full party nukes. Balancing damage and defense in this game is a veritable treat as you take the parties you’ve built into these insane endgame confrontations. My favorite experiences in this section have to be either doing the resurrection dance against the two-headed dragon that could one-shot any of my characters, or using Dragoon to do massive jump damage. Well, technically Dragoon just does two turns worth of regular damage all at once by skipping a turn, but seeing the big number feels so good. All of this culminates in the final fight with Cloud of Darkness. I feel that by now I should be used to the final boss fight of these games being incredibly unfair compared to the fights laid out before it, but this was truly a miserable encounter. Cloud of Darkness will continuously use a full party damage attack and really nothing else for the entirety of the fight. Unless your party can take two hits from the boss in a row, it is a roll of the dice on whether you can withstand the assault long enough to retaliate. I squeaked out a win with only my Dragoon alive, just jumping and jumping to avoid the death laser beams. I realize that earlier I said that I appreciated the full party nukes, but even Chaos in Final Fantasy I cast a spell sometimes to mix up the fight. Cloud of Darkness is just an endurance check to make sure you have mixed defense and offense to a degree that you may not have had to up until this encounter. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/20250929163756_1.jpg) POV: you've been particle beamed for the 25th time. Source: Author. I easily died more times during this game than in any other RPG that I have ever played, and this game is only about 20 hours long. I would say that it’s a testament to the job system and the forgiveness of the Pixel Remaster that I stuck with this game as long as I did, but I’m glad for it. As a longtime Final Fantasy XIV fan, this game was the progenitor of many of the jobs and stories that we see in the titular MMORPG today. Much like in Final Fantasy XIV, Final Fantasy III exists in a cyclical world that sees divine influence whenever the contrast between light and dark becomes too great. When the powers of light have become too strong, the warriors of darkness come to balance the world. When Xande and the Cloud of Darkness threaten to flood the world with darkness, your warriors of light are called upon to stop the engulfment. In Final Fantasy XIV Shadowbringers, we get to play as the warrior of darkness as they stop the powers of light from swallowing a world saved by heroes too often. I love this dynamic, and it is one of my favorite pieces of world-building that you could pretend is the case with any of the other Final Fantasy titles as well. This would tie into the series' main themes of destiny into duty. In Final Fantasy, every conflict is cosmic and much bigger than the hero and the player. But the hero is the small piece of the puzzle that is destined to become the most integral to ending that conflict. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/20250920102553_1.jpg) No good deed goes uncelebrated. Source: Author. Final Fantasy III is a fundamental piece of the Final Fantasy we know today, boiled down to exactly its identity and nothing more. This is not a game that I would recommend anyone play, because all parts of it exist in every Final Fantasy to come after. It remains the source of a multiverse governed by a pantheon of core gods, a set of magic that never stales, a globe-trotting adventure fueled by comedy and sincerity, and Cid, of course. This mythos sits at the core of the most popular RPG series of all time, and that is not by mistake; it’s magical, and we have Final Fantasy III to thank; may we never need it again. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/20250929173428_1.jpg) Source: Author. ### to a T Provides Surprising Insight Into Life With a Disability URL: https://www.superjumpmagazine.com/to-a-t-provides-surprising-insight-into-life-with-a-disability/ Last updated: 2025-10-19T23:22:00.000Z **I’ve been thinking a lot about the nature of disability and how people with disabilities navigate the world.** These aren’t random thoughts; it’s part of the health science degree that I’m studying part-time (if, for whatever reason, you were wondering why I’m not on this site as much anymore, that’s why). The study, combined with work, has at times been all-consuming. Obviously, none of this has stopped me from playing video games. One of these games, which are supposed to be my break from my heady uni thoughts, got me thinking about people with disabilities, due to an unexpected piece of positive representation. The game in question is to a T, the debut game from Uvula, the new studio founded by Katamari creator Keita Takahashi. Like the Katamari series, to a T has that particular brand of pastel-coloured whimsy that has become synonymous with Takahashi. The concept of the game, on its face, seems goofy, and possibly pointing towards meta-humour. The main character of the game, a gender ambiguous 13-year-old named Teen by default, is permanently stuck in a T-pose. For those unaware, a T-pose is the default state for a 3D model of a person/bipedal character — legs straight, arms out. However, this idea is mostly played straight, and the T-posed Teen is never the butt of a joke. That’s not to say that to a T is exactly grounded in reality. The game goes to some wild places by the end of its 5-6 hour runtime, and I won’t spoil it, but I sincerely doubt you can guess the origin of Teen’s T-pose. However, I should go back to the start, because I think that is where the game is at its most evocative. To a T has an episodic structure, complete with theme songs for both the opening and ending of each episode. The opening song, as with some of the best sitcom themes, lays out the main premise. To a T - Opening theme. Source: Youtube You can see a couple of things straight away. Firstly, there is the positive messaging of the refrain — *You are the perfect shape,* followed by Teen’s struggle to be independent — *I want to change P J. I want to dry my face, I want to use the restroom by myself/The little things are hard for me.* Now, before I continue describing the opening of to a T and why I like it so much, I need to put my academic hat on for a moment and talk about something called the social model of disability. Don’t worry, it’s not staying on long. Basically, we used to see disability as something that needs to be cured, because the disability could prevent someone from fully participating in society. If someone has some form of impairment, that is what is disabling them. These days, we don’t see someone’s impairment itself as a disability, but a lack of accommodations in the world around them that is the cause of disability. For a basic example, if someone is paraplegic and requires a wheelchair to get around. What makes this person disabled is not the paraplegia itself, but the fact that not everywhere has sufficient ramps for wheelchair access. Therefore, the onus has shifted from the individual to the wider population and governments, as Costanza et al. (1989) say, “we live in a society!” ![Teen is pouring a bowl of cereal. An extra-long spoon is next to the bowl](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/eh8wqmpjNuA7ACMsGihS9H-1200-80.jpg) Source: Annapurna Interactive Now, back to the game. After the theme song in most episodes, you go through Teen’s morning routine. In the first episode, there is a nonsensical minigame where you use the toilet with button-mashing and help from your pet dog. Then you decide what to wear and get dressed, again with the help of your dog. Moving Teen is awkward. All the controls in this game are awkward, which is nothing new for a Keita Takahashi game, but it feels more deliberate this time. Back in the bathroom, Teen shows off his special tap, custom-made by his mum — it pushes down to point up so they can wash their face, hands-free. Then it’s breakfast time. It’s cereal, eaten with an extra-long spoon that accommodates Teen’s permanently outstretched arms. Their toothbrush is also suitably long, as is the sandwich you buy for their school lunch from one of a number of friendly giraffes littered throughout the town. I hope you can see how it lines up: Teen would be disabled by their T-pose, but isn't because they have the extra-long utensils, or the shop that sells sandwiches they can eat, or the helpful dog that can be seen as a stand-in or a support worker. It’s a view of how things should be for people with disabilities. ![Teen and their dog is at the sandwich shop, the giraffe that owns the shop is waving hello](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/ss_ff4b63ce74e5aa08517f2dce39ae5ab0d897bf02.jpg) Source: Annapurna Interactive By the end of the first episode, there is some conflict in the form of school bullies. They don't stay bullies for long, because as you can see in the opening song, Teen learns how to fly by spinning like a tornado and saves one of them. I was worried that the story might focus on this newfound superpower as a means of being accepted, and falling into the trope about people with disabilities being accepted only if they can prove they are useful. It does not, thankfully, though it would be better if that weren’t part of the story at all. As I said before, it gets weird, even as it sticks to a broad but sweet sentiment about the importance of accepting people as they are and celebrating what makes us unique. If this seems like I'm over-analysing to a T, it's because I am to some extent. It's easy just to see this as a silly, sweet little game, but I think it's worthwhile to celebrate when a game does some form of representation well. Now I need to rest my brain for a bit. I don't know if it's entirely healthy to put Seinfeld quotes in APA referencing. ### The Future of App Store Optimization: Trends Every Business Should Know URL: https://www.superjumpmagazine.com/the-future-of-app-store-optimization-trends-every-business-should-know/ Last updated: 2025-10-17T11:17:08.000Z **App Store Optimization (ASO) has quickly become one of the most important pillars of mobile marketing.** As competition in both the Apple App Store and Google Play intensifies, businesses are seeking strategies that ensure visibility and consistent growth. Companies like RadAso, offering advanced solutions for ASO and mobile marketing, are leading this evolution — learn more to see how businesses are staying ahead. ## Why the Future of ASO Matters The digital marketplace is changing. With millions of apps competing for attention, even the most innovative product risks being overlooked without a strategic approach to ASO. Future trends show that ASO will no longer be just about keyword ranking — it will be about a comprehensive user journey, from initial discovery to long-term retention. This shift demands that businesses rethink optimization strategies today. ## Key Trends Shaping App Store Optimization As technology evolves, several trends are defining the next stage of ASO. Businesses that understand and apply these shifts will have a competitive advantage in reaching their audiences effectively. One critical change is the growing importance of personalization. App stores are increasingly using algorithms that prioritize user behavior, preferences, and engagement history. This means ASO must go beyond generic keywords and integrate data-driven personalization strategies. Another powerful trend is the expansion of localization. Reaching users in multiple countries requires more than translation — it requires cultural adaptation, targeted metadata, and region-specific design elements. Companies investing in localization are seeing strong returns as apps become more relevant and accessible globally. At the same time, visual optimization is gaining ground. App icons, screenshots, and preview videos now significantly influence conversions. Optimizing these assets with creativity and cultural sensitivity will be crucial for future success. Here are some of the most significant developments businesses should watch: - Areater integration of AI and machine learning in search query analysis; - Emphasis on creative asset optimization to improve user engagement; - Stronger focus on app store personalization and recommendation algorithms; - Advanced localization strategies across multiple languages and cultures; - Synergy between ASO and paid acquisition channels like Apple Search Ads. These trends show that ASO is no longer a static practice but a dynamic and evolving discipline requiring constant innovation. ## The Role of Data and Technology Data is becoming the backbone of ASO. With millions of searches daily, analyzing behavior patterns at scale is essential. Businesses are turning to proprietary technologies capable of processing queries quickly and delivering actionable insights. This approach helps identify high-value keywords, user intent, and competitive positioning with remarkable accuracy. Proven results demonstrate that embracing such technology can dramatically improve performance metrics. Growth in impressions, downloads, and conversions is not only possible but measurable when strategies are backed by robust data analysis. For businesses, investing in technological solutions is no longer optional — it is the key to sustainable success in app marketplaces. ## Full-Cycle Optimization Strategies The future of ASO also points toward integrated strategies that extend beyond app store listings. Optimization today must connect seamlessly with advertising, [conversion rate optimization](https://radaso.com/blog/what-is-a-cr-and-how-does-it-impact-your-apps-performance), and user engagement campaigns. The synergy between ASO and paid channels ensures consistent visibility while maximizing ROI. For example, Apple Search Ads are becoming an essential complement to organic ASO efforts. By combining these channels, businesses can drive discovery at scale while reinforcing long-term growth through improved rankings and visibility. This holistic approach creates a cycle where paid and organic strategies strengthen each other. ## Localization as a Growth Driver With mobile markets expanding globally, localization is now a defining factor for success. Businesses that optimize across dozens of languages are gaining access to untapped audiences and significantly improving conversions. This goes far beyond simple translation — it requires adapting tone, cultural references, and even visuals to match local expectations. Effective localization not only improves discoverability but also builds trust with international audiences. Apps that feel “native” to a user’s language and culture have higher chances of being downloaded and retained. As more businesses compete globally, localization will become a non-negotiable part of ASO. The future of App Store Optimization is defined by personalization, data-driven insights, and global reach. Businesses that recognize these trends and adapt quickly will stand out in a saturated market. By embracing technology, refining creative assets, and focusing on retention, companies can unlock long-term growth and ensure their apps thrive in the competitive mobile landscape. ### Now Playing at SUPERJUMP: Issue 35 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-35/ Last updated: 2025-10-17T20:13:47.000Z **We're back with a brand new Now Playing.** We're heading into spooky season and cold weather for the Northern Hemisphere, so next issue I'm confident we'll have some scary and cozy games to discuss. For this issue, though, some of our team have been returning to old standby games and indulging in some time sinks that they love. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ## Mike Wilson ### Football Manager 2024 Recently, I’ve found it incredibly difficult to get to sleep, not because of any health reasons, but because I’ve been playing Football Manager 2024 until the most ungodly of hours. Then, when I do finally get to bed, all I can dream of is players I’m scouting, and stats, so very many stats. That’s not healthy, right? Yeah, that’s what I thought too. This is why, actually, I’m writing this to tell you, I’ve actually stopped playing Football Manager 2024! I know that this is highly unusual for this monthly piece, but let me tell you why I’ve had to take this horrendously desperate action. It’s wholly consumed me. I’ve played the Football Manager games before there even was Football Manager. Championship Manager was where life began for me and many an enthusiastic wannabe team leader. When Sports Interactive split from Eidos in 2003, they went off on their own to create the ever-popular Football Manager series. So it’s safe to say I’ve been hooked for a while. This time, though, something has hit different, but it took a while. Football Manager 24 has already been out for nearly two years, but here I am, several seasons deep with a respected club and recently a new save on my teeny-tiny hometown club. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-20.png) Football Manager 24\. Source: Steam. There’s something quite cathartic about jumping into a new team and wholly changing up their system to suit your own personal style. Switch up the match-day formations, set pieces, training, hell, even back-room staff. Everything is open for you to play and tinker with. And this is why I can easily get lost, so very deep within the data, the numbers, graphs, and ratings of, well, everything. The odd thing about this is, I really don’t care too much for football. I’m a rugby guy, I’ve played, followed, and devoured rugby as my main source of sport since, well, I don’t remember. That’s how long we’re talking here. So why is it then that I love sending my Scout off to check out a player who’s been making waves? Why is it that the thought of being in charge of 11 sweaty men on a pitch enthralls me so much? Why is it that when I ask the board to make improvements to my youth regime and they decline, I get genuinely pissy and have imaginary arguments with them when taking a shower? I wish I knew. So I’ve only recently learned the only way to survive Football Manager is to quit Football Manager. That is, until Football Manager 26 comes out. This won’t make the board happy at all. ### **F**rostpunk So you know how I just said I was addicted to Football Manager? Yeah, forget that. I started Frostpunk, as I had heard some good things about it. I lost an entire day to it. I started playing and boom, suddenly it’s the end of the day and I haven’t moved once. I haven’t been back on it since. I’m scared of losing even more time to it. How does that even happen? I thoroughly enjoyed it, though. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-21.png) Wizordum. Source: Author. ## B. Cantrell I missed Wizordum in Early Access, but our very own Cat Webling [had it on the radar way back in 2023](https://www.superjumpmagazine.com/blast-your-way-to-heroism-with-wizordum/). With the full release on consoles and Steam this month, I grabbed the Mac version and can happily report it runs flawlessly on my M1 Pro. As a fan of '90s dark-fantasy shooters like Heretic and Hexen, I was instantly back in familiar territory: gothic backdrops, chunky sprites, and that addictive rhythm of circle-strafing while lobbing fireballs at something unpleasant screeching in the distance. Wizordum feels like a love letter to Heretic with a few lines thrown in from classic Doom. You sling magic first and foremost, with fire blooming from your fingertips and an ice wand that freezes creeps into brittle statues that shatter on command. Then there's a Doom-y shotgun that hits like a hammer at close range. It ticks all the boxes that a shotgun should, wth a punchy hit and a satisfying reload animation. It's not quite the legendary double-barrel, but it scratches that itch when those goblins get all-up-in-your-face. The maps are sprawling labyrinths, made up of multi-layered dungeons that fold back on themselves with doors that tease you from balconies and switches that clang somewhere out of sight. The fold-out map is surprisingly helpful and kept nudging me in the right direction without giving the game away. There's an upgrade shop which opens after each level too, and while prices are steep, it forced me to explore every alcove in sight for loose coins. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-22.png) Wizordum. Source: Author. The heart of Wizordum is its combat, and it wastes no time in throwing you into frantic spell-slinging duels. Enemies fling a messy variety of projectiles, so you're always weaving, ducking behind walls, and choosing when to push forward. I was playing as the Cleric with the default melee weapon, a hefty mace, which looks cool but feels unreliable since enemy windups can be hard to read. I found myself defaulting to spells and projectiles instead, and kept the shotgun 'handy for close encounters' (ahem). The later sewer levels ramp things up with nastier ambushes and a grimmer tone, forcing me to quick-save more often once the dungeons got darker. Wizordum's excellent sound design does a lot of heavy lifting, too. The score leans into moody classical fare that gave me 'Witcher Infiltrating the Death Star' vibes, and in the sewers, you hear those distant drips and growls that channel dread somewhere deep in your soul. The soundscape convincingly sells the world, without getting in the way of all the running and gunning. For a boomer-shooter addict like me, Wizordum is a treat. Between this and the recent Heretic and Hexen remasters, it's been a great year for fans of spell-casting retro-inspired shooters. ## Alexander Joy Of all the games deserving of a reboot, Ikki Unite must be at or near the bottom of the list. The fame of the original – a clunky but thematically unique top-down shooter about a farmers’ insurrection – is owed almost entirely to its reviled NES port, a piece of software so ill-designed that it moved one critic to coin the term kusoge (“crap game”). Nevertheless, Sunsoft (purveyors of many a kusoge back in the day) have resurrected this 1980s oddity as Ikki Unite, which joins titles like Spelunker HD Deluxe and Spelunker Party as a modern monument to yesteryear’s tripe. Whereas Spelunker’s various re-imaginings have striven to craft clean, polished experiences – advancing a tacit argument that its source material was conceptually sound, but perhaps too unusual for its time – Ikki Unite instead embraces its predecessor’s fundamental crappiness. The intention appears not so much to wallow ironically in poor design as to explore where kusoge design and aesthetics could have gone if unabashedly embraced. This framing is essential because, in many respects, the devs chose to make a bad game. The gameplay largely apes Vampire Survivors (a kusoge if ever there were one, albeit one with tremendous commercial success). The art style of in-game sprites is wildly inconsistent. The music liberally samples the repetitive and borderline unlistenable NES BGM. But none of this is falsely advertised. The tenor of the experience is apparent from the title screen, which copies the flat, pixelated panorama of the NES introduction, but incorporates the awkwardly smooth animation of the Flash and RPG Maker cheapies that have carried the kusoge torch in the intervening years. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-23.png) Ikki Unite. Source: GamesAsylum. All this being said, Ikki Unite is actually quite enjoyable, if a bit difficult to classify. It’s not quite a run-and-gun, because, like in Vampire Survivors, you neither aim nor fire; all attacks are automated. But neither is it a Survivors-esque bullet heaven, because some weapons have limited ammunition, and plenty of enemies shoot back (unlike the slow, shambling hordes of Vampire Survivors and its many knockoffs). Instead of encouraging you to park in one place and power up ad nauseam, Ikki Unite sends you scurrying across sprawling maps to defeat bosses within deceptively tight time limits. Beating bosses awards extra time for your campaign, or brings you to the game’s next stage. The challenge lies in striking a balance between growing powerful enough to take on the next boss while leaving enough time on the clock to hunt down and defeat them. The proceedings are often chaotic – especially if you convene enough participants to take advantage of the game’s 16-player co-op mode – but it feels like the right register for a game that’s nominally about riots and revolution. In short, Ikki Unite possesses a clarity of vision that stands in sharp contrast to its inspiration. If the kusoge is in fact a genre rather than a mere pejorative, then Ikki Unite is not only a proof-of-concept for it, but proof of its appeal. If only every misunderstood would-be classic could enjoy a similarly loving, attentive afterlife. ## C.S. Voll ### Steins;Gate 0 I've finished Steins;Gate 0\. Finally! In previous entries, I've commented on how this felt like a different type of game, and this is even more apparent to me now. For starters, this game is much darker than the previous entries. Where others felt more like sci-fi stories, this felt like a horror tale. I didn't expect to become so attached to some of the new characters, either. The original game already featured a large cast, so I worried about whether there were too many new faces, but the game manages to communicate their emotional journeys, while also giving us insight into the established characters' motivations too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-24.png) Steins;Gate 0\. Source: Steam. The themes it touches upon remain really prescient today. Well, we have in fact reached some of the dates that the original game talked about back in 2009\. Time is a slippery thing, and it doesn't always move in a predictable manner, which is why these types of stories always pose a challenge for an author. Steins;Gate breaks this conundrum by imbuing its narrative with timeless values. That means that, even if Akihabara and everything else were to change beyond recognition, Okabe's story will still resonate with a future reader, because we all struggle with some of those stumbling blocks. Maybe that's how a story reaches the ideal world line. ### Digimon Story: Cyber Sleuth – Hacker's Memory Now I've started playing Digimon Story: Cyber Sleuth – Hacker's Memory. Unlike in Cyber Sleuth, the protagonist seems to be a major factor in the story. I look forward to seeing how it differs from the previous game. It seems like I'll learn more about the hacker groups, too, which is a nice twist, because they were often the antagonists in the previous story. Digimon Story: Time Stranger was released only a couple of days ago, so it's an interesting time to be a fan of the franchise, that's for sure! ## Ignas Vieversys In fear of sounding like a record that can play one tune only, I'm back on the saddle in Red Dead Redemption 2\. I know, I know... It must have been, what - a year, more(?) since, after 140+ hours, I had bid the game farewell, shedding a single tear. But the Souron-like lure of RDR2 was as strong as that of the One Ring was for Gollum, haunting me in my dreams like death haunts Arthur through the game - and, look, I'm just a feeble human. I know that life's too short to be playing the same game over and over again, missing out on epics like Clair Obscur: Expedition 33\. Anyway, I'm back gunslinging with the Van der Linde gang, accidentally punching my buck, and being too invested in keeping my cowboy hat on. How Rockstar pulled this feat off is beyond me... I'll traverse the entire map to get my hat back if I need to. I lost my fancy scarf a couple of weeks back while moshing in the pit and did I go back to look for it? No, I did not. I'm constantly in awe at the sheer amount of details in this magnificent game. Now, if someone could help me with getting those mods working... ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-25.png) Red Dead Redemption 2\. Source: Steam. I'm also in the midst of my Metal Gear Solid Delta run. I'm gonna be honest with you: I've never finished a single Kojima game in my life. I gave Death Stranding ten hours of my life, and maybe 30 minutes for MGS: Snake Eater on my PS2\. But as much as I like reading about Kojima's absurd production and watching hour-long MGS story recaps on YouTube, I had to admit to myself that maybe I'm just not cut out to enjoy Kojima games. So, when MGS Delta dropped, I knew that this might be my only chance of getting into Metal Gear Solid games and understanding the silly references all my favorite writers and content creators keep dropping ("Hurt me more!"). I just beat The End without dying a single time (unlike previous bosses, he didn't explode, instead turning into leaves scattered in the wind), which was kinda disappointing. I had read all of these reviews, including classics from ActionButton.net, and forum threads where people waxed poetically about how it took them hours to outsmart the old geezer, and how epic it felt, using thermal googles, a microphone, and whatnot. I just used the sniper rifle and approached him in the wide open, and was done with it in no more than 10 minutes. Love the anime-ishness of it all. Love all the vintage movie references Eva keeps bringing up. But if it did have, say, gun/gameplay mechanics of The Last of Us 2 - this would be the perfect game. And yet, I know this is a true-to-heart remaster for the OG fans. A boy can dream, though. ## Bryan Finck I haven't been in these pages in a few months, so I've had to work on remembering what I've been doing in that time. I finished the fantastic Expedition 33, and knowing Ghost of Yotei was on the horizon, I didn't want to take on any large games. Browsing my Steam library brought me to Ori and the Blind Forest, a game I had started years ago but bounced off due to my love/hate relationship with Metroidvanias. I remember it being more open-ended and difficult, but it really isn't either of those things. It is quite linear for the genre, and the now-common Hollow Knight-inspired difficult bosses are nowhere to be seen. The biggest challenges came in escaping each portion of the forest once your goal there is acheived, and they did feel spikey in their difficulty, but it was never a deal-breaker. I loved everything about the game, and I'm now working my way through its sequel, Ori and the Will of the Wisps. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-26.png) Dishonored 2\. Source: Steam. Another game I had started when it was still a new release, but never finished, was Dishonored 2\. The original game was one of the best I've ever played, but life got in the way back in 2016\. Almost 10 years later, I picked up Arkane's masterpiece again, and it was just as great as the original. So many ways to play, secrets to discover, and fights to have (or run from); there really is a silly amount of agency for however you want to play. I usually fight as much as I can, but the enemy AI was improved from the first game, so that was a less appealing strategy this time around. Possessing rats and running past enemies or into tiny openings became my favorite way to proceed. I'm very happy to have closed the loop on the Dishonored series; maybe I'll finally finish Prey someday. Beyond that, I went through a mish-mash of things, including the puzzle game Blue Prince, the DLC for my favorite shopkeeping game Moonlighter, and the demo for the fantastic new Shinobi game. Finally, it was time for Ghost of Yotei. As I write this, I am about 15 hours in, and the game is a wonderful house built upon the foundation laid by Ghost of Tsushima. Everything here is familiar, though Sucker Punch has changed and improved enough things that it doesn't feel like DLC for the first game. The combat is better than ever, and the open-world aspects are improved, leading to some really fun exploration possibilities and discoveries of side quests that I'd have hated to miss. I'll have more to report next issue when I've finished Atsu's tale of revenge! --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Stewpots and Space Travel: An Interview With Takuma Okada URL: https://www.superjumpmagazine.com/stewpots-and-space-travel-an-interview-with-takuma-okada/ Last updated: 2025-10-16T22:43:52.000Z **Takuma Okada is a tabletop game designer based in Portland, Oregon.** Going by the title “No Road Home” on [itch.io](https://noroadhome.itch.io), Okada has been designing games about identity, isolation, and exploration since 2018\. Their works include [Stewpot: Tales from a Fantasy Tavern](https://evilhat.com/product/stewpot/), a game about retired adventurers settling down and opening up a pub, which has been nominated for the 2025 ENNIE award for “Best Family Game”. They also created the [Alone series](https://noroadhome.itch.io/alone-on-a-journey), a selection of three solo-journaling games about exploring wondrous locales in isolation, and [OLDHOME: Children Chasing Giants](https://noroadhome.itch.io/oldhome-children-chasing-giants), a game about kids, colossi, and coming of age. SUPERJUMP interviewed Okada to discuss their inspirations and experience working in game design. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-4.png) OLDHOME: Children Chasing Giants. Source: Takuma Okada. ### SUPERJUMP So let’s kick off. What made you want to be a game designer? Tell me a bit about how you got started. ### Takuma Okada I was taking a creative writing class in college and wrote a Sci-Fi short story that I felt pretty good about. My professor said that I should consider doing more writing, and I had been doing a lot of theatre at the time, and improv. I got invited to join a DnD campaign for the first time since like sixth grade, and all of this came together. I don’t love how DnD is going; I feel like it could be better. I want to make my own games. I want to make stuff that’s not this kind of specific fantasy. Also, around that time, one of my friends introduced me to the podcast [Friends At The Table](https://friendsatthetable.net/), and that really opened up what a tabletop game could be to me. ### SUPERJUMP Which edition of DnD were you playing? ### Takuma Okada 3.5 ### SUPERJUMP Is that short story still out there? ### Takuma Okada \[Laughing\] No, I never ended up submitting it anywhere. ### SUPERJUMP So you said that DnD wasn’t quite telling the stories that you wanted to tell. How did that transition into you designing your first game? ### Takuma Okada I actually started writing an [SCP](https://scp-wiki.wikidot.com/)\-inspired squad game. ### SUPERJUMP To confirm, SCP, those are those horror stories about a foundation with all of those different entities? ### Takuma Okada It’s like a community writing thing, and I started writing that a little before I found stuff that wasn’t DnD. So, I was making a similar system, lots of things to keep track of, the same kinds of stats, and all of that. Then I started listening to Friends At The Table, and immediately I was like “Oh, I’m dropping that.” I can make games that are so much smaller. Much more about emotion, and more story-focused. Around that time, I also started thinking about game jams for tabletop games, and I think there were one or two where I just came up with some ideas. A few months after that, I wrote one based on an improv game that I really liked. ### SUPERJUMP Tell me more about that first project. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-17.png) Conches and Cameras. Source: Takuma Okada. ### Takuma Okada It was called [Conches and Cameras](https://noroadhome.itch.io/conches-and-cameras). It was about finding weird stuff on the beach and coming up with stories for a weird game from them, about what had been before. ### SUPERJUMP And that’s still on your Itch.io now, from 2018, right? ### Takuma Okada Yes. ### SUPERJUMP Speaking of your itch.io, the alias that you use there is “No Road Home.” Would you be able to talk a bit about the origin of that name? ### Takuma Okada Yeah. That actually started with my music stuff from before. At the time, I was feeling a real disconnect from a lot of the stuff around me, which I think is still true, to a degree. I feel kind of out of place in a lot of situations. I’m an immigrant, I’m trans, I’m Japanese. There’s a lot of stuff going on, and the intersection of all of that means that I feel like I can connect with a group in one aspect, but they have no idea how to handle the other stuff. That’s been very present for most of my life, and that’s where that came from. ### SUPERJUMP So there’s no road home, no universal ability to connect? ### Takuma Okada Yeah, it’s about belonging. There’s not quite a place where I feel that I belong, and where I can be 100% myself. ### SUPERJUMP Would you say that the theme of belonging, or not belonging, in one space is a theme that you discuss in your work? ### Takuma Okada Yeah. The Alone games, obviously, have that in the title and are kind of lonely and have a bit of melancholy to them. Which, I don’t think I was explicitly setting out to do initially, but it felt like it fit really well because of how I made those games. When I started making games in 2018, I had gone into a messed up college situation, and most of my friends had left town. I didn’t really know what I was doing and felt really alone. I was playing No Man’s Sky late at night while I was feeling these things. I wasn’t quite happy with how the game was feeling and what I could do. I wanted to see what a tabletop version of that could look like. ### SUPERJUMP So that’s the story of how Alone Among the Stars came into being? ### Takuma Okada Yeah. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-1.png) Alone On A Journey. Source: Takuma Okada. ### SUPERJUMP The compilation of your Alone games is called “Alone On A Journey”. I guess that ties into there being “No Roads Home”. Are journeys and strange places another theme that you’re looking to explore? ### Takuma Okada Yeah. I’ve always been interested in exploration, whether that’s in real life or video games. I like taking weird turns down empty streets and seeing what’s down there. ### SUPERJUMP Are there any other big themes that you would say recur in your work? ### Takuma Okada \[sighing\] I’ve been thinking about this a lot because Jay Dragon just posted an [expressionist games manifesto](https://possumcreek.medium.com/the-expressionist-games-manifesto-122d8afd1fe2). \[Pause\] I’ve been thinking a lot about what I’m trying to create and what I’m interested in. I think I’m really interested in the mundane aspects of settings, especially fantastical ones. There’s a lot of camping and having a meal, even in Alone Among the Stars when you’re on a completely alien planet. ### SUPERJUMP So, finding the familiar among the strange? ### Takuma Okada Yeah, and I guess that also ties into Stewpot as well. Putting a lens on stuff that you won’t usually encounter in a DnD Fantasy campaign. ### SUPERJUMP Would you say that you find the design process therapeutic? ### Takuma Okada I don’t think I would. A lot of creating doesn’t feel particularly therapeutic to me, but it is engaging. ### SUPERJUMP What sort of feelings does it draw out? ### Takuma Okada A lot of struggling with the game. But there’s also this flow state feeling that I can get into when I have all of the ideas for the game, and they coalesce, and I can put it into text. I’ll write out a mechanic, and feel really, really good about that. ### SUPERJUMP Would you say that’s a sense of accomplishment? ### Takuma Okada I think that I often struggle to feel satisfied when I’m done with a project. Like Stewpot, after it shipped, and even after the crowdfunding was done. I felt “oh that’s weird, that’s it.” I think that individual mechanics, when I write a really good one that I really like, that feels really good. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-7.png) Stewpot: Tales from a Fantasy Tavern. Source: Takuma Okada. ### SUPERJUMP What does your average day as a game designer look like? ### Takuma Okada This past year has been kind of strange. I got laid off from a contract design job, which affected a lot of my daily life stuff. I was doing work for that, and work for my own projects, and I was doing Stewpot crowdfunding stuff. So that was pretty busy, last year. Since then, I’ve been a little burnt out, and I’ve been in a waiting situation. I’ve been waiting for money from Stewpot to come in, waiting to figure out what my next project is, and recuperating from that last job and the rush of getting Stewpot ready. I didn’t really feel like I could work on games in a significant way until a couple of months ago. Maybe even just the past month it has felt a lot easier, but before that, it was like pulling teeth. I would just sit down at the computer and would just feel like it wasn’t happening. ### SUPERJUMP So, you said that a couple of months ago, you’ve been reaching the end of that? ### Takuma Okada I’ve had a lot more energy for it recently. There was a game design meet-up that someone in town started running, and I couldn’t make it for most of the summer, but I could for the last one in August. I got a lot of work done there. It felt alright again and easier; I felt like I was ready to really seriously get back into this. ### SUPERJUMP What would you say, then, as a designer, has been your proudest moment? ### Takuma Okada I think the moments that make me feel the most proud are when I hear about kids playing and having a really good time with my games. Sometimes I’ll have a parent post about it, or message me, and say, "My seven-year-old had a really great time with this." \[Laughing\] That feels really good. Like more than anything, like I’ve done something good. It feels like I’ve succeeded in the design. Even if they’re not strictly following the rules, if they’re enjoying the game and having a good time. I really, really want to make games that are easy to understand and to play. I want to remove friction from tabletop experiences. I want to give interesting prompts that make it easy and make people feel like they’re doing really cool stuff. ### SUPERJUMP You mentioned earlier that when you first tried DnD, it wasn’t what you were hoping for. Would you say you’re stripping away layers of stat blocks to get to the creative heart of it? ### Takuma Okada Yeah, with the exploration games I was talking about that felt like a thing that most games were lacking, and tabletop games especially were not good at that. What was being focused on was not stuff that I was particularly interested in. Then the other side of that, with stuff like Stewpot, is that, despite having a pretty sizable theatre and improv background, I have always found in-character dialogue really difficult, especially in DnD, the way people do that. That’s partially the style of it, and people doing all of these characters, that’s not super fun for me. I have always struggled to have very specific, consistent character voices, particularly the farther out they get from me. I wanted a game where that would be more natural, and where there would be less pressure to do in-character dialogue despite it being very slice-of-life and character-focused setting. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-18.png) Stewpot. Source: Evil Hat Publishing. ### SUPERJUMP On the subject of Stewpot, was there a single crystalising moment where the idea for that came to you, or was it more gradual? ### Takuma Okada So that was actually one of the ideas that I had for that first game jam that I tried to do. What if you’re adventurers running a tavern, and you’re helping out… \[Pause\] Actually, I don’t think it was adventurers running a tavern. I think it was just a tavern for adventurers at first, but it was focused on what happens inside the tavern, as opposed to it just being a meeting place or a jumping-off place. It was just roll a six-sided die; here are six different prompts for what could happen. I never filled out those prompts, so it wasn’t really complete. Later on, I wanted to revisit that, and I was really interested in a bunch of slice-of-life manga, books, and shows, and things like that. I was also really interested in minigame design, and it felt like a really good fit for that. ### SUPERJUMP In a piece with [Rascal News](https://www.rascal.news/stewpot-on-backerkit/), you talk about two games that inspired you: [Mobile Frame Zero: Firebrands](https://lumpley.itch.io/firebrands) and [Sundered Land](https://lumpley.itch.io/the-sundered-land). What specifically did you take from those two games? ### Takuma Okada Those are both games by Meguey & Vincent Baker. They’re both minigame-based games, but different in how that’s structured. Sundered Land feels like a bunch of distinct games that are loosely connected, and you can play them in whatever order you want and they are focusing on different parts of the world. Firebrands is about your group of characters, and they’re going through various scenes at different points in time. Those games often feel less like distinct games in and of themselves. I played Firebrands and enjoyed it a lot, but also wanted a little more structure from it, and that’s how the Stewpot games ended up the way they are. ### SUPERJUMP There’s a lot of emphasis in Stewpot on scars, both literal and psychological scars, that characters sustain after a life of adventuring. Is that something that you feel TTRPGs like DnD don’t address sufficiently? ### Takuma Okada That one’s interesting. I think that, at least some people who play DnD, do really want to engage with that, but don’t really have great systems to engage with that. I think that it’s common in a lot of more narrative-focused indie tabletop games that those ideas are around and present. There’s stuff like trauma in Forged In the Dark Games, and there are a lot of little itch games that focus on scars, trauma, and past pain. I’m not entirely sure where that idea came from. I think a lot of it came from the stuff that I was reading having a lot of dealing with the past in it. Then, looking at other games and looking to draw inspiration from them, or seeing people try to do something but not quite having the tools. ### SUPERJUMP Is Stewpot your favourite project, or does another one hold that title? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-2.png) A Cold Wind and a Dark Sky. Source: Takuma Okada. ### Takuma Okada That’s complicated. I am definitely proud of a lot of the minigames in Stewpot, but the project as a whole was really long, and I am a very different person from the person that I was when I started that project. Also, I’m not the biggest fan of the whole production process and the book-making process. That kind of wore me out. Alone on a Journey was really fun for me, although getting the zines delivered at the end was really difficult. The next big project that I’m working on, called A Blade Breaks, is difficult. It’s been cooking for six years, since 2019, and it’s been a difficult design because I keep trying to design it and realising that my ideas aren’t working, and then putting it aside and coming back to it in a year or two and going through that again. Last year, I finally figured out the core mechanics, and I’ve been picking away at it since then. ### SUPERJUMP Would you say then that you don’t really have a favourite? ### Takuma Okada It’s probably Alone On a Journey, although there are also Jam games that just come up. [A Cold Wind and a Dark Sky](https://noroadhome.itch.io/a-cold-wind-and-a-dark-sky) was a Promptober thing where there was a list of prompts for each day of the month, and I made a game based on those prompts every day in October. That was a really exciting, frustrating, and rewarding experience as a designer. Yeah, I think that might actually be my favourite in terms of what I feel like I accomplished and the fun I had doing it. I don’t know that I’m happy with the design of most of those. I made them all in a day. ### SUPERJUMP Was it the experience of working on a new one every day? ### Takuma Okada Yeah, that felt really good. ### SUPERJUMP One of your games that I’m particularly drawn to is [Chess: Two Kingdoms](https://noroadhome.itch.io/chess-two-kingdoms). How did the idea of using chess to tell a story form? ### Takuma Okada I had an interest in using other forms of oracles that weren’t dice or cards, or specific game pieces. That’s always been a thing that I have been interested in, even if it hasn’t always made its way into the stuff that I’m more known for. I really like aspects of real life and real situations coming into a game. I think I played [Swords Without Master](https://www.worldswithoutmaster.com/swords-without-master-about) before writing that. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-19.png) Chess: Two Kingdoms. Source: Takuma Okada. ### SUPERJUMP Does that also use an unconventional medium to tell its story? ### Takuma Okada It’s a typical sword and sorcery game that has an interesting dice mechanic, but the thing that I really liked about it was that for your character, you would have a totem. An item that is important to them and anchors them. To find that you just needed to find an object in arms reach. ### SUPERJUMP So you, the player, as you start the session, grab an object, and that’s your character’s totem? ### Takuma Okada Yes, and that was really cool. There’s also an Avery Alder game called [Brave Sparrow](https://buriedwithoutceremony.com/brave-sparrow), where you pick feathers up off the ground that you find in order to turn into a bird. Things like that are really cool to me. Even Conches and Cameras, the improv game that’s based on, involves pulling an object out from under a chair and trying to engage with it physically and discover what it is in that moment. That drew a lot from that, but also from beach cleanup days that I would volunteer for back when I was living in California, and finding weird stuff while doing that and wanting to recreate that experience. There are a lot of real things from my life making their way into my games. ### SUPERJUMP For my last question, I was going to ask if you had any more projects that you wanted to talk about. You’ve mentioned A Blade Breaks. ### Takuma Okada I have A Blade Breaks in the works currently. I’m hoping to release an early version of that by the end of the year. It’s a narrative-forward, combat-focused game where you are trying to repel an invading kingdom that is having a civil war, which has spilled over into your island. Weapons have durability in a way that is inspired by Breath of the Wild and Monster Hunter. You’re managing your health and your durability on the battlefield and trying to overcome these foes. ### SUPERJUMP What’s the central message you’re sending there, with the vulnerability of the equipment? What are you communicating with that? ### Takuma Okada There’s a desperation that I really want to focus on. You’re peasants. You’re mountain village people, and suddenly you’re trying to fight these soldiers. A lot of you have never really been in a real battle before, and you have weapons that have been passed down for generations that aren’t in the best shape. ### SUPERJUMP Thank you very much for your time. ### Takuma Okada Thank you. --- Takuma Okada’s games can be found on their [itch.io](https://noroadhome.itch.io) page. [Stewpot: Tales from a Fantasy Tavern](https://evilhat.com/product/stewpot/) was published by Evil Hat Productions and is available as both a digital PDF file and as a physical book. ### Indie Game Club Issue 7: The Dark Queen of Mortholme URL: https://www.superjumpmagazine.com/indie-game-club-7-the-dark-queen-of-mortholme/ Last updated: 2025-10-26T01:28:44.000Z **Hi all, and welcome back to Indie Game Club!** This month, we are taking a look at an indie title called The Dark Queen of Mortholme, created by Mosu. If you want to check out this game, you can either [get it for free on the creator's itch page](https://qwertyprophecy.itch.io/mortholme) or support Mosu by [purchasing the game on Steam](https://store.steampowered.com/app/3587610/The%5FDark%5FQueen%5Fof%5FMortholme/). Next month, we voted on a game that is not an indie game; however, it is a free game that may deserve a bit of a spotlight. We will be playing and giving a first impression of The Elder Scrolls II: Daggerfall by Bethesda Softworks. Normally, this column is meant to highlight independently published games that were not made to generate any revenue, whether that be a student project or a proof of concept. This exception is being made to show that game preservation (while still a very Bethesda move to just let fans keep the game alive) can be done by a large developer by offering game licenses for free on titles that no longer hold the public eye. If you want to experience Daggerfall alongside me, you can play the game this month by [downloading it for free on its Steam page](https://store.steampowered.com/app/1812390/The%5FElder%5FScrolls%5FII%5FDaggerfall/). Without further ado, my impressions of The Dark Queen of Mortholme. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Screenshot-2025-09-09-193200.png) Source: Author. ## Nathan Kelly The Dark Queen of Mortholme is a concise and insightful experience that explores success and failure. The brilliant telling of the encounters is what you will likely take away from the game; the actual gameplay is simply an amplification of its point. It’s done expertly; in a few somber conversations, I was able to feel the motivations of both characters even though they weren’t able to say exactly what those motivations were. This game has you control the aforementioned Dark Queen of Mortholme. It succeeds in making the experience replicate becoming a boss fight in an action game. You simply take your throne, waiting for the hero of the story to once again attempt to slay you. You are given a few combat abilities that remain stagnant as the hero grows in ability and skill. The game asks you to engage in combat; however, the fights are clearly only a segue to cause the hero and the Dark Queen to connect and share dialogue, bantering on the cycle they've created. Something I didn’t see coming with this one was how effective the boss-to-hero swap could be for the game's storytelling. There was a lot of tension in trying to stay victorious in the face of the hero's emerging abilities. When, finally, the hero was able to strike down the dark Queen, there was catharsis and release in that. I’m fairly certain that each fight is heavily scripted, but there was still a challenge in each one, and playing against an opponent that learned how to play around your limited moves became stressful at each major junction. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Screenshot-2025-09-09-193225.png) Source: Author. I don’t necessarily relate to the hero and their mindset of skill growth. I’ve always preferred challenges of strategy and preparation over skill-based challenges. But talking with the hero got me to understand that mentality just a bit more. Because what we share in common is the feeling of success after toppling a challenge stacked heavily against us. To know that there is always a way to victory for those committed to learning or practicing. While this game is mostly an imagining of someone's various attempts at clearing a Dark Souls boss, it becomes a little more than that. A story told in a quick embrace that no one else witnesses or the lack of an answer to a probing question says more about these characters than any detailed dialogue could, and it’s a testament to the author's brilliant writing. This is an excellent hidden gem that will be most appreciated by players scouring Steam and itch for a quick indie fix after a long day. Maybe it even shows a proof of concept for how video games can throw a simple modern convention on its head to elevate its narrative. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Screenshot-2025-09-09-194942.png) Source: Author. ### Hidden Gems of Game Design Vol 40 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-40/ Last updated: 2025-10-12T10:33:37.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### Kulebra and the Souls of Limbo (2025) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-61.png) Source: Steam. This hidden gem hurts to report on, as I loved the demo and was hoping to see this title get a bigger reception. Kulebra and the Souls of Limbo is an adventure game about exploring the afterlife as Kulebra, an undead snake with many secrets. They have been charged to help spirits who are stuck for one reason or another and refuse to move on. Each chapter takes place in a different part of the afterlife as Kulebra learns about the life and death of the chapter’s main character. The stories are a bit sad, but the game never goes dark and remains hopeful about these characters. The gameplay mixes a bit of everything here and there. You’ll explore by slithering along or curling up into a wheel and racing around. The main puzzle element here is that everyone except for certain characters and Kulebra is trapped in a time loop. The day goes through three periods of morning, afternoon, and evening, which determine where people will be and which events will be happening. Your job is to use the different time periods to learn more about the world and complete puzzles that will permanently stick certain actions or events in the world. At the end of each chapter, the player has to “fight” a boss, which consists of puzzle solving and a quiz show to make sure that the player has been paying attention. The art style is fantastic and really goes all out during the boss fights. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-62.png) Source: Steam. Despite my praise, the game has not gotten a lot of mainstream coverage, and I want more people to know about it. It ends with a pretty big cliffhanger that seems to hint at DLC or a sequel, but it’s unknown as I’m writing this if it will happen. If you’re looking for an adventure game with a lot of soul to it, I definitely recommend checking it out. ## B. Cantrell ### Steel Assault (2021) Playing Steel Assault feels like jumping onto an arcade cabinet in the late 90s, back when 24-bit Neo-Geo systems were pushing pixel art to its limit. Developed by New York studio Zenovia Interactive and published by Montreal’s Tribute Games (known for Teenage Mutant Ninja Turtles: Shredder’s Revenge, and others), the game is clearly designed as a love letter to the pixel art run-and-gun era. With a story evocative of 90s anime, you play as Taro Takahashi, a Daybreak Resistance soldier traversing a post-apocalyptic America to avenge his parents and topple dictator Magnus Pierce. The core of Steel Assault’s appeal is its dedication to old-school design. Players are armed with an 8-way electric whip, a double-jump, a slide dodge, and a unique zip-line that allows diagonal grappling across the screen. There are no aimless Metroidvania corridors here; this is an arcade-style linear adventure reminiscent of Metal Slug, where you blast through waves of enemies across gorgeously realised pixel art stages. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-6419b3e0-6d03-4dd3-a038-ea7938e44429.png) Source: Author. Power-ups replenish sub-weapon energy, but there are no new weapons. Combat emphasises mastering the whip, zipping through enemy patterns, and landing well-timed melee strikes. The difficulty is deliberately punishing; Arcade Mode has no checkpoints, and the player has only a single life, echoing the one-credit runs of classic shooters. I chose to lower the difficulty on my first playthrough, and am currently attempting a second run at higher difficulty (super tough). Steel Assault’s levels are rendered in richly detailed pixel art, from rain-soaked jungles to a drowned, climate-ravaged New York City. The game is full of lush pixel art goodness: sprites are huge, animations fluid, and explosions lavishly animated. The CRT-filter options and 4:3 presentation heighten the nostalgia. However, I quickly turned them off as I prefer my pixels clear and vibrant. For me, the fuzziness of the CRT era is something I’d rather keep as a distant memory, thanks very much! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-175a8cc2-5142-444b-93ee-e7c2edf87b29.png) Source: Author. Zenovia originally announced Steel Assault on Kickstarter in early 2015\. The game was initially planned as an 8-bit-style NES homage, but the art direction shifted as more developers joined the team. This change stretched production, and what was intended as a 2016 release evolved into a six-year labor of love culminating in a 2021 launch. The commitment to hand-crafted design meant the team built each level and encounter by hand, an approach that paid off with the game unfolding as a cascade of memorable set pieces and huge boss fights. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-d0393e04-cafa-4bc3-94ce-d61ef070dcec.png) Source: Author. Steel Assault remains a challenging, unapologetic run-and-gun experience whose pixel art, anime-style cutscenes, and stage design capture the raw spirit of arcade platforming classics. For players craving a throwback challenge with a modern sheen, Steel Assault is a hidden gem that proves old-school button-mashing intensity never goes out of style. ## Anonymous ### Aero The Acro-Bat: Rascal Rival Revenge (2002) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-63.png) Source: Nintendo. In the 2000s, every company needed a platforming mascot. Sega packed the blistering speed of Sonic the Hedgehog, while Nintendo had Mario’s iconic jumps. Before Sony got Crash Bandicoot, publisher Universal Interactive almost got Aero the Acro-Bat there first. Universal ended up shifting its focus to Crash Bandicoot (1996) and worked with developer Naughty Dog. This included David Siller, Aero’s designer. Before Universal got the rights to Aero from Siller, he helped publisher Sunsoft with two Aero games for the SNES and Sega Genesis. A third 3D game, destined for the PlayStation, was cancelled. In 2002, Siller bought back the rights and hired Atomic Planet for a GBA port of the first Aero. In Rascal Rival Revenge, Aero is a circus performer looking for attendants who've been kidnapped by a mean-spirited industrialist. The bat can dive-attack enemies at 45-degree angles (cough, Silksong), bounce off trampolines, and leap through floating rings. Pick-ups let Aero fire stars and hover for a short time. His extensive moveset is held back by slippery movements, making single-tile platforms and balloons difficult to traverse. Instead of the genre-standard level design of simply getting to the exit, Aero has to complete tasks like finding keys or riding a vehicle to progress through two dozen levels. One stage has the bat hunting for five switches in the dark, with only a spotlight for company. This novelty is held back by an overenthusiasm for placing spikes just out of sight. This makes some stages a test of your patience instead of your skills. Rascal Rival Revenge features some great pixel artwork across its vibrant environments and interactable objects. The bat Aero remains instantly recognizable despite his disproportionate head, like every platformer hero of the era. Its music is forgettable, featuring upbeat tracks with a circus motif. Aero’s challenges are made easier by save states in a remake of the Super NES version by Shinyuden. If you’re looking for a platformer to hop through in an afternoon, the 2024 re-release might be up your alley. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). , ### Hideki Naganuma: The Funky Uncle of Video Game Music URL: https://www.superjumpmagazine.com/hideki-naganuma-the-funky-uncle-of-video-game-music/ Last updated: 2025-10-10T02:11:27.000Z **You know the sound: elastic basslines, chopped vocals, and breakbeats that can destroy dance floors.** That fingerprint powered Sega’s Jet Set Radio and earned Hideki Naganuma the fan nickname “Funky Uncle". But the beats are only half the story; the real hook is how those *gro*oves came to be: equal parts obsession, experimentation, and raw energy. Naganuma was a self-taught synth-geek who cut his musical teeth as a Tokyo DJ, spending years longing to be [a J-pop star and a film composer](https://en.wikipedia.org/wiki/Hideki%5FNaganuma). After moving to video-game scores, he built a career writing tracks layer-by-layer in his home studio, sample-digging eclectic vinyls in Shinjuku record stores, and even moonlighting on anime soundtracks under the alias “skankfunk". Join me for a tour through the twists, turns, and happy accidents that forged the Naganuma sound. This article includes musical snippets; click play to hear previews of Hideki Naganuma’s tracks. ## A born beat-maker Born in 1972, Hideki Naganuma didn’t just stumble into music production; he was the kind of kid who [spent his pocket money on synthesizers](https://browniehideout.wordpress.com/2006/07/03/creators-interview-004-naganuma-hideki/). He started on a Yamaha Electone at five, teaching himself to improvise melodies and rhythms, and by high school was sequencing his own tracks. Idolising multi-talented, do-it-all-yourself artists like Prince and Stevie Wonder, he decided at 14 that music would be his livelihood. After graduating, Naganuma took an unexpected turn, leaving his native Hokkaido for Tokyo, where he worked as a bartender and DJ at the renowned Blue Note Jazz Club in Aoyama during the 90s. Surrounded by music and steadily building his record collection, he found his other passion - gaming - shaping his ambitions. He soon realized the closest modern counterpart to the cinematic scores he dreamed of writing was video game music. Armed with a newly launched Saturn and a stack of demo tapes, he sent one to Sega and was “hired with flying colours.” His first assignment wasn’t composing; instead, he worked on voice-editing for the anime Revolutionary Girl Utena before finally landing a chance to write music for Sega Rally 2. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Hideki-Naganuma-Bombrush-Cyberfunk-Screenshots-2-2.jpg) Source: Author Screenshot of Bomb Rush Cyberfunk ## Career liftoff In 2000, Naganuma hit the big time when Sega tapped him to co-compose the soundtrack for Jet Set Radio, a flagship first-party title for its new Dreamcast console. The game’s bombastic world of graffiti, rollerblades, and infectious beats gave him free rein to blend the funk, hip hop, and electronic styles he loved most. Composing exclusively on a Mac, [he started building tracks](https://browniehideout.wordpress.com/2006/07/03/creators-interview-004-naganuma-hideki/) with a hook (a bass line, a guitar riff, or a drum groove) and then layered drums, bass, guitar, and synths himself until the track felt right. His signature touch was mixing in film samples and funk-vocal snippets, then slicing and repeating them for a distinctive retro-yet-modern sound with a cinematic twist. After composing everything digitally in software, Naganuma then mixed it all through an outboard mixer before bouncing it down to a stereo master, carefully sculpting EQ and volume for each channel. A one-man production studio, his skillful 'bedroom producer' approach allowed him to turn around songs quickly and iterate without the pressure (and interference) of a large, expensive studio. Crafting a sound similar to that championed by French-house meets hip-hop pioneers like Kojak and Cassius, alongside UK big beat heavyweights such as Fatboy Slim, he bottled the forward-looking, optimistic sound of the late 90s and early 2000s and gave it a uniquely Japanese twist. Paired with the graffiti-splashed walls of Neo-Tokyo, rollerblades slicing through the streets, and bold, hyper-stylised cell-shaded graphics reminiscent of The Designers Republic, his Jet Set Radio tracks exemplified the pre-social media era, when emerging technologies and cyber-inspired fashion seemed to promise a brighter, faster future. Jet Set Radio and its sequel, Jet Set Radio Future, weren’t just jobs for Naganuma; they were the projects he'd always dreamed of. They were a place where his own musical style was fully realised. In a [2006 interview](https://browniehideout.wordpress.com/2006/07/03/creators-interview-004-naganuma-hideki/), he confessed that Jet Set Radio was his most rewarding work because it perfectly blended the demands of the game's soundtrack with exactly what he wanted to do musically. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Hideki-Naganuma-Bombrush-Cyberfunk-Screenshots-8.jpg) Source: Author Screenshot of Bomb Rush Cyberfunk ## The Naganuma touch During his time at Sega, [Naganuma composed music](https://jetsetradio.fandom.com/wiki/Hideki%5FNaganuma) for Sega's arcade-only skater Ollie King and the Yakuza franchise, and was eventually tapped to score Sonic Rush, which he nearly passed on, since another composer had already been lined up. A colleague convinced him to take the gig, and he dove in despite having reservations. Composing for the Nintendo DS meant dealing with severe memory limits, but Naganuma sketched a handful of core tunes and, once Sega approved, cut loose, blending pop, hip hop, ska, and more. His production skills shone through as he crafted some of his most memorable tracks for Sonic Rush, pushing the handheld’s limited audio hardware to its edge. In 2005, his work earned a [Golden Joystick nomination](https://open.spotify.com/artist/3ULvi5IjU8vjBJW3e8EPLz?si=exrHyNYZQuShPcHpbecS1A) for Soundtrack of the Year. He [remembers](https://browniehideout.wordpress.com/2006/07/03/creators-interview-004-naganuma-hideki/) those days fondly, too, not just for the music but for the small adventures around them. A launch party in Osaka gave him the perfect excuse to head up to Kyoto, exploring the hidden gems of Japan's old capital, and home to Nintendo's HQ. He still views the Sonic Rush soundtrack as some of his best work and encourages newcomers to give it a try on the DS, even just to experience the music as it was intended. Naganuma’s influences stretch well beyond music too. He’s a lifelong film nerd who once binged Western cinema but now gravitates to Japanese masters like Naruse Mikio and Kinoshita Keisuke. He collects vintage film magazines and crate-digs for '50s R&B and '70s African funk on vinyl, and he’s just as happy watching martial-arts tournaments or Formula One as he is tweaking a bassline. While Naganuma left Sega in 2008, he never stopped making game music. He continued contributing to Sega titles like Super Monkey Ball 3D, and worked on soundtracks for anime series like Air Gear (loosely inspired by Jet Set Radio) and cult-favourite Gintama, under the alias 'skankfunk' (to avoid any contractual issues). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Hideki-Naganuma-Bombrush-Cyberfunk-Screenshots-4.jpg) Source: Author Screenshot of Bomb Rush Cyberfunk ## Future funk pioneer Naganuma’s sound, fuelled by more than just club beats, draws on cinema, comedy, and his fascination with the mash-up culture of house, hip hop, and electronic music that was exploding in popularity around the turn of the millennium. That throwback style is now often grouped under the broad banner of [Future Funk](https://aesthetics.fandom.com/wiki/Future%5FFunk), a sub-genre that has seen a [resurgence](https://open.spotify.com/playlist/37i9dQZF1DXbjGYBfEmjR5?si=455b1a1770fd47f8) in recent years, particularly in retro-inspired video games looking to capture that early 2000s vibe. One developer at the forefront is Netherlands-based [Team Reptile](https://team-reptile.com/), who brought the sound to their titles Lethal League Blaze and Bomb Rush Cyberfunk (and the freshly announced sequel, [Hyperfunk](https://youtu.be/rDzg%5Fj6nCsY?si=1%5F-xv5VCEdhhh3lg)). The Dutch studio hired Naganuma to compose exclusive tracks for their 2023 love letter to Jet Set Radio, and he delivered some of his strongest work yet. The Bomb Rush Cyberfunk OST is a slice of future funk brilliance, showcasing Naganuma at his best. Like a fine wine, this beat pioneer has only grown sharper with age, proving his sound remains as fresh and infectious as ever. [Lovingly dubbed by fans](https://jetsetradio.fandom.com/wiki/Hideki%5FNaganumahttps://jetsetradio.fandom.com/wiki/Hideki%5FNaganuma) the 'Funky Uncle', Naganuma's beats have kept heads nodding and gamers grinding for more than two decades now, but the real magic is that every track he makes carries a piece of his story. He’s a true artist who spun his passions - movies, vinyl, video games - into soundtracks bursting with inventiveness, securing his place as one of gaming’s most original beatmakers. Enjoy the review? Feel free to check out more of my work on SUPERJUMP [here](https://www.superjumpmagazine.com/author/bcantrell/), and follow my social media [here](https://linktr.ee/launchcannon). Thanks for reading! ### Material Play: Exploring Gaming Through Tactility, Physicality, and Community URL: https://www.superjumpmagazine.com/material-play-exploring-gaming-through-tactility-physicality-and-community/ Last updated: 2025-10-07T23:43:15.000Z **While Melbourne International Games Week is best known for digital gaming and its cultures, the programme platforms a range of exhibits, events, and conversations around play ranging from technologically-dependent to purely analogue.** This year, I’ve spoken to experts interested in the tactile, physical nature of their play practices; from table-tops, to live-action roleplaying, to museum, and game installations. ## Museum Curation The playable exhibition, [ACMI Game Worlds](https://www.acmi.net.au/whats-on/game-worlds/?utm%5Fsource=SEM&utm%5Fmedium=paidad&utm%5Fterm=Gamersonsale&utm%5Fcontent=July&utm%5Fcampaign=Gameworlds&gad%5Fsource=1&gad%5Fcampaignid=22852192763&gbraid=0AAAABA4YNvd-GaPIp%5FHRsuZHtOB9-B1EB&gclid=CjwKCAjwxfjGBhAUEiwAKWPwDts0KUtoSeXXIIz6mEdLLmjta0qHeemwWHqTBm726N3Fie0J1U0osBoCG2QQAvD%5FBwE), has recently opened thanks to the tremendous collaborative effort of many people, including Director of Programming Emily Sexton. Having worked in the experimental arts space of Melbourne for much of her career, Emily is used to seeing unique overlaps between play and the curatorial design practices which bring installations to life. While she thinks there is currently a large focus on digital interactivity in exhibition spaces, the objects in Game Worlds, such as D&D sheets, old computers, and hand-drawn sketches of Hornet of [Hollow Knight: Silksong](https://store.steampowered.com/app/1030300/Hollow%5FKnight%5FSilksong/) fame, are the real stars for her: “People love looking at them… There's a connection there that is very significant to them, to be able to see these tangible materials.” What excites Emily about these spaces is the physical presence of people and the social effect that playing games together can create. While museums are also about education, she makes comparisons to something like documentary, which although may achieve similar effect is different depending on whether you watch at home or watch it with other people in a cinema, saying “the shared experience is what makes it meaningful.” In particular, the interactive D&D simulator at the start of the exhibition is her favourite opportunity for these moments, an installation she wasn’t so sure would work as an intimidating introduction, “actually we were wrong, we didn’t need to worry.” When I visited it was also one of my favourite moments, where I joined a handful of strangers and began deciding on which path to take, taking turns rolling the dice: > “This is something that we understood in a very deep way during covid, just being proximate to someone else's experience and hearing what they're saying is powerful. I think you can really underestimate the value of that until you're in-person.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Game-Worlds--ACMI--2025--Of-Ember---Thorn--Dungeons---Dragons-interactive-_image-by-Matto-Lucas_6.jpg) Game Worlds. Source: ACMI. One of her jobs was to balance people’s curiosity with the practicalities of the space and to respect visitor’s time, especially, she says, if they’re paying for the experience: > “When you're asking someone to leave the house you have to be ever more disciplined about what that invitation is and making it really quality. You have to prove, more than ever, that it's worth people's time.” Visitors to Game Worlds are guaranteed to have, not just a different, but more valuable experience, than if they were to simply play the games in their homes. One of the focusses was to provide opportunities to play games in ways you can’t in any other contexts by actively emulating and displaying prototypes and games from both past and future. Even though the inclusion of Silksong was a massive feat and helps to get people through the door, Emily says these well-known titles aren’t necessarily the ones people will remember: sometimes it's the lesser-known games sharing the same space. She says, “the sense of discovery in the exhibition is strong… And I think that's one of the really admirable parts of people who are into games–they’re genuinely curious.” People still approach Emily to say previous ACMI game exhibitions inspired them to begin a career in games, but she was hesitant to use the exact word *validating* to describe this: > “It makes me cringe because there are so many examples that validation isn't needed, but you have to accept that you're not everyone else, for some it's still news when video games are in a museum, it's still something people find surprising. So unfortunately, that is your indicator that there's a ways to go.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Game-Worlds--ACMI--2025--Hollow-Knight_-Silksong_image-by-Eugene-Hyland_2.jpg) Game Worlds. Source: ACMI. She hopes that something like Game Worlds can open up conversations around games that have existed for older art forms, like film, for decades: > “We are clearly making curatorial choices about the kinds of games that we are profiling… In the same way that it's absolutely fine to watch a trashy movie that you enjoy, we can all appreciate that there are different kinds of cinema that do different things. I'd love the richness of that conversation around games to be one of the things that comes out of people's visiting the exhibition.” Weighing up how to create opportunities for these kinds of conversations while also making sure that the practicalities of having bodies in a space is also something Emily finds fascinating, as she says, "people need a whole range of very practical considerations," like being able to sit, know where things are and how long it is, have lines of sight to watch their kids. ## Game Installations Louie Roots is someone who has also had to weigh up practical considerations with larger cultural impacts in exhibition spaces. This Games Week, Louie is building arcade machines for [Electric Arcadia](https://www.biggamesnightout.com/electric-arcadia), the Swinburne showcase at [PAX AUS](https://aus.paxsite.com/), and, as usual, is on director duties for [Freeplay: Parallels](https://www.freeplay.net.au/parallels25). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Screenshot-2025-10-03-at-12.42.53---pm.png) Parallels 2025\. Source: Freeplay YouTube. Louie has always been more interested in the physical and social nature of gameplay over its digital aspects. When he worked previously on mobile games he became excited over things like games with tilt controls, and explained to me the Bus Test: > “… Which was asking, would you use these controls on the bus? If it's crowded and you're shoulder to shoulder, can you? If people are watching you, would you? The idea of someone actually physically playing this somewhere in the world… I'd much rather see one person play it outside than however many people play in their homes… What you do in your own home doesn't bother me.” This passion for creative practices between material, play, and community is pretty obvious for anyone who has seen Louie’s work before. He’s a big believer in letting people do whatever they want with games and harnessing curiosity, but this also means building things that are durable. From his experience making TVs for petrol pumps he learnt to build fully-enclosed, weather and damage proof machines, which he brings to play spaces: > "I love making things museum proof, public proof. It’s a really nice feeling when you plug it in and just say ‘go for it.’ We had a demo one time for school holidays and kids were just wailing on it, and nothing happened." At the same time, he believes good design is about providing what is absolutely needed. He told me about one instance he was pretty proud of; For one of his previous game installations with a desert theme, he partly displayed a keyboard in a sand box, but he said he hadn't been in Melbourne long, “I was like, where do I get sand? And I literally looked up beaches, sand, and I saw Sandringham, and I was like, ‘sand…ringham’” Once he had retrieved the sand he also had to figure out how to steer the player towards a secret ability in the game, which required pressing the enter key without it being too obvious. So, he set up a different keyboard in a different part of the box to make it seem like the enter key was simply decoration: “I felt super smart about that.” But he also admits that not all of his ideas are winners, saying that he once tried to incorporate a "bunch of sausages" into a game display before someone mentioned how wasteful it was: “I was like, damn, I immediately don’t like this idea anymore.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/Electric-Arcadia-credit-Craig-Johnstone_1_-037.JPEG) Electric Arcadia. Source: Craig Johnstone. Louie estimates that he will be platforming (literally, physically, and figuratively) at least 26 games, people, or studios over Games Week. For him, creating the right conditions for developers is the whole point, and he has done so previously with Australian games that are now wildly successful. He told me about a time when he was still running Bar SK and showcased games made by Grace Buxner, who would later go on to make the [Frog Detective series](https://frogdetective.net/): > “She came in one day really pissed off with one of her tutors who said it wasn't a game. But I said ‘well, look at this, people love it here. People love playing with it, it's a game.’ I don't think that she would have stuck with it if it wasn't for her showing it in physical spaces and seeing people who weren't her tutor enjoying it... And then she made a bunch of money and a cool cultural thing.” Similarly to Emily, Louie also wants accessibility and respect to be at the forefront of his events and installations, saying that while Freeplay will have the typical developers and publishers, he would also want someone’s mum to feel like they can come too. This is partly why he works so tirelessly, saying "I need to do what I do best, which is to do it properly. You bring in what you're good at, and you bring in the things that kill you, because you’re passionate about it.” Like the other experts in this piece, Louie thinks that the community aspect of all of these physical play spaces are the most important. While he thinks we can alternate between online spaces and face-to-face events, he believes that talking to people directly is crucial: > “It’s community strengthening, just knowing who's around and being physically present. A lot of times being in public, being personally next to someone, stops you being an asshole to them… You have that feeling of respect, you’re reminded there’s someone else at the other end of that computer.” ## Tabletop Aramiha Harwood is a researcher at RMIT future play lab and will be part of the panel talk [Playgrounds for the brain: the playful arts in the public library](https://aus.paxsite.com/en-us/schedule/panel-information.html?gtID=905533&panel-name=Playgrounds-for-the-brain-the-playful-arts-in-the-public-library) at PAX AUS this year. Aramiha publishes and researches tabletop games, which he says he prefers to the digital play of video games because of its tactile elements: > “I think I work in reverse; I paint the figurines first and want to play with them after. It’s a relaxing, mindful, nice state of mind because you’re focussing on the process.” While he can get a bit worried when his kid plays too much Roblox online, he also sees him enjoying the face-to-face of events, such as at his weekly tabletop play testing group Across the Board. He says that while he worries about the distance online play can create, “I don’t think the two have to be mutually exclusive.” Aramiha loves miniatures and tabletop war games, but is doing the work to shift the war game narratives away from its typical historical stories which are “usually based on the German Spiel system where you conquer everything and kill everyone.” Even outside of the gameplay itself he is also disheartened by the gatekeeping culture around war gaming: “people sneer at you because you’re not playing a *historical* war game.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/MORITUR-TE-SALUTANT.jpg) MORITUR TE SALUTANT. Source: Mana Press. As a Māori Ngāpuhi person he is more interested in decolonising tabletop games and genres, and wants to imbue elements of his Indigenous culture into his games. He explains the concept of *mana* as an alternative: > “It's kind of like social cache, honour, but it's also spiritual. There are things you do to build your mana, but it could also be taken away. So on the battlefield it's not so much how many people you kill and whether you win the battle, it's actually how much mana you build from your actions. On the battlefield, doing heroic things will build your mana.” For Aramiha the concept of mana is also connected to the social elements of physical play like tabletops, where there are opportunities for more and more varied stories to come from a group rather than a single person. He says, "rather than being a passive consumer you’re a creator as well. I'm a big believer in collaboration, imagining worlds together, being able to work together as a group —I think that's an Indigenous approach, right?” ## Live-Action Roleplaying (LARP) Aramiha is also working closely with Troy Innocent on the upcoming [Reworlding City North](https://reworlding.info/) LARP. Troy began his career in VR during the '90s, but found that working with mixed and extended realities was challenging because the technology can so often become the barrier: > “I became really fascinated with material play when I started to see a lot of the language of those systems seeping out into cities. Material play has this really immersive, deep ability to create core memories. I'm not saying that doesn’t happen in digital worlds, but there's a larger sense of connection.” He says whether it’s larping, urban play, installation contexts, or tabletops, he really enjoys the liveliness of it all, reflecting that “there are ways that you can do that with digital code, but if you're in a live session you can respond to what players are doing and even bend rules.” He told me about a previous LARP where he was being killed with a ceremonial blade on a church alter atop a hill because he had become possessed by the God of the apocalypse: > “… But the health ribbon wasn't unwinding, which meant I was immortal. I thought, I'm not dying, so I kept ranting, seeing very horrified looks twenty people’s faces. It was amazing but eventually they said, ‘look, you gotta die.’” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/RMIT_CitYNorthFest_HR_043.jpg) Reworlding City North. Source: future play lab. Reworlding City North is an urban LARP about how we can build a city together. The premise is to imagine the year 2025 on Cardigan Street in Melbourne city, and to find collective ways of living together despite having different and often conflicting backgrounds, roles, and agendas. Troy says, in a time when urban design doesn’t often support community connection, the atomisation and individualisation, time poverty, and anxieties in the face of poly-crises, they are attempting to ask, "well, what can we do? How can we act? And not that playing a LARP for two days is going to solve the problem, but it will at least plant the possibilities.” Troy says that the pandemic especially has shifted thinking, as people realised they didn’t necessarily want to go back to the old ways of living. For himself he became drawn to apocalyptic themes but "not in a doom-and-gloom end-of-the-world way, but more with an interest in what chaos can bring… What do you do after? How do you rebuild?”Aramiha adds: > “When we’re talking about apocalypses, Indigenous peoples have lived through that apocalypse, right? When you lose culture, language, and a high percentage of your population, that's an apocalypse.” This is why they are interested in the idea of reworlding in the context of holding multiple worlds at once: > “In the Western framework there’s one world and there’s an apocalypse, and that’s the end of that world. But maybe there’s other worlds, and this one is slowly collapsing. Reworlding is pushing back against that idea of a singular apocalypse because there's also a slow rise of other worlds. Which ones of those are in the social imaginaries, being supported and participated in, and which ones aren’t?” For them it was essential to collaborate with Professor N'arwee't Carolyn Briggs AM to provide traditional Boon Wurrung language, connecting the event activities with the place they will be occurring in. Place-based knowledge is something they want to teach as part of the LARP, to develop responsibilities of care towards place using collective, grounded ways to do knowledge that already exist. As Troy says, “to learn *with* place rather than learn *about* place, to not have a separation.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/RMIT_CitYNorthFest_HR_062.jpg) Reworlding City North. Source: future play lab. Place and people, I think, are at the centre of interest for all the practitioners in this conversation. While there’s a lot of worry around the ways we use technology, it’s invasiveness, and our desires to step away from screens, we can also imagine worlds where both physical and digital art forms help us connect and play to make sense (and fun!) of it all. --- *This article was commissioned by SUPERJUMP with support from Creative Victoria. Melbourne International Games Week runs from October 4–12, for more info visit* ### PAX West 2025: An Interview With Travis Erikson, Executive Director at Child’s Play URL: https://www.superjumpmagazine.com/pax-west-2025-an-interview-with-travis-erikson-executive-director-at-childs-play/ Last updated: 2025-10-05T14:00:02.000Z **Video games are important. They transcend space and time to create memories that will last a lifetime with those who are most important to us.** After moving across the country, I've religiously spent my Sunday mornings playing online games with my brother so we can keep up with and enjoy the company of each other despite the 2500 mile gap between us. Anyone who has an affinity for gaming can probably attest to something similar, and we feel deep in our bones that this medium truly means something to the world. When the opportunity came to interview Travis Erikson, Executive Directorof the massive charity known as Child's Play, I knew I had to do everything in my power to help the world see the very real, tangible improvements video games can make in the lives of people all across the globe. So, we met in the media room at the Seattle Convention Center during PAX West 2025, and had an amazing conversation about what Child's Play is, where it's going in the future, and how it created an entire occupation never before seen to achieve its goals. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-8.png) Source: ### SUPERJUMP Can you please tell us your name and give us a brief backstory of what Child's Play is, and about your role at the organization? ### Travis Erikson I am Travis Erikson, the Executive director of child's play charity. We were founded in 2003 by Gabe and Tycho – the Penny Arcade guys – one year before PAX. At the time, it was right after GTA III came out, and all of the news, if there was news about video games, was that they're no good and they're murder simulators and look at this, games are horrible and gamers are bad. Mike and Jerry (aka Gabe and Tycho) felt that it didn't represent us or our fans. A local paper here in the Seattle area ran an editorial that called video games "murder simulators" that were training people to murder. Out of spite, they invited their fans to donate toys to Seattle's Children's Hospital through them, with the goal of "hey, donate enough toys that we can invite the newspaper to the gifting of the toys. That way, they have to acknowledge gamers did a good thing." In a little over 2 weeks, they raised a quarter-million dollars worth of PS2s, GameCubes, Xboxes and Legos, kind of everything. They made a donation, had the newspaper come, got the guy who wrote the editorial to write another one saying, "I guess they're not all bad." ### SUPERJUMP Yeah, you really can't deny that. ### Travis Erikson There's a cool picture at the time that shows them sitting by the in-repair Therapy Pool at the Children's Hospital, full of toys, with the Penny Arcade crew sitting on the edge of the pool after the donation. A very cool visual of a whole pool full of toys. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-9.png) Source: ### SUPERJUMP Child's Play has been going on for over twenty years. How has the charity changed during that time, and how do you see it changing in the future? ### Travis Erikson We've grown from Seattle Children's Hospital to now we're in nearly 200 children's hospitals all across the world. We're in the US and Canada, as well as Germany, England, Scotland, Ireland, even India, Egypt, Australia, and Kenya. I'm missing some, but you know, it's worldwide. So that was a big chunk of Child's Play's early bit, was just growth and finding more partner hospitals. I joined Child's Play in 2016, and that's when we sort of made a conscious switch, which was part of why they brought me on. In 2015, they noticed that what was really the limiting factor inside hospitals was no longer having access to tech the same way that it was in 2003\. We were still just giving games and consoles to hospitals, up to 2015\. Every year, "here's a bunch of consoles, here's some games, here's some iPads, here's stuff," and what was noticed was the limiting factor was the understanding of how to use the tech intentionally as a tool inside the hospital. Using the games and tech as part of therapy and procedures wasn't really being done. Gaming was still being treated as just the same kind of distraction as you would with the TV: "Here you are! Turn this on, and I'm going to walk away." So the first thing that we did was partner with some mental health professionals at UCSD (University of California San Diego) and created a therapeutic video game guide, which you can find at [gametherapy.org](https://childsplaycharity.org/guide). The guide breaks down the key components inside games to address pain, anxiety, sadness, cognitive impairment, and then also short-term and long-term boredom. To break this down for someone who isn't a gamer: what do you put in a waiting room? And what do you do for kids who are there for months on end for treatment? For pain, you typically want something that gives cognitive overload. Mario Kart is a great example; there are lights, colors, there's music and objectives. Something is always happening, so I have to be focused on this game, or I'm gonna lose. That can help your brain get locked in and focused on the game, distracting from the pain you're feeling in your body, which reduces the need for medication. It will never eliminate it, but it can reduce it, especially if it's nothing major. ### SUPERJUMP Yeah, it sounds like that isn't the point. It's not to replace, but it's to supplement treatment. ### Travis Erikson Exactly. Sandbox games, for example, are great for anxiety. It's open-ended, there's a lot to go do. Building whatever you want in a Minecraft creative mode, especially a peaceful creative mode, helps a lot. I can build whatever I want, and if I don't like it, I can blow it up and build a new one, and do whatever I want. The game gives you this open, calm, just "go have fun, go do your thing," and both of those are great games that a kid would love. You aren't going to get a kid who complains when they're handed Mario Kart or Minecraft. If you have a kid who is anxious about an upcoming procedure, "I just have to sit here for a couple of hours before a surgery," or, "I'm getting an MRI, and that sounds kind of scary," whatever the case is, if you hand them Mario Kart, the kid isn't gonna know that this is going to build anxiety, but you are going to sort of unintentionally make it a little bit worse. But if you give them a Minecraft creative mode, they'll play it and have that ability to potentially reduce the anxiety and bring it down. That guide was our first step into that, and then when we were doing these hospital tours, we realized that along with being that education resource, the piece that was missing in the hospital was anyone whose job it was to focus on the games and tech that we were putting there. I had done hospital visits where you go in and the hospital goes, "the Xboxes are broken, they're in each room, but they aren't working." Broken ended up meaning that the controllers in room 1 ended up in room 5, and you know I hit the button with "X" on it, and it turns on. I'm in room 5, hitting the button, but it's not synced, so it doesn't work. That means they tell everyone, "This Xbox is broken, I know it's in the room, but I'm sorry you can't play it." We really started to try to be an educational resource for the hospitals that we support. At the end of 2016, we met at CS Mott, and they had a child-life specialist named JJ, and he ended up becoming just their gaming and technology guy. The child-life director of Children's Hospital of Denver asked, "How do I get a JJ? What I need is a guy who is in my hospital who can manage all my gaming consoles." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-10.png) Source: ### SUPERJUMP Kind of like a gaming IT guy. ### Travis Erikson Right, he said, the child-life team has to do it, they don't know how to. Hospital IT won't come take care of an Xbox; IT is taking care of hospital infrastructure and security, and all of that stuff. They don't have time to deal with the Xboxes not talking to the TV. That's child-life's role, but they're not gamers. I describe child-life to people who haven't been in hospitals before as your favorite second or third grade teacher, who you might give a VR headset to and say "Hey, when you're doing that study on Egypt you can turn this VR headset on and take the kids to the base of the pyramids and they can look around and actually see the Sphinx and everything else." They may be excited about it, but when you come back later it's in the corner collecting dust. They don't have the capacity, knowledge, or time to go set it up and do it. They love the idea, it sounds amazing, but they probably won't get to it. So we told Colorado to write a grant; you need a person, we've got funds, write a grant, we will pay for the person's salary and benefits, and see how it works. We needed to see if JJ was a unicorn that couldn't be reproduced. To date, since 2017, we've done grants for 55 or 56 positions inside hospitals. Their role is to be that person who is managing the games, thinking about how to use all the emergent tech and gaming, playing games bedside with kids, teaching the staff how to reconnect controllers and do basic maintenance, because now there's someone to ask for the problem. We've been essentially creating a whole new career inside children's hospitals since 2017\. In continuing to be the educational resource for them, we have a certificate course they can take that helps create a baseline for these game tech positions. There are no degree programs for it or anything else. We're actually running out a fourth set of those cohorts right now. We base them around PAX East and PAX West, and by the end of this, we'll have fifty game techs certified by Child's Play. There are maybe 65 to 70 people total in the world doing these roles. We do a symposium every year with Children's Colorado as our partner, it's a two-day virtual symposium where we bring in doctors and game techs, people in the pediatric medical space, using games and tech to try and help other hospitals see what is being done down the road. Children's hospitals often have to be very reactive, and it's difficult to think about "what do I do with a PS5?" until the PS5 is dropped in their laps. We try to create a roadmap to show how the hospitals that are really on the cutting edge of games and tech, here's how they're using it. Start thinking about how to get there, and then reach out to us. We're their resource for getting to the next level. ### SUPERJUMP That's definitely an unforeseen issue. For people who play games, "my PlayStation controller isn't connecting" isn't exactly a novel problem, but if you're a nurse, you have 100,000 other things you have to take care of before you worry about "is the HDMI in the wrong place." ### Travis Erikson Exactly. What if someone unplugs the console to plug their thing in, and now they've checked out of the room? If you're a nurse, and all you've ever done to get it working is hit a button on the TV, and now it doesn't work, it can be really confusing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-11.png) Source: ### SUPERJUMP It's really cool that you've essentially created a new career out of this, and I imagine there are probably tons of people who would be willing to fix game consoles for children's hospitals. That sounds about as rewarding as you can get as a gamer. ### Travis Erikson Yeah, it is great. Part of the class, we do a conclave where we have the class, but we also have a bunch of game techs who just come to PAX West, as there's no conference for them. There's no professional anything. So this is kind of the place to gather, for the new ones to hear from the ones who have been doing it for a long time. To hear concerns, tips, all that stuff, and it's always amazing to hear them share their stories and the impact they have. How do they know they're doing the right thing? A lot of them are potentially the only ones doing it in their state, and in some instances, they're the only ones doing it in their country. We have a tech in Glasgow, Scotland; we have one person in a children's hospital in Kenya; we have two people in Sydney, Australia, and then we have two in Germany. In those spots, they're the only people in their respective countries doing this, and for the guy in Kenya, he's the only one on the continent doing it. ### SUPERJUMP It's probably difficult to connect with people on your occupational level when you're the only person who does this for thousands of miles. ### Travis Erikson Yeah, so there are a lot of conversations in Slack about things like, "someone asked me to do this," and someone responds, "Oh yeah, someone already asked me to do this. Here's a procedural document; you may have to change it for your hospital, but you're 80% there." There's a lot of communication. ### SUPERJUMP Are there any particular instances that stand out for you? Maybe when you saw the very real impact that Child's Play has on the kids who are a part of it? ### Travis Erikson Honestly, it's creating this role. It was not even on my radar when I came over. I was a teacher prior, and I've been friends with the Penny Arcade guys for a long time. When this role opened up, they brought me over after the game guide had started. There was a little bit of "maybe you can direct some of the education aspects", but this role was not on the radar at all. Seeing that take off, and at this point, when we do get a grant, we cover salary and benefits for two years, and we are sitting at virtually 100% retention. We have a couple of hospitals where we've had someone decide the role wasn't right for them and have moved on, but the hospital is actively looking to fill it. So even once they've run off the grant funding, they've seen the impact of what they do. The child-life team is able to get so much more time back and working with the kids on their caseload because they're not troubleshooting tech. Having the tech available for the kids is huge. We've seen things like VR being used in place of sedation. So, instead of needing to have all the stuff that comes with sedation, which for a kid is a 24 hour cycle of "you can't eat, we're going to sedate you, we're going to do a procedure that may only be a few minutes long, but you can't move, and then we have to monitor you coming out of sedation," now we can throw you in VR, get you fully distracted, do this procedure, pull you right out, and now it's back to a 5 minute procedure. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-12.png) Source: ### SUPERJUMP That's huge, because sedation is a big decision, especially for kids. ### Travis Erikson I actually just got back from a quick trip to Victoria BC, where the children at the hospital there at Victoria General used Child's Play funds to partner with one of the engineering universities on campus to create a life-size MRI practice simulator. Kids can go in, lay down, get to see it, get slid into the tunnel, hear the really loud noises, get pulled back out of the tunnel, and can practice over and over going into an MRI. It's one of those "you can't move, and if you move you gotta restart" so almost all kids get sedated. However, with practice and repetition, kids can get through the MRI without it. Victoria General is an adult and children's hospital; there's a children's wing, so they don't have a dedicated pediatrics MRI. They aren't able to go practice on the real thing, and this MRI that they built is not just a full-sized MRI for practice. It breaks down to fit in a closet because they don't have a space to set it and leave it permanently. It was amazing what those engineering students did, just so it's designed to roll through the hospital, break down into a closet, be tucked away, and when needed, it can be pulled out and put together by two people. ### SUPERJUMP Donations are always fantastic, and a sure-fire way to support charities like Child's Play. That being said, money isn't always an option for people to give at all times. Aside from monetary donations, what are some actionable steps people can take to be a part of Child's Play? ### Travis Erikson One of the things you can always do is run a stream and run a fundraiser. Anyone can put a fundraiser on these days with a Tiltify page or a Streamlabs page. We're on there, and they can do that. Just sharing the word of Child's Play with friends, sharing the therapy guide is a great way to sneak in something to people who don't know about Child's Play. Just like, look at this cool tool about how to think about games. Maybe you have a friend who's dealing with some anxiety, you can give them that and let them see a big list of games to play that can help reduce some of that anxiety. That can give the natural curiosity to look into Child's Play. Also, you can always reach out to us. People always ask us about volunteering opportunities, and unfortunately, we don't have a ton about Child's Play as a whole, but we can help get you connected with your local children's hospital. There's not a cookie-cutter piece where we can say "oh they're ready for this", but helping get them connected is a big deal. They always need someone to come reset game systems. If you get enough volunteering in and get them to a point where they're comfortable having someone play bedside with a kid and fix their systems, is outstanding. If it's someone who actually knows games and can challenge the kids at games, it's so much better than asking your third-grade teacher to sit down and play Mario Kart with you. That may not always be the most fun. Those kinds of volunteer opportunities vary based on the hospital, but we can always help at least make that initial connection to the volunteer service group. ### SUPERJUMP Is there anything specific you want to say to finish things off? ### Travis Erikson You can find more at [childsplaycharity.org](https://childsplaycharity.org/). Feel free to email us if you've got questions. We're always happy to chat. If you know a hospital that isn't a Child's Play partner, you can always connect them to us. If the game tech job sounds interesting, keep an eye on Child's Play's socials. When hospitals post these positions, that's where we blast it back out to say, "Hey, these roles are open." ### SUPERJUMP That's fantastic. Thank you so much for sitting down with me and for doing what you do. --- And thus, my coverage of PAX West 2025 comes to an end. I thought it would be important to end my coverage with this piece, more than a demo review or a developer commentary, because one of the things I overwhelmingly felt while traversing through the crowds this year was this: video games are important. Every year I go to PAX, I see more and more people from all different walks of life crowding around indie booths and watching esports tournaments and just existing within this massive community of dorks and nerds who are unabashedly in love with their favorite pastime. Talking to Travis really brought home this idea that we all instinctively know but rarely get to see, that games really do make a huge difference in people's lives. I hope everyone who read through my coverage this year enjoyed it. So, until next year! Child's Play is the longest-running charity in the games industry, which brings heaps of normalcy to kids who need it most. I want to give a massive thanks to Travis for taking the time to sit down and chat with me, and a huge thank you to the people at PAX for allowing me to meet all the wonderful individuals I did and play all the incredible games I played. ### Disco (Elysium) Might Be Dead, but Its Devotees Yearn to Return to Revachol URL: https://www.superjumpmagazine.com/disco-elysium-ight-be-dead-but-its-devotees-yearn-to-return-to-revachol/ Last updated: 2025-10-13T07:29:53.000Z **It’s a tricky time to be a fan of Disco Elysium.** The original creative team behind the breakout detective roleplaying game has long since imploded and while there’s [no shortage of studios out there looking to pitch themselves as the spiritual successor to ZA/UM](https://www.pcgamer.com/games/rpg/disco-elysium-successor-studios-overview/), it’s unclear how many – if any – of these projects will make it past the finish line let alone live up to the legacy they’re looking to lean on. Making video games is hard, expensive, slow to begin with and [even more-so nowadays](https://aftermath.site/video-game-industry-layoffs). By comparison, making something designed for tabletop play is a lighter lift. Perhaps it's not so shocking that fans of Disco Elysium have begun to explore this avenue in the absence of an official or unofficial follow-up. Back in 2023, one Spanish fan wrote and released a TTRPG inspired by ZA/UM’s game called [Jamais Vu](https://mithrillica.itch.io/jamais-vu). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-14.png) Jamais Vu. Source: Itch.io. According to this fan, who goes by the online handle Mithrillica, “ZA/UM's design philosophy resonated with the way I felt about the CRPG scene at the time. Then I played the game on release and I fell in love with it, though it felt different than what I had imagined.” Meli and Pedro discovered Disco Elysium around that same time. The couple – who have been married for 17 years – first learned about the game through [People Make Games’ divisive video doco](https://www.youtube.com/watch?v=JGIGA8taN-M). “The whole case seemed very interesting to us and caught our attention so much that we decided to try the game. When we played it, we were amazed, not only by the game itself but also by the story and the conflict surrounding it,” they told me via email. “So much so that we even read the book that served as the foundation for the video game,” they said, referring to Robert Kurvitz's novel [A Sacred And Terrible Air](https://www.goodreads.com/book/show/154527611-sacred-and-terrible-air). Like many fans, Meli and Pedro found themselves fascinated by Disco Elysium’s unique setting. “Expanding on that, we think what resonated with us the most was knowing that the game had a lot of depth in terms of narrative and storytelling. It also featured political content, social critique, and a touch of dark humour, all things that we knew we’d love, and we did,” they told me. Both Meli and Pedro are avid readers and they quickly embarked on their own separate playthroughs, stopping to compare how their divergent decisions shaped the story. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-15.png) Echoes of Revachol. Source: GitHub. “Coming from a third-world country, we also felt that Disco Elysium resonated with us in an identity-driven way. The setting and characters, many of whom are outcasts with voices and stories to tell, felt relatable and authentic,” they said. Entranced by the melancholic district of Martinaise, the pair were hardly alone in wanting to extend that experience through creating something of their own. However, Meli and Pedro’s contribution to the Disco Elysium fandom would be something a little different to the usual fanart or fan-fiction. It would take the form of a competitive card game called [Echoes of Revachol](https://radivoy.github.io/echoesofrevachol/). For the pair, this project started as something personal. Meli and Pedro wanted a Disco Elysium board game they could play together and no such product existed. Released online in late 2024, Echoes of Revachol is a multiplayer card game where players take on the role of detectives looking to solve a case before their rivals. In it, you recruit allies and roll dice to assemble corps and solve tasks. The first player to complete the most tasks by the end of the game wins. It’s a simple setup, but one with plenty of room for depth and interlocking mechanics. While neither Meli and Pedro had ever designed a card game before, the pair had played a lot of them over the years. The list of their favorites includes Lords of Waterdeep, The Fellowship of the Ring Saga Expansion (Card Game), Arkham Horror, Runebound, Atmosfear, Carcassonne, and El Truco. However, when it came to Echoes of Revachol, the pair cited Andreas Zimmermann’s[ The Lord of the Rings: The Battle for Middle-earth card game](https://boardgamegeek.com/boardgame/126443/the-lord-of-the-rings-the-battle-for-middle-earth) as a specific inspiration. “When we played it, we realized that its simple mechanics fit perfectly with the idea we had in mind: detectives needing to complete tasks with the help of various characters from the Disco Elysium universe,” they said. According to Meli and Pedro, the new ideas that naturally emerged over the course of Echoes of Revachol’s development allowed them to introduce new mechanics that better captured the spirit of the source material. The most obvious example of this is the morale loss system, which sees players roll dice to avoid negative effects. In a bid to make the project as accessible to as many people as possible, Echoes of Revachol’s creators have published not only the files needed to print and play it but also a guide to getting yourself a set of physical cards using third parties like MakePlayingCards.com. In the months since sharing it with other fans on reddit, Meli and Pedro have been taken aback by the level of response they’ve received from other fans keen to offer suggestions and support for the project. “Many fans started asking us for the files or wondering if there was a way to buy the game. Obviously, since we didn’t have the rights to commercialize it, we never considered selling it. But we thought it would be appropriate to offer it for free to other fans who, like us, wanted to keep enjoying the *Disco Elysium* universe,” they said. Thanks to those fans, Echoes of Revachol is now available to play through Tabletop Simulator as are translations of the game’s rules for Spanish, Turkish and Russian languages. Pedro and Meli admitted that it’s difficult to know when to consider a project like this one finished. Initially, the couple had settled on a specific number of cards they wanted to produce in order to keep the scope of the work achievable. However, in doing so, they had to cut out many characters, tasks and other elements from the source material that they would have loved to include. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-16.png) Echoes of Revachol. Source: GitHub. --- > “Coming from a third-world country, we also felt that Disco Elysium resonated with us in an identity-driven way. The setting and characters, many of whom are outcasts with voices and stories to tell, felt relatable and authentic." > > **Meli and Pedro** > **Creators, Echoes of Revachol** --- Given the overwhelmingly positive fan response to Echoes of Revachol, it’s hardly a shock that the pair now say that they would like to add and further improve the game in the future. “Of course, this would be a lot of work, and since we both have other jobs and this was just a personal project we created for fun, we’ll work on it whenever we have the time to dedicate the effort it needs,” they said. Even if they don’t end up following through on that stretch goal, Meli and Pedro’s original mission has long since been accomplished. As more and “Disco Elysium-likes” rise up like Kryptonians after the Death of Superman, Echoes of Revachol feels like something different and yet also familiar. It isn’t Disco Elysium 2 but it’s more than just something to tide you over in the meantime. Where its inspiration was a solitaire affair, Echoes of Revachol is a rallying cry for read-along revolutionaries mourning the future of the series. One name might be attributed to the creation of Disco Elysium’s world but it takes the toil of many to push back and keep that memory alive, even if it now only exists as an echo. ### The Homestuck Pilot Has Been Released URL: https://www.superjumpmagazine.com/the-homestuck-pilot-has-been-released/ Last updated: 2025-10-06T10:26:58.000Z **I feel better knowing I'm not the only one completely confused by Homestuck.** Despite receiving a crash course from a friend, reading the comic adaptation, and watching the new animated pilot, I haven't been able to understand this multimedia project. A webcomic/video game/Flash animation hodgepodge, Homestuck now has an animated adaptation. The announcement surprised long-time fans and newcomers. You can watch the pilot [here on YouTube](https://www.youtube.com/watch?v=vQszKkN6Jb0). Created by Andrew Hussie, Homestuck is a webcomic that evolved into an interactive adventure, adding Adobe Flash animation and games to an MS Paint style. The comic ran from 2009 to 2016, but the impact has not waned since. Avid readers can dive into several sequels that premiered in 2019, along with Viz Media graphic novels, and now this animated adaptation. The story starts with John Egbert, an ordinary teen, trying to locate a video game package of the latest Sburb. It's a birthday gift, and he wants to play it, because enough people, including his friend Dave, hate it. Installing the game and playing it with his friends somehow triggers an apocalypse, so they have to finish Sburb to save the world. Video game developer Toby Fox (of UNDERTALE fame) joined the crew as a composer, working as the music leader. He posted a recap in his latest newsletter, thanking the Homestuck crew for building his career. Fox was surprised that the Homestuck creators asked him to participate in the animated adaptation, more so that they didn't want him to compose; he voices protagonist John Egbert in the animated pilot instead. YouTube comments confirm two opinions about the animation from Vivziepop's studio Spindlehorse Animation: the pilot is a perfect adaptation of the original comic/game, and most people have no idea what is happening. ![A simple lineart style. A young man stands in his bedroom.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/00001.gif) Source: [Homestuck](https://homestuck.com/). ### Adapting Video Game Tropes to Animation The big problem with adapting Homestuck isn't just the confusing narrative but also translating its interactive nature. Because reader suggestions caused the narrative to spiral, the comic blew up in more ways than one. You can't have someone put a random suggestion in a YouTube video or go down multiple paths, and even with multiple paths, the creators can't adapt every suggestion, if any at all. Why can't viewer suggestions happen? Due to the inherent lead-time for animation, creating an episode can take 8-10 weeks, according to[ Pigeon Studio](https://studiopigeon.com/blog/how-long-does-it-take-to-produce-an-animation/). Script rewrites and post-production edits could double that time, in theory. How would one even handle the copyright of crediting different fans for the ideas? Thankfully, the pilot is aware of this deficiency and corrects it with parody. Protagonist John Egbert keeps yelling at the narrator to cut it out with the dramatic prose and refuses to look at the title in the sky. He can handle a boss battle with his dad over cake, but not-so-much the meta nature of his world. A red box with his video game matters more than a meteor heading towards Earth, and he doesn't question how Dave can reach out through the phone to grab his face. The fourth wall disintegrates in a matter of minutes. There is some help in terms of accessibility for the new or confused viewers. Since not every Undertale or Deltarune fan necessarily knows Homestuck, they would be watching for the same reason I am, for Fox's performance. As a result, the animators weave a narrative that we can follow in the pilot, a character with actions to complete and conflicts in their way. Spindlehorse also shows it doesn't just draw demons and damned souls; the style emulates the original MS Paint Homestuck while adding the fluidity that Flash Animation can't provide. I must admit I'm impressed after watching both Hazbin Hotel and Helluva Boss. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/10/image-13.png) Source: Spindlehorse, ## Is it Worth Continuing to Wa**tch?** Homestuck is a huge beast to dive into with its narrative and fandom. YouTuber RPGMonger [talked about the Homestuck fans](https://www.youtube.com/watch?v=bLm-0V741M8) and their "complicated history." An outsider may compare the comic to Frankenstein's monster, albeit born out of love rather than a need for science. Still, many of those fans are now adults. Andrew Hussie and his crew have grown. We're all more mature now and willing to try new (or in this case, old-ish) stories. Experimenting with media is what makes video games, animation, and the lines in between them great. You can also tell Spindlehorse loves the original comic and wants to adapt it correctly. I'm going to continue giving them a chance and see what the next "UPDATE" will be. ### Balatro’s Creator Won’t Ever Put It in Casinos (and He’s Right Not To) URL: https://www.superjumpmagazine.com/balatros-creator-wont-ever-put-it-in-casinos-and-hes-right-not-to/ Last updated: 2025-10-05T07:25:22.000Z **The smash hit** [**Balatro**](https://store.steampowered.com/app/2379780/Balatro/)**, from Playstack and LocalThunk, is, at its heart, a poker-based game.** It seems relatively benign and has become incredibly popular in recent years, with players rating it Overwhelmingly Positively in more than 100,000 reviews on Steam alone. But there's a sinister side to this beloved game that we're only just now beginning to understand. For now (and perhaps forever), this sinister undertone has been thwarted in an unexpected but surprisingly wholesome way. Still, it's a good idea to understand exactly why Balatro won't be appearing on any real casino machines. ## Understanding Balatro's Mechanics Balatro functions with a similar loop to [video poker](https://en.wikipedia.org/wiki/Video%5Fpoker): 1. The player chooses the blind they'd like to be a part of. 2. They're dealt a hand of cards to play from. 3. They can choose to discard up to five cards at a time to build a better hand. 4. They play a hand and earn points based on its configuration. Now of course, there are several key differences between a game of video poker and a game of Balatro. Mechanically, in a base round of Balatro, you have a hand of eight cards rather than five, and can choose up to five cards to play per hand, meaning that your odds of encountering a high-scoring hand without having to discard are slightly higher than they would be in video poker. This also means that you can often plan the next hand you make in advance to optimize your scoring; in video poker, you're largely focused on one hand at a time and can stop the game after any hand. It's worth noting, though, that some video poker machines and sites do offer progressive jackpots and bonuses that can be similar to Balatro's setup. That being said, Balatro is built on the idea of earning points and progressing in the game rather than earning money from the house. Your goal is to earn a certain number of points to beat the blind and move on, rather than to earn back the money you've invested in the game. Because of this, a round of the game is far lower-stakes to the real life of the player, meaning that the player can take more risks and play more recklessly, if they want to, without any serious consequences (we'll return to this later). Still, the wildest differences between Balatro and video poker come through the implementation of the Joker and bonus card systems. Jokers can add additional effects to each hand and to the game's mechanics as a whole; for example, certain Jokers may give bonuses for card suit, rank, or hand combinations, while others may allow a player to "upgrade" cards, increase their hand size, or affect the amount of money they earn to use in the shop. The shop itself is where players can obtain Jokers, as well as other card types that can increase the payout for certain hand types, add bonuses or special effects to cards in their deck, or change and improve different aspects of the game, like the number of hands played or the number of times they can discard per round. These mechanics can lead to explosive point scoring and intense strategizing, which become all the more necessary as the game progresses and more points are needed to move forward. ![A gif of Balatro in full swing; Cards score up to a massive more than 1000 multiplier.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Balatro_gif_2-.gif) Source: LocalThunk and PlayStack. ## The Real Dangers of Gambling Addiction With all the added flashy variety, upgrade systems, and deck-building aspects of Balatro, it's not really all that surprising that the game itself has garnered a reputation for being incredibly addictive. This had led some to play for hours on end and achieve incredible scores in the trillions or higher (some players have even managed to [bug the game and get infinite scores](https://www.youtube.com/watch?v=ICrA%5Fos9enY)!). Being that Balatro is a video game and doesn't involve any real financial investment beyond the initial (in my opinion, very reasonable) purchase price, its addictive nature isn't that big of a deal; sure, you might spend a few hours binge-playing the game and forget to eat dinner or take the trash out, which is annoying, but you're unlikely to face any long-term real-world hardships from the game. However, Balatro's addictive nature had the potential to become extremely problematic when real-world casinos became interested in the game's formula. See, in the real-world setting of a casino - physical or virtual - players have a very real and sobering chance of developing a gambling addiction. Previously labeled as "pathological gambling" by the American Psychiatric Association, gambling addiction is defined as "an inability to control gambling behavior itself...leading to serious health consequences, and financial and legal problems, and representing a risk factor for aggressive behavior." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-68.png) Source: Steam. According to [this review published in the National Library of Medicine](https://pmc.ncbi.nlm.nih.gov/articles/PMC9994414/), gambling addictions are progressive conditions that may develop in any player who gambles on a more than occasional basis, or who has easy access to gambling games, especially if that player has a pre-established addictive personality or family history of addiction. The authors note that several risk factors can indicate a propensity for gambling addiction, including impulsivity, high stress, negative psychological states like depression, troubled or minimal relationships, and insecurity. Another [article from the Journal of Gambling Studies](https://link.springer.com/article/10.1007/s10899-022-10124-8) comments that excessive spending, whether developed on its own as a coping method or influenced by peers, and issues with parental attachment can put one at risk for gambling addictions. Basically, anyone experiencing a stressful period in their life, especially if they are experiencing it early in life or have a family history of addictive conditions, can fall victim to gambling addiction. Like other addictive behaviors, gambling addiction can lead to some pretty severe consequences. Constant attendance at gambling tables can lead a person to neglect their physical and mental health; they may forget or neglect to bathe, eat, use the restroom, or exercise, which can put them at risk for a range of illnesses and chronic conditions. They may also be more susceptible to mental health conditions as well such as depersonalization (in simple terms, losing their sense of self and personhood, or no longer recognizing themself as a person), derealization (constantly feeling as if they or the world around them aren't real), and dissociation (becoming completely detached from the world around them, "checking out" for an extended period of time, potentially being unable to remember these stretches). The earlier NIH study noted that digital gaming machines - such as those Balatro would be displayed on - may be more likely to trigger this addiction because they create the perfect storm for play. They offer quick rounds with building stakes whose payouts include extravagant rewards in the form of bright lights and loud achievement-marking sounds. Because of this, players stay longer and feel more highly motivated to keep playing - "just one more round" is much easier to say when there's no one there to tell you the table's shutting down. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-69.png) Source: Steam. Unfortunately, gambling addiction is just as difficult to beat as any other kind of addiction. It can even cause severe withdrawal symptoms that can make quitting physically and mentally painful. Even worse, gambling addicts have limited support as it is; a gambling addict whose vice is a video game like Balatro may find it extremely difficult to find adequate support to quit because of the stigmas surrounding gaming as an "unserious" or "childish" pastime. This can make it hard for them to recover and stay clean, which can extend and even worsen their situation. According to [this 2023 article from the APA](https://www.apa.org/monitor/2023/07/how-gambling-affects-the-brain), "up to 5% of adolescents and young adults who gamble develop a disorder." Add the already addictive media of gaming to the mix, make it easily accessible in casinos and online betting sites, and you've got a recipe for ruined lives and disaster. ## Balatro Will Never Be In Casinos Luckily for everyone at risk, the creator of Balatro - solo developer LocalThunk, who prefers apparently to stay anonymous at this time - has plans to ensure that this never happens. In a [tweet from August 6, 2024](https://x.com/LocalThunk/status/1820752209765961746), he says, > "I hate the thought of Balatro becoming a true gambling game so much that when I recently created my will, I stipulated that the Balatro IP may never be sold or licensed to any gambling company/Casino." This came in response to a joke conspiracy theory that was floating around the fandom at the time. It seems like the joke arose from the rating Balatro received back in March of that year, being restricted to 18+ in Europe because of its "prominent gambling imagery." LocalThunk didn't agree with this because there were several other games on the market at the time - though he wisely didn't name specifics - that had actual gambling mechanics but weren't rated similarly because they had different appearances and themes. Thankfully, this rating has been reversed after an appeal to a much more appropriate 12+. Still, the concept of the game as a gambling platform seems to sit poorly with LocalThunk, who simply wanted his game to be full of fun options, exciting cards, and a beginner-friendly game loop that was kept interesting by variety rather than complexity. The developer created the game to be a fun exercise for everyone rather than an elites-only experience or a way of dredging money up from his fans. > " I was not expecting the critical reception it ended up receiving because I know how weird this game looks and feels in many ways." - LocalThunk via [a Reddit AMA](https://www.reddit.com/r/Games/comments/1bdtmlg/ama%5Fi%5Fam%5Flocalthunk%5Fdeveloper%5Fand%5Fartist%5Ffor/) In the end, Balatro is exactly what it says on the tin: a fun card game. LocalThunk cites, of all things, Solitaire as a major inspiration for the game. He specifically [calls out the Klondike variant](https://localthunk.com/blog/solitaire), and says that he wanted people to enjoy a game that felt "evergreen, comforting, and enjoyable in a very low-stakes way." He's more than happy to have the game be something relaxing, a cozy game that his fans can play a few rounds of before bed or when they need to unwind. Can it be addicting? Sure, but no more so than any other procedural video game. For that, we can all be grateful. ![A game of Balatro in full swing; A Three of a Kind with 10s of various effects scores 320 x 1121.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Balatro_ui_3840x2160_6.png) Via LocalThunk and PlayStack. --- **If you're struggling with addiction, there is help available. Reach out to:** - The [SAMHSA National Helpline](https://www.samhsa.gov/find-help/helplines/national-helpline) at 1-800-HELP (4357) - [SMART Recovery](https://smartrecovery.org/gambling-addiction) - The [National Problem Gambling Helpline](https://www.ncpgambling.org/help-treatment/about-the-national-problem-gambling-helpline/) at 1-800-GAMBLER - [GambleAware](https://www.gambleaware.org/) ### PAX West 2025 - STARSEEKER: Astroneer Expedition Is the Sequel We Deserve URL: https://www.superjumpmagazine.com/pax-west-2025-starseeker-astroneer-expedition-is-the-sequel-we-deserve/ Last updated: 2025-10-03T23:30:23.000Z **It's been almost 10 years since System Era Softworks' widely acclaimed Astroneer was released into the world.** The mixture of incredibly implemented co-op survival gameplay, gorgeous and uniquely simplistic alien planets to explore, and the rewarding base-building mechanics all but guaranteed Astroneer would go down in history as a must-play for indie lovers. At PAX West 2025, convention-goers finally got a taste of the long-awaited sequel: STARSEEKER: Astroneer Expeditions. I had the wonderful opportunity to squad up with a member of the development team and had a wonderful time giving this highly anticipated sequel a try, and I was not disappointed. Visually, STARSEEKER bears a strong resemblance to its predecessor. Colorful, pleasant lands expand to the horizon, with glorious alien landscapes and a plethora of vibrant flora covering the ground. The same polygonal art style makes a return, and I have to give props to the art department for that. It's difficult to create a world that is simultaneously simple *and* engaging, and both Astroneer and STARSEEKER accomplish this brilliantly. The terrain is so nice to look at that it practically begs you to discover other vistas. The explorers themselves are also instantly recognizable, as the adorable toy-like and bubbly astronauts make a return. It all comes together to be as cohesively wonderful as Astroneer, showcasing once again this studio's ability to create something beautiful and interesting out of simple polygons and colors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-65.png) Source: Steam. Even with the visual similarities, it's apparent right away that System Era Softworks wanted to make something a little different from their survival game roots in Astroneer. Where that title focused intensely on the survival aspect of cooperation, STARSEEKER has a much heavier emphasis on exploration and objectives. You will be riding on the ESS Starseeker, and it is your job to work with other Astroneers to explore a multitude of planets, set up satellite beacons, complete objectives, and interact with the flora and fauna. You do this by using a specific set of tools meticulously designed to help you complete each task. Whether it's terraforming, dealing with the hostile alien creatures, or creating safe pathways to explore the planet, there will be a tool to help you. The kicker is that each implement is assigned to only one explorer, so you must work together to complete each task. That collaboration is the heart and soul of what makes STARSEEKER such an intriguing game to play. During my 30-minute session with a member of the development team, we had to work cooperatively to plant an antenna at the highest point on the map. He had a terraforming tool, so once we found the mountain we needed to climb, he started to carve a tunnel right out of the center of it while I carried the antenna behind him. It took some time (especially after accidentally opening a hole directly under a pool of water, which promptly washed us out of the mountain) but we eventually made our way to the peak. One of the hostile aliens we encountered shot out a slick goo that made every surface slippery. I wasn't paying attention and slid right down into a hole from which I couldn't escape. We feared for our journey, as we didn't want to have to climb the mountain a third time, so the developer told me to simply toss the antenna to him so he could plant it, and I did as instructed. He planted it, blasted a hole through the mountain next to me, and I used the game's new gliding mechanic to safely make my way to the ground, where we finished the mission. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-67.png) Source: Steam. It might not sound like much, but those small emergent gameplay moments are just as exciting and important as what you would find in something scripted. I had just met this person at PAX for the first time, and within 30 minutes, we were laughing and joking with each other as we worked together to make our way up the mountain. According to the team, that was their main point when it came to STARSEEKER; it's supposed to be fun. Gaming can mean many things to different people, but one of the things it does best is bring people together to just have some fun. From the short time I spent with the game, System Era Softworks understands this at its core and used it as a guiding light to the core of the game. If STARSEEKER's new direction isn't something you're looking for, you don't need to fret. The devs made a point to tell me that they're going to provide continued support for the original Astroneer and the game should receive regular updates in the near future. I got the impression that the people at System Era Softworks have a clear vision of what they want their experiences to be, and they don't want to take that away from anyone. That being said, even if it doesn't sound like it is up your alley, I highly recommend giving STARSEEKER: Astroneer Expeditions a look - you may just surprise yourself. STARSEEKER: Astroneer Expeditions can be [added to your Steam Wishlist here](https://store.steampowered.com/app/1454370/STARSEEKER%5FAstroneer%5FExpeditions/). ### A Look Back at Ghost of Tsushima As Yōtei Looms URL: https://www.superjumpmagazine.com/a-look-back-at-ghost-of-tsushima-as-yotei-looms/ Last updated: 2025-10-01T23:16:06.000Z **There are still many PlayStation exclusives I've yet to play, having missed out on most of the PS4 era.** They’ve been extremely hard to fit into my schedule, since many are 30+ hours long. I was especially keen to play Ghost of Tsushima; it seemed right in the wheelhouse of a huge history buff like myself. I’m of the mind that historical fiction is a vastly underutilized setting in AAA games. Those studios and publishers have the kind of staff and resources required for an accurate portrayal of historical settings, along with the opportunity to tell emotionally meaningful stories. A game like Red Dead Redemption 2 is a fantastic example of historical fiction, and Pentiment is excellent too (though not AAA). I know Kingdom Come: Deliverance is also well-regarded, though I’ve yet to experience either of the games in that series. After finally playing it, I would like to happily add Ghost of Tsushima to the ranks of great historical fiction in gaming. I'm ashamed of having slept on it for so long. It is utterly brilliant, completely nails its setting, but like everything, it is not without its flaws. Sucker Punch is a fantastic developer, and I’ve always been a fan of their work. I don’t feel they get talked about enough among the studios that consistently put out quality products, so I want to give them their due credit. When I was young, I knew them for the Sly Cooper series, which many would agree is excellent, and their Infamous series on PS3 is similarly beloved. While both franchises are dormant and only accessible through PS Plus Premium streaming nowadays, they help build out what is a fantastic catalog for Sucker Punch. They know how to make action games feel punchy, awesome, visceral - but most importantly, they feel grounded within their own setting. In Sly Cooper, when you get into combat, Sly often struggles when he’s outnumbered. He’s a thief, that makes sense. Cole MacGrath, the protagonist of Infamous, does not quickly get powers beyond electricity, and even when he does, the reason for it makes sense. It also isn’t overdone, with only one or two abilities that are locked behind a karmic decision. Sucker Punch knows not to overextend its reach, which is something I’d like to point out since it very much applies to Ghost of Tsushima. While not based on real events, Ghost of Tsushima is historically grounded. The extent of things, to avoid a long essay about the Mongol invasions of Japan, is that the Mongols invaded during the same time period in which the game is set. That’s really what it comes down to, yet Sucker Punch was able to craft a story that was remarkably believable to play all the way through. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/scawfq.jpg) Ghost of Tsushima feels grounded in its own setting. Source: Press Kit Ghost of Tsushima is a game I loved playing, but it is also a game I have a lot of nitpicks with, which sadly give me pause when it comes to overtly praising it. This is a game that, while great, has a lot of flaws, and I’d be remiss if I didn’t make note of those flaws. I'm prefacing with this so it's clear that any criticisms I have with it are being balanced with praise. Those critiques come from a place of love and a hope that they’re built upon for Sucker Punch’s upcoming Ghost of Yōtei. ## A Story About Shifting Morals The game begins with a very sobering introduction of the samurai of Tsushima fighting Mongol invaders on the beachfront. It is immediately brutal, a fantastic introduction to the setting and story you’re in for. Yes, the game takes a bit to spin its wheels here. There’s a decent amount of time that passes before you’re actually able to explore the open world as Jin Sakai, nephew to the jitō of the island of Tsushima. The most memorable part of this introduction is when Jin can finally choose a horse and ride off through these beautiful white flower fields. The music swells in such an incredibly moving way right before the title drop. It’s a moment you look back on once you finish the game and note it as an indication that you were in for something special. Rather recently, I noticed people critiquing the game's writing, and I was eager to see what their gripes were. The exact issue wasn't clear to me at first until I was around halfway through the game's story. Though I wish to remain spoiler-free and will tiptoe around the main story of the game as much as humanly possible, I must admit that the complaints are valid. Ghost of Tsushima’s writing is great at best, though average at worst. The narrative itself is a bit shaky, and I couldn’t quite pinpoint why that is. I really struggled to determine why the story feels likeable but uneven in the end, but I couldn’t quite come to a firm conclusion on that. Let me do my best to present what I believe hurts Ghost of Tsushima’s writing the most. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/ctzhlbj69v5epi2r9l4h.jpg) Ghost of Tsushima's introduction is stunning, especially on PlayStation 5\. Source: Press Kit The game's quest structure stuck out to me above all, as I found it was often extremely repetitive. Between main story quests and side quests, you’ll find that Jin will sneak around a bit or ride his horse to a certain location. Then Jin might investigate the area, or he’ll encounter some Mongols that he needs to fight off. You then either talk to the quest giver at that location or run back to where they were to turn it in. Sometimes the order of those things gets shuffled around a bit. You'll rinse and repeat this a plethora of times throughout the main story as well as the numerous side quests in the game. See, the writing itself is not the issue. The way these missions are structured, however, makes it seem that way. The moment-to-moment dialogue is excellent. The sentiment of the main story is very moving, and I find it to be a great idea for a character arc. Even the questlines for Jin’s companions are surprisingly heartbreaking. Lady Masako, in particular, goes through hell in her story, and Norio’s questline has a really brutal gut punch at the end. Regular minor side quests are often dark and hauntingly realistic for the game's setting. I recall one where a man ran off from his farmhouse when Mongols attacked, leaving his wife and child behind. You can likely guess what happened, but the point of the quest is to drive home what a menace the Mongols actually are, the brutal reality of what war brings to common people. In that sense, Ghost of Tsushima could be seen as very anti-war. When you take the time to let these gritty side quests sink in, you really absorb the horrors of war. The anti-war message alone is what makes Sucker Punch's work here really worth playing, whether that message was intentional or not, for it is something that affects our world even today. However, when you place this great writing in the same tired mission structures over and over again, it starts to lose its luster really quickly. It doesn’t resonate the way a player would want. As mentioned before, Lady Masako’s questline is great, but for the sake of the game’s structure, her story is split into 7 or so different side quests, each of them divided amongst the game’s three-area map, a map that is built to be the foundation of the game’s three-act structure. I’m okay with games using that structure, don’t get me wrong here. It’s used so often because it's efficient and reliable for crafting a game experience. Did we really need to have Masako’s questline splintered across all three of them? How many times are we going to *just* miss out on catching Tomoe, Sensei Ishikawa? All of a sudden, the impact of those quests gets lost on the player since they can't continue her story without progressing the main story, leaving hours between those quests. To the game’s credit, it almost feels wrong to skip over the side quests for Jin’s companions, but they would have been so much more memorable and impactful if they weren’t so stretched out. I point all this out because I believe this is why the game's inherently good writing gets lost on people, and I feel the need to sort of push back on that to defend Sucker Punch and their work. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/zchu45pjxufkppw5veux.jpg) Lady Masako is a standout companion of Jin's, but the quest structure lets her down. Source: Press Kit There’s also a lack of player impact on the game’s plot that rubbed me the wrong way. Not a ton, I must admit, but it is worth noting, for I’ve seen other people complain about it as well. For context, the key narrative character arc for Jin Sakai involves forgoing his samurai code of honor when he realizes the Mongol invaders pose a threat unlike any they’ve faced before. Over the course of the story, Jin becomes increasingly open to breaking his code of honor to achieve an advantage over the Mongol invaders. He begins to utilize stealth and other tactics, often seen as unsavory, for the sake of survival and victory. It’s frankly a genius idea for a character arc in this setting, and I think it’s actually written wonderfully. The game does a great job at making you feel guilty about doing this, the same way Jin himself feels guilty about it. They pull this off really well by pushing you to use stealth via mission design or simple mechanics, such as Mongols attempting to kill hostages if they’re alerted to your presence. After using stealth for a while, you’ll see Jin have a quick flashback where he apologizes to his uncle under his breath, the thought dawning on him that he’s broken his code of honor. The more stealth you use, the more common storms are on the island of Tsushima, an ominous reminder of Jin’s downward spiral into being the “Ghost”. The intention is that you go from cutting down Mongols with general swordsmanship in The Witcher, to utilizing stealth even in extreme ways like Assassin’s Creed. Games that inject their themes into the gameplay itself are rarer than you’d think. Those games are really fascinating to me as someone who looks at games artistically, for it really makes the game feel synergetic to itself. Celeste is a game that comes to mind, where its central themes about overcoming anxiety are reflected in the game’s difficult platforming. Ghost of Tsushima manages to do this with Jin Sakai’s arc, and it really works with how lovable Jin is as a protagonist. Some may complain that Jin is rigid or stoic, but he feels fitting for a samurai. We see more of his personality in the Iki Island expansion, such as his love for animals and how much he cares for his own horse. The player is free to continue playing the game however they want, even with the narrative's focus on Jin's increasing use of stealth tactics as part of his character arc. That’s nice and all, but that presents a little bit of an issue, doesn’t it? What if the player just insists on being a samurai *despite* the narrative? It causes some ludonarrative dissonance, and I noticed this firsthand since I was really enjoying the way the sword combat felt when I was playing the early game. I had one mission in particular where I was accompanying Sensei Ishikawa to clear out a Mongol camp. I ran straight into the camp and began cutting down Mongols like an honorable samurai, but in the subsequent cutscene, Ishikawa criticized Jin’s use of underhanded tactics. I didn’t use any, Sensei! It causes some really odd moments if the player decides to play the game this way. Knowing Sucker Punch’s previous history with the Infamous series, I was surprised they didn’t consider using a Karmic system of some sort, or perhaps even an “Honor” system like the Red Dead series. Even some minor changes in dialogue or a narrative change in a few missions would’ve gone a long way in making the player feel like they’re in the driver’s seat rather than the passenger seat for the story. I suppose the rationale here would be that it is indeed Sucker Punch’s vision to portray this character arc for Jin Sakai. This is the story they want to tell, and I respect that, though it doesn’t particularly work 100% the way you’d want it to. I hope this is something they kept in mind for the upcoming Ghost of Yōtei. ## The World of Tsushima ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/scqxus.png) Ghost of Tsushima is often beautiful to look at. Source: Press Kit Ghost of Tsushima is set in an open world. I know some may roll their eyes at the standard open-world design, but this unique setting is something that really fascinated me. There was something particularly enthralling about riding around a Japanese location from this time period. The graphic fidelity is absolutely stunning, and out of any PlayStation exclusive I’ve played, this is one that 'wowed' me the most. The areas that shine the most are flower fields and the picturesque places with stunning views like waterfalls. It is a really beautiful game to look at a lot of the time, especially with the updates on PlayStation 5\. Technically, it is a very sound game. I was impressed by how much the Director’s Cut takes advantage of the power of the PlayStation 5\. Fast traveling is essentially instant, and so is booting up the game itself whenever you return to it. I have to note here that, unlike most games in the genre, Ghost of Tsushima handles its open world as a hybrid of the standard approach and the Elden Ring or Breath of the Wild method. There won’t be a quest marker blatantly on your screen or HUD a majority of the time while playing this game. When you swipe up on your controller’s touchpad, the guiding winds will show you the direction of the current quest or marker you have selected on the map. Sucker Punch very clearly strove to make the HUD as non-intrusive as possible here, and they deserve a lot of credit for that. There’s a plethora of side content in the open world where you’ll find yourself doing a minigame to receive a benefit of some kind. I always found the idea of side content in open worlds to be padding more often than not, though always with the potential to be better. All this type of content needs is to give the player a reason to go out of their way to do it. Ghost of Tsushima does that well, for some of it; the hot springs in particular will raise Jin’s health, making them worth seeking out if you find yourself getting cut down too quickly in combat. Bamboo Strike minigames will increase Jin’s Resolve, a mechanic I’ll get to a bit later. The others tend to be more iffy, though. The worst offenders are the Pillars of Honor, which merely give you a cosmetic skin for Jin’s blade. Composing haiku is a wonderful way to incorporate historical thematics of samurai into the game, though I also found myself disappointed that writing haiku only netted you differently colored headbands for Jin to wear. There are two types of shrines as well, Fox shrines and Shinto shrines. Fox shrines, beyond following an adorable fox to a set location, will increase the number of Charms that Jin can equip. This dovetails well with the Shinto shrines that provide new Charms, which are accessories that Jin can equip for passive bonuses. I unfortunately found most Charms to be lacking based on my playstyle. Sucker Punch seems to be nudging you more towards stealth-based play styles with the variety of Charms available. The options of Charms for those who would rather do sword combat are not that interesting. I often found myself sticking to Charms that provided Resolve, health restoration, or increases to stagger, without much deviation from that. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/scqxun.png) Combat feels great while still being (mostly) grounded in its setting. Source: Press Kit Combat itself felt really fun to me, though not the most complex. In combat, Jin can switch between different fighting stances after unlocking them by defeating Mongol leaders at their camps. Although you’ll likely unlock the three other stances beyond the default Stone Stance simply by playing the main story and doing side quests, it does feel worth the time to go out of your way to unlock them all, for it plays into how the combat develops. Beyond dodging enemy attacks and parrying where needed, these sword stances add a rock-paper-scissors type of approach to defeating enemies. Enemies are separated into different types based on their armaments, each one weak to a different sword stance. Archers are weak to every sword stance, though they can fire from range and stagger you if their hits land. I do wish these stances were a bit more interesting to use, though switching on the fly is fun. It often feels like you’re playing into this weakness-swapping mechanic in combat rather than using a sword style you actually want to use. I was reminded of Devil May Cry as a series, as Dante’s styles are distinctly different in the later games, and switching between them to pull off combos adds a lot of variance to the gameplay. I can only hope Ghost of Yōtei builds on this system and makes it more complex, perhaps with even more stances. Resolve is one of the key mechanics in combat, a meter that fills up as Jin performs actions against enemies. Parrying enemies or assassinating them, for instance, will increase your Resolve by a tick. You can gain more ticks of Resolve from those aforementioned Bamboo Strikes. You’ll need Resolve for Jin to heal himself, since this is the only way he can heal at all beyond visiting a Hot Spring. This makes parrying and being cautious in combat much more significant, which is what I really enjoy about the gameplay. Having the Resolve mechanic be rewarding but restrictive at the same time does a lot to keep the player engaged in its feedback loops. It’s what kept me playing for a prolonged amount of time. Later, you’ll use Resolve for special techniques unlocked via Mythic Tales, special side quests focused around local folktales and/or myths. I was particularly fond of the Dance of Wrath, which allows Jin to perform three unblockable strikes in a row. Now, I’m sort of beating around the bush here about the stealth gameplay, but not for a bad reason. I’m of the mind that the stealth gameplay is indeed good, though not particularly intriguing. The AI for enemies isn’t the best, but I felt a similar way about the enemy AI in Middle-earth: Shadow of Mordor - the enemy AI being lackluster is actually to the game’s benefit, for it makes the stealth more fun to play. The other point here is that the stealth gameplay isn’t anything you haven’t seen before. You have a bow to execute enemies from range. There are tools to distract enemies. A smoke bomb to disorient enemies or cover an escape if need be. You can hide in tall grass to pick your moves. If you’ve played Assassin’s Creed or Shadow of Mordor/War, you’ll quickly realize that Ghost of Tsushima is cut from the same cloth. This game does, unfortunately, lack a bit of elevation in most of its stealth segments, something that other stealth games benefit from. Because Tsushima Island is rendered so realistically, it has a severe lack of elevation. Tall buildings or unique structures make stealth more fun, allowing you to quickly retreat back up to rooftops if need be. We don't really see that here, for most stealth sections will be in more open farmsteads or villages. The lack of places on which to perch and watch enemies is glaringly noticeable. It doesn’t sound like a big deal on paper, admittedly, but in practice, you notice that areas where you can use stealth aren’t executed to their full potential. ## Looking Ahead for Sucker Punch ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/sctzwq.jpg) Ghost of Yōtei is Sucker Punch's indirect sequel to Tsushima. Source: Press Kit At the time of writing, it is mere days until Sucker Punch releases Ghost of Yōtei on October 2nd. The game arrives five years after Tsushima, which makes it clear how much AAA development has changed over the years. These games take a lot of time to make when it comes to outputting a quality product nowadays. It can be heartbreaking for developers when a game takes that long and isn’t received well, so I always wish every game the best when it inevitably releases. Yes, there are stigmas around AAA development, but we have to remember the real people behind these games. The developers work under the umbrella of those corporate people at the top of the chain. We need to remember the human, regardless of the game's eventual results. Nonetheless, I am looking forward to Ghost of Yōtei. I only hope Sucker Punch builds on the foundation laid by Tsushima. My mind worries about the sequel somewhat, hearkening back to my experience with Insomniac’s Spider-Man 2, a great game by all means! However, it was a very 'safe' sequel that improved gameplay but fell behind in the story department, inevitably ending up on equal footing with its predecessor. I’m hoping Sucker Punch doesn’t play it too safe when it comes to Yotei's structure. I’m not telling them to reinvent the wheel, but I’m hoping they identify the flaws with Ghost of Tsushima and correct them, instead of repeating the same game with minor refinements. Yōtei is set over 300 years after its predecessor, so that’s already a promising departure. From what I've gathered of the plot so far, it is apparently more of a revenge arc than a character shift so that’ll be interesting as well. I love the setting choice for Ghost of Yōtei, taking place around the Yōtei mountain range in what is modern-day Hokkaido, Japan. Unlike the island of Tsushima, Hokkaido is a setting that isn't unfamiliar to gaming. The Pokémon series visits Hokkaido in Pokémon Platinum as well as Legends: Arceus. It'll be lovely to see another developer's take on Hokkaido, albeit set much farther in the past, when it was still named 'Ezo'. I believe it's also worth noting for the sake of Yōtei's setting that Hokkaido was not part of Japan at the time. Hokkaido wasn't annexed until 1869 during the Meiji Restoration. I’ll end here by giving my best wishes to Sucker Punch for their new release this October. I’d happily recommend Ghost of Tsushima to anyone who thinks they’ll resonate with the gameplay or historical setting. It is indeed a game with obvious flaws, but it’ll be a game many will enjoy nonetheless, I feel. There are themes to take away here, such as the anti-war messaging if you really read into it, alongside Jin’s fascinating personal arc. I personally loved Ghost of Tsushima, even with its faults, and I cannot wait to see what Sucker Punch has in store for us next. ### Indie Monthly: September 2025 URL: https://www.superjumpmagazine.com/indie-monthly-september-2025/ Last updated: 2025-09-30T23:22:39.000Z **Fun fact: Games other than Silksong came out this month. For me, there was another that captured all of my attention.** The PSP was a great device, but actually owning one felt like you'd paid to be in a Sony test market. Your task, as it were, was to sift through the catalog of paint-by-numbers action games and innovative yet unwieldy titles to find something genuinely interesting. Naturally, those interesting games would end up with a console release, thus defeating the purpose of owning a PSP in the first place. But 2000s-era handhelds were still a fascinating landscape, a bastion against the Hollywoodification of console games. The DS, PSP, and, to a lesser extent, the GBA served much the same purpose as the indie market does today: preserving genres discarded by the core of the industry and giving rise to experimental, hard-to-categorize games. Those innovative yet unwieldy titles were all part of the fun, even if they never had the impact they should have. Patapon was one of those titles. It is, perhaps, the most charming video game ever made - or it was. Ratatan, its spiritual successor, is making a serious play for the title. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/RatatanA.jpg) Ratatan. Source: Author. ## [Ratatan](https://store.steampowered.com/app/2949320/Ratatan/) Ratatan is the long-awaited spiritual successor to the cult PSP classic Patapon. Like its predecessor, it seamlessly combines music and strategy into something truly mesmerizing. For those of you unfamiliar with the Patapon series, they are 2D RTS games in which the player controls their army using rhythmic commands tapped out on the face buttons. Ratatan is very similar, but with a few key distinctions. The player has direct control of a character - the Ratatan - whose safety must be secured at all times. The minions will revive after being defeated, but if the Ratatan falls, it's Game Over. Because the player now controls the leader unit, one of the command buttons is assigned to jump, so there are only three commands instead of the four that Patapon used. The command sequences are simpler, with the basic commands - move, attack, and special - requiring three taps of one button on the first three beats of the measure. There are bonuses for perfect timing, but the game is pretty generous with the timing overall, and even someone unfamiliar with rhythm games will quickly get the hang of it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-53.png) Ratatan. Source: Steam. Unlike its predecessors, Ratatan has minor roguelike elements. Rather than a fixed campaign, the player passes through a sequence of levels with randomized rewards for clearing each screen. Generally, the player selects the power-ups, which can be short-term upgrades divided into different elements or sweets used to obtain long-term upgrades. Between runs, the player can take on special objectives, adjust the state of their army, buy and upgrade weapons, and purchase passive bonuses. The overall feel of Ratatan is reminiscent of Patapon, but the addition of direct control gives it a more dynamic edge. Gameplay is a bit quicker, though the slower, puzzle-like nature of the boss fights remains intact. It's also more accessible owing to the simpler control scheme. Put plainly, if you enjoyed the overall concept behind Patapon but were put off by the unorthodox gameplay, this might be the game to win you over. At the same time, more skilled players can take advantage of an advanced control mode that offers finer control over the rhythm and the army than the older games offered. And as long as we're talking about how the game feels, we really need to touch upon how it sounds. Patapon is an almost impossibly charming game owing to its minimalist aesthetics and hypnotic sound design, and while Ratatan goes for more complex visuals, the sound is as captivating as ever. The player's minions sing and chant along with the BGM and the player's inputs, giving Ratatan an incredibly dynamic soundtrack that must be heard to be truly appreciated. Overall, Ratatan is genuine art and I'm not sure why you're not buying it right now. [Ratatan](https://www.ratatan-game.com/) is available for PC via Steam, Nintendo Switch, PlayStation consoles, and Xbox consoles. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/WanderStarsA.jpg) Wander Stars. Source: Author. ## [Wander Stars](https://store.steampowered.com/app/1575810/Wander%5FStars/) Wander Stars is a roguelike RPG with aesthetics reminiscent of 90s anime. It's based on turn-to-turn tactics and demands a lot of understanding of its system to play it to the fullest. Ringo is a young martial artist in training with dreams of becoming a superstar fighter. While out on an errand for her grandmother, she crosses paths with the fortune seeker Wolfe, a shady figure looking for any way to get out from under his debts. Wolfe reveals that Ringo's normal-looking phone charm contains a piece of the Wanderstar Map, a mysterious item leading to an unknown treasure somewhere in deep space. Thus begins a journey that will see Ringo seeking out her lost brother, growing in strength as a fighter, and hopefully not getting two-timed by her traveling companion. Wander Stars is structured like a roguelike deckbuilder, but rather than collecting cards or dice, the player accumulates words used to assemble custom attacks. Using a limited number of possible words per turn, the player combines action, element, and modifier cards to create combos that resemble the attack calls from some shounen anime and manga. Most deckbuilders are designed around creating overpowered combos and decks, but Wander Stars is more about tactics and precision. For example, weaknesses and resistances are more complex than in many games. Enemies can be strong or weak to anything, including individual attacks, and the lists of traits can be very long. Hitting a weakness not only deals more damage, but also allows the player to use more words. Ringo also has weaknesses and resistances, and keeping track of them becomes critical as the enemies grow in strength. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-55.png) Wander Stars. Source: Steam. Fights in Wander Stars are matches of honor, and this again brings up the importance of precision. Each enemy has a "break point," a specific HP range in which they will stop fighting. Push every enemy into this range, and Ringo can end the fight peacefully, gaining additional bonuses based on the enemies. Bosses, meanwhile, have multiple HP ranges, which can result in them healing, using power attacks, or doing nothing. An ideal strategy requires dealing enough damage to keep the boss outside of those more dangerous ranges, which requires a lot of knowledge of enemy weaknesses and the combat system. The game's aesthetics don't really require a lot of explanation, but it is impressive how far the developers went to recreate the look and feel of low-budget 90s anime. Everything from the washed-out grain of the graphics, the tinny triumphant music, the rapid animation loops, the design and expression of the characters - it's all on point. As they promise, this really is a playable anime. Overall, Wander Stars is a great variation on the well-worn deckbuilder mechanics and is worth a look if you're interested in something with a different feel. [Wander Stars](https://papercastlegames.com/wanderstars/) is available for PC via Steam, [Nintendo Switch](https://www.nintendo.com/us/store/products/wander-stars-switch/), [PlayStation 5](https://bit.ly/WS-PlayStation), and [Xbox consoles](https://www.xbox.com/en-us/games/store/wander-stars/9NK4TGJNK7F8). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/RogueLabyrinthA.jpg) Source: Author. ## [Rogue Labyrinth](https://store.steampowered.com/app/2412110/Rogue%5FLabyrinth/) Rogue Labyrinth is a top-down, Zelda-style roguelike action RPG. It offers a mix of old-school action-adventure gameplay with minigames and modern roguelike design. Lantanas is a small, bucolic kingdom that has become the prize in the world's largest game show. The billionaire media tycoon Echelon seized control of Lantanas to serve as the site for the Rogue Labyrinth, his competition grounds, with the kingdom's throne serving as the reward for completion. Iris is an aspiring Leaf Guardian whose journey to the sacred trees of Lantanas has been obstructed by Echelon's Labyrinth. Achieving their goal will require entering the Labyrinth, defeating competitors from other kingdoms, and claiming the grand prize. The basic gameplay loop involves entering an arena, fighting off waves of enemies, claiming a reward, and then moving on until reaching a boss. Iris has several available offensive options; besides the obligatory melee weapon, the player will also gain a customizable magic attack, a super attack that operates off a separate gauge, and secondary weapons from other competitors. With a variety of potential upgrades, it's possible to design a build around any of these. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-56.png) Rogue Labyrinth. Source: Steam. The most distinctive mode of attack in Rogue Labyrinth is deflection and bouncing. The player's melee attack can send an enemy projectile back at them, or send inanimate objects and downed enemies flying around the screen. Iris's magic attack also bounces off of walls, and after just a minute of combat, an arena can turn into a wild flurry of bouncing objects. In some games, this is just a side effect, but it's quite central to Rogue Labyrinth, especially with a build designed to increase the power of bouncing objects. A welcome addition to the roguelike formula is the presence of minigames. Question mark squares often contain minigames; these are a mix of common bonus games, arcade throwbacks, and references to real-world game shows. Memory, Plinko, Whack-a-Mole, and Breakout are among the games available. While the core mechanics are modern, Rogue Labyrinth has a distinctly retro feel, one that extends beyond its Game Boy Advance aesthetic. The controls and movement have a similar early 2000s feel, and while anyone can get into the swing of things, the game is bound to feel familiar to anyone who remembers this era. Overall, Rogue Labyrinth is a solid throwback action game that offers more flexibility in its gameplay than you might expect. [Rogue Labyrinth](https://roguelabyrinth.com/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/KatanautB.jpg) Katanaut. Source: Author. ## [Katanaut](https://store.steampowered.com/app/3032830/Katanaut/) Katanaut is a roguelike action platformer with a focus on fast, visceral combat. It's a game for those who are comfortable with making quick, moment-to-moment decisions. Somewhere on the edge of the known universe, a lone research station is in the middle of a terrifying crisis. A mysterious alien force is transforming the crew into deformed, violent horrors. Naut, a specialist in handling dangerous scenarios, has been tasked with infiltrating the station, clearing out the threat, and determining the source. Assisting in this task is bizarre time-bending technology that can wrench him back from the brink of oblivion - and he'll need it, because death is the only certain thing. Katanaut sends the player through a series of regular levels and boss fights with upgrade rooms in between. The levels always come in the same order, though the standard areas are procedurally generated. Roguelike elements can be an uneasy fit with platformers, but aside from the occasional oddball layout, the approach works quite well here. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-57.png) Katanaut. Source: Author. The focus is more on combat than exploration, and the watchword is speed. Naut always has a main weapon and an off-hand weapon - usually a gun, though secondary blades and defensive devices are also options. Naut can also gain up to two special abilities on cooldown timers. The off-hand weapon runs off an ammo meter that is replenished by landing hits in melee, lending a shoot-and-strike rhythm to the gameplay. There are a few approaches to combat, depending in part on the player's choice of main weapon. Initially, Naut can choose from a long blade that works well for a more focused, parry-based combat style or a lighter blade that's built more for dodging and quick attacks. Regardless of the player's armament or build, combat in Katanaut is lightning-fast, tapping into instinct over careful strategy. It begins as a simple button masher, but enemy patterns soon grow more complex, and Naut's limited life demands good judgment from the player. Overall, Katanaut is a deceptively challenging game that might appeal more to hardcore action fans than the usual platformer audience. [Katanaut](https://www.voidmaw.com/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/VsRageA.jpg) Source: Author. ## [V's Rage](https://store.steampowered.com/app/2167530/Vs%5FRage/) V's Rage is an action game built around classic arcade mechanics. It's very much a game of the old school, for better or worse. V is an everyday, overstressed, quietly enraged housewife with a husband who does nothing but play video games all day. After a particularly harried morning, she awakens in a twisted mythological world full of phone-obsessed satyrs, heavily armed fishermen, and biker club boars. It's a world created from the husband's favorite games, and the only way for V to escape is to grab a mythic frying pan and bash her way through every stage. V's Rage has several gameplay styles, but it is mainly a sidescrolling, arcade-style beat-em-up in the vein of Final Fight or Turtles in Time. The mechanics are about what you'd expect, though enemies have a few new tricks, such as the ability to launch ranged attacks vertically. Other levels explore a greater range of gameplay types, all reminiscent of vintage arcade games, including rail shooting, horizontal shoot-em-ups, and vehicle combat. There's a quick tutorial at the start of a new level type, but there aren't any surprises for arcade veterans. Each level ends with a boss fight, which can vary greatly in difficulty. Fortunately, there's a checkpoint before each boss, so a player who limps up to the finish line with one hit left can always try again. A player can also choose to start the game from any completed level, so there's no need to finish the whole thing in one sitting. Overall, V's Rage is nothing more or less than what you'd expect from the description. It might be worth a look if you have nostalgia for old-school arcade games, but otherwise, you can safely pass it by. [V's Rage](https://www.bitmaniax.com/NewbiX-Team.html) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/PolarStarA.jpg) Source: Author. ## [Polar Star](https://store.steampowered.com/app/3625390/Polar%5FStar/) Polar Star is a strategy game built around a deadly match of rock-paper-scissors. It's a simple title that gets progressively more complex as new elements are mixed in. The goal of each match is to kill the opponent with a single clean shot, while your opponent tries to do the same. The player has a defensive measure that can deflect an incoming bullet, as well as the risky option to down a drink, which locks the opponent out of shooting in the following round. These options can't be used on consecutive rounds, so blocking or shooting at the wrong time can put the player in a tight spot. There are additional mechanics that get stirred into the mix to make things more complex. Both the player and opponent can get cards that alter the rules in different ways. In other circumstances, both sides get access to a slot machine that can randomly refresh or disable their options, or a watch that periodically swaps the moves available between the players. Polar Star features a short 30-60 minute campaign that gradually adds in these mechanics, along with other gimmicks. It also features an endless arcade mode, allowing the player to activate any combination of mechanics to create custom games. Overall, Polar Star is a simple yet emergent game that is surprisingly engaging, but it might not hold your interest for a long period of time. Polar Star is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at the indie games that caught our attention in September! Be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### The Tragic FINAL FANTASY II URL: https://www.superjumpmagazine.com/the-tragic-final-fantasy-ii/ Last updated: 2025-09-29T23:31:58.000Z **Final Fantasy II has a storied and complex public reputation in the 2020s.** If you look at your average Final Fantasy tier list, it will be quickly dismissed as the worst that Final Fantasy has had to offer in its nearly 37-year history. A deeper dive reveals that the apologists for this game applaud it for being playable in the modern age while still actively avoiding calling it a good experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Spoilers_Ahead-1.png) Major spoilers ahead for Final Fantasy II I went into Final Fantasy II with high expectations, looking to prove the naysayers wrong. Foolish of me, but in this, I found a lot to like about this game. I’m not writing here to say it is a misunderstood masterpiece or a hidden gem in the famous franchise. Final Fantasy II is a bold experiment that dared to ask if the job system could be retrofitted into something more resembling the Elder Scrolls, and it failed. The Pixel Remaster offers this game in its most playable state; that’s the version I experienced. In this essay, I shall detail my journey rebelling against the imperial war machine. ## The Kids Are Alright Final Fantasy II opens with your party of four facing their certain doom as black knights close in on them. You are offered a moment to react, but are swiftly cut down by the knights. Our protagonists were fleeing from an imperial military occupation of Fynn, where their parents were killed. The main protagonists' names are Firion, Maria, Guy, and Leon, although you are prompted to change their names if you wish. You are awoken by my main man, Minwu, who will note that these kids are a lot stronger than they look; they’ll survive. After some explanation, Firion and the gang discover that the princess has rallied the remainder of her people in the nearby town and is finding ways to stop the Emperor from taking over the entire world. They are on the back foot, having lost their home, but they’ve heard of a weapon being developed in a faraway town that would be devastating if it were let loose. This weapon is the Dreadnought, and you are tasked with stopping its construction. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250828180347_1.jpg) Pixel Remaster water looking so good. Source: Author. A moment of heroics and our very first obligatory Cid moment later, and we have found the Dreadnought. At this point in the game, I was having a blast. Coming in hot from the first Final Fantasy, I was thrilled to see some real characters and story beats that got me genuinely excited to move forward. Since this is the first big section of the game, I’d like to pause to address the elephant in the room, the divisive progression system. In Final Fantasy II, our heroes do not have a level; they have skills that level up based on how often they are used. If you equip a sword on Maria and swing that sword around, Maria will gain levels in swordplay, eventually becoming proficient in it. Unfortunately, this also applies to taking damage. Only by receiving damage will the maximum HP of a party member go up. This has brought about a popular rumor in online guides and forums that you will be too weak to continue the game unless you grind HP levels by having the party members attack each other in combat. In the Pixel Remaster of Final Fantasy II, I am pleased to announce that I did not have to attack my teammates even once to stay ahead of the game. The leveling system in this game works as intended in its most modern iteration, and it feels excellent to have every combat rewarded with experience in a skill. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250828180627_1.jpg) A gaggle of goblins with grenades. Source: Author. ## The Trouble With Combat After finding the Dreadnought, the Dark Knight reveals himself and tells the party that the Dreadnought, which he has been building in secret, is finally ready. In a surprising scene, the Dreadnought takes flight and carpet bombs every major town that you’ve visited so far. As you’ve been to a good handful of towns and spoken to a lot of people at this point, it is quite shocking to see their homes destroyed like this. As such, your motivation to take the fight to the Empire receives quite the boost, and is a great first disaster to introduce the Dark Knight and the Empire as our main villain. After recouping, the party sets off on their mission to destroy the Dreadnought before it can cause more harm. Cid lets you know how to blow up the destructive airship, and you take off to ground the Dark Knight for good. Notably in this section, Guy becomes an absolute legend by admitting, “Guy speak beaver.” This lets you take an ancient artifact from a village of beavers and cements Guy’s place in the Final Fantasy hall of fame. Firion remains the face of this game despite Guy's efforts, and also gets his big character moment when he accidentally almost has sex with a giant snake. Fans of Final Fantasy XIV Stormblood will know that you really can’t blame him; it happens. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250828181458_1.jpg) "Guy speak beaver" -Guy. Source: Author. The Dreadnought is a major stopping point for a majority of players. This dungeon marks a significant difficulty spike and demands that you start paying attention to combat now if you haven’t already. The Emperor commands armies of actual Hell, and they start to take a major role from here until the end of the game. These enemies cause debilitating status effects on your party, like Stun, Blind, and Poison, that can slow your advances in this dungeon and even cause you to turn back. I really resented this turn in combat when I went through it. My main issue with this difficulty spike is that the status effects don’t ask you to employ any strategy except possibly casting Blink so that you can dodge all attacks, or just running away from troublesome fights altogether, which is actually the best strategy in this dungeon. You can actually flee through most of this dungeon if you’d rather level up somewhere else, since there is no boss fight at the end of the Dreadnought. Right before you blow up the Dreadnought, it’s revealed that the Dark Knight is actually Maria’s brother Leon. It’s a known fact that the event writers for Final Fantasy were big Star Wars fans, but having to save the rebel princess from an imperial war machine, then the imperial second in command clad in all black armor, revealing that he is actually a relative of the main protagonist, is not helping them beat the allegations. Regardless of all this, the moment that Maria discovers that Leon is the Dark Knight really got me; she just says “Wait, that voice…” and you know. What can I say, I’m a big Star Wars nerd as well. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250829171057_1.jpg) No Dragoons here. Source: Author. The rest of the story focuses on gaining the aid of the Dragoons and learning the ultimate magic. This is the first time in the series that we meet the famous dragon-riding lancers, and they are all dead or missing. This game continues to punch hard as story events are killing off a lot of our companions, and we even watch the last dragon die while managing to save the last dragon egg. The Coliseum is a short chapter in the game that features our first fight against a Behemoth. I remember the first time I had fought one of these when I was a little kid playing Kingdom Hearts on my PlayStation 2\. This had some great nostalgia for me. We take back Castle Fynn from one of the imperial agents without much of a fight and are finally sent to retrieve the ultimate magic from Mysidia. This is the most challenging area of the game. Most of the normal enemies are capable of either doing massive damage or casting annoying status effects on you. By this point in the game, I would just run from anything that I knew would give me trouble. You should have plenty of money to max out your stock of basically every medicine in the game, so while it doesn’t usually threaten to end your game, you’ll be annoyed at the speed bumps. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250831220641_1.jpg) Cage Match. Source: Author. So the second elephant in the room has been sitting here for a majority of the essay, but let’s get it out of the way now. The encounter rate in this game is insanely high. You typically make it approximately halfway down any single hallway in a dungeon (maybe ten tiles) before being thrown into a battle. After Final Fantasy I, this didn’t bother me much. I grew to enjoy the combat even when it was starting to get a little repetitive. But being blinded, stunned, stoned, poisoned, charmed, and instantly killed in random battles made me realize that I wanted significantly less combat thrust upon me. In my opinion, the game would benefit a lot from reducing the encounter rate and raising the experience gain to balance. The first two Final Fantasy games are dug in with the older magic system, where most of the spells just have a random chance to apply a debuff to any combatant. I don’t think we could ever change these specific games, but lowering the encounter rate would really help make the adventure much more enjoyable. Even adding a repel system. similar to how Pokémon does it, thus reducing encounter rates at certain parts, would be nice. Not to spoil anything from my next essay, but as of writing this, I’m already a handful of hours into Final Fantasy III and only encountering two to three enemies per floor of any dungeon feels so much nicer, and I’m having an exponentially better time in that game already as a result. You are afraid of walking in Final Fantasy II. I was AFRAID OF WALKING. I would set down my entire Steam Deck just so that I wouldn’t accidentally move in the wrong direction and risk adding more enemies to my trek. I've said before that using a guide in Final Fantasy was part of the experience of that game. I think that you could easily talk to NPCs and find out where to go next in Final Fantasy II, but you will want a guide because traveling to any city risks a large amount of time accidentally spent grinding or fleeing random mobs on the way there. The encounter rate hurts the exploration in this game, and that’s possibly the game's most tragic flaw. ## The Beginning of the End ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250902203623_1.jpg) Mages of Mycidia, Source: Author. A really fun section of the story takes place just outside the Tower of Mysidia. In their first appearance in a game, Leviathan appears and swallows your whole ship. You meet up with Ricard, who immortalizes Dragoons as the coolest dudes who ever lived, and then fight your way out of the sea dragon by fighting its worms and stuff. It’s a little messed up that we leave a ton of other people in Leviathan, but we have places to be, and at least the Emperor will probably never carpet bomb the inside of the Leviathan. At the top of the Tower of Mysidia, we finally catch up to Minwu, who tragically sacrifices himself to break the seal on the Ultima Tome so that we can learn the ultimate magic. Minwu was a great first party member; I dream of a version of this game where he lived to be in the whole game at Firion's side. I’ll miss you, buddy. This is made a little underwhelming because Ultima is a relatively weak spell. Many players will stop to grind Ultima at this point before approaching the finale, but I just used it as I went along, and it was fine. You will want Ultima on your mage for the final boss because he is resistant to all other magic damage, so make sure to at least equip it. It’s here at the final stretch where the grind FOMO was starting to creep into the back of my mind. Especially with spells, you are going to see that maybe four to six spells were regularly used, and you have more than twelve spells that you never touched that might be useful. “Should I stop and grind? Just a little to get these spells all leveled up to about seven?” The answer is no, don’t waste your time on that. You don’t need to grind out Blink or Stun. All debuffs and buffs in Final Fantasy II stack their effectiveness on each cast. This means that even at level one, if you cast Blink on your party enough times, they will eventually gain enough buffs to become untargetable. But I’m getting ahead of myself. One of the biggest criticisms of the Final Fantasy II leveling system is that it requires a lot of grinding. This is a false claim, as long as you have the willpower to ignore certain skills. It’s hard, you will want to grind until those cows come home to create three jacks of all trades that can all be healers, damage dealers, and tanks. This is where the system fails and where the job system won out. The famous quotes from Soren Johnson and Sid Meier, in turn, are “Given the opportunity, players will optimize the fun out of a game,” and that, therefore, “One of the responsibilities of the designers is to protect the player from themselves.” Final Fantasy II, in its second half, does not regulate players' skill assignments and instead prompts them to complete the game. In this way, its most innovative feature was inextricably linked with the point of deepest frustration for its players. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250905235412_1.jpg) The shadow of a man. Source: Author. At the start of the game's finale, the Emperor summons the Cyclone and decimates every major city… again. The game continues to get morbidly grim as the Emperor destroys the world he seeks to rule. One of the NPCs will actually say “everyone’s dead” once the Cyclone's wrath is revealed. The world of Final Fantasy II is not filled with many people. After the Cyclone, I was left to ponder, “Who is even left to save?” The Emperor perishes under your blade, as he was only a man. We get this scene where everybody left alive is dancing in Fynn, which is surprisingly advanced compared to the other cutscenes in this game. The celebration is cut short, though, and the final twist is revealed as the Dark Knight ascends the throne to continue the Emperor’s reign of terror. Maria knows that she and Firion are the only ones who can talk sense into Leon, so they go to finish things once and for all. Flying into Castle Palamecia is a very cool feeling; you’ve spent the whole game exploring this land, and you finally get to climb its highest peak for your showdown with the Dark Knight. When you reach him, he refuses to see reason. Leon is too set in his ways to change. But then the REAL twist of Final Fantasy II happens. The Emperor rises in his new form. When he died and went to Hell, he was able to conquer it and become the Lord of Hell so that he could resurrect himself and have his revenge (you can’t make this stuff up, guys). With this new development, Leon haphazardly joins your team, and you set off again to finally (for real this time) finish the quest. Jade Passage and Castle Pandemonium make up the longest dungeon in the game. I was maxed out on all of the potions and medicine I thought I could ever need, and I still found myself running dangerously low as I reached the Castle's peak. This dungeon is where even the most stubborn players must run away from battles, as many of the enemies are capable of inflicting instant death moves on the party as a regular attack. Running away from half of the battles made the length of the dungeon much more bearable as a result, though. The dungeon design is also much better than anything that we’ve seen in the series so far. Castle Pandemonium stands as the greatest design achievement throughout the first two games in the series. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250906221338_1.jpg) If you see these cats, RUN. Source: Author. I also felt extremely lucky to be playing the Pixel Remaster, which features auto-save at the beginning of every floor. I got ambushed by a squad that was able to cast stun into instant death on every member of my party, causing a TPK (Total Party Kill) before I was able to input even one action. If I were playing any other version of the game, that death would have set me back 2 hours. The party finally faces the Emperor, Lord of Hell, as the final boss of the game. It is recommended to get the Blood Sword earlier in the game so that you can blast through the Emperor with ease. I didn't know about that weapon, and it was now much too late for me to get it. That’s some bad luck; maybe I should’ve played with a guide. The Emperor has two moves: he either casts multi-target magic that hits the entire party or swings for single-target damage that heals him for about a thousand health. I couldn't do more than a thousand damage to outweigh his advantage, so I was starting to freak out a bit. But then I remembered a few spells that I had seldom used on the path to the final battle. Osmosis is a spell that saps MP from a single target. If you use it enough, your opponent just won't be able to cast any magic at all. Blink is a spell that applies buff stacks that increase any combatant's chance to dodge a single target attack. So while surviving the hellish onslaught, I took the Emperor’s magic, became so fast that he had no chance of ever hitting me, and used auto battle to have Maria spam Ultima until the Emperor was sent straight back to hell. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250906231728_1.jpg) Darn you all to heck. Source: Author. Honestly, I thought that auto-battling the final boss would cheapen the entire experience. Breaking the system the way that the game had been breaking me with instant death spells and stuns felt so rewarding, though. I had never been so motivated to shove some destructive magic into an evil magician's physical body until the end of this game. And I did it; I won. --- Final Fantasy II is not a bad game, but it’s a bad match for its demographic. This brilliant and tragic story foreshadows how the series would lunge away from challenging gameplay and into a narrative focus. Every story moment when characters were dying and the Empire was growing made me want to push forward and see this adventure to its conclusion. But all of its systems were pushing me away, forcing me to not engage the way that my dungeon-crawling brain wanted to. Actually fighting a battle meant spinning a murder slot machine, and grinding skills only meant spinning that slot machine much more than I ever wanted to. I don’t think I’ll ever play this game again; it’s a trudge through experimental systems where the reward is all the story that could fit on a Famicom cartridge. I really enjoy that small story, though, as it fits neatly in the annals of Final Fantasy lore, and I’m glad I got to experience it when I did. The world will never stop needing stories of the oppressed raging against the machine. Firion was the first in a long line of Final Fantasy underdog rebels, and I hope those themes continue to resonate throughout future Final Fantasy titles as the series continues to innovate. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250905235600_1.jpg) One last dance between Maria and Firion. Source: Author. ### PAX West 2025: Mistfall Hunter - An Extraction Game for the Fantasy Fans URL: https://www.superjumpmagazine.com/pax-west-2025-mistfall-hunters-an-extraction-game-for-the-fantasy-fans/ Last updated: 2025-09-28T15:25:31.000Z **Extraction games are an interesting genre.** The concept is quite simple: you drop into an in-game lobby filled with other players and hostile NPCs, and it's your job to survive long enough to acquire some loot. Might be lore-specific items, general gear, or better equipment; your goal is to find your way to the level exit and, well, extract. While not as forgiving as its closest cousin, the battle royale, extraction games present a sort of tension that's really only able to be felt within the confines of their rules. All the loot you have on your person, whether you entered the arena with it or not, will be lost upon death. Even worse, it will most likely be added to the inventory of the person who killed you. As such, extraction games constantly have you on the edge of a knife; one mistake could cost you loot that you spent hours grinding. One of the problems with these games is that the vast majority of them tend to be shooters. From Hunt: Showdown 1896 to Escape from Tarkov, most extraction games are based around firearms, combat, and upgrades. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-49.png) Source: Steam. That's why, when I saw the gritty fantasy of [Bellring Games](https://mistfallhunter.com/)' upcoming extraction action game Mistfall Hunter, I was extremely intrigued. As such, I approached the massive booth at PAX West 2025, was greeted enthusiastically by one of the game designers, led to a small room inside the booth, and proceeded to get my butt kicked all over the map. It was amazing. Mistfall Hunter starts with an extensive character creator, à la Elden Ring. In fact, it would appear that Fromsoft's magnum opus of fantasy inspired many things in the game. The way the world looks, the design of the characters, the weapons and enemies; it's all reminiscent of the Elden Ring. You even start by talking to a beautiful woman, not unlike the maiden, a fact that the designer next to me reflected upon when he said, "Who doesn't like getting instructions from a beautiful woman?" She breaks down what you're doing and why you're doing it. There's a hub where you can prepare for expeditions and upgrade your gear, as well as talk to a whole gaggle of interesting NPCs to gain snippets of lore and information. From there, you embark on a ship that takes you to the area where you will be fighting for your life – and your loot. The map itself is massive and multifaceted. Huge stone structures are intersected with tunnels and cave systems, creating a veritable labyrinth in which to explore and plunder. I was surprised by the verticality of the maps, as there are multiple levels to traverse and tons of pathways to choose from. This lends well to playing to your class's strengths. There are five classes to choose from: Mercenary, Sorcerer, Blackarrow, Shadowstrix, and Seer. Each class has two distinct combat stances and loadouts to choose from on the fly, creating a very unique set of potential combat encounters. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-51.png) Source: Steam. I was a Mercenary, a melee-heavy close-quarters class. I was making my way through the maze when an arrow thudded next to my head, causing me to glance up and see another player (in this case, a bot) readying another arrow to launch down from above. I dodged out of the way, but was met with an interesting conundrum: do I try to find my way up to the player, risking getting lost, or let their grievances pass and not seek retaliation? I quickly spotted a mechanism attached to an elevator, and decided my best bet would be to risk this bot having crap aim and riding the elevator up. I chose correctly and vanquished my foe once I closed the distance. Even still, it isn't like I steamrolled the bot. It had plenty of tricks up its sleeve to chip away at my health, even in close quarters. After the dev watched me beat the bot, he told me they worked very hard to try to make every class at least viable in all situations, so you can't just tear through a Sorcerer as a melee class, and you can't just pick off melee classes as an archer. After my encounter, I rounded the corner and saw a boss room, waltzed in without a care in the world, and promptly got decimated by a uniquely designed Wendigo-looking enemy that killed me with style. Given its inspirations, I was worried Mistfall Hunter would just be a Souls-like that was somehow even more punishing, but I was surprised at how fluid and light the combat felt. I imagine this was implemented over the heavier, more methodical movement and combat of a typical Souls-like game to help bridge the gap between the PvP and the PvE necessary in an extraction game. The developer told me that Hunt was a massive inspiration, and it really does feel like the best parts of Elden Ring mixed in with the best parts of Hunt. At one point, I had a single encounter with multiple bot enemies, and it gets really chaotic really quickly. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-52.png) Source: Steam. The level design is fantastic too, as the arena you're sent to is truly sprawling. Opening up the map shows an enticing network of interweaving pathways, meticulously designed to get you pushing just a little further to get more loot. There's a feeling in extraction games that's hard to explain but absolutely must be nailed to feel appropriately tense: paranoia. You have to feel like there's someone just around the corner, someone who caught a glimpse of you running by each open hallway and is on the hunt to take you down and gobble up your hard-earned goods. Mistfall Hunter's level design really works well for this, as the maze-like structure forces you to pay attention to your surroundings, and you never really know where your next threat will come from. The massive scale works well to build the tension and keep the pressure on. The combat is challenging and fun, the exploration is interesting, the lore is fleshed out and engaging, and the extraction concept is brutal. If you like extraction games and fantasy settings, I can't imagine a better mash-up than Mistfall Hunter. You can currently [request access to a playtest on their Steam page](https://store.steampowered.com/app/3282300/Mistfall%5FHunter/), with a hopeful release sometime at the end of this year. ### Hybrid Cloud vs Dedicated Rust Hosting: Finding the Right Server URL: https://www.superjumpmagazine.com/hybrid-cloud-vs-dedicated-rust-hosting-finding-the-right-server/ Last updated: 2025-09-25T12:28:27.000Z **Most Rust servers start out fairly small.** Then you launch with a few friends, maybe 10-20 regular players, and shared hosting works fine. But as your community grows and demands increase, you face a choice between hybrid cloud solutions and dedicated hosting. Each approach offers distinct advantages, and the right choice depends on your server's growth trajectory and performance needs. Understanding these hosting models helps you make informed decisions about scaling your Rust server infrastructure. The transition from small group play to large clan battles requires careful planning, and your hosting choice directly impacts player experience, server stability, and long-term growth potential. ## Understanding Hybrid Cloud Models Hybrid cloud hosting combines different infrastructure types to create flexible solutions. For Rust servers, this typically means starting with shared resources and gradually moving to dedicated components as your needs grow. Some providers offer seamless scaling between shared, VPS, and dedicated resources within the same platform. The most common hybrid approach starts with shared hosting for new servers. When player counts increase or performance demands grow, you can upgrade individual components like CPU cores, RAM, or storage without migrating to entirely new infrastructure. This gradual scaling approach allows you to match resources with actual usage rather than over provisioning from the start. Cloud-based hybrid models offer automatic scaling capabilities. During peak hours when player counts surge, the system can temporarily allocate additional resources. When activity drops, resources scale back down, potentially reducing costs. This elasticity works well for servers with variable player populations or seasonal activity patterns. Geographic distribution represents another hybrid advantage. You can deploy your main server on dedicated hardware while using cloud resources for backup systems, web interfaces, or regional proxy servers. This approach provides dedicated performance where it matters most while leveraging cloud flexibility for supporting services. Resource mixing allows you to optimize different server components independently. You might run your main Rust server process on dedicated CPU cores while using shared storage for less critical data or cloud-based backup systems. This selective allocation helps balance performance requirements with budget constraints. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-58.png) Source: Steam. ## Dedicated Hosting Fundamentals Dedicated Rust hosting provides exclusive access to physical server hardware. Your server processes run without competition from other applications, ensuring consistent performance and resource availability. This isolation becomes crucial as player counts grow and server complexity increases. Performance predictability stands as dedicated hosting's primary advantage. You know exactly what resources your server has access to, and those resources remain consistent regardless of other customers' activities. This predictability helps with capacity planning and ensures stable gameplay experiences during peak activity periods. Hardware control gives you more configuration options with dedicated servers. You can optimize server settings for your specific player count and gameplay style. Some providers allow custom hardware configurations, letting you prioritize components that matter most for your server type, whether that's additional RAM for large maps or faster storage for quick world generation. Network performance often improves with dedicated hosting. Many providers offer guaranteed bandwidth allocations and priority network routing for dedicated customers. This enhanced connectivity reduces latency and improves the overall player experience, especially important for competitive gameplay and large scale battles. Security isolation provides additional protection for dedicated servers. Since you're not sharing resources with other customers, the risk of cross contamination from security breaches or resource abuse decreases. This isolation becomes more valuable as your server stores more player data and builds a larger community. ## Performance Comparison Tick rate performance shows notable differences between hosting types. Dedicated servers typically maintain more consistent tick rates, especially during high activity periods. Shared and hybrid solutions may experience occasional drops when competing for CPU resources, though modern virtualization technology has reduced these issues significantly. Player capacity varies considerably between hosting models. Dedicated servers can often support larger player counts due to guaranteed resource allocation. Hybrid solutions work well for moderate player counts but may require scaling adjustments during growth periods. The key lies in matching your hosting choice to your actual and projected player numbers. Memory allocation affects server performance differently across hosting types. Dedicated servers provide consistent RAM availability, crucial for large maps and extended gameplay sessions. Hybrid models may offer burst capabilities that temporarily increase available memory, but baseline allocations might be lower than dedicated equivalents. Storage performance impacts map loading times, player data access, and overall server responsiveness. Dedicated servers often include faster storage options or allow you to configure storage systems optimally for Rust's specific requirements. Hybrid solutions typically provide adequate storage performance but may have limitations during peak usage periods. Network latency and bandwidth availability differ between hosting models. Dedicated servers usually offer more consistent network performance, while hybrid solutions might share bandwidth with other applications. However, quality cloud infrastructure can sometimes provide better global connectivity than smaller dedicated hosting providers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-59.png) Source: Steam. ## Migration Strategies Planning your migration timeline requires understanding your server's growth patterns. Monitor player counts, peak usage times, and performance metrics over several weeks to identify trends. This data helps you time migrations during natural growth phases rather than reactive emergency upgrades. Data migration strategies vary depending on your current hosting setup. Most providers offer migration tools or services, but understanding the process helps ensure smooth transitions. Plan for temporary service interruptions and communicate timing to your player community in advance. Configuration transfer requires careful attention to server settings and customizations. Document your current server configuration, including any custom modifications or plugin settings. Test configurations on the new hosting platform before making the final switch to avoid compatibility issues. Player communication becomes crucial during hosting transitions. Inform your community about planned changes, expected downtime, and any temporary performance impacts. Transparent communication helps maintain player trust and reduces frustration during transition periods. Backup strategies should account for migration risks. Create comprehensive backups of your server data, configurations, and player information before beginning any hosting transition. Store backups independently from your current hosting provider to ensure availability during the migration process. ## Scaling Considerations Resource scaling approaches differ significantly between hosting models. Hybrid solutions often provide granular scaling options, allowing you to increase specific components as needed. Dedicated hosting typically requires moving between different server tiers, which may involve more significant resource jumps. Cost scaling patterns vary between hosting types. Hybrid models may offer more predictable gradual cost increases as you scale resources. Dedicated hosting often involves larger cost jumps when upgrading to higher-tier servers, but may provide better value at higher resource levels. Geographic expansion becomes easier with hybrid cloud solutions that offer multiple data center locations. If your player base grows internationally, you can deploy additional server instances in different regions. Dedicated hosting may limit your geographic options depending on provider infrastructure. Seasonal flexibility works better with hybrid approaches that can scale resources up and down. If your server experiences seasonal player variations, hybrid models allow you to adjust resources accordingly. Dedicated servers provide consistent capacity but may result in unused resources during slower periods. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-60.png) Source: Steam. ## Making the Right Choice Current player count provides a starting point for hosting decisions. Small servers with consistent player bases under 50 people often work well with quality shared or hybrid hosting. Larger communities with 100+ regular players typically benefit from dedicated resources or robust hybrid solutions with dedicated CPU allocation. Growth projections influence long-term hosting strategy. If you expect steady growth, hybrid solutions offer smoother scaling paths. For servers targeting specific large communities or events, dedicated hosting might provide better immediate performance and room for expansion. Technical expertise affects hosting choice viability. Dedicated servers often require more configuration knowledge and ongoing maintenance. Hybrid solutions typically include more managed services and automated scaling features that reduce administrative overhead. Budget considerations extend beyond monthly hosting costs. Factor in migration costs, potential downtime during transitions, and the value of your time spent managing different hosting types. Sometimes paying more for appropriate hosting saves money on support issues and player retention. When you [rent a Rust server](https://tempest.net/game-servers/rust-server-hosting), your hosting choice impacts every aspect of your community's experience. The decision between hybrid cloud and dedicated hosting depends on balancing current needs with future growth plans, technical requirements with budget constraints, and flexibility with performance consistency. Both hosting approaches can successfully support thriving Rust communities. The key lies in honest assessment of your server's needs, realistic growth projections, and willingness to adapt your hosting strategy as your community evolves. Whether you choose hybrid flexibility or dedicated performance, proper planning ensures your hosting infrastructure supports rather than limits your server's potential. ### Borderlands 4 Shows Co-Op Is Still the Soul of the Series URL: https://www.superjumpmagazine.com/borderlands-4-shows-co-op-is-still-the-soul-of-the-series/ Last updated: 2025-09-26T22:03:43.000Z **The year 2009 was when I perfected my particular brand of smack-talk.** For a guy who was 31 at the time, you might think that was a little behind schedule. I’d always been fairly good at berating my friends, but the original Borderlands game took it to another level. There’s nothing like seeing your buddy fly across the screen and go down for the fourth time in a fight against Moe and Marley to bring out the best in you. Borderlands wasn’t the only big gun (pun intended) to come out that year. Major franchises like Call of Duty: Modern Warfare 2, Resident Evil 5, and Batman: Arkham Asylum were just a few of the games it was up against. None of them matched the joy of watching tiny midgets explode into pink mist while tossing multiple guns from their bodies like a piñata. Ah, nostalgia. ## It All Started With a Gun That Shoots More Guns ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/borderlands-1-characters.jpg) Characters from Borderlands 1\. Source: Press Kit. When the first Borderlands hit the scene, it gave us something new in the looter-shooter genre. The cel-shaded art was bold, and the humor was unhinged. The loot system spat out more random guns than a magician pulling scarves from his sleeve. Gearbox had found a simple formula that worked: shoot, loot, repeat. The biggest hook was drop-in, drop-out co-op. For what felt like the first ever, multiplayer wasn’t just a tacked-on feature; it sat at the center of the design. Every fight, every chest, and every side quest worked better with a group. The more people you added, the tougher the enemies became, and the rewards piled up. Even waiting on loading screens felt faster with someone cracking jokes over voice chat. ### Borderlands: Where Friends Became Enemies The first game’s co-op walked a fine line between teamwork and betrayal. Sure, you could mow down bandits with friends, but you also had to share loot. When a legendary dropped, the mood shifted in a heartbeat. Four friends instantly turned into scavengers racing for the same glowing prize. More than one friendship felt the strain when somebody ninja-looted a shotgun (I still know you took that weapon, Jiggy!) It wasn’t the fairest system, but it created stories people still remember. Loot wasn’t just a prize. People made promises, swore to trade later, or struck side deals in the middle of the fight. Honestly, though, it was rare for someone to follow through with their deal, but the memories stuck. Flawed or not, the original Borderlands proved that playing together was worth more than the loot itself. You never walked away empty-handed; you at least left with the laughter. ### Borderlands 2: More of the Same, but Super-Sized ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/BL2_DLC5_1.jpg) Lilith from Borderlands 2\. Source: Press Kit. At this point, Gearbox knew they had something special with their nascent series. When Borderlands 2 arrived in 2012, everything felt turned up. The world was bigger, the story sharper, and the humor cut deeper. Handsome Jack stole the show as one of gaming’s greatest villains, but co-op still held the spotlight (as did Butt Stallion). The classes seemed to have a synergy to them this time around. Maya could lock enemies down while Axton’s turrets shredded the field. Salvador’s dual-wielding mixed with Zer0’s critical strikes could melt bosses in seconds. Playing solo worked fine, but with a team, the power combinations bordered on absurd. Loot was still shared in this iteration, and the loot goblin debates never ended. Still, the sheer number of drops made the fights feel less bitter. Most of the time, there was enough purple gear to spread around. And when there wasn’t, at least you could laugh at the friend who swan-dived into lava chasing that Unkempt Harold they’d been after. Borderlands 2 doubled down on what worked. More guns. More jokes. More chaos. It locked the series in as the preeminent co-op shooter of its generation. ### Borderlands 3: The Change That Saved Friendships Seven years passed before Borderlands 3 saw the light of day. The challenge for Gearbox was to modernize the game without losing the heart of the series. For co-op, it introduced two features that changed everything. The first was instanced loot; every player now had their own drops. No more screaming “that’s mine,” and no more controller-grabbing arguments. The tone shifted overnight. Instead of fighting, people compared. “Look what I pulled” became the new callout. Flexing your looting skills by dropping your newest legendary for your friends to look at became the new norm. The second change in Borderlands 3 was the introduction of level scaling. Before this, playing with a friend who wasn’t close to your level usually ended in disaster. Either they were flattened instantly, or you carried them through a dull grind. While this allowed a great way to power-level your alts, it wasn’t the best for overall group play. Borderlands 3 switched it up by having enemies scale to each player. You could now drop in with anyone, at any time, and the fights still felt fair. Add in smoother fast travel, better online stability, along with other quality-of-life upgrades, and Borderlands 3 became the easiest game in the series to play with friends. The writing and villains may have sparked debate, but the co-op design was a leap forward. ### Borderlands 4: Bounties, Beauty, and the Same Old Laughs ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/bl4-moxxis-image.jpg) Moxxi from Borderlands 4\. Source: Press Kit. Now we’ve arrived at the recently released Borderlands 4\. The game exploded out of the gates with a massive map, sharper visuals, and new mechanics to keep things fresh. The bounty system added structure to the chaos, giving squads new reasons to veer off course. Bounties feel like a mini-adventure, and running one with friends captured the same spark the first game had all those years ago. Instanced loot and level-scaling are still there, and the action is just as ridiculous as ever. Gearbox didn’t tinker with the foundation they laid all those years ago; it’s still shoot, loot, laugh, repeat. Not everything in BL4 is polished, though. Non-host players can’t keep unlocked fast travel points or map progress when they return to their own world. It’s like helping a buddy rearrange furniture and then going home to do your own apartment by yourself. Gearbox hasn’t explained if these frustrations were intentional or not, so there’s still hope for them to be fixed with a future patch. Even with these misgivings, Borderlands 4 is still carrying the torch of the original. Joining a friend’s game, chasing bounties, and laughing when someone misses a jump ten times in a row still gives it the one thing single-player never could: shared chaos. ### Why “Borderlands” Co-op Still Matters Borderlands has defined itself through its co-op from the beginning. Most shooters of that era leaned on competition, kill counts, and leaderboards. They were more about bragging rights, while Borderlands walked a different road and asked us to laugh together instead. The grind was made worth it by the human interactions. Every time you argued over loot, groaned when someone went down in a dumb spot, or laughed until your ribs hurt, you were creating a bond with a friend. At some point, the game stopped being about the guns alone, and it became about the people holding the controllers. Well, the people and the over a **BILLION** ridiculous guns. That’s why Borderlands still matters. It turned co-op into more than an afterthought. ### Here’s the Legendary Drop ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/BL4_Screenshot_Rippers_3.jpg) Rippers in Borderlands 4**.* Source: Press Kit. The Borderlands series has always been more than a looter-shooter. Its core is chaos with friends and the laughter that sneaks in, even when you lose. Borderlands 4 still has its quirks, but when the firefights start and the loot pours in, all that fades. The only thing that matters is that you’re in it together. Sixteen years in, Borderlands is still proving the same truth. Co-op is the heart of the looter-shooter, and with Borderlands 4, that heart is still beating loud and strong. ### PAX West 2025: An Indie Showcase URL: https://www.superjumpmagazine.com/pax-west-2025-an-indie-showcase/ Last updated: 2025-09-23T17:37:56.000Z **There were some really big names at PAX West 2025 this year.** Gearbox had a massive booth for their highly anticipated looter-shooter Borderlands 4\. Nintendo had two giant setups, one for the new Pokémon game, Pokemon Legends: Z-A, alongside Kirby Air Riders, a sequel that's twenty-two years in the making. Capcom was showing off Resident Evil Requiem. Larian had one of the coolest-looking Mindflayer cosplayers I've ever seen, taking pictures with fans. Unsurprisingly, these booths were a constant corral of ravenous fans waiting to get just a taste of what's to come from the biggest franchises the world has ever known. Even with all of these AAA brands present, I've never felt that huge publishers were what PAX West was ever really about. For that, you have to focus on the indie games surrounding the big names holding court at the center of the show. I'm happy to report that they, too, were consistently siphoning people in and out of their spaces, with the indie side of PAX seeing a crowd of people excited to try what these brilliant teams have to offer. I'm proud to say that I was one of these many bodies cramming into every corner of the Seattle Convention Center, and I got to play tons of fantastic games made by teams of varying shapes and sizes. From animal-based detective noir adventures to authoritarian simulators, PAX West had it all. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-43.png) Stardust Frontier. Source: Steam. ## Stardust Frontier Developer: [Effort Games](https://store.steampowered.com/developer/effortgames) I'm not usually much for mech games. Something about being a big robot and shooting missiles at other big robots, even if you throw in a laser sword, was never all that appealing to me. That said, two things really stood out to me with Effort Games' mech battler: the beautiful 16-bit graphics, and the fact that you had to play it with your phone. I approached the booth with some trepidation about whether or not my biases would get in the way of my enjoyment, and I walked away with a really good feeling and an awesome experience. Stardust Frontier puts you in one of four pilot seats for a giant mech. Each player gets a different limb: one of two arms, a torso, and legs. You must work collaboratively with your teammates to predict what your enemy is going to do and take them down. Both your mech and the enemy mech have light and heavy attacks, along with the ability to defend and charge up larger attacks for more damage. How well you do on these tasks is dictated by the completion of WarioWare-style mini games. Each game is a hectic few seconds of connecting wires, tilting your phone to pilot little tanks, blasting asteroids, and fixing wave frequencies to prevent meltdowns. These mini games are not only frantic fun, but they're gorgeously stylized and match the panicked tone of the mech fights perfectly. Every member of your crew must decide whether or not to defend against an oncoming attack, or choose a limb of the enemy mech to fight against. This is where I found myself really enjoying Stardust Frontier. It forces collaboration between the party; which limb you attack, when you defend, and whether or not you fix your overheating mech are chosen independently of each other. Simultaneously, your choices are responsible for the fate of your fellow pilots. Since I was by myself, I sat down with a group of three friends, introduced myself, and off we went. The assignment was firmly understood, and we coordinated flawlessly to one-shot two of the enemy mechs opposing us, a feat in which one of the devs commented, "I haven't seen anyone else do that, I didn't know it was possible." We shared some frantic strategies and exchanged some laughs, we defeated the boss of the demo, congratulated each other, and went our separate ways. It was an incredible interaction between me and a group of strangers that reminded me what gaming was all about. Allowing Stardust Frontier to be controlled with your phone means that Effort Games is trying to create something that's accessible for everyone, in the same vein as Jackbox Games. Not only that, but one copy can be shared among multiple people, so it's perfect for parties or to jump in a game with friends over Steam. Stardust Frontier is hopefully going to be released towards the end of Q1 2026, and it can be [wishlisted on Steam](https://store.steampowered.com/app/3685050/Stardust%5FFrontier/) now! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-44.png) No Stone Unturned. Source: Steam. ## No Stone Unturned Developer: [Wise Monkey Entertainment Ltd](https://store.steampowered.com/search/?developer=Wise%20Monkey%20Entertainment%20Ltd.) Now this is a good one. No Stone Unturned is a murder-mystery, noir, narrative-driven game created by Gareth Owens, a man of many talents who has ghostwritten for tons of different projects throughout the years. His story is itself fascinating enough to base a narrative around: he started writing at 12 years old and lied about his age to get into screenwriting professionally, building his portfolio from there. His years of writing experience and creativity shine brightly, right from the tagline for No Stone Unturned. It dares to ask the age-old question, "Why did the chicken cross the road?" You are Detective Cox, a cunning amnesiac fox who wakes up on the side of the road to find the corpse of a chicken, brutally murdered. Detective Cox, driven by his need to solve these mysteries, goes on an adventure to figure out why, exactly, did this chicken cross the road? On your way, you will meet quirky characters, traverse interesting environments, and solve puzzles to figure out exactly what happened in this murder most fowl (a joke made *immediately* within the game itself, setting up the tone perfectly for what was to come.) Off the rip, No Stone Unturned is genuinely funny. Jokes and puns abound, taking advantage of the brilliant setup for a murder-mystery. This is all accompanied by some damn impressive voice work and beautiful 2D sprites and environments. Your time won't just be spent walking around, talking to people, and looking for clues, either. There are over 30 mini games to break up the gameplay, a few of which I had the pleasure of playing at PAX. They're fun, snappy, and share the same humor as the rest of the game. I was able to use my magnifying glass to establish the cause of death for the chicken. I played a mini-game where I had to use a mop to clean up a spill, which turned into a turn-based RPG. I had to solve a puzzle made up of moving clouds, creating a maze in the sky. I got just a little taste of what's in store, and I loved every second of it. There's a cast of ridiculous characters you'll run into, including a floating cloud that becomes immediately infatuated with Detective Cox, and an elderly raccoon who has a few choice words for the fox. Each interaction makes you anticipate the next character you meet because they're so unique and hilarious. It's almost difficult to pin down the feel of No Stone Unturned, as it's unlike most other indie games I've played. The creativity, humor, and passion behind it is what indie games are made to be. It isn't just funny – it perfectly captures the essence of the genre it's spoofing. Gareth told me that he's currently working with the Henson puppet company to get a show off the ground based on the game, putting those fantastic industry connections to work. I, for one, will make sure to tune in when that comes to fruition. Play the demo I played, [available on Steam](https://store.steampowered.com/app/2453640/No%5FStone%5FUnturned/), and tell me you won't do the same. I dare you. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-45.png) Source: Steam. ## Barkour Developer: [VARSAV Game Studios](https://store.steampowered.com/developer/varsavgamestudios) Do I even have to explain why I was interested in Barkour? It's literally a combination of "bark" and "parkour." Parkour dogs. Do I have to say more? Developed by Polish game dev VARSAV Game Studios, Barkour is a stealth-action platformer seeing the player take control of Agent T.H.U.N.D.E.R, a special agent who happens to be a very good boy, on a mission to stop the forces of evil. There's plenty of games where you get to play as a cat, with indie darlings like Stray and Little Kitty Big City coming to mind, but very few where you get to take control of the furry paws of a canine. That gaming void is something Barkour sets out to fill, with its main character – the aforementioned Agent T.H.U.N.D.E.R – being an adorable and beautifully rendered German Shepard, based on dogs who serve in the military, as well as K9 units in the police force. He's decked out in gear, wearing a utility harness that's covered in gadgets and gizmos to help him along the way. Barkour's cover artwork shows Agent T.H.U.N.D.E.R deploying a grappling hook that's straight out of Inspector Gadget, another obvious inspiration for this indie game. Taking a page from Stray's book, your pupper-character does not talk, instead letting his intense training speak for itself. Barkour gives players agency to play however they want: if stealth is your thing, you can take advantage of the numerous climbing systems. If you would rather go in guns blazing (seriously, the dog gets a sniper rifle) and take enemies down head-on, the open level design allows you to do that as well. There are tons of mechanics at play, with the point of Barkour being a fun, light-hearted, and humorous look into the stealth action genre. Everything from the way Agent T.H.U.N.D.E.R moves and acts, to the main antagonist being a cat-lover, is designed to be entertaining first and foremost. Barkour was developed in Unreal 5, and it is absolutely gorgeous. According to the developers, UE5 was never intended to render animals as the main characters, focusing more on the realistic lighting and skin textures of humans, so there were some serious roadblocks in the four years this game has been in development. All of their hard work has paid off, however, because everything from the environments to the dog itself looks and moves fantastically. And the best part is that it's all customizable, too! VARSAV Game Studio is a Polish indie developer, and I was curious as to why they thought Poland has so many prolific game studios. According to one of the devs, he believes it's because of what Poland has had to endure over the last century. Stuck between warring nations, the Polish people have had to do everything they can to survive and outlast the regimes that seek to dominate them. They have taken that grit and attitude to the gaming market, and it shows with the pure ingenuity and creativity that was obviously poured into Barkour. You can [wishlist Barkour on Steam](https://store.steampowered.com/app/1920290/Barkour/?curator%5Fclanid=33850988). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-46.png) Fallen Tear: The Ascension. Source: Steam. ## Fallen Tear: The Ascension Developer: [Winter Crew Studios](https://store.steampowered.com/curator/41151625) Metroidvanias are popular. Like, super popular. Just earlier this month, the long-awaited Hollow Knight: Silksong [literally broke](https://www.theguardian.com/games/2025/sep/05/hollow-knight-silksong-launch-crashes-online-gaming-stores-popularity-demand-australian-game) pretty much every major online gaming retailer at its release. As such, any new game in the genre needs to do something pretty special to stand out and catch the attention of the broader gaming audience. The moment I saw Winter Crew Studios' Fallen Tear: The Ascension in motion, I realized this wasn't just another Metroidvania. Beautiful sprite work and animation glided across the screen in a dazzling display of ethereal high-fantasy. "This looks like it's hand-animated," I thought to myself, watching the fluid movements of the unique character as it moved across my screen. That's because it is. Everything from the beautifully designed enemies (of which there are apparently over 150) to the inspired main character's design is done by hand. This includes the gorgeous backgrounds and backdrops, all of which were also painstakingly painted by hand. Winter Crew Studios began as an animation team that then learned how to develop so they could create something cool and unique. That love for the craft really shows during every second Fallen Tear: The Ascension is on screen. I was blown away by just how detailed each of the animations were, and while Hollow Knight was obviously an inspiration, Fallen Tear already does so much visually to stand out that any real comparisons quickly fell away. As impressive as the visuals are, the gameplay is equally so. Fallen Tear is smooth as silk; the controls feel fantastic as you run down a variety of paths, fighting enemies along the way. One of the more interesting things the game does to set itself apart from the crowd, however, is to include something I've never seen in a Metroidvania before: a party system. The developers of Fallen Tear: The Ascension spent a lot of time when they were younger playing JRPGs and admiring the dynamics of those party systems, and that inspiration became part of their very own game. You recruit other party members and can take up to three of them along with you. The main character is melee-focused, but mixing and matching the parties allows for greater exploration and different combat scenarios. It's an ingenious idea to help spice up a formula that, while fun, has been extremely popular for many years now. Fallen Tear: The Ascension is one of the best-looking indie games I've played this year. Couple that with the interesting JPRG mechanics and the fun gameplay, and this indie is gearing up to be a must-play for anyone who loves the metroidvania style. There's a seriously lengthy demo [available for free](https://store.steampowered.com/app/1446900/Fallen%5FTear%5FThe%5FAscension/?curator%5Fclanid=41151625) on Steam, so go give it a try. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-47.png) Pax Autocratica. Source: Steam. ## Pax Autocratica Developer: [Multiverse](https://store.steampowered.com/developer/Multiverse) A tall man wearing a black uniform and a dark red beret stood at the Pax Autocratica booth at PAX West. Emblazoned on a banner behind him was the game's daunting main character, an authoritarian amalgamation of futuristic sci-fi armor and the same red beret that the man at the booth was wearing. This man was enthusiastically screaming at people to play their game, sit down, just play it. Become the totalitarian of your dreams, see their game. "An open chair means sit down!" he shouted at me. After a brief explanation that I, in fact, had an appointment for the demo, I obeyed and took my seat. Pax Autocratica is a fascinating concept. It is, for lack of a better term, a totalitarian simulator. You take control of the new Supreme Leader of an authoritarian regime in the Tyris System. It's your job to not only amass an army capable of taking over the galaxy, but to make sure that that army stays motivated, equipped, happy, and fed. You do this by amassing resources, by going out and exploring the galaxy with your army. When you find resources, you're able to land on a space station or planet and fight together with your forces in an arena-shooter FPS rogue-like to claim more territory in the solar system and gather material. You then take your materials back to your base and set to building an even larger base with which to conquer more territory. On the surface, Pax Autocratica doesn't sound too significantly different from other base-building resource management games. This couldn't be further from the truth; the main thing that separates Pax Autocratica from other games in this genre is simple: control. You can control which (and how many) members of your empire come with you on the missions, which ones stay behind and build, how much or how little they're paid, how hard they're pushed while they build (this includes whipping them – yes really), what they build, how little they sleep, and how little they eat. If you're someone who enjoys keeping track of stat screens and status conditions, then Pax Autocratica is absolutely for you. If you just want to play some really cool shooting arenas and build a neat base, you can do that too. The amount of control you're given to play your way really is staggering, and one of the game's biggest strengths. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-48.png) Pax Autocratica. Source: Steam. The devs at Multiverse talked with me about using games as a medium for expression. We are living in tumultuous times, and the ability to see the repercussions of your actions within Pax Autocratica hit a really strong nerve for me and a lot of others at PAX West. Every action you complete has an equal reaction – push your workers too hard, and you will get more productivity in the short term, but they will fall ill and require more resources to take care of in the long term. Whip your people into shape, and they will work faster, but they won't fight as hard for you on the battlefield, meaning less progress overall. Multiverse reiterated to me that they did not want this game to preach anything to you; as the player, how you play will speak for itself. From the snippet I played at PAX, they're nailing the idea of weight behind each of your decisions. These people you rule have names and stories beyond just the stat blocks they represent, and you will start to become attached to them as time goes on. It's a powerful message wrapped up in a well-made, intuitive, and stylized game that's a blast to play. Plus, the buildings that make the munitions are shaped like big guns, and that's just plain funny. If this sounds like a game for you, Pax Autocratica has a [downloadable demo available now and can be wishlisted on Steam](https://store.steampowered.com/app/1067360/Pax%5FAutocratica?snr=1%5F7%5F15%5F%5F13). --- I always find the most joy digging into the indies of PAX West. The entire show is a great time, from the cosplay to the tournaments, but seeing what amazing innovations and awesome experiences these scrappy teams are making really feels like the life's blood of the games industry, and they truly are the backbone of PAX. I'm pretty sure I've wishlisted every game that I played this year, which is a rare treat and definitely something worth taking note of. If any of these developers' visions spark something in you, please go show them some love. They work extremely hard to bring us these awesome games, and I'm honored to give them all a chance at PAX West every year. ### Post-Slump Relaxation With Dave the Diver URL: https://www.superjumpmagazine.com/post-slump-relaxation-with-dave-the-diver/ Last updated: 2025-09-23T05:13:35.000Z **The neat thing about having PS+ is that every so often, and you see a game pop up in the catalog that's been on your wish list/backlog/to-dos for an inordinate amount of time.** You'd get there, eventually. And then you see it one month: poof, available to download or stream. This confluence has happened with a few games that I've since gone on to love – Overcooked, It Takes Two, Forspoken. The problem with having unfettered access to a nearly endless catalog is that I'm very easily able to swap between games if, after any amount of time, I find it isn't a right fit. I don't really let things "sink in" like I used to. This means that depending on what I'm in the mood for (mindless action game, narrative horror, life sim), I can download a few, and that mood can unfortunately shift daily. I think of my mother's infamous relationship with variety chocolate boxes. You know the kind: Russell Stover, Godiva, etc., that come with little different chocolates slotted into the plastic, heart-shaped honeycomb container. She calls them "spit and chews", a funny vernacular that I quite love, because of how, if she doesn't like any one chocolate after a single bite, she can throw that one away (or, as is my dad's preference, give them to him). She doesn't buy these boxes for herself; they're always gifts, so it's a low-stakes game that we sometimes go in on together. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-35.png) This one just didn't do it for me. Source: Press Kit. These catalog-accessible games, for me, have become akin to "spit and chews." I've tried my hand at numerous titles that never stuck. The most recent being Atelier Ryza 3: Alchemist of the End and the Secret Key. It appeared to have everything I was looking for in a new game: bright, fantastic colors, a happy-go-lucky plot, interesting character design, light-hearted gameplay, system-based crafting, and cute little character interactions. It's something I've sought out from games within the Tales series, but the buzz around Atelier had never really made me willing to spend any money on the franchise. I didn't have the patience to sit down and learn the systems, and besides that, I didn't know where to start in the series, so when I finally went to download Ryza 3 one night, it was more of a shrugging "why not?" And listen - I wish I could say that I'm easily able to turn off that little, nagging critic in my head whenever I sit down to play these games. I *know* that I'm not playing Red Dead Redemption 2, but because I write stories, that snide, chin-rubbing devil on my shoulder is hard to buck off. Contrived calls to danger, shallow character explorations, simplistic conversational design – I should know to expect these, and yet there are times when I can't turn off that strain of criticism. A very "me" problem, a very Victorian-esque, arm tossed across my forehead sort of problem, but one that's lately left me feeling empty. Was I losing my spark? What was this slump I'd entered? Was I being, in SNL-style, a Debbie Downer (womp, womp)? I wanted a game that was fun, relaxing, system-focused, akin to quiet enjoyment, something with routine, depth, heart, *art.* I'd played Stardew Valley in search of that comfort (and that gentle "thunk" of chopping down trees truly is a catharsis of sound like few I've ever known), but the short in-game days meant I had to be economic in my time spent. Sometimes I forgot to watch the clock in my leisure, and so it resulted in me in panic-running back to my bed before 2 am. This only ramped up the latent life anxiety that, like a Kaiju, was persistently trying to ransack my little inner city, and which I was trying to keep underwater. Enter, then – finally, blissfully – Dave the Diver. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/dave-the-diver.jpg) Source: Steam. ## Back to the Blue In loading up the game, I remember thinking one thing about the opening titles screen: what a nice little tune. This thought would persist throughout my playthrough, with me keeping keenly attuned to the beguiling musical riffs of Jukio Kallio, Stephen Mo, and D'Anthoni Wooten (along with other talented musicians). It has a wonderful soundtrack. Now, I was sick when I first booted up this game – feverish, a little snotty, less than aware of most of my surroundings. This game slid so perfectly into what little brain capacity I had left that I felt like each of the patrons who tried Bancho's sushi: hesitant at first, often a bit abrasive, and then, upon eating his offered dish, taken by storm, heart-eyed and crying, remembering warmer days. Our newest addition to the family, our kitten Thalia, was curled up on the couch beside me while I played. I cannot conjure a cozier night than that, even if I was feeling 1000 leagues under the weather. I dove the first time and feel as if I have yet to really come up for air. I adore this little world of easy fishing and eerie but never dark dangers. I've been playing Dave ever since. Because I'm still recovering (and if post-COVID has given me any alterations to how I treat illness, it's a new tendency for self-isolation), I found the perfect excuse to lounge around and rest up, while drinking an ungodly amount of ginger and turmeric tea, and plugging away at Dave the Diver. It endeared itself to me so quickly, so kindly, so *easily*, that I felt compelled almost immediately to write about it. Dave's hook is simple: he's a diver, an easy-going man who's flying out to the Blue Hole to go in on a sushi restaurant with friend Cobra and renowned but subdued chef Bancho. The art is equally relaxed – a soft pixel style that carries far more depth than most pixel games I've played, which is fairly prescient of the game in its entirety. The cyclical gameplay loop is enticingly freeform and dynamic enough for wiggle room with its time management, while also being extremely routine. It is my ideal combination of organized day-to-day, with time-locked exploration-driven segments that you can, in essence, make as long or short as you want. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/dave-diver-5.jpg) Source: Steam. I found the groove of the game as if by instinct. It also, in a bittersweet way, reminded me of an old home, as a few things have been doing lately. In the wide sweep of blue water you dive into, the distinctly laid-back lifestyle that focuses on growing community and friendship, I found myself remembering my nearly decade-long home in a big city in the middle of the Pacific. I spent many of my days snorkeling the reefs on 'Oahu and the Big Island, pointing excitedly at sea turtles, watching schools of silver fish shoot past, and looking down at urchins nestled in the rocks and coral. The ocean was never really my natural habitat. I imagined that I was a city girl, coffee-shop keen and adventure-averse. But I came to this side of the saltwater from the east coast, a very different ocean, and didn't realize until I found myself landlocked how much the ocean had shaped my life. She was a friend; now, she's very far away. Dave the Diver helped me rekindle that little friendship, those saltwater days and ocean breeze summers. Dave himself is a fantastic protagonist. Easy-going, funny, *adorable*, and just reluctant-but-too-good-of-a-guy enough that he always accepts the various requests brought his way from all manner of humans, animals, and Sea People. He is surrounded by strangers that soon become friends – the infectiously curious Dr. Bacon, the prim and organized Yoshie, the smiling and money-driven Cobra, and, most importantly, the lone-star chef Bancho. The restaurant you help run is called Bancho Sushi, after all, and he is the certified mastermind behind its creations. Dave is a newcomer to these waters, and while he learns to become a part of the community – working hard and undertaking tasks for topsiders and ocean dwellers alike – I learned a little bit about taking life less seriously. ## Dive, Serve, Explore The initial gameplay loop is like a brain massage: you catch fish with a speargun (or real gun, if you don't mind a lower grade of fish) that has that same satisfying feeling as chopping down trees in Stardew. You can then serve these catches at the sushi restaurant at night. The day itself is broken down into three sections: morning, afternoon, and night. You can dive in the morning and the afternoon (and eventually the night), which means if you try to pick on something bigger than you – a mako shark, for example – and fail in the morning, you can try again in the afternoon to take it easier and fish for some restaurant stock. Because if you "game over" in Dave the Diver, you don't die, but you do have to be rescued, and so you lose your entire diving haul, save one item you select. These twice-daily attempts allow you to slow roll to higher levels, which in this game are simply unlockable zones based on updated gear. You update gear such as your air tank capacity (to allow more diving time) or your dive suit (to increase the depth to which you can dive). You get to choose your priority here, too, as money is a finite resource that initially requires you to be pretty frugal. This is because it's used for everything, including hiring and training new staff at the restaurant, which is a necessity that becomes apparent pretty quickly. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/dave-diver-2.jpg) Source: Steam. --- > ...this is where I think Dave succeeds the most in its general accessibility – there have been almost no instances of prohibitively difficult content. --- The quick-burst stress of the restaurant at night – where you function as busser, food runner, and back-of-house wasabi grater – is actually a great reprieve from your relatively low-stakes daily dives. It's some of the tightest balancing in the game, as you have a stamina bar for Dave and must constantly keep an eye on a refillable gauge for the cooks that, when empty, prevents the kitchen from putting out anything. This is all done while pouring drinks (which takes time), delivering food, and bussing portions of the bar. Eventually, as you hire staff, you can train them to take care of pouring drinks or cleaning, so there's less that you must personally handle. Many hands definitely make light work. A game like Dave the Diver could easily feel repetitive, but it really shines by adding enough diversification to game mechanics that nothing ever feels too stale. Your fishing spot, the Blue Hole, changes geography every dive, and while eventually you'll learn the maps as they cycle, this light rogue-like element helps keep things fresh. There are days you'll encounter tuna, and others you'll encounter different varieties of sharks or jellyfish that will be needed for various special guest-requested dishes or that can be used during event days. These event days are typically in celebration of something (tuna, shark, *cucumber*), and if you feature food with those items, you can turn a great profit. It helps that you typically have pretty ample time to prepare for events and special guests, and as you move through the game and gain more and more help through the acquisition of a fish farm and a vegetable/rice farm, you can juggle these priorities with a little more ease. Your to-do list is long but never overwhelming, and even if you fail a timed, special event, there's never much of a repercussion outside of a gentle talking-to by the quest-giver, though it always holds a "next time!" charm. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/dave-diver-6.jpg) Source: Steam. The game is also *full* of minigames. Each of these adds a neat little element of change but is never mechanically clumsy enough to be frustrating, which can be a tricky thing to accomplish. This is where I think Dave succeeds the most in its general accessibility – there have been almost no instances of prohibitively difficult content. It soft locks you out of doing certain things with enough grace that the odds never feel insurmountable, because you can always come back and try again, or restart at a point sooner than the beginning. And when you get unexpectedly brought into a new, brief minigame – like wiping condensation off your camera lens or soldering metal together – the controls are pretty intuitive. I wrote a piece some time ago that talks about how worldbuilding in games isn't simply about lore. Games can craft a narrative around their essence, and you can explore that essence through the gameplay's implementation. Where in other games I rolled my eyes at dialogue or story beats that don't go over well with me, Dave the Diver's eclectic cast of characters feel charmingly brief in their needs and wants. They're given just enough depth and just enough screentime. The art is instrumental in lifting this portion of the game, because the personality of these little sprites is made bold and big and dynamic. And they do have greater depth – Bancho's background is that an assertion of his experimental tastes once landed him in hot water with a celebrity, which results in a short fall from grace he must reconcile with his new restaurant. It's not even that he changes, necessarily, but that he finds a place where he can better execute his sometimes-misunderstood culinary visions. Then there's Duff – who might function, somewhat, as a stereotypical vision of unkept anime fan to the uninitiated – who serves as your weapons specialist, and who is obsessed with an anime about girls who pilot mechs. This results in an oddly adorable dream sequence in which Duff attends a concert led by the main characters of the show, and you're able to play through a short rhythm mini game with a catchy song. As I said before, Dave the Diver's ability to cycle through these various games is really quite charming, because there are segments like this where you get to play as other characters. You can cook as Bancho (which lovingly reminds me of my youthful obsession with Cooking Mama) and explore a cave and run from pirates as Dr. Bacon. These are largely narrative relevant, and as rich as the cast is, the various stories you can involve yourself in feel storybook-like and important. When you unlock the Sea People village, the game allows you another respite, and you get to meet an additional subset of interesting characters (a pompous guard who ends up being pretty cool, a haughty princess, a quiet blacksmith, an insatiable gambler). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/dave-diver-3.jpg) Bancho. Source: Steam. --- > Dave is a rare protagonist who not only works as a vehicle for gameplay but also endears himself to us as a character in the world in which he lives. --- All of this is really under the surface of Dave the Diver, which starts with a simple premise of supplying a restaurant and builds to replicating the act of "growing your village" by helping everyone you come across. But there are villains in this game too – an environmentalist group, actually, which sounds anathema to the game's obviously sustainable fishing practices, but you soon find out they're funded by a big fishing operation that specializes in, of all the awful things, dolphin meat. Its leader, John Watson, is a Combat Carl type, presumably ex-military, outfitted with mech suits and all manner of high-power weaponry. In what's probably the darkest sequence in the game I've encountered so far, Dave has to navigate their hideout in a short and enjoyable stealth section, and you see the skinned and cut carcasses lining the walls in the background. Dave himself is never overly perturbed by the nuisance of having John Watson target him and instead tends to view danger as a mild annoyance to his mission. There is a horror-coded sequence in which you're chased by a massive, zombie-like, immortal Sea People king, but this only adds to the "kitchen sink" nature of the game, in that it successfully manages to juggle these various genre-specific gameplay sequences. You can even take pictures! There are camera spots all over the Blue Hole, and you orchestrate some of their setups to sell the snapshots to a magazine photographer. ## Catch and Release For fans of the life and farm sim genres, Dave the Diver is a relentlessly calming, charming, and optimistic option. Developer Mintrocket has done a wonderful job of crafting this cozy and interesting little world. Fully recovered from my early sickness, I've still found myself pulled to the easy repetition, wanting to help the people of the island and those below it. Dave is a rare protagonist who not only works as a vehicle for gameplay but also endears himself to us as a character in the world in which he lives. Cooksta, the in-game foody Instagram equivalent, features occasional posts that show the crew together, drinking beer and having a grand old time. There really is so much to praise about this game's approach, its art, and its lovely little touches and character moments. From the quick, animated sequences that feature Bancho "enhancing" his dishes in a very samurai-inspired way, to the little scenes of Dave deservedly relaxing whenever you elect to time-skip, the game's heart is ever-resoundingly amplified by its art design. Various crossover packs have been included as both DLC and general updates. You get to dive alongside real-life songstress mxmtoon and play cards against various Sea People in the Balatro-sanctioned "Jimbo's Game." The crossover with fellow fishing game Dredge – which I might eventually pick up (thanks, Dave the Diver, for sparking my fishing game interest) – features you diving during red fog events to capture fish for "hooded strangers", who will show up at the restaurant and only eat the aberrant fish species you catch that particular night. There's also a Godzilla feature where you catch him snoozing and recovering in a rock cave, and – although I haven't gotten there yet – presumably have to fight him. All of this is woven pretty seamlessly into the game's regular story cadence. If you have a PS+ subscription (Extra or Premium) you can snag the game as included in the catalog. Otherwise, it's available on Steam and Nintendo for a palatable $19.99 and an even more digestible $12.99 on the PS Store. It's probably going to be a staple on my winter playlist, serving as a little beacon on cold days of deep and warmer seas. ### PAX West 2025: Project ATOM - How Much Can We Fit in One Game? URL: https://www.superjumpmagazine.com/pax-west-2025-project-atom-how-much-can-we-fit-in-one-game/ Last updated: 2025-09-20T01:42:53.000Z **I really didn't know what to expect when I walked up to the Project ATOM booth at PAX West 2025\.** The booth itself was one of the brightest at the entire show, covered in vibrant yellows and blues with a large gashapon machine filled with big plastic balls set center stage. All around it were disgustingly cute character models ripped straight from an Asian toy market, accompanied by a line of eager convention goers wrapped around the booth waiting for a chance to play. The televisions and monitors showed these wonderful little characters platforming, fighting, and collecting coins. I walked up to the booth and was greeted with some of the friendliest, most enthusiastic people I've seen at PAX this year. I had the opportunity to chit-chat about the game itself while we waited for a station to open up, and I was not prepared for the description I received. I'm not even sure if I can really put Project ATOM into any neat boxes to bundle and sell, because the game has pretty much everything that makes modern gaming so fun and addictive. There's a campaign with story and narration, along with lighter platforming akin to something like Astro Bot. That campaign is enhanced with a platforming challenge mode, in which I was only 4 seconds away from winning a prize, but couldn't quite get there. There's a full Fall Guys-style party game where you compete with other lovable avatars in progressively more difficult challenges until only one winner is left. There's a battle royale where you are dropped into an arena with other contestants and given a choice of weapons based on which animal sidekick you choose, known affectionately as the "Atomons." If that wasn't enough, there's an entire town-building life sim, where you use the currency earned throughout the different modes to customize a town for your Atomons to live in. Suddenly, the 30-minute slot allotted to me to play Project ATOM felt woefully short when trying to experience everything it had to offer. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-41.png) Source: Steam. Then I got to sit down sith the game, and I am thoroughly impressed at just how *well* everything in Project ATOM actually works. Thanks to an extremely kind developer from [JNG Studio](https://store.steampowered.com/search/?developer=JNG%20Studio) who sat next to me and talked me through it, I was actually able to see pretty much everything that the game had to offer on the show floor. Gameplay moves a little bit slower than some other contemporary platformers, but I assume this is because Project ATOM is going to be fully cross-platform, including being available on mobile. The speed never felt boring, though, and the platforming was really fun to learn. Controls are floaty and fun, with the character models moving exactly like you'd expect them to, given how they look. All of the different play modes create a real sense of fun as well, with the promise of something new around every corner, keeping things from getting too stale. Sick of trying to best your time on the platform challenges? Jump into a battle royale game and focus more on the combat. Getting frustrated with the battle royale combat because you keep getting your butt kicked? Enjoy some tranquility within the little town you've built and interact with the adorable Atomons roaming about the place. Even the hub world is itself a level, complete with little platforming challenges and collectibles to find scattered throughout. And what do you do with those collectibles? Well, that's simple; you put it towards the absolute dump truck's worth of customization on offer within Project ATOM. I'm talking about anything you can think of – your character is fully customizable, from the hairstyle and color to the clothes and accessories. You're even able to utilize an AI tool that generates a little button for you to wear on your character wherever you want (I drew a little smiley face, and the AI made me a kitten badge.) Your Atomons are fully customizable as well, whether that means changing up their primary and secondary colors, or giving them some of the cutest damn hats I've ever seen. You can also customize the buildings in your town, giving you full reign pver the aesthetic and vibe you want your town to have. While I'm not always the biggest proponent of AI in video games, using it as a tool for customization like this adds a fun layer that I appreciate. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-42.png) Source: Steam. That's the thing that the dev from JNG Studios really wanted to hammer home with me: Project ATOM is, first and foremost, about fun. The game doesn't have extremely deep mechanics – you're going to spend more time looking at color wheels than you are at weapon stats – but that's by design. She told me that they wanted to make a title that focuses on the social aspects of gaming, giving players the ability to fully express themselves. They wanted to make a place to go and hang out rather than just something to play. If you want to spend hours in Project ATOM, you can, but if you just want to jump in with some friends and mess around for a few games, you can do that too. I haven't even touched on the bonkers narrative, centered on a plague that's devastating the Atomons, which leads them to summon humans in to help. I was blown away by the sheer scale of the game, and the enthusiasm with which the team supports its vision. It really was a lot of fun to play, and I can see it becoming a regular in the rotation for groups of friends who want to have a low-stakes gaming experience that is entirely their own. If this sounds like your kind of game, you can [wishlist](https://store.steampowered.com/app/3897280/Project%5FATOM/) Project ATOM on Steam now. ### Nintendo Revives Its Biggest Flop: The Virtual Boy Returns On Switch URL: https://www.superjumpmagazine.com/nintendo-revives-its-biggest-flop-the-virtual-boy-returns-on-switch/ Last updated: 2025-09-17T21:18:48.000Z **I am rarely stunned into silence while watching an announcement stream.** Sony did it back in 2015 with Shenmue III, and bizarrely, Nintendo has now done it with the announcement of the Virtual Boy, coming to the Nintendo Classics library. It was a very confusing moment in time for me, as I am pretty obsessed with the Virtual Boy. I am intrigued by its story, the concepts behind it, the reason why it exists, and how it fell well short of meeting any meager expectations Nintendo had for it. I've researched for hours upon hours, trying to comprehend it, so I like to think that I understand it a fair bit, which brings us back to why I was stunned by the announcement. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Switch2_VirtualBoy-NintendoClassics_ProductShot6.png) Switch 2 in the Virtual Boy Accessory. Source: Nintendo Simply put, this was one bit of kit that became a catastrophic failure for Nintendo. ### Lateral Thinking, Fatal Flaw Virtual Boy, created by the father of the Game Boy, Gunpei Yokoi, was conceived as a way to combat both the Saturn and the PlayStation, of all things. The Super Nintendo was still going strong, but Sega was working on it's new console, and after being left at the altar by Nintendo, Sony was doing the same. Nintendo had to act quickly, not something Nintendo is known for. The Nintendo 64 was still years away from release, so Yokoi decided to make full use of his unique design philosophy, "Lateral Thinking with Withered Technology." This philosophy had already given the world the Game Boy, a modest device that achieved global success thanks to its affordability and impressive battery life. The Virtual Boy was an entirely different story. It launched in 1995 as a so-called "Virtual Reality" headset that used stereoscopic red and black screens. In reality, it was a clunky unit that had to be used on a stand, causing players to sit in an uncomfortably hunched position. It was far from what Nintendo had seemingly advertised. Thanks to its high price of $179.99 ($370 in today's money), its awkward viewing position, and its monochrome display, it was never taken seriously as a console of the future. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/NintendoSwitch2_VirtualBoy_NintendoClassics_scrn01.png) Mario Tennis in Beautiful Monochrome. Source: Nintendo Within a year, it was discontinued and heavily discounted in stores to clear out stock. Nintendo quietly moved on to the N64. ### Nintendo's Biggest Failure There’s something oddly poetic about the fact that the biggest flop is now the biggest talking point from Nintendo's longest-ever Direct. Forget the hotly anticipated Metroid Prime 4; we need to talk about the Virtual Boy. So why have they suddenly decided to look beyond what has worked for them, releasing games from older, but generally well-received systems? The Switch 2 only launched three months ago, and we still have only a barebones GameCube library, just five games so far. There are still a handful that Nintendo has announced that have yet to release, not to mention so many more games worthy of being added to the list. What I wouldn't give to see Eternal Darkness! With so many beloved systems still missing, like the DS or even Game & Watch, why are we jumping straight to the Virtual Boy? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/NintendoSwitch2_VirtualBoy_NintendoClassics_scrn05.png) Upcoming titles for Virtual Boy Classic Library. Source: Nintendo In a way, this is brilliant for gamers who have never had the chance to experience the Virtual Boy in its full headache-inducing glory. In total, they will be releasing 14 of the 22 titles originally brought to market for the system, spread over an unannounced period of time. While this seems great initially, there are a few little caveats that need addressing. First, much like the GameCube collection, this will only be available to those who have the Nintendo Switch Online + Expansion Pack membership. The second problem comes from the same thing that's getting the most attention right now. ### The Price of Nostalgia In order to play these games, you NEED to have one of the Virtual Boy accessories. The first, and the one I kinda want, is a full-size replica of the Virtual Boy, stand and all. Priced at £66/$100, it isn't cheap, but it will give you that full Virtual Boy feel where you have to get your neck into a weird position to play it. The second is a much cheaper option, and that’s the cardboard model. It's performing the same task as the plastic one, but is much smaller in size and price. I will say, the cardboard version does look a bit goofy with the switch sitting inside of it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Switch2_VirtualBoy-NintendoClassics_ProductShot2.png) Cardboard Virtual Boy. Source: Nintendo I really feel that Nintendo could have done something a little different and offered these games in a 2D mode, as well as the standard 3D version, much like on the 3DS. Yes, it may lose some of its charm, but it would certainly reduce the number of headaches people may get from it. I also feel that if they were going to do this properly, they should release the Virtual Boy controller to go with it. That thing was weird, but it was perfect for playing games like Teleroboxer. This is perhaps something that they may offer further down the line. ### What This Means for Nintendo (and Us) So once again, the question needs to be asked: why are we getting the Virtual Boy? Is it that Nintendo wants to reward their customers with, up until now, hard-to-find games? Or that Nintendo wants their customers to have access to a vast wealth of classic titles from even the most obscure of systems? Or is it that Nintendo just wants to make a bit more money? Maybe that’s the trick here. Nintendo has managed to turn its biggest flop into something I'm excited to buy again. ### The Modern FINAL FANTASY URL: https://www.superjumpmagazine.com/the-modern-final-fantasy/ Last updated: 2025-09-18T21:04:48.000Z **A prelude, lovingly adapted from a 3-channel NES track into a sophisticated recording of a lone harpist.** The Pixel Remaster of Final Fantasy from its opening screen has the power to flood a viewer with nostalgia for a game they may have never played. The Pixel Remaster Collection is actually a reboot of the series of Final Fantasy remasters, foregoing all additional content added in previous re-releases in favor of preserving the games as they were at the time of their individual releases. I started my Final Fantasy journey here, at the beginning, the game which was originally released in 1987\. It is a faithful recreation of the original Famicom game, which aims to balance the game to match current market attention and adds quality of life and nostalgic bonuses to make it a much smoother ride than most would remember. I actually have a note from my playthrough that recounts the time I had given up playing the PlayStation port, saying that the Pixel Remaster had “removed the suffering” from the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Spoilers_Ahead.png) Caution - Spoilers may exist in text and pictures. It’s fairly hard to talk about this game without discussing what version you’re playing (ed. note: a brief count from the Wikipedia page reveals close to 20 different versions across the decades since the NES version), as they are so starkly different from each other that “the best experience” of the game remains the dominant topic of most discourse. I enjoyed playing the Pixel Remaster, though most of my gripes with the modernization of this version had a lot to do with what felt like a betrayal of the original design. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250823162745_1.jpg) Just hanging out. Source: Author. Final Fantasy is begging to be explored. The overworld is designed as a narrative maze, while the dungeons lurking beneath are designed to be, well, actual mazes. The press and release of tension that the game provides has a lot to do with the fact that you don’t know how long this dungeon is or where the story is pulling you next. Are you prepared enough to make it to the end of this dungeon? Where do you bring the levistone to get the airship? Is this the way to the boss room or another dead end? Final Fantasy begs you to explore it while making that exploration a tense and worrisome experience. With every step, a hope that you don’t get pulled into a random encounter for the first half of the game. Alas, even I wouldn’t recommend playing this famous JRPG without the map out and a walkthrough guide handy. The Pixel Remaster displays an expandable map in the top right corner, which will also tell you the location of each treasure chest in the game. This makes dungeon crawling more like the robbery of a bank vault than a dive into dangerous enemy territory. You’re able to chart the fastest way through and encounter the least amount of enemies on your dash to the end. Playing through made me envious of the people who got to experience this wandering and dangerous land without maps or guides, charting truly uncharted territory. It also made me tremendously relieved that I didn’t have to do that because I likely would have thrown in the towel very quickly. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250823155346_1.jpg) A detailed map revealing the dungeons secrets. Source: Author. It seems like I’m saying the true experience of Final Fantasy is to struggle without a guide, to “add back in the suffering”. Really, even people who purchased the game on the NES received a manual that detailed exactly how to get through the game step by step, all the way to the Earth Crystal, roughly one-third of the way into the game. While that leaves the rest of the journey a blind adventure, it proves that the developers never wanted the wandering and blind adventuring to stop the general audience from playing through it. Whether this decision was made by Sakaguchi himself or by a marketing team is a mystery I’ll leave for another day, but it does make me nostalgic and look fondly on the days of big books coming with physical media. Many people recommend this game as a good place to see where the series came from. This amounts to saying the game is an archaic museum artifact that would only interest historians. Final Fantasy is still a joy to play today, especially in the modern renaissance of tabletop role-playing, whose players would delight in the fast-paced dice rolling that this game offers. Popular critiques of the game say that it is both too easy and lacks an interesting story. While I agree with both of these points, I don’t believe it detracts from the actual enjoyment of the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250824205801_1.jpg) I hate you Chaos. Source: Author. When it is said that this game is too easy, that’s with one huge caveat. This difficulty spike happens at the end, in the same place it began. You face Chaos just before the credits roll, and for most people, it may be the only time their entire party face plants into the ground. It’s a grueling fight in general, but sometimes a specific dummy (me) could do something like forget to take the best spell in the game (Haste) and have to run all the way back to Cornelia in a one-hour sprint and then all the way back to Chaos because he doesn’t output enough damage. This fight forced me to learn combat in a more meaningful way. I suddenly realized that I had been having my Black Mage Veronica cast Firaga all this time, when there were so many more options that could have been exploited. It was the nail in the replay coffin; this game needed to be replayed. I actually really enjoyed the main twist of the game's story. Most of the rest of the story is superfluous set dressing, though I think that’s what we would want in a game that begs to be replayed. Dark Souls becomes the evolution of this, hiding the story in the unsaid context for those looking to explore it. Final Fantasy has fantastical context that builds a fun and exciting world the same way Dark Souls builds its horror-filled nightmare. It became timeless because Hironobu Sakaguchi’s world brought to life ancient evils that possess weak men and dwarves who love to yell lali-ho! It was beloved because Nobuo Uematsu made themes that never get old, even after a thousand battles. It was adored because Yoshitaka Amano lent his unique style to each monster sprite, making me stop and appreciate each new enemy as it appeared. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250823160959_1.jpg) Tiamat has no weaknesses. Source: Author. Playing through Final Fantasy for the first time reminded me a lot of my first time through Dark Souls. I had to look up a lot of things, but I spent the whole time thinking, “So that’s how this works! I can’t wait to try it this other way the next time.” It felt like learning a skill, one I couldn’t wait to practice and tinker with in a new game. I have the PSP version ready to go so that I can use all that I’ve learned to go again and explore the extra content that version provides. Towards the end of the game, all I could think about was which characters I would play on my next run. This is what makes the Pixel Remaster such a brilliant place to begin. Final Fantasy is a daunting game to go through the first time, much like Dark Souls, but once you explore it fully, you’ll be begging to go back in for another round. When I started Final Fantasy, I was searching everywhere for how it evolved the series, for the trademarks of all those games I love so much. What elements were borrowed from the very first entry? The answer is, not that many at all. Final Fantasy is a multimedia art style, one that was born on the Famicom and Nintendo Entertainment System as a combination of art, music, gameplay, and story. It still inspires the developers at Square Enix to keep iterating, even 38 years later. Playing the first game helped me realize that Final Fantasy is not just summons, warriors of light, and Phoenix Downs. Final Fantasy is a fantasy RPG experience, not afraid to try new things and become accessible to anyone with an air of adventure about them. You don’t have to be a historian to love the original Final Fantasy; you just have to love Final Fantasy. ### 10 Years of Undertale URL: https://www.superjumpmagazine.com/10-years-of-undertale/ Last updated: 2025-09-15T22:16:33.000Z **Ten years ago feels like it was another life**; I was studying for exams and writing essays in grad school, balancing grades with home duties and being ordered not to tell people I have chores. My older brother was doing medical residency in Philadelphia. Now he has a child, and I still have home duties. In Undertale, a child climbs a mountain and falls into an underground world of monsters. These monsters want freedom and need a human soul to do it. Some want to fight, a few want to protect, and others would rather forget. You can choose to fight, you can be a pacifist, or you can choose something in between. Regardless, your actions have consequences. Ten years ago, Undertale emerged from Kickstarter trailers and Homestuck (a web comic) team players, becoming an international phenomenon. We have fan sequels and prequels in game form, orchestral concerts of the soundtrack, memes, and even the desired title of “Tumblr Sexyman” for Sans (also a custom Mii avatar in Smash Bros.) Creator Toby Fox and his team seem to have it made. Since the game has been out for so long, this review will have spoilers. I would recommend playing the game, given its value pricing of less than $10 on Steam. ## My Experience with Undertale I went into Undertale knowing all the spoilers. This helped me understand how to stay on the Pacifist Route. I couldn’t and still can’t dodge bullets during battles, but I could spare monsters. If you undergo certain stages, you can improve their lives for the better. Even knowing what would happen, I cried when I reached the end credits. Nearly every character gets their happy ending on the Pacifist Route, and I spent a month or two getting to know them all. The journey towards mercy and freedom mattered more than the twists and turns of the plot. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/Undertale-Yellow-feat-image.jpg) From Undertale Yellow. Source: Undertale Yellow. ## What Has Changed Since 2015? The world seems much crueler than it was ten years ago. More LGBTQ media is coming out by the year, especially in comics and video games, but progress begets backlash. We've made leaps in combating overfishing, restoring coral reefs, and replanting forests. Making the world better, however, is an uphill battle. Toby Fox came out with another game, Deltarune, with the same characters (and new ones) in a different timeline. Newsletter updates show other projects, like composing songs for animation shorts, assisting in the development of the game Omori, and making cameos in We Bare Bears. He also sadly developed carpal tunnel syndrome and had to take time off game development to treat it. All sympathies to him because carpal pain is ouch. Despite his huge workload, Toby's taken the time to highlight fellow indie creators and encourage fan works. He has stated that selling fan merchandise is okay as long as one doesn’t mass-produce it or use the trademark; you can read his[ full statement on Tumblr](https://www.tumblr.com/undertale/139726155020/changing-policy-on-fan-merch?source=share). The same goes for creating games and songs that take inspiration from the original soundtrack. He puts it best: > “When in doubt, if handmade and few, it's OK. If mass-produced and machine/factory-made, it's not OK.” Toby also supports the fan communities when they run into legal trouble. When other corporations try to erase such fan works as Undertale Yellow, he goes to battle for the fans and expresses his disappointment with a large audience (you can read my article about that battle [here](https://www.superjumpmagazine.com/undertale-undertale-yellow-and-the-dangers-of-music-copyright-management-drafting/).) It feels genuine because it has been shown that corporations often concede when facing pressure from their clients. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-a68ee011-b1c7-4eb4-be79-48c90822a387.png) Source: X. To top it all off, Toby is going to be in the Homestuck animated adaptation, playing the lead. How the adaptation will go is anyone's guess because I can't even follow the original webcomic. I’m still trying to understand the trailer and how to dissect it. ## What About the Fandom? My experience with the Undertale fandom has been decent; I tend to talk to like-minded individuals about their opinions. Other people didn't have the same experience, for better or for worse, and we can't ignore their stories. Undertale emphasizes that showing mercy gets you farther than being violent. You can still be a jerk and a Pacifist in the game, so kindness is relative. Adjacent to that, being kind and merciful is a choice. We can choose differently. A portion of the fandom missed the point of showing mercy and understanding to others, sending death threats after Let’s Players and fan artists, and "correcting" them on how they played or interpreted the game. Every fandom has a nasty segment, but due to the law of averages, the segment becomes larger if the fandom spans continents. As a result, Undertale entered the cringe era briefly. The thing is that Undertale is not just trying to impart that showing mercy leads to a better outcome. It also holds up a mirror to basic human cruelty and answers the question of why “the cruelty is the point” is even a thing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-40.png) Source: [Undertale Wiki](https://undertale.fandom.com/wiki/Genocide%5FRoute). ### Undertale Shows Why We Are Senselessly Cruel One (very cool) friend adores the No Mercy route. Why? Because, as she has told me and other friends, the No Mercy route provides the most backstory and empathy for the characters whom the player-character seeks to destroy. Other players get invested in the Sans fight, which is exclusive to that route, and look up strategies for level-grinding and healing. The No Mercy route, to paraphrase a few Cliff's Notes, is where you choose to kill every monster in a designated area. To do so, you have to seek out monsters to fight by wandering around and killing until you hear a drone instead of the location soundtracks. The boss battles become harder with Undyne and Sans, and with new motifs to boot. The cruelty is the point in the No Mercy route. People complain that the level-grinding is boring, and you have to do more work to get fewer healing items. Because you are going on a murder spree, you can't expect shopkeepers to stay and provide what you need at a decent price. If you hurt people, they won't give you upgrades that can ease the journey. You can get different items exclusive to the Route, but most players didn't find them satisfying. Ironically enough, Flowey summarizes this mentality while the player character walks to New Home. He said he had woken up in flower form, panicked, and tried calling for help. Though he eventually learned he could move and found his parents, Flowey also found that he could reset time. Out of boredom and desperation to change back into Asriel, he tried different timelines to return to his body and free the monsters. Nothing worked, and giving his family a happy ending didn't satisfy him. While part of it is that Flowey lacks a soul, his original monster soul, the other part is that he's a traumatized eight-year-old. We players lack that backstory. So what’s our excuse? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-38.png) Source: Steam. ### Cynicism About People A cynic could look at the overarching political disasters, the spread of disease, and the general cruelty all around us, and conclude that the game had little impact on the real world. Undertale, for all its meme status and Sans spread, remains a niche interest. And within that niche? Destructive movements like Gamergate have set the norm for social media interactions related to such media about kindness, compassion, and healing. The real world also isn't as simple as Undertale. We don't come back to life after every violent fight, and some won't hold back. You can't show mercy on every occasion or to every metaphorical monster; sometimes you need to face them head-on and defeat them. I'm more cynical, but I refuse to be a cynic. While I'm not nice or kind all the time, and I have sharp words for the people who got us into this real-life mess, I do my best to show kindness to others. Undertale is one of many games that helped with that, and the reason that I try to go for a pacifist route first when starting a new game, just in case. The world isn't merciful, but we can choose to make it kinder. When we drown out the voices clamoring for cruelty, we change lives bit by bit. Those impacts aren't quantifiable unless you are an expert in collecting that data, but the positive effect still exists. Fighting against cruelty makes the future kinder. Going back to environmental improvements, we know how to clean specific ecosystems and restore them. People can choose native plants over grass in their yards, and install water sources if they don't live in an area with mosquitoes. Not every frog in a ruin will notice when you show mercy or skip their dialogue, but a frog will thrive when it has an environment with no toxins and plenty of water. Show some mercy. And stock up on healing items. We're going to need them for a long time. ### Indie Game Club Issue 6: Loria URL: https://www.superjumpmagazine.com/indie-game-club-issue-6-loria/ Last updated: 2025-09-17T21:17:26.000Z Hi all! This month, you're stuck with just me while we play Loria, an indie RTS lovingly crafted by fans of Warcraft. I always invite anyone to play along, as our showcased games are independently published for free by their creators. You can download Loria for free from its [Steam page](https://store.steampowered.com/app/946660/Loria/). Next month, we will be diving into the self-proclaimed "anti-game" The Dark Queen of Mortholme by Mosu. A 20-minute narrative adventure about being a boss (of a video game, not the slang meaning). If you want to play along, you can download next month's game for free on [Mosu's itch.io page](https://qwertyprophecy.itch.io/mortholme). So, allow me to awkwardly present my thoughts on Loria! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250806165802_1.jpg) Source: Author. ## Nathan Kelly The real-time strategy game has evolved little since competitive StarCraft 2 entered the scene, with gameplay that demanded lightning-fast decision-making and faster reflexes. Loria claims to harken back to a time of Warcraft, but did we need to? The formula is tried and true. Most RTS games that followed in Blizzard's footsteps haven’t touched the two main focuses that have defined the genre since. Manage the microeconomics, then destroy your enemies with macro strategy. Loria offers the simplified experience that Warcraft offered, making tresource management as visual as possible while focusing your attention on what you really want to do: draw that box around 50 units and ram them into buildings and soldiers. Admittedly, Loria does this extremely well, easily conveying its information. Players are seldom left wondering how they are doing, and that is the true mark of a good real-time strategy game. If anything, Loria’s campaign could do better when onboarding its new players. The start of the campaign has a good learning curve and gradually introduces new units, so players aren’t overwhelmed. This would seem to make the campaign a great place to start, if only a tutorial for the game's economy had been included. The game lacks any direction at the start of the second act to show players how to get wood, mine ore, or utilize those resources meaningfully. If I hadn’t been an avid player of StarCraft 2 at one point in my life, I most assuredly would have had to Google many things, or more realistically, given up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250806163741_1.jpg) Source: Author. I really liked Loria. I wish that it had an art direction that made it stand out amongst other options. But really, it's best appreciated as a free alternative to much more polished games. This can actually be a great selling point if you are younger and don’t have expendable income yet, or are trying to convince 3 of your friends to try a new game with you. If you have the options, I would recommend picking up Warcraft 3 over this game. However, you could do much worse if you just want to feel the excitement of fast-paced army management again. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/20250801153656_1.jpg) Source: Author. ### PAX West 2025: The G’AIM’E Light Gun Is Bringing Arcades Back to the Living Room URL: https://www.superjumpmagazine.com/pax-west-2025-the-gaime-light-gun-is-bringing-arcades-back-to-the-living-room/ Last updated: 2025-09-15T19:07:04.000Z **There's something so inexplicably charming about light guns.** Every arcade is still stocked full of light gun games, even to this day. Something about taking hold of that little plastic weapon, aiming it at the pixelated bad guys on screen, squeezing the cheap plastic trigger, and seeing things explode scratches an itch that not many other experiences can really replicate. VR games *almost* get there, but something about it being a VR controller instead of a gun and the inherent freedom of movement sets it apart as its own separate thing. Every year at PAX, there's a lone television set hooked up with none other than Duck Hunt. Every year, that light gun doesn't leave someone's hands. There's an obvious demand for these little plastic blasters, but they've seemingly all but died away, outside of arcades, in the modern era of gaming tech. This is mainly because modern televisions refresh much faster than their CRT counterparts, which introduces light gun delay, making it impossible to play titles that require pinpoint accuracy or quick reflexes. Thus, I was intrigued when I saw that the G'AIM'E light gun was going to have its own booth at PAX West this year. The G'AIM'E was making some bold claims: to work on practically any television or monitor with zero latency, to be affordable, and easy to set up and use. I was able to give the G'AIM'E a try, as well as have a wonderful conversation with the staff present at the booth, and so far it seems they've achieved the impossible – they're keeping all their promises. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-27.png) The build of the gun itself is fantastic: a sturdy, lightweight frame with a responsive trigger, and only a single cable running from the base of the gun itself. I was surprised at the balance they were able to strike with the G'AIM'E; it is quite light, which is a godsend after fifteen or twenty minutes frantically waving your handgun around during a close game of Time Crisis. Additionally (and I understand this may seem like a small thing), there's an "insert coin" button on the side of the gun that allows you to continue playing. For me, that's a huge plus, because if you want me to play arcade classics, you'd better give me the entire arcade experience. Even though I'm not physically putting coins in a machine, that twinge of "you bet your ass I'm going to continue" has to be there. The only potential downside is that there is no active slide action on the gun itself, as it is one single, stationary movement. Heena Lakhani, G'AIM'E's Head of International Business, explained to me that the reason for this is multifaceted. Not only does it keep production costs lower, making it more affordable for consumers, but it also means there's one less thing that could potentially go wrong in the gun itself, improving the overall lifespan of the kit. While mildly disappointed at first, I didn't dwell on it for more than a few minutes, as I was far too invested in the fact that I was playing Time Crisis in HD. In addition to the gun itself, a pedal is provided that can be used to both reload and take cover during gameplay. The pedal is small, lightweight, and compact, but I (a 200lb man) never felt like I had to baby the pedal or treat it delicately when I was panicking from the bullets flying in my direction. Not only did I stomp it mercilessly, but I was in the middle of a very long line of other convention-goers who used the pedal that day. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-28.png) Time Crisis HD. Source: G'AIM'E Kickstarter. Along with the gun and pedal, the G'AIM'E also comes with a mini game console with a design that I simply adore. From a distance, it resembles a sleek, modern device that would look at home under practically any television set up in any living room. Upon inspection, though, it's revealed to be a lovingly crafted recreation of a PlayStation 1 jewel case. It's compact and solid, with a grippy bottom to prevent sliding on your entertainment center. The whole package is very easy to set up, too. For the box itself, there are only two cords involved. One is a C-class power cable that requires 5v of power, which the staff told me had performed just fine with power banks. The other cord is an HDMI cable that runs from the box to the television. There are two C-class ports on the front of the box for the guns and/or pedal and... that's it. It feels like the modern equivalent of those little plug-and-play consoles that were all the rage in the early 2000s. From there, you do a quick 30-second calibration, and you're good to go; everything is set up. So how does it all work? How can the G'AIM'E solve a problem that's more than a decade in the making? The power of AI, of course! The AI chip inside the G'AIM'E was trained with over 100,000 images of televisions in every setup imaginable. The G'AIM'E has a high-resolution camera built into it. As you calibrate it, the AI within the gun can detect where the edges of the screen are based on what it was trained on. It then generates a layout over the television screen itself, and spits out an X and Y axis graph, which it uses to position where the gun is pointing (that's my understanding, at least). It truly is seamless, and they were nice enough to show me the setup from step one. We had the guns plugged in and the game going in under 3 minutes. Using an AI trained on such a robust number of images also allows for the G'AIM'E to work on practically any screen you can think of. From a 15-inch computer monitor to a 150-inch projector screen, it all worked when the team tested it out. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-29.png) Source: G'AIM'E Kickstarter. One of the best parts of the G'AIM'E is the complete lack of servers, subscription services, and licensing. When you purchase the mini-console, the games loaded on it are just there to stay. You own them, so you never have to worry about a service shutting down or libraries changing. That brings us nicely to the price of the G'AIM'E, and what you get in the package. There are three tiers available for purchase: the first is the cheapest and most basic: for $99 USD, you get the G'AIM'E gun, the mini console with Time Crisis preloaded, and all the cables and quick start guide necessary to get started. For $135 USD, you get the mid-tier option, which adds the pedal and three additional games (Point Blank, Steel Gunner, Steel Gunner 2), to the basic package. For $202 USD, you get two light guns, the pedal, the same four games, and all of the cables, plus a pin badge and a cool Time Crisis resin diorama stand collectible. $100 USD certainly isn't nothing, but they really did try to keep the price down and to make this as accessible as possible. The G'AIM'E light gun surprised me this year at PAX. I wasn't sure what to expect, but I was blown away, not only by the quality of the product but by the passion, devotion, and kindness of the team that put it together. There was a constant influx of people, both young and old, blasting away baddies at the booth, and it was for good reason. It's a cool product made by genuinely nice people, and if you like light guns, it's a must-have. The team's Kickstarter has been fully funded at over $1 million USD, but [you can still support the campaign](https://www.kickstarter.com/projects/tasseidenki/gaime-plug-and-play-time-crisis-gun-system-for-modern-tvs/pledge/new?clicked%5Freward=false) for any available rewards. ### Tommie Earl Jenkins, Sword of the Sea, and PAX West 2025 URL: https://www.superjumpmagazine.com/tommie-earl-jenkins-sword-of-the-sea-and-pax-west-2025/ Last updated: 2025-09-14T07:23:23.000Z September 2025 edition _This post is for subscribers only._ ### The Appeal of Wholesome Games and Wholesome Direct URL: https://www.superjumpmagazine.com/the-appeal-of-wholesome-games-and-wholesome-direct/ Last updated: 2025-09-15T03:20:17.000Z **While writing my next book on the cozy/wholesome genres, I had a chance to interview Matthew Taylor, founder of Wholesome Direct.** We discussed the showcase, what makes a game wholesome, and why these kinds of games are needed now more than ever. ### SUPERJUMP From the outside, it’s easy to assume that if a game is meant to be for casual fans, then it must also be cozy/wholesome. In your opinion, what needs to be in a game, either mechanically, aesthetically, or both, that would qualify it as wholesome? ### Matthew Taylor I like to think of wholesome games as hopeful. That’s actually why we chose to use the term wholesome instead of cozy; a wholesome game can involve plenty of hardship or sadness, as long as there’s a reason to be hopeful. ### SUPERJUMP For people who have been following the game industry for years, there have been multiple studies on the benefits and downsides of games. With wholesome games in particular, and for people reading this, are there any unique benefits or reasons for playing wholesome games that you wouldn’t find in a traditional game? ### Matthew Taylor I appreciate the question, and I’m sure many players would be happy to speak about what they get emotionally from playing wholesome games, but I personally don’t feel qualified to comment on any mental health benefits. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-25.png) Stardew Valley. Source: Steam. ### SUPERJUMP, Game length is always a tricky topic to discuss, and with cozy games, there is a strong argument for long or short examples if you want to focus on something that can be played daily or telling a specific story, respectively. Do you think there is a sweet spot for length for cozy games? ### Matthew Taylor Not at all. My favorite wholesome game of all time is A Short Hike, and that’s a pretty short game, especially if you don’t collect all the extras. On the other hand, folks spend hundreds of hours in games like Stardew Valley or Animal Crossing. Ultimately, games are art, and although some players may judge a game’s value based on its length, I don’t think it’s a factor in its quality, regardless of genre. ### SUPERJUMP Do you make any distinctions between mechanical genres i.e. roguelikes, FPS, etc., and “vibes” genres when it comes to defining a game as wholesome? ### Matthew Taylor Thinking of games as art, it makes more sense to me to categorize them by how they make you feel, rather than how you literally play them. Pokémon Snap and Halo are both first-person shooters, but they elicit such different emotions, and to me, emotion is the most important aspect when we talk about art. ### SUPERJUMP Regarding the previous question, part of the progression curve seen in traditional or more intensive games is the push and pull of learning the mechanics, things escalating, etc. But with cozy/wholesome games that are meant to be low or even no-stakes in terms of gameplay, what do you feel is the motivation to keep playing these games? ### Matthew Taylor As you alluded to, many wholesome games center on player progression and collection, which can be seen as a kind of escalation, even if the physical challenge doesn’t increase. Beyond that, I think players are often motivated by the desire to create or immerse themselves in a world or see a story through to the end. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-24.png) My Time at Portia. Source: Steam. ### SUPERJUMP Keeping with the idea of having low stakes, when it comes to combat, does fighting have a place in cozy/wholesome games as either a required system, or as something that can be skipped or ignored at the player’s choosing (such as Stardew Valley’s dungeon elements)? ### Matthew Taylor I think it matters who you’re fighting, why, and whether it’s optional. There’s a bit in our official FAQ that speaks to this: “If a game is violent, but that violence is about overthrowing an oppressor, is it unwholesome? We say no!” Games where combat feels shoehorned in just because it’s a familiar mechanic are a little more boring to me, but many players enjoy oscillating between action-focused gameplay and something more chill and low-stakes. Stardew is a good example. ### SUPERJUMP From your point of view, how have both wholesome games and Wholesome Direct grown over the years? ### Matthew Taylor Just looking at the numbers, Wholesome Direct viewership has grown every year, and so has the number of submissions we receive. When we started, there were no Steam events focused on this genre, no cozy-focused publishers, no showcases, etc. A lot has changed and grown in a very short time. ### SUPERJUMP For developers reading this, any specific design or storytelling tips you would like to share for someone wanting to make a wholesome game? ### Matthew Taylor Good art is personal, even if it’s expressed through abstraction or metaphor. Tell the story you want to tell, and let every design decision support that. That’s my honest, boring answer. For those more interested in marketing or commercial art, the lesson from wholesome games (or any niche) is to consider your audience early and learn from them. What are they playing right now, and what do they enjoy about it? Be empathetic, because if you can’t genuinely relate to your player, they’ll see right through it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-26.png) Wanderstop. Source: Steam ### SUPERJUMP Is there a distinguishing point between cozy and wholesome games? And if so, what would that be in your opinion? ### Matthew Taylor For most players, I don’t think there’s a big difference between the two, and that’s OK. From my perspective, wholesome is a bit broader artistically. A wholesome experience might include dark or troubling situations, but with hope or the potential to make a positive impact. Cozy, on the other hand, is a more specific and deeply personal feeling. I’ve seen plenty of people describe games as cozy that don’t feel that way to me, because the feeling comes from more than just the game — it’s tied to personal associations and context. ### SUPERJUMP Finally, for any parents or non-gamers who may be reading either the interview or my book, do you have any final points or thoughts about cozy/wholesome games that you would like to share? ### Matthew Taylor Many people see wholesome games as a sudden response to an increasingly unstable, violent world. But if you talk to players, you’ll quickly learn that many of us have always enjoyed these kinds of experiences and wanted more. Only recently, with the rise of indie games, have those players truly been catered to. And slowly but surely, larger studios and publishers are starting to take note. ***For more about wholesome games, you can check out the** [***Wholesome Games website**](https://wholesomegames.com/)***, and my book about designing them, when it is released.** ### Hidden Gems of Game Design Vol 39 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-39/ Last updated: 2025-09-13T17:04:02.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### [The Mummy Demastered 2017](https://store.steampowered.com/app/630310/The%5FMummy%5FDemastered/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-6.png) Source: Steam. [WayForward](https://wayforward.com/) is a company that has specialized in modern retro design for over a decade, and the studio has had a varied mix of hits and misses. With the push to turn everything into a cinematic universe, they had a chance to work on a game based on the remake of The Mummy starring Tom Cruise, and was supposed to be Universal’s attempt at mimicking the success of Marvel. What we got was a game that played nothing at all like the movie, had little to no references from it, but still stood out as a fantastic and difficult Metroidvania. The story is that the mummy has made its return, and we play as soldiers from the organization from the movie (sans Tom Cruise) who must stop her from taking over the world. Instead of a globe-trotting adventure, we are limited to a few areas full of secrets, upgrades, and enemies. Combat plays out much like the Metroid games, as you acquire a variety of guns and ranged-based weapons. along with numerous upgrades that add new ways of moving around. The game looks really nice and features great pixel art, especially for the larger boss enemies. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-5.png) Source: Steam While all this is the perfect formula for a successful Metroidvania, there was one glaring issue that hurt it. The back half of the 2010s was a period where everyone was trying to copy the Soulslike formula and capitalize on the success of Dark Souls. To wit, The Mummy Demastered features a Soulslike death and punishment mechanic that hasn’t been seen since. When you die, your character becomes a zombie that hunts around the area where they died. You then take control of another soldier who gets sent in, but they are sent in without any of the upgrades and weapons that the previous character had found. Not only does this make it harder to regain your gear, but it often means having to take a longer route because you don't have the same upgrades available. It is better to just Alt-F4 and close the game than take a death, as reloading from a save point is faster and easier than dying. This created a situation where the difficulty curve was kind of inverted – for the people who never died, they found the game to be on the easier side. Die once, and you're in for a world of hurt. If you're a fan of Metroidvania design and looking for a challenging one, I would at least check it out once, but make sure you are always ready to quit at a moment's notice. ## Ben Cantrell ### [Warbits Plus (2024)](https://apps.apple.com/us/app/warbits-plus/id1477425198) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-033db37b-ea9f-48ab-9c9d-f03f75b5a796.png) Source: Author. I played heaps of Advance Wars on the Game Boy Advance back in the day. It was by far my most played game; in fact, for long stretches, it was my *only* played game. So I’m always on the lookout for something that can capture that magic, which is why my Hidden Gem this month is Warbits Plus. It’s been sitting on my phone for ages, and every time I jump back in, I’m reminded just how good it is. Developed by the two-person indie team [Risky Lab](https://www.youtube.com/@Risky%5FLab), the original Warbits came out in 2016 and earned rave reviews, even snagging Apple’s Editor’s Choice designation. The game built a small cult following and even popped up in an episode of Succession. Back in those days, it was one of the standout indie strategy games on iOS alongside Battle for Polytopia. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-8bcf672a-ea20-4bc4-ac0f-c068b44ec1f0.png) Source: Author That surprise TV cameo helped inspire the developers to bring it back in a modernised form in 2024\. But rather than just release a quick update, Warbits Plus has been given a loving remake, rebuilt from scratch with updated code, a slicker interface, and cross-platform support on iOS and Android. With a Steam release on the horizon, Warbits Plus is about to reach a wider audience, which is exciting to see. At its core, Warbits Plus is a turn-based strategy game that wears its Advance Wars influence proudly, with grid-based maps, bases to capture, and a wide mix of land, sea, and air units. The 20-mission campaign covers five biomes and slowly introduces new mechanics, while a 30-mission Challenge Mode adds skirmishes and puzzle-style battles. You also get a map editor to share custom battlefields, and online turn-based multiplayer. Not bad for $7.99 AUD! And no IAPs or gacha shenanigans here either. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-dc11ebe8-9c1d-4f67-a390-ba1c1f0efcc0.png) Source: Author. The difficulty curve in the campaign feels fair, giving you time to learn the ropes while the AI gradually ramps up its aggression. Veterans will find it easier to get to grips, but newcomers will need to study unit strengths and weaknesses carefully, with the ability to tap any unit or terrain tile for a quick breakdown of strengths and vulnerabilities. This feature is a godsend for learning how to deploy troops effectively. The quality-of-life updates in the Plus version make a real difference, with the Undo button a lifesaver when I inevitably send a unit blundering into the wrong square. Warbits Plus may not have the charming combat animations of Advance Wars (and I do miss those), but it delivers is smart, pick-up-and-play gameplay that offers something magical: that Advance Wars experience in your pocket. ## Antony Terence ### [Might and Magic VIII: Day of the Destroyer (2000)](https://www.gog.com/en/game/might%5Fand%5Fmagic%5F8%5Fday%5Fof%5Fthe%5Fdestroyer) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-10.png) Source: GOG. With 4 million copies sold by 1999, Might and Magic carved a niche amidst role-playing franchises like Ultima and Wizardry. Despite being an RPG, creating your character in Might and Magic VIII (MM8) shouldn’t take ages. That’s because recruiting party members lets you make up for any skill deficiency you’ll run into on your adventure. You don’t have to catch ‘em skills. MM8 treats race as a class, letting you pick from human Knights, Clerics, Necromancers, Dark Elf Archers, Vampires, Paladin-like Minotaurs, and the mace-wielding Troll. You’ll even get to recruit Dragons later. MM8 starts like most fantasy tales, with a cataclysm that conveniently locks up four elemental Lords across the continent of Jadame. While that isn’t the greatest premise, it does involve convincing three factions to form an alliance (Dragon Hunters vs Dragons, rescuing flooded Minotaurs, Temple of the Sun vs Necromancers’ Guild). Their fetch quests and anticlimactic final villain’s riddles are backed up by dungeons and biomes that make Jadame a joy to explore. The cherry on top is [Arcomage](https://medium.com/super-jump/before-gwent-there-was-arcomage-724dd64c3f2a), a minigame at taverns built by a separate dev team that gives Gwent a run for its money. You begin your adventure on Dagger Wound Island, run by Lizardmen who suffer from pirate raids. The main task of crossing a trap-riddled, claustrophobia-inducing temple with winged snakes terrified me as a kid. I ended up distributing medicine, hiring new party members, and shooting arrows at a pirate ship until its captain fell dead. In one playthrough, I found boots that let me walk on water. As you progress into Ravenshore and other areas, you’ll run into metal cows, laser unicorns, wasps with swords, and mushroom monstrosities named fear and terror. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-11.png) Source: GOG. In the usual RPG fashion, leveling up involves clearing quests and killing enemies. But instead of getting better right away, you have to visit training halls to spend skill points on weapon proficiency, magic potential, and disarming traps. Achieving mastery over a skill needs the right teacher or promotion quest to turn your party into overpowered demigods. This is where the party system shines, as it lets you recruit characters devoted to tanking hits, casting elemental spells, or identifying/repairing items. Combat in MM8 is done in real time or via a turn-based mode. The latter is handy while dodging projectiles in dimly lit corridors and picking enemies off before they get too close. While the combat gets easier over time (especially with a Dragon ally), it made me feel like my misfits could take on the continent’s big bad villain. This also made exploration enjoyable despite MM8’s terrible graphics and stretched textures, even by 2000 standards. The game makes up for it with enchanting skyboxes, eerie dungeons, and buildings with janky but memorable NPC animations. MM8 is a dated RPG worth exploring thanks to its engaging atmosphere and deep class system. And with its turn-based sister franchise returning to Jadame in Heroes of Might and Magic: Olden Era this year, there’s no better time to dive in. If that doesn’t sell it, try [PurpleXVI’s fascinating diary entries](https://lparchive.org/Might-Magic-VIII-Day-of-the-Destroyer/) at the Let’s Play Archive. ## Philip Adrian ### [Phantasy Star Online 2: New Genesis (2020)](https://store.steampowered.com/app/1056640/Phantasy%5FStar%5FOnline%5F2%5FNew%5FGenesis/) Sega’s futuristic sci-fi RPG series was the edgy competitor to Final Fantasy in the 90s. A significant pivot occurred during the Dreamcast era, with the release of Phantasy Star Online as a major online multiplayer console game. The free-to-play sequel to the sequel, New Genesis (NGS), was released in 2020 on PC and later on PS4 as basically a brand new game. NGS gives players highly customizable characters to engage in combat within multiple open-world environments against gigantic, bizarre space monsters. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-192d1391-f563-459f-a0be-132afea8fae4.png) Source: Author. The combat opens up dramatically, allowing players to leap and fly through the air, scale up walls, run on narrow tactile pathways, and more. You can mix and match classes, abilities, and weapons to perform flashy combos with multiple players, all while using a human, newman, deuman, android, demon, bird person, or what have you, that is ludicrously fashioned out. And you can visually customize your future/fantasy RPG without spending a dime; players can be quite expressive in NGS, which is one of the biggest draws to games of that genre. So why is this MMORPG - from a classic RPG series by one of the most well-known publishers - a hidden gem? Well, NGS had a rough landing with its initial release. The amazing combat couldn’t make up for the lack of content; for a period of time, players only had the one “Sonic Green Hill-inspired” zone to play through. This put the game in hot water, pushing Sega to beef up the amount of content NGS contained. It now features your ice, desert, and fire-themed environments to explore. Modern fanatical MMO fans can still blaze through the main campaign and character levels quite fast. (I’d argue they do this with any MMO these days, but I digress.) NGS has had “mixed” reviews on Steam for quite a while, as your typical MMORPG player demands quite a bit from their experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/data-src-image-c65a75df-e767-4aa6-8692-a50885d7f9e3.png) Source: Author. PSO2: NGS is an amazing choice for players who are fine with making two or three bite-sized sprints throughout the week, or one big grind to progress a fancy weapon. It also probably has the best combat of any MMORPG, which is an area where the genre has grown quite stagnant. ## **Priya Sridhar** ### [Contract Rush DX](https://store.steampowered.com/app/1775960/Contract%5FRush%5FDX/) In Contract Rush, you play a bounty hunter who takes out monsters, demons, and devils for money. Cynthia has a home base in a coffee shop, where more money means she can buy necessary healing items while upgrading her ammunition. An easy mode helps newbies like me navigate various urban landscapes that have turned literally hellish. Hand-drawn animation seals the deal for the fun. While Cynthia takes no nonsense, she has graceful movements as demons destroy various cities. A cartoony devil poses a serious threat as a starter boss, and the game is a beauty to watch. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-9.png) Source: GOG. I had a lot of fun with this game once I figured out how to beat the tutorial level. With that said, I think the save points need a little more work so that you can pause during a mission rather than abandon one. I plan to do a detailed review once I put in a few more hours, with a code sent by the developer. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### PAX West 2025: God Save Birmingham – an Ambitious Take On the Zombie Genre URL: https://www.superjumpmagazine.com/pax-west-2025-god-save-birmingham-an-ambitious-take-on-the-zombie-genre/ Last updated: 2025-09-11T23:21:13.000Z **At this point, you can throw a stone in any direction and hit a zombie game.** Throughout the 2000s, the gaming world was inundated with zombie shooters, story-driven zombie epics, and zombie survival games, creating what some have coined "zombie fatigue." Due to this, it's difficult to make a game in the zombie genre today that truly stands out and piques the curiosity of those who have already spent decades virtually lopping the heads off of the undead. Imagine my surprise, then, upon receiving an email from Ocean Drive Studio about their upcoming zombie game God Save Birmingham, and just the cover art alone grabbed my attention. Depicted in that email was an exhausted, bloody man, in the garb of a medieval peasant, leaning against a stone wall with the handle of a pitchfork resting against him. If this were a zombie game, it was unlike any I'd ever seen. Indeed, [God Save Birmingham](https://store.steampowered.com/app/3073940/God%5FSave%5FBirmingham/.) is a zombie survival game set in 1300s Birmingham, England. You play as the sole survivor of a zombie outbreak, a simple farmer who has found himself in a horrible situation, as his neighbors and friends become shambling hordes of the dead walking. You must use your wits and survival skills to outlast the horde for as long as possible, scavenging for food and water, and keeping safe. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-21.png) Source: Steam. What immediately sets God Save Birmingham apart is its setting. Despite the chance for emergent gameplay due to the visceral and close-quarters combat of medieval Europe, very few zombie games take advantage of this underutilized time period. In the demo I played, it quickly became apparent how well the developer had captured the essence of a medieval town. Birmingham is painstakingly recreated, from the town's layout to the tools and food usable by the player. As a bit of a history buff, I was blown away by how real it all felt. I was given a hatchet and a simple pitchfork and sent on my merry way to carve out a bit of safety within the huts and houses scattered throughout the area. As I exited the starting house, I was quickly overwhelmed by just how many zombies were surrounding the village. Talking to one of the developers, they said they were bouncing around the idea of populating the streets with roughly the same number of zombies as would have been the population of the time, as the zombies don't respawn after you kill them. Their efforts show up; they are *everywhere*. Every item in the world is interactable, be it a cup on a table or the table itself. The devs wanted to ensure that you could play God Save Birmingham your way. Want to barricade a broken-down door? Drag some tables over and stack them in front of it. Need to get over a ledge or onto a roof? Pick up a barrel, set it down in front of the ledge, and climb on up. You can even set traps for the zombies, as they, too, have extensive physics and will trip and stumble over items. I was being chased by a horde, and decided to pick up a wagon wheel and throw it at the feet of the encroaching corpses. It landed at their feet, and I watched as one by one they stumbled, tripped, and fell to the mud, giving me plenty of time to escape. The physics engine on display would be impressive in a full-fledged game, let alone in a pre-alpha like I played at PAX West. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-22.png) Source: Steam. This is a survival game, after all, so you have a multitude of stats reflecting the state of your character, including fear, hunger, thirst, endurance, and overall health. Being Ye Olde England, however, gathering these resources is a lot more difficult than it sounds. My thirst was starting to degrade, so I decided to leave my shelter and find a well. The well was surrounded by zombies, so I worked to slowly clear the area around it, strategically kiting the horrors into narrow passageways so I could take their legs off with the axe and curb stomp their rotting heads to bits. Eventually, I was able to clear the area and get my water. I drank my fill, only to turn around and find a small group of zombies shambling my way. I pulled out my pitchfork and ran. In my desperate scramble over a fence that stood between me and the road, I stumbled and dropped my pitchfork, which was subsequently trampled by the horde. With no way to retrieve it, I was down to my close-quarters hatchet. I quickly scanned the horizon, frantically trying to find safety. I went where I thought any medieval peasant would in a situation like this: the massive church in the center of town. Dodging shambling undead and taking out the occasional zombie with my axe, I made my way to the church. Upon entering the courtyard, I found the entire abbey had been infected, with decaying monks swaying to and fro under the church's gorgeous architecture. Undeterred, I went into the holy ground. The place of worship was dark, with sputtering torches throwing desperate streaks of light throughout the hall, which was filled to the brim with abominations that were once men of the cloth. This is where I met my fate, as the rest of the clergy quickly surrounded my poor farmer and slowly tore him to pieces. I watched helplessly as the zombies vied for a mouthful of my man's flesh before the screen faded to black, and I found myself back in the starting house. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-23.png) Source: Steam. The funny thing is that the developer next to me apologized for the loss of my pitchfork and being overtaken at the church. These sorts of emergent stories are what make sandbox survival games so amazing – each action I took had a consequence, and that consequence was ultimately my own demise. I was unbelievably impressed with God Save Birmingham, as this pre-alpha demo had more polish, interwoven systems, and horrifying fun to be had than most zombie games that go to release. Project Zomboid was obviously a huge inspiration for this title, and that inspiration is felt fully. All this isn't even to mention that the game looks gorgeous, impressively rendered in Unreal 5 with beautiful lighting effects and gory detail in the horrifying visages of the undead making their way through town. If you have any interest whatsoever in zombie survival games, I highly recommend you look up God Save Birmingham. You can follow the game's development on X [here](https://x.com/GodSaveBham), as well as wishlist it on Steam. There's also an option to sign up for the pre-alpha, but be forewarned: Ocean Drive Studio will ask for the specs of your PC to help them better optimize the experience. I, for one, am extremely excited to see where this game goes, and it warmed my heart to see the constant line surrounding the booth at PAX West. --- There's way more coverage on the way from PAX West 2025! Right now, you can read about [everything we saw at the DreadXP booth](https://www.superjumpmagazine.com/pax-west-2025-a-place-for-horror/), and check back regularly this week for even more hands-on news and previews! ### PAX West 2025: A Place for Horror URL: https://www.superjumpmagazine.com/pax-west-2025-a-place-for-horror/ Last updated: 2025-09-10T19:52:58.000Z **One of the best things about PAX West is its position in early September, that beautiful period of transition from summer into the fall season.** For many people, fall means pumpkin spice everything, apple cider, cozy fireplaces, flannel sweatshirts, and – most importantly – scaring the hell out of ourselves for fun. As such, the horror titles on offer at PAX never fail to elicit a feeling of sincere joy and fundamental transition into the spooky season, and PAX West 2025 delivered that in spades. Between the ever-present quality of the DreadXP booth and the smattering of indie darlings waiting to be unleashed on the public, I am in that wonderful mood to scare myself senseless in the dark with a controller in hand. ## The DreadXP Booth ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-12.png) Pigface. Source: Steam. ### Pigface Developer: [titolovesyou](https://store.steampowered.com/search/?developer=titolovesyou&snr=1%5F5%5F9%5F%5F2000) There is something so undeniably special about the horror games released during the PS2 era. Something about how the polygonal characters move and interact, the way the baked-in lighting forces shadows to look when you walk past them, and the creativity necessary to scare someone with the modesty of the retro graphics makes these games seem so much scarier than they actually are. One of the most prolific and controversial titles of that time is Rockstar's Manhunt – a grindhouse gore-fest that gives the player more points for being more brutal and patient with their kills. As I sat down to play Pigface at the DreadXP booth, visions of Manhunt were all I could conjure in my head. Pigface is a first-person shooter designed with that same grindhouse retro aesthetic, and it executes it flawlessly. Booting up the game, a gruff voice on the other side of a flip phone told my protagonist that she had to carve her way through a slew of enemies to prove her worth and gain employment. Analogue scan-lines crackled as I picked up my first weapon (a baseball bat conveniently left for me) and I set about my business, brutally executing all of the hapless polygonal goons in the tutorial area in a variety of ways. After my murder spree, I got the job and was sent out on my first mission: find drug dealers in the sticks, kill them all, and find evidence about their operation. I set upon my gruesome task with the same level of direct efficiency as the tutorial. This is where I learned my first lesson in Pigface: this game will kill you, with no mercy. It took me three different tries to clear out the drug dealers and complete my mission, running out of ammo with the cheap submachine gun provided for me and improvising with hammers and handguns. As I stalked around the outside of the barn, picking off unsuspecting drug dealers from afar and closing in for the kill, it was amazing how much I actually felt like a predator. I was slimming down the herd one by one until there was no opposition left, all set to that grindhouse aesthetic that Manhunt established years ago. The grit and grime of the drug dealers' barn, mixed with the undeniably charming PS2 visuals, coagulated into a masterclass of shock gameplay. Just like with Manhunt, Pigface possesses some baked-in humor as well. Bodies careen across the screen and contort in ridiculous and hilarious ways as the ragdoll physics take over, and the entire thing has an air of dark humor to it that I really appreciated. It sounds sadistic to say that I enjoyed Pigface, but I found the mix of atmosphere and challenging gameplay to be exactly what I look for in a brutal game like this. The most interesting thing was that, in talking to the developer, I learned that they had not played a single Manhunt game. Instead, they loved the atmosphere and wanted to see what they could do by trying to capture that essence without knowing the subject matter. Homage without being derivative is how it was explained to me, and they absolutely nailed it. [Pigface has a demo available on Steam](https://store.steampowered.com/app/3341650/PIGFACE/) and will hopefully enter Early Access by the end of the year. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-13.png) The Lacerator. Source: Steam. ### The Lacerator Developer: [Games From The Abyss](https://store.steampowered.com/curator/45575062?snr=1%5F5%5F9%5F%5F2000) I didn't really know what to expect when going into The Lacterator. I was familiar with the game's tagline: "Lose a limb, learn to adapt in The Lacterator!" but that isn't exactly descriptive. So, I sat down with an open mind, and was immediately floored by what I saw. A low-poly, retro aesthetic muscle man with a ridiculous mustache and tight purple shirt strides towards the screen, opening a monologue with, and I quote, "This is Max, the man who loves sex." From that point forward, I was hooked and extremely excited for whatever schlocky nonsense was coming my way. I was not disappointed. The Lacerator is a third-person horror game derived from old 80s slasher films. You play as Max, a porn star who wakes up in a dilapidated cell, unable to remember how he got there. After escaping, he finds his co-stars in various other cells, stuck in the grime and dirt. As you make your way through the labyrinth, saw-like traps await around every corner. You must solve puzzles and traverse the filthy maze you find yourself in to escape from the main antagonist: an axe-wielding maniac known as the Lacerator. I found The Lacerator to be incredibly endearing. As far as modern-retro indie horror games are concerned, The Lacerator does a lot to stand out above the rest. The tongue-in-cheek writing and acting, along with the ridiculous premise and the brutality of the gameplay, make for some really funny and jarring moments. If it sounds like I'm being really vague with The Lacerator, it's because I am. I don't want to ruin any of this experience for someone whose ears may have perked up at The Lacerator's description. I'll only spoil it this far – I finished the game with a statistic that said: "Lacerations: Arm, Dick." If that doesn't make you laugh, then The Lacerator probably won't be for you, but if you're into dark humor, gritty set pieces, and unique gameplay, give it a look. You can [wishlist The Lacerator on Steam](https://store.steampowered.com/app/2339330/The%5FLacerator/) now. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-14.png) White Knuckle. Source: Steam. ### White Knuckle Developer: [Dark Machine Games](https://store.steampowered.com/search/?developer=Dark%20Machine%20Games&snr=1%5F5%5F9%5F%5F2000) White Knuckle is a game that's kind of hard to pin down. The best way I can describe it is a first-person horror urban bouldering simulator. Not unlike the other games I've played at DreadXP thus far, White Knuckle has a gritty, modern-retro aesthetic, with ominous pixelated 3D environments that are just dripping with atmosphere. From the demo I played, there wasn't a lot of context given to the story, but I was immediately hooked by the strange and stressful gameplay on offer. Like other games in the climbing genre, you use your right mouse button to grab onto a ledge or an item with your right hand, and the left mouse button to do the same with your left hand. Where other climbing games, like [Don't Nod's seaside epic Jusant](https://www.superjumpmagazine.com/jusant-a-beautiful-ascent/), give you a full stamina bar that steadily depletes as you climb, White Knuckle has two separate stamina bars, one for each hand. As you hold onto a ledge, whatever hand you're using to hang on for dear life will slowly start to turn red, representing how much grip strength you have left in that hand. Switching from one hand to another will temporarily relieve the free hand, but also cause the singular grip to diminish faster. While this is all happening, you may be required to hammer in pitons to give yourself a handle to reach higher areas or jump further distances. This singular mechanic is what turned White Knuckle from a fun idea into a stressful test of endurance. To hammer in a piton, you have to hold on with one hand, pull the piton from your inventory (either by opening up the inventory or assigning it to a hot key), place it in the wall, pull your hammer out of your inventory, hit the piton multiple times to get a solid foundation, and *then* you can grab onto it and use it to aid in your traversal. The number of times I scrambled to switch hands, grab pitons, bring out my hammer, switch hands again, grab onto the ledge, all the while being abhorrently aware of the loss of stamina in my hands as they got redder and redder, is staggering. Every death results in a restart, so falling without catching yourself can have dire consequences. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-15.png) White Knuckle. Source: Steam. At first, I was a little bit confused by what White Knuckle was doing at the DreadXP booth. The publisher is known for their indie horror titles, and the other games I had played there had thus far followed that route as expected. The atmosphere of White Knuckle is impeccable - you're climbing up through a dirty, rusty, massive industrial silo. Darkness obfuscates what's above and what's below, creating a foreboding sense of scale, never quite knowing how far you've climbed or how far you have to go. Still, I wouldn't classify it as *horror,* at least, not until I started my third climb. Suddenly, grotesque growths reminiscent of Half-Life's barnacle growths sprouted all over the place, with wet tendrils smacking the walls all around me as I climbed. These fleshy columns extended all around me, creating a significantly more treacherous environment to scurry up. During my climb, a distorted voice echoed from the loudspeaker, warning me of a power failure, followed by the screen shaking. Suddenly, a furtive glance down revealed a miasma of fluid of questionable origin, rising quickly up the silo like bile rising through a throat. I desperately sought to get away from it, but in my haste, I fell directly into the liquid to my death. My reservations about it appearing at the DreadXP booth were dashed as quickly as my character was drowned in the brackish fluid. I'll be honest, White Knuckle kicked my ass. I don't think it's the game's fault – I just struggle with this type of coordination when it comes to gaming. I had to split my brain into so many different quadrants just to move up a few meters that I was practically doomed from the start. Still, White Knuckle is a really cool and original take on the horror formula, and if you like climbing games, I would definitely check it out. [White Knuckle is available on Steam](https://store.steampowered.com/app/3195790/White%5FKnuckle/) now. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-16.png) The Secret of Weepstone. Source: Steam. ### The Secret of Weepstone Developer: [Talesworth Game Studio](https://store.steampowered.com/search/?developer=Talesworth%20Game%20Studio&snr=1%5F5%5F9%5F%5F2000) Right from the get-go, I knew I was going to enjoy The Secret of Weepstone. As a huge TTRPG fan, when the intro opened with a table-top module, surrounded by dice and pencils, opening to reveal a beautifully stylized black-and-white game world, covered with a ridiculously gripping narration explaining what Weepstone is and why its secrets must be uncovered, had me giddy. I couldn't wait to dig into whatever adventures this TTRPG video game had in store for me, and I wasn't disappointed. The game's art style is absolutely fantastic, a beautiful homage to the Dungeons & Dragons booklets of the 70s and 80s, complete with exaggerated black-and-white characters and environments. Take any still image from any part of the game, and you'd have a hard time discerning it from the Dungeons and Dragons books of yore. From the story (the ruler of a keep has passed, and now the townsfolk must explore and uncover its secrets) to the dialogue and voice-over, The Secret of Weepstone oozes the same fun, cheesy charisma that the old Dungeons and Dragons books do. It plays as close to a TTRPG as a video game realistically can, a feat that is not easy to achieve. Whereas a game like Baldur's Gate 3 replicated the *adventure* of a tabletop game, The Secret of Weepstone is trying to capture the feeling of actually sitting down at a table and playing. You pick your character, they have a backstory (with some characters being packaged together,) their backstory influences their playstyle, they have pros and cons, and those pros and cons can be leveraged for your benefit or mistaken to your detriment. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-17.png) The Secret of Weepstone. Source: Steam. Each time you get into an enemy encounter, you physically see the appropriate dice roll onto the screen to show you how you did, and just like in a real game, a critical roll (the highest a die can give, like a 20 on a d20) causes immediate dopamine-based celebration, where a critical fail (the lowest roll a die can give, like a 1 on a d20) causes that same anger-induced deflation you'd experience sitting at a table. The Secret of Weepstone isn't afraid to embrace the humor of a D&D campaign, either. During my playthrough, I found the latrines. One was closed, the other was filled to the brim, and the third was empty. I threw a rock down into it and waited a very long time before I heard it splash into the water below. The narrator commented on how falling would mean certain death. Still, an option for "climb inside" tantalized me from the menu selection, so I hesitantly clicked it. The other five party members heard a scream as the character I was playing fell seven stories to her death. The character who fell just so happened to be a character who claimed their death was prophesied by oracles, and a blurb came up saying that she was happy, as it was all laid out before her already. Accidentally causing a character's canon to be that their death, written in the cosmos for all to see, was to climb into a toilet and fall the equivalent of 70 feet for no reason, is hilarious to me, and very indicative of the D&D experiment. A good Dungeon Master is an improv specialist, always landing on "yes and." That sort of freedom is partially what made Baldur's Gate 3 the legend it is, and The Secret of Weepstone seems to be keeping that idea alive and well. If you like TTRPGs, but can't always find a group to play with, The Secret of Weepstone will absolutely scratch that itch. You can [wishlist it on Steam](https://store.steampowered.com/app/3702100/The%5FSecret%5Fof%5FWeepstone/) now, with a planned release date sometime in 2026\. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-18.png) Entropy. Source: Steam. ### Entropy Developer: [Lovely Hellplace](https://store.steampowered.com/developer/LovelyHellplace) Now, this one had me excited. DreadXP hadn't announced Entropy when I got to PAX, but as soon as I saw the logo for Lovely Hellplace, I was ecstatic. The developer's previous release, Dread Delusion, was one of my games of the year in 2024, due to its unique take on an open-world RPG, along with the surprisingly in-depth lore and gorgeously macabre visuals. Needless to say, when the logo appeared, I was psyched. I'm not saying I was disappointed with Entropy; rather, I wasn't entirely sure what it was trying to do. It shares the same recognizable art style as Dread Delusion, with disturbing retro-modern models and environments, and an emphasis on the strange. The main difference is that Entropy is a third-person turn-based RPG, rather than a first-person action RPG. I like the setup well enough: you are an actor performing in a play when demons attack the town where you're performing. The monsters tear the city apart, killing nearly everyone. You miraculously survive, armed with the prop weapons given to you for the play, and you must escape the gutted town. You team up with a few survivors and fight your way out of town, seeking shelter further down the road. The combat system is simple to grasp but difficult to master. Your team is set up in two rows; the front row will sustain most of the damage and benefits from using more melee-centered attacks, whereas the back row is for support and ranged attacks. Your foes will stack themselves up similarly, with different enemies having different strengths, weaknesses, statuses, and attacks. There are tons of buffs, status screens, and percentages you can tweak and keep track of to create the party you specifically want, and it all works well. I suppose the issue I kept running into was this - Dread Delusion focused more on the world building than the mechanics. Mechanically, it was very simple – more akin to something like Morrowind than anything else. They were just deep enough to keep you invested without overwhelming you, making it easier to really absorb the world and all the weird characters. In Entropy, the opposite seems to be true. Lovely Hellplace seems to have leaned much more heavily into the mechanics themselves, which isn't necessarily a bad thing, but it definitely makes me redefine my expectations for the full game. That being said, everything works exactly as intended, and it still has plenty of Lovely Hellplace weirdness to supplement the gameplay. [Entropy has just been listed on Steam](https://store.steampowered.com/app/3940340/Entropy/), with a generic 2026 release date. You can bet I will be giving it an honest try whenever it comes out. And thus, my five-game foray into the ever-excellent DreadXP booth came to a close. As always, I was blown away by the creativity and dark humor found in these titles, and I'm happy to add another successful year of wonderful DreadXP titles to my belt notch. There was one more horror experience I had at PAX West, though, and it's worthy of inclusion with these other great horror titles. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-19.png) Terrible Lizards. Source: Steam. ### Terrible Lizards Developer: [WDR Studios LLC](https://store.steampowered.com/search/?developer=WDR%20Studios%20LLC) I have a question for the game industry: why aren't dinosaurs utilized more often in horror games? We have Dino Crisis, a cult classic in its own right, but aside from that, where are all the dinos? It seems foolproof on paper – massive bird lizards with no drive other than to kill and eat - catalysts of some of the most dangerous and horrifying times in the world's history. Literal monsters that did not come out of a story book, but rather roamed the planet we call home millions of years ago. WDR Studios seemed to agree, and thus began development on their first-ever game, Terrible Lizards. If you've ever been on a road trip in the middle of the United States, the setting for Terrible Lizards will be immediately recognizable. The game takes place inside a roadside attraction museum in the middle of the desert, adjacent to a gas station with seemingly no other civilization in a 50-mile radius. Your car breaks down, and the only option for a tow isn't coming for a good long while. This is the 90s after all, so just doom-scrolling your phone as you wait isn't an option. As such, you decide to explore the inside of this strange museum to kill some time and potentially get some help from the employees. Things inside are not as they seem, however, as your protagonist quickly finds out. Terrible Lizards fulfills a lifelong fantasy of so many children who walk the dusty, hallowed halls of natural history museums. You see the giant dinosaur skeletons and huge displays and think, "What would happen if I climbed on that?" That's the crux of Terrible Lizards - parkour. One of the developers called it "Mirror's Edge meets Five Nights at Freddy's," and that hits the nail on the head. Despite this being the studio's first game, the controls are already super-tight. You will be zipping around the museum in no time, climbing over displays and swinging on pipes, traversing the maze-like museum, and uncovering the mysteries that transpired there. Like with The Lacerator, I'm going to stay intentionally vague to minimize spoilers. Suffice it to say, even the demo displayed on the show floor did an awesome job subverting my expectations and keeping that creep factor at an all-time high. There's an undeniable charm to Terrible Lizards, with FMV and funny dialogue scattered throughout, not to mention an extremely original premise that's executed flawlessly. It's a really cool idea from an extremely nice team, and it deserves to be played. So, what are you waiting for? Go [add it to your Steam wishlist](https://store.steampowered.com/app/2920220/Terrible%5FLizards/) now! --- This is just the beginning of our PAX West 2025, so keep checking back this week for more of SUPERJUMP's first-hand impressions of what we saw at the annual indie gaming festival! ### WordPlayer: The Suicide of Rachel Foster's Story Doesn't Work, But I 100% Completed It Anyway URL: https://www.superjumpmagazine.com/wordplayer-the-suicide-of-rachel-foster-doesnt-work-but-i-100-completed-it-anyway/ Last updated: 2025-09-09T12:00:47.000Z **The Suicide of Rachel Foster sat in my PlayStation backlog for five years.** A review code was received at its PS4 release, then a potential review commission fell through, and occasionally I'd look at it in the list of games on the external hard drive attached to my PS5, thinking, "I wonder what that one's about?" Approximately a year ago, the game received a surprise PS5 "Definitive Edition" upgrade, complete with a free upgrade path, and suddenly, I had a slightly fancier version of the game. That's the one I played for this column, and it is, I think, surely the best way to play it. The Suicide of Rachel Foster casts players as Nicole Wilson, a woman who has returned to her family's old abandoned hotel, the Timberline, to have it valued ahead of a sale. The Timberline holds a lot of bad memories for Nicole - ten years earlier (in 1983), her family was the center of a local scandal involving her father grooming a local 16-year-old girl, Rachel (based on the name of the game, you can guess what happened next). Nicole soon finds herself stuck alone in the hotel due to a snowstorm, and her only company is FEMA agent Irving Crawford, who speaks to her via a chunky 90s cell phone. Because the year is 1993, no one says, "wow, this is just like that game Firewatch, hey?" ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image.png) Source: Steam Let me get this out of the way - I didn't really like The Suicide of Rachel Foster. It is a game with tremendous sound design, some great moments, and a lot of atmosphere, but also a narrative that collapses if you look at it with any level of scrutiny. It's the sort of game where if you ask "but wait, why did X character do Y", the answer may as well be a shrug. One where you might read the Wikipedia synopsis afterwards and think, "so I didn't *miss* anything, it's all just very silly." I would imagine that "silly" is not a word you want to conjure up when your game is dealing with subject matter like this, but the twists, turns, and emotional beats in the last third of the game don't make a lot of sense. I can't recommend it, especially for how haphazardly it deals with some very heavy subject matter. So why did I play the game through to its conclusion? There are a few reasons: it's very short (about three hours) and straightforward (there aren't really puzzles per se), and, well, I have a column to write. But I would have persisted even if I didn't plan on writing about it, I believe, for two reasons: the PS5 version's excellent implementation of the DualSense controller and the very easy Platinum trophy tied to the game. I feel comfortable with one of these reasons and less comfortable with the other, but I can't deny that the idea of adding to my meager collection of Platinum PlayStation trophies was a factor. When I realised that the game had a short and straightforward trophy list, and a high completion rate, I figured - hey, I might as well. I quickly flicked through a few guides to figure out which trophies I might potentially miss if I wasn't careful, and I kept revisiting them throughout to make sure I was on track. I went into each new game chapter knowing which parts of the game I had to be careful not to miss if I wanted that piece of digital ephemera to pop at the end. This meant that I experienced the game fully in one sense, but also that I proceeded through it with less of a sense of discovery than I might have otherwise. I wonder if that ultimately made me care a little less about the game's plot, since it became a smaller part of why I was playing the game - even though this is, ostensibly, a game one would expect to play *entirely* for the story. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-1.png) Source: Steam This whole incident has me thinking about how many mediocre narrative-focused games I've played in the past, because I wanted to play a short, easy game and boost some metric. And as much as I've dedicated a portion of my life to the storytelling potential of games, I'll be honest - this has absolutely happened several times. I've made sure to finish dodgy point-and-clicks, flavourless walking sims, or pretentious, tedious experiences on consoles because I know that I put some value in being able to point at the proof that I finished them. How often am I engaging with narratives because of some metric, whether external or internal - a number that will tick up if we get to the end? I think about my Goodreads account, and how I'll set myself a reading goal at the beginning of the year that I then strive to hit. Sometimes this feels like a healthy thing to do, because it ensures that I am taking an experience I like and giving myself extra incentive to do it. Sometimes it feels like I have given myself homework, and that if I am not actively reading, I am failing. And, yes, it may push me to keep going on a book I am not enjoying if I see the end in sight, because I know my weird arbitrary number that *no one else* is paying attention to will go up. Finishing a game for the trophies doesn't feel so different. Back in 2018, I wrote a piece for IGN about my [Xbox Gamerscore fixation](https://www.ign.com/articles/2018/04/30/achievement-overclocked-looking-back-on-my-ten-year-gamerscore-obsession) and the palpable negative impact it had on the way I played games - and how, having just hit 100,000 GS, I was hoping that I would be able to disconnect from paying any attention to this number. I went and checked my Xbox Gamerscore while writing this, and it stands at 123,016: that's not a big increase for eight years, although I wonder how much of that is me breaking a habit and how much is the complete and utter collapse of the Xbox brand. PlayStation trophies have, historically, meant far less to me, and it wasn't until March of last year that I got my first Platinum - that's just not how I was playing games. As of now, I have five, and I'd say all of them are in games with a strong story focus: Immortality, Paradise Killer, Broken Sword, Promise Mascot Agency, and The Suicide of Rachel Foster. The first three are some of my favourite games of all time, and PMA was fantastic, so The Suicide of Rachel Foster is now the first game I've gotten a Platnium trophy in despite not liking it. *That* feels like a slippery slope. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/09/image-2.png) Source: Steam On the other hand, the DualSense stuff really is great. I've been a big fan of the PlayStation 5 controller - despite the terrible battery life and weird build quality issues they seem to suffer from - and The Suicide of Rachel Foster makes some of the best use of the controller's capabilities I've seen and felt. The way it evokes Nicole's heartbeat during tense moments is particularly cool, and I love how the game uses the controller speaker to occasionally ramp up the tension - it's a game without jump scares, but it's still effectively spooky. The DualSense implementation really elevates the game, and I feel much more comfortable citing that as a reason I was able to keep going. It's not always the story itself in story-focused games that can pull you in, after all; sometimes it's the rich graphics and quality art, sometimes it's the soundtrack, or some singular, unique mechanic. It's rare for that one thing to be the controls, but that really is the case here. I think games can be and do anything. They don't need to focus on "fun" or "value" or whatever, and they can exist just to tell stories. But game ecosystems are fundamentally built around pillars of competitiveness and tech innovation in ways that can mesh weirdly with the games themselves. You can play a game like this and come away saying "well, the game is bad, the story is bad, BUT it's got an easy Platinum and really shows off the controller technology well". Finishing The Suicide of Rachel Foster really has me re-examining my own motivations; next time, I'll make sure I write about a better game. ### Galactic Glitch Review URL: https://www.superjumpmagazine.com/bf-galactic-glitch-review/ Last updated: 2025-09-08T22:33:29.000Z **Galactic Glitch, by** [**Crunchy Leaf Games**](https://store.steampowered.com/publisher/crunchyleafgames)**, is a sci-fi shooter with a roguelike progression system.** You’ll be blasting your way through space, getting blown apart, and then returning to action stronger and ready to progress just a little bit further. The game attempts to differentiate itself from other roguelikes through its physics-based combat. You’re able to lift destructible space debris and even smaller enemies, and bombarding opponents with them. All of Galactic Glitch’s sci-fi shootouts take place in wibbly wobbly pockets of space. As you duck and weave around the environment, you’ll end up colliding with the edges of the map, whereupon you'll be bounced back into the center of the action like a wrestler springing off the ropes, ready to fight again. This makes combat feel hectic and emphasises offensive action. The compact arenas ensure that you can’t avoid your enemies forever, and the best way to stay safe is to confront danger head-on. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Galactic-Glitch--7-.jpg) Galactic Glitch. Source: Press Kit With a variety of different ships and weapons, there’s plenty of variance here to ensure that each run feels different from the last. All of these weapons are not created equal. The initial gun fires slowly and deals unimpressive damage. After unlocking several new guns, there’s a noticeable difference in power, and you’ll be taking on challengers far more effectively. Subsequent weapon unlocks continue escalating rapidly in power, leaving what came before in the dust. While the game’s more impactful weapons will satisfyingly cleave through swarms of enemies, it can make progression feel murky. After a successful run, it’s not always clear whether you’re developing skill and mastering the game, or you’ve achieved victory because you now have more powerful weapons loaded into your arsenal. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Galactic-Glitch--8-.jpg) Galactic Glitch. Source: Press Kit A roguelike can be made or broken by its boss battles. Fortunately, the bosses in Galactic Glitch have all the pulse-pounding difficulty that a bullet hell fan could ask for. There’s also a lot of variety amongst the bosses on offer. Multiple paths can be taken across the galaxy, allowing players to tactically tailor the bosses they choose to confront and the levels they enter based upon their current build. Fortunately, contrary to its name, Galactic Glitch doesn’t have any immediately evident bugs and runs seamlessly. There won’t be any frame drops or errors preventing you from shooting your way across space. ### **A Galactic Aesthetic** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Galactic-Glitch--12-.jpg) Galactic Glitch. Source: Press Kit Graphically, Galactic Glitch adopts the neon sheen of a laser hockey table. The brightly coloured explosions arcing across the foreground pleasingly contrast the muted shades of purple, blue, and black in the background. Crunchy Leaf has effectively captured its intended retro visual style; the game wouldn’t feel out of place installed alongside Galaga or Asteroids at an old mall arcade. The game’s luminous 1980s atmosphere is completed by its sound design. The tempo rises from subdued to blood-pumping as the action on screen escalates, and a satisfying burst of sound accompanies every laser blast. The only flaw in Galactic Glitch’s otherwise stellar presentation is that some rapid-fire weapons repeat the same sound effect every time they go off. This can become grating and throw off the rhythm of your attacks. This spacefaring tale has a minimalistic plot that features few characters, but enough to tell the story it’s here to tell. You are guided through cyberspace by Siren, a mysterious benefactor who clearly doesn’t have your best interests at heart. With time, you begin to learn more about Siren and her motivations, as well as the nature of the universe that you inhabit. ### **A Cosmic Conclusion** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Galactic-Glitch--14-.jpg) Galactic Glitch. Source: Press Kit Galactic Glitch is an explosive journey through a galaxy that’s as colourful as it is chaotic. You’ll be darting around danger, bouncing off walls, pelting enemies with asteroids, and kitting yourself out with a selection of increasingly devastating weapons. If you’re looking for a new action roguelike to keep your fingers busy during the long wait for Hades II's emergence from Early Access, then Galactic Glitch offers more than enough to keep you satisfied. Galactic Glitch is currently [available on Steam](https://store.steampowered.com/app/1536620/Galactic%5FGlitch/) for $14.99 or £12.99\. The game was reviewed using a key provided by the developer. ### Studying Game Design Through Empiricism URL: https://www.superjumpmagazine.com/studying-game-design-through-empiricism/ Last updated: 2025-09-06T20:04:53.000Z **There are armchair video game design critics everywhere.** Not only is video game design discussed regularly on social media through platforms like YouTube and Twitch, it's also now widely taught as a subject in universities around the world. You might be tempted to think that video game discourse has reached a level of maturity where game design analysis is a settled or exact science. It might be that I'm not actively searching for them, but I have yet to see someone discuss game design critically *without* basing their examination on their personal point of view. Importantly, I'm not suggesting that subjective critique of art is a problem; I'm pointing out that discussing games critically - especially when analyzing game design - is about far more than simply concluding a game is "good or bad". ## Does the past hold up? If you went on social media in 2024, it was common to hear people - especially content creators - suggest that there weren't any good games released or that they "miss the old days". This rear view mirror perspective, where we continuously anchor analysis to the past, can be a problem in my view. One of the common complaints about my own game design books is that I don't spend enough time analyzing games like Half-Life or Super Mario World. While there are certainly tentpole games that have large impacts on the industry, I think many of us are too wedded to the notion that game design progress is almost entirely centered on these releases. The more accurate analogy is that of throwing a rock into a pond; every ripple, large or small, leads to new designs and new subgenres. ![Adventurers in a side-scrolling game chat about the struggles of adulthood.](https://game-wisdom.com/wp-content/uploads/2025/02/20240726004122_1-1024x576.jpg) Games like Fallen Leaf are designed to emulate classic experiences, but avoid the pain points associated with them. Source: Author. A common trap for game designers is to think of the past as being a gospel for the future; that older games should be copied as close to 100% as possible in an effort to replicate that earlier success (or with the thought that developers totally got it right back then). But people tend to misunderstand or forget that these "classic" games were the *future* and *present* at some point in time. Super Mario World was to platformers what FTL, Darkest Dungeon, Balatro, and many more are to their respective genres today. One way to think about this differently is to consider that classic games are more like *benchmarks to be cleared* rather than *goalposts*. Wise developers who want to make games that echo the past will often go beyond those designs in some important respects (maybe the save system is fairer, or there is controller mapping, better onboarding, and so on). When I interview developers who have made "modern retro" titles, one of my favorite takeaways is that they often wanted to recreate a childhood experience but they also wanted to *iterate* on that original design so that someone who wasn't around in the late '80s or early '90s could appreciate the philosophy of the time but still have a highly enjoyable and playable experience with modern conveniences. Many classic games were - to be blunt - complete failures from the point of view of user experience design. I want to be clear that this isn't the fault of the original designers; it's just the nature of experiences created at a much earlier time in the industry when it hadn't yet matured to the extent it has now. Considering design decisions within this context is important, especially if we want to understand those decisions and their relative success/failure. ## Studying game design as a discipline I've been discussing this point for almost a decade now: there needs to be a formal appreciation and methodology for game design as its own unique discipline. Game *development* is different from game design; learning programming won't prepare you for designing a game's systems. The challenge from my point of view is that nobody has figured out a standard way of studying game design. Some might say you need to read books by experts, others might say you simply have to keep playing video games (or only play the 'best' ones). But both approaches have their downsides. Books are inherently bound to the time they are written and published; my first two game design books (on platformers and horror) already feel dated thanks to newer perspectives that were released afterwards. You can't just study what video games were like in a particular year or era, then go and replicate that experience expecting it to perform well today. I recall a conversation I had with [Rami Ismail](https://bsky.app/profile/ramiismail.com) where he explained how hard it is to give people advice about being successful in the industry, partly because it's impossible to predict which games will be successful in the future. If you try to simply remake a game that did well in the past - if you recreate all of the pieces that worked and release it today - it will likely fail. People have already played that game, why would they spend the money to play it again? And on that second point about simply playing more games...well, playing games day-in and day-out isn't the same as *examining them*. As I've mentioned many times in the past, I didn't really start to *study* games until 2012\. All the years playing games prior to that really meant nothing. This is why, when I play classic games today, I have newfound insight and appreciation for them that I really wouldn't have had when I played them originally. ![A character in an RPG powers up their weapon in a strange forest.](https://game-wisdom.com/wp-content/uploads/2025/02/20240219034556_1-1024x576.jpg) Being able to study design is about looking at all varieties of games and understanding the intent of the designer. Source: Author. More broadly, your ability to analyze game design is somewhat bound by the scope of your experience. In other words, you can't just play the games that everyone else is playing. Doing so will naturally give you a highly curated experience that will limit your game design vocabulary. I played over 1,000 games in 2024, including more than 200 that were released that same year. So, if you want to study game design - and study it effectively - you need to both understand the methodology and philosophy of a game genre and then examine how a game works within the definitions of said genre. Being able to see why a particular design did or didn't work in one example will help you to understand how those lessons can be applied to other games. With that said, let's shift focus slightly and discuss the difference between a *good game* and a *successful game*. ## What is a good game? When I examine a game, my goal is to figure out the developer's intent and whether or not the game's mechanics meet, exceed, or fail to meet that intent. This is why I sometimes express polarizing opinions when I study famous games; I can find something amazing in a game that everyone has written off, and I can find a huge problem in a game that everyone has declared as their own personal best of the year. ![A party of grimdark RPG characters in the menu.](https://game-wisdom.com/wp-content/uploads/2025/02/20230517044521_1-1024x576.jpg) A crucial aspect of game design analysis is being able to pick apart sequels to figure out what's new, what's the same, etc. Source: Author. This provides an advantage because I can get away from supplanting objective analysis of an experience for my own personal taste (i.e. whether I personally liked or disliked a game). This means I can sometimes wholeheartedly recommend a game that I personally hated and I can argue against games I loved. The ability to look at a game critically and objectively is something that many people claim to be able to do with some degree of expertise. But importantly, a critical analysis of games isn't just about looking back on an experience and assessing it. Rather, it enables you to start thinking about the next - and even more important - point. ## What is a successful game? As we've established, anyone can at least explain why they liked or didn't like a game. A good reviewer/critic can highlight why a game worked or didn't work in terms of designer intent. But one question that is often not discussed is whether or not a game actually *succeeded*. You might initially be inclined to doubt this, especially because sales numbers are discussed frequently. But let me drop a bombshell here: a universally-loved game that sold millions of copies *may still be considered a failure*. In other words, *copies sold does not measure the success of a game*. This may sound very counter-intuitive. After all, if a game sold millions of copies and was universally loved by hardcore fans...in what sense could it have *failed*? The key metric, in my view, is simple: *churn rate*. If a game sold 1 million copies but only 100,000 people played for more than 30 minutes, I can assure you that the next game by the same studio is unlikely to be another million-copy seller (or anywhere close). By contrast, if a game sold 10,000 copies but 9,000 of those players saw it through to the end, the developer is well-positioned to achieve greater success with their next project. Churn rate is a critical high-level metric, but how can we dig deeper from here? As a developer, it's important to try to understand the underlying causes of the churn rate. What is keeping players engaged? What's stopping them? Was there a major point in the experience where the game fell apart for a large proportion of players? Digging into these root cause questions in an impartial way is crucial for truly understanding which lessons to learn and how to apply them in your next game. ![A ghostly pirate ship sails through the sea.](https://game-wisdom.com/wp-content/uploads/2025/02/cursed-crew-1024x576.jpg) Mimimi Games sadly closed in 2024 despite having a breakout success, but struggled to grow and retain an audience from game to game. Source: Steam. The difference between a "good game" and a *successful* *game* is critical because only a successful game ensures continued growth for the studio (whether through expanding revenue, new fans, or ideally both). You might be producing good games that meet your own metrics for success (or that are critically acclaimed), but you'll be living on borrowed time if this doesn't translate into the kind of success that ensures sustainability and longevity. I've lost count of the number of studios, just from 2010 to 2020, that had one amazing game, but within a few years had been shuttered. ## Sustainability In the 2010s, I repeatedly discussed variance and RNG in terms of gameplay and replayability. In this decade, the new industry buzzword is "sustainability". Given the horrid year of layoffs and studio closures in 2024, sustainability is a more important factor for developers than ever before. From the outside, it's easy to view game design and development under the same high-pressure lens of other types of business: that is, it's all about that one product that will make millions for your company, so you do anything necessary to achieve that. But game design and studio health isn't about a single game, but rather, a portfolio of quality games that get people excited about what you're doing next. The failure of big business investors like Embracer Group was due, in part, to them treating game developers like any other business. Almost no studios alive today can create high-quality, hugely-profitable games in a guaranteed way year on year. Likewise, studios are not interchangeable; telling an RPG studio they must develop a reflex-driven, high-octane action game simply won't work. There's another element to this too: understanding how much investment should go into a single game. The 2010s was a period when many developers who entered the indie space focused on "the dream game". No matter how long it would take, and how much it would cost, the goal was to make *that one game*. Part of being sustainable in the industry is understanding that, as a solo dev or a small team, one game shouldn't consume the next 5-10 years of your life. Sustainability is therefore, at least in part, about knowing how much to invest in each single idea. ![Various game screenshots: a cyberpunk database, a masked character, characters firing at each other in midair, military men advancing on the player.](https://game-wisdom.com/wp-content/uploads/2025/02/ex-Strange-1024x576.png) Being sustainable is about understanding the kind of game you want to make and the scope and audience for it, and Strange Scaffold has been doing well in this regard. Source: Steam. You can theoretically throw an infinite amount of cash at a game concept, but at some point, you'll hit diminishing returns (and ensure that the game is unlikely to ever be profitable). Players generally want polished, memorable experiences they haven't seen before (this doesn't necessarily equate to a 500+ hour slog with every single mechanic and game system one could imagine). ## Looking ahead 2024 was a great year for finding new and exciting games to play, but it was a terrible year for game development as a business. I'm a broken record at this point, but I'm hoping we'll continue to see a growing movement around game dev unions, as well as raising the bar in relation to how we discuss and study game design as a discipline. Game development continues to be a mystery for many, and I think it's important to try to educate developers about the mistakes and issues that can arise before they start working on a project. Small game developers are often putting their lives on the line for these projects, and while it's valuable to "learn by doing", I think it's prudent to anticipate major risks and mitigate them as early as possible to improve chances of success. **If you enjoyed my piece and want to follow me,* [**I'm posting on Bluesky*](https://bsky.app/profile/gwbycer.bsky.social) *and you can find links to all my other works from there.* ### Spirittea: Ghosts and Hot Springs URL: https://www.superjumpmagazine.com/spirittea-ghosts-and-hot-springs/ Last updated: 2025-09-06T01:12:45.000Z I wrote about my [first impressions of Spirittea last year](https://www.superjumpmagazine.com/early-thoughts-on-spirittea/), really enjoying the experience and the soothing gameplay. Since that time, it has become my go-to game when I don't want to think about the world, though I'm more financially successful in the game than I am in real life. We run a bathhouse for spirits after moving into a house previously owned by a spirit manager. Spirits are much more reasonable when it comes to customer service than are real people. Having a cat mentor named Wonyan helps, as they assist us with the quest and the bathhouse. Our character came to this haunted town to write a book. Finding out we can run a bathhouse adds icing–and income–to that cake of a goal. We don't see the details, but apparently, we take inspiration from helping out our neighbors on different quests. In addition, we choose when to work on the book and tell the story, but the only way we make any progress is to go on these quests. I finished writing the book, thanks to rescuing a baby and stopping a boar from running me down in the tea fields. Wonyan took offense, saying that now I could take the bus to leave, but I don't want to leave. Even if I found out that we can stay in the town after the credits roll, seeing Wonyan so upset made my heart break. He's been a good mentor and friend. And Wonyan is right; more spirits around town need help. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-16.png) Source: Steam ## Spirit Hunting The more time that we spend in the bathhouse, the more often we get upgraded in Spirit Vision. That means we see more spirits around town harassing our neighbors. When we go on quests to help our neighbors and restore the spirits' memories, they become bathhouse customers. Helping is that when we make more renovations, we can entertain more customers and collect their earnings. Each good deed allows us to earn more revenue, which gives us more means of paying for bathhouse renovations. The renovations also pour money into the town's blacksmith, who always seems open for commissions. Cleaning away the dust from old tubs and passageways feels emotionally fulfilling, and we are benefiting everyone at the same time. Some of the quest mechanics have required some trial and error. The most recent one involved catching a tiny boar, but no matter how well I timed my butterfly net, the little spirit disguised as a territorial pig would knock me off my feet. In another case, I had to play hide and seek on a hiking trail. I had to get lucky identifying the statue that didn't belong after trying for several days, both in and out of the game. Mind, these quests were still fun; I wasn't streaming, but I was calling out, "Heeere pig pig pig, sueey" when hunting the boar. Though some were harder than others, and I swore the game glitched when I needed to win, I enjoyed discovering all these lost souls. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-17.png) Source: Steam. ## What About Wonyan? Wonyan has revealed a scary—and violent—side. When we find a lost spirit, he would rather whack them with a stick. Our character often tries to ask Wonyan to cool it since most of the spirits aren't malevolent. They got lost when people stopped dedicating time to their shrines. It's not like we can blame the townsfolk, however; most of them are going through their day. What reason do they have to believe in magic and spirits when they have bills to pay and families that rely on them? I wouldn't be able to believe in them if I were from a bustling urban city, either. We especially see the need for Wonyan's ruthlessness when lost spirits kidnap a baby. With his mother in tears, I immediately consulted the online game Wikipedia to find the little one. Wonyan took care of the spirits by eating the more threatening one—something that shocked me. He sent a message that they must not kidnap any babies, and given how fragile babies are, he is very right about that. I hadn't realized Wonyan took the "town guardian" part of his job seriously. Until then, he hadn't needed to do that. Wonyan cares about this town. He doesn't just miss the previous bathhouse caretaker or the money; he likes his neighbors. I hadn't seen that side of him before, and it's heartening. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-19.png) Source: Steam. ## A Bathhouse by the Stream Spirittea has certainly been a comfort this year. Being able to run a business with a fair profit and being able to renovate the bathhouse makes a difference in a post-capitalist hellscape. We may not have a Wonyan in real life, but we do have some people looking out for us. Those NPCs remind us that we matter. It's hard to look out for each other with rising cynicism and hurt. But we do it anyway, whether with steam in the bathhouse or retrieving a friend's phone. Be ### Now Playing at SUPERJUMP, Issue 34 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-34/ Last updated: 2025-09-04T21:29:27.000Z **We're back with a brand new Now Playing.** Since we last saw you, Gamescom brought some fresh game announcements, and excitement is rising for a busy fall for game releases. As everyone takes a breath before all that excitement, our team is playing their usual assortment of big titles and unique indies. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ## Alexander Joy ### Panzer Dragoon: Remake Finally, a game that answers the question, "What if your ship in Star Fox were ungainly and difficult to maneuver?" (I'm only half-kidding). I prefer aerial rail shooters where your aircraft *doesn't* control like a cinder block with wings, but I can respect how this seeming imprecision actually helps mimic the feeling of riding a living creature like your dragon instead of a piece of machinery like an Arwing. That said, I'm not sure how biologically conscious this game really is, since most of its stages involve laying waste to the local wildlife. Sure, they're attacking you, but *you're* the one invading their space! Other than these quirks, there's a lot to appreciate about PD:R. It's short and sweet, and far too easy for a SHMUP, but it's exquisitely crafted. The level design is a pronounced strength, offering well-timed breathers to allow taking in each level's lush, aesthetically appealing scenery. The dev team's love and respect for the original Panzer Dragoon are palpable throughout, too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-12.png) ****Pocky and Rocky Reshrined**. Source: Steam. ### Pocky and Rocky Reshrined I can't recall ever playing a game that forced you to *unlock* its two-player mode. And I really question the wisdom of gating that feature in a series celebrated for couch co-op. Might as well call it "Pocky *or* Rocky!" At least there's a push-button cheat available to open two-player right away: (enter the following d-pad sequence on the title screen to do so: LLLL RRRR LRLR LRLR.) That single bit of strangeness aside, Pocky and Rocky Reshrined is outstanding. It's a strategic run-and-gun with lots of surprises, and its five playable characters represent appreciably different weapon loadouts and tactics. The beautiful pixel art teems with life, channeling the most soulful titles of the 32-bit era, with the breathtaking background details of the second stage among the many high points. I'll be revisiting this one as frequently as the SNES original. ### Fumes This is vehicular combat for people who grew up with Halo instead of Twisted Metal and the like (the Vigilante 8-shaped hole in my heart therefore remains unfilled). The game's twin-stick driving/combat mechanics are chaotic in a way that I don't especially like (imagine manning a Halo Warthog's turret and steering wheel simultaneously), but the results manage to capture the same frenetic energy that powers the car battles in Mad Max films. Fumes isn't what I wanted, but I expect fans of shooters and racing games will find plenty to enjoy. ## Charlotte Huston ### Battlefield 6 Beta I've always been more of a casual fan of the Battlefield series, so I figure my thoughts are better placed here than in a full piece. That said, the game is fantastic. I was utterly floored by how good Battlefield 6 is so far, and I thoroughly enjoyed the Beta experience. I found myself logging on to it more than I thought I would across the two weekends, and genuinely couldn’t stop playing it. It simply feels so delightful to have a good Battlefield game once again, you know? DICE has always been talented at crafting these masterclass experiences of military immersion in the AAA space, but they really felt like they lost that over the last few games, namely Battlefield 2042 and Battlefield V. Both of those games significantly improved after launch, don’t get me wrong, but they weren’t necessarily what Battlefield fans wanted. The last game in the franchise I truly gelled with was Battlefield 1 (2016). Even if it wasn’t historically accurate, it was brilliant in terms of immersion and nailing the other aspects of the setting so well while also being so wonderful to play. Battlefield 6 returns to a modern military setting, finally, the first time it is doing so since Battlefield 4 in 2013\. The gunplay feels very quick and twitchy at times, but I think the TTK really works, and I found the weapon selection to be really intriguing. I particularly enjoyed using the AK-205, for I was surprised at how good the recoil was while also feeling satisfying to use. Sound design is excellent as always with Battlefield. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-14.png) Source: Electronic Arts. I do think the beta made a mistake with using three urban maps and only one large open map as its first impressions. The urban combat feels as immersive as you’d want it to be, though at times it tends to feel as if you’re getting shot from angles you don’t expect. Liberation Peak is the only open map in the beta where actual aircraft are able to be used, but the map ended up being a haven for snipers, which wasn’t so fun, especially in the Breakthrough mode. I believe a second open map would’ve given us a good idea on whether the sniper issue is a map-specific thing or a problem in general. Still, it was an excellent time. I was really happy to see the game blow up so much on social media, for it is an example of what the AAA FPS genre really needs right now, at least when it comes to multiplayer titles. At a time when it feels like Call of Duty is losing its identity and people are very disillusioned with it as the IP, I think Battlefield 6 has real potential to usurp Call of Duty’s throne for the first time. Battlefield has historically never outsold COD, though it came remarkably close in 2016 with Battlefield 1, the year Infinite Warfare really caused the COD faithful to question purchasing the game at all. We’ll see, of course, but I do think it’s something really interesting to keep an eye on. As someone who wants COD to be good, I really think they need to be humbled with something like Battlefield 6, a game that is absolutely ripe with potential to be fantastic as a shooter. I only hope it launches in a good state, so fingers crossed! ## Cat Webling I've gotten back into Stardew Valley (unsurprisingly), but this time, I'm playing with my child! My 9-year-old is very excited to learn all about the game, and with a decade of experience myself, I'm happy to show him the ropes and let him explore this world that I love. It's so fun to watch him discover everything from the characters to the map and the mechanics that I've started to take for granted; it's almost like playing for the first time all over again. What a joy it is to share the things I love with my son. ## Ben Cantrell I stumbled across Star Racer on my social feed and instantly had that “hold up, what is this?!” moment. A retro sci-fi combat racer with 16-bit pixel graphics, clearly riffing on SNES-era F-Zero? Oh yes. I bought it immediately on Steam, fired it up with a PS4 controller on my Mac (big shoutout for Mac support), and was hooked. I’ve always been a sucker for this genre. I grew up on F-Zero, graduated to the Wipeout series (still my all-time favourite), and sank hours into F-Zero 99 on Switch. So you could say I’m squarely in Star Racer’s target market. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-15.png) Star Racer. Source: Author. Lead developer Brennan Anderson is a former AAA dev and composer with credits at Riot Games and Disney. He cites F-Zero and Star Fox as his biggest influences, and the game feels like a hybrid of those two classics. It uses a mixed 2D/3D approach with vehicles and sprites straight out of the 16-bit era, while the tracks and flying sections model the polygonal style of Star Fox 64\. Like F-Zero and Wipeout, Star Racer has “air brakes” on the shoulder buttons, letting you strafe through corners for balancing speed and shields. Boosting drains energy, flying drains shields, weapons require limited energy pickups, and aerial segments let you soar through rings for extra speed. It's got that white-knuckle speed of F-Zero with the shields vs boost strategy of Wipeout 3\. Lead artist and comic-book veteran Maxim Mel gives the game an ‘80s comic vibe, which I absolutely love too, especially the colourful roster of characters (including an Aussie called Didgeri-Dingo). With unlockable vehicles, a track editor, and four-player local split-screen, there's a stack of replay value. I’m just secretly thrilled Star Racer runs so well on Mac, though I can’t help thinking it would be perfect on Switch. The easy-to-set-up four-player split-screen would be sublime on Nintendo’s console. This is a game that nods firmly to yesteryear’s classics while standing strong on its own merits. ## Nathaniel Kelly ### FINAL FANTASY Pixel Remaster This month I started and finished a game (wow!) Final Fantasy Pixel Remaster is a homage to the classic NES title that keeps close to its original form by forgetting that any extra content was added after its original release. Most people describe this as being a fun game to play for a while, to experience where the series came from. I came out of this game feeling more that I had played an upgraded tabletop RPG than a downgraded Final Fantasy game. The story did very little for me, although knowing the significance of Garland in later games made his character a bit more intriguing, even though he only says about 10 text boxes of dialogue through the whole game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Nate-Kelly-NPASJ-FF-Pixel-Remaster-3.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Nate-Kelly-NPASJ-FF-Pixel-Remaster-2-1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Nate-Kelly-NPASJ-FF-Pixel-Remaster-4.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Nate-Kelly-NPASJ-FF-Pixel-Remaster-1.jpg) The game offers this CRT filter and classic text option that I fell in love with. I wondered for a while, after about 15 hours of dungeon crawling, what made this game turn into the runaway success that it was. The easy answer, and why I was obsessed with this game from beginning to end, is the brilliant combination of Nobuo Uematsu and Yohitaka Amano. The awesome music and art take this game from being a mismatch of random monsters from the D&D Monster Manual next to swords named generic things like "Excalibur", to a unique experience that spawned an identity wholly its own. Anyways, the game is so good that I decided to pick up the PSP version to play on my lunch breaks so that I could experience the expansive endgame. It's phenomenal, and the Pixel Remaster is the best way for a new player to give it a try. Don't let people tell you this one is too old or not worth playing anymore; it's a great remaster of a great game. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Indie Monthly: August 2025 URL: https://www.superjumpmagazine.com/indie-monthly-august-2025/ Last updated: 2025-09-04T00:02:08.000Z **There was a particularly significant game release in August, one that was high-profile but still did not receive the attention that it deserved.** Many of you have not heard of OFF, which is a crying shame, as it is easily one of the most significant indie games ever. This little cult RPG from 2003 has influenced many other games, either directly or indirectly via its descendants. OFF certainly didn't create the concept of an "Earthbound-like," but it popularized the idea, established many of the tropes, and spread it beyond the tiny Earthbound fan community of the era. The rerelease of OFF is important, which is why it's the first game I'm featuring. August was a busy month, though, with no shortage of high-quality releases. I've said it before, but now I mean it: There's definitely something on here that you'll want to play next. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/OFFa.jpg) Source: Author. ## [OFF](https://store.steampowered.com/app/3339880/OFF/) OFF is a rerelease and remaster of the legendary 2003 indie RPG. It's the same strange, symbolism-laden story with a refined translation, improved combat system, and some new content. For those of you who've managed to miss it: OFF follows a nameless figure known only as the Batter, who is on a quest to purify his world of evil spirits. This leads him through a series of "Zones" occupied by neurotic beings called Elsen and ruled by petty tyrants called Guardians. This simple story quickly grows complicated, and by the end, it's not clear if the Batter is the good guy or what the Zones truly are. OFF's cryptic story is key to its enduring popularity, with two decades of interpretation and fan theories. The rerelease remains true to that story, fixing some localization errors but otherwise leaving the plot intact. Most of the substantial changes are behind the scenes. OFF was never known for its combat, and while the rerelease retains the simple retro-styled system, there are plenty of tweaks to make it a more enjoyable experience. Character stats are better balanced and easier to understand, and "competencies" - the player's special abilities - have been rearranged into a more sensible order such that a typical player will see more of them over the course of a standard game. A few of the longer areas even have new enemy types to make them less repetitive. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-10.png) Source: Steam. The most obvious and interesting combat tweak is how OFF handles its ATB (Active Time Battle) system. Enemy action bars are visible, which makes it easier for the player to plan things out. Criticals also have an added twist; when a character on either side rolls a critical, the action bar moves faster and features a visual flourish to distinguish it. This adds a small but potentially important tactical element to what's otherwise a simple system. I have to take a moment to mention the soundtrack, which was completely redone. The old soundtrack was a big part of the game's surrealism, and it's sad to watch it go. However, the new soundtrack is still exceptional. It's more listenable than the original while maintaining that same bizarre feel. Oh...and there are bonus bosses... lots of them. I'm not sure what else there is to say about OFF that hasn't been said hundreds of times before. If you've never played it, now's a great time to give it a spin. If you have played it, this is a great time to summon up memories of a wilder, more inventive time. [OFF](https://offtherpg.com/) is available for PC via [Steam](https://store.steampowered.com/app/3339880/OFF/) and for [Nintendo Switch](https://www.nintendo.com/us/store/products/off-switch/). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/FreshTracksA.jpg) Source: Author. ## [Fresh Tracks](https://store.steampowered.com/app/3202950/Fresh%5FTracks/) Fresh Tracks is a rhythm-action game with roguelike elements. It's a strange twist on some well-trod ground, but one that's greatly appreciated and ideal for newcomers. Norwyn is a land of music and adventure, with its legendary history captured in the Story-Songs of the divine beings known as Mythics. At least, this was true. Since Norwyn was conquered by Mar, the Mythic Queen of Terror, the songs have faded and lost their power. You are a lone warrior on an impossible quest to overthrow Mar. Your only hope is to rally the aid of the other Mythics and restore the power of Norwyn's music. Hard as it may be to believe at first glance, Fresh Tracks is a rhythm game. The player rides through each level on skis, dodging or destroying obstacles and fighting off enemies while collecting pickups used for short- and long-term upgrades. Everything is set to the beat of the music, with the player gaining bonuses for perfectly timed strikes and dodges. There's plenty of variety in the soundtrack, which shifts between electronic, metal, and orchestral tracks throughout the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-11.png) Source: Steam. The core gameplay is very arcade-like, requiring a combination of quick reflexes and fast judgment. Experience with rhythm games helps with the former, but even masters of the genre will need to adapt their skills. Fans of reflex-focused action games will probably have an easier time getting the hang of it, and Fresh Tracks could be seen as something of a gateway for rhythm games. There are some light roguelike elements in the game's layout; the long-term goal is to reach a series of "boss" areas - more difficult levels with much longer songs. Between bosses, the player faces a randomized selection of levels with different difficulty levels and bonuses. The main effect of the roguelike elements is to allow the player to set the challenge level. Fresh Tracks can be a hard game, but there are many options to adjust the difficulty up or down. Aside from offering levels at varying difficulties, the player's choice of Mythic - the divine storyteller that accompanies them - also affects the challenge. Mythics earned later in the game will modify earlier levels to make them harder, offering unlockable items as a reward. Overall, Fresh Tracks is a captivating game that does nearly everything well. As someone who's never been big on rhythm games but has played a lot of the more recent crop of music-oriented action games, this is a great entry point for anyone curious about the new generation of rhythm titles. [Fresh Tracks](https://www.buffalobuffalo.ca/games/freshtracks) is available for PC via Steam and for [PS5](https://store.playstation.com/en-us/concept/10013297). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/InkshadeA-1.jpg) Source: Author. ## [Inkshade](https://store.steampowered.com/app/3141310/Inkshade/) Inkshade is a roguelike built around a simple TRPG-like system. It is driven by story and atmosphere with a heavy focus on slow-building horror and the unknown. You have awakened in a strange building, seated before a shadowy multi-armed creature who expects you to play a game with him. Taking on the role of a sky captain, you are tasked with assembling the gear needed to reach a mysterious area known as the abyss. As you delve deeper into the game and explore your surroundings, it soon becomes clear that there's something more going on here, but your captor isn't eager to reveal much - at least not until the game is over. Let's get this out of the way right from the jump: Inkshade borrows a lot of aesthetic and design elements from Inscryption, including the general board game framing device, a faceless antagonist typically seen only as a pair of glowing eyes, and the ability to step back from the board and explore the environment freely. Where it differs is in the core gameplay, which is built around a simple tactical combat system. At the start of combat, the player chooses a set number of pieces randomly selected from the available stock. Combat is quite basic, with most of the units lacking any unusual attributes. Any player pieces that are defeated are gone for the duration of the run, but the player can also earn temporary pieces from winning fights or encountering certain events. Permanently available pieces can be upgraded between runs, which makes Inkshade play more like a conventional RPG than a roguelike. It's a functional system, though it can grow repetitive after a while. However, let's return to the aesthetics for a moment, as this is a definite strength. Both the game board and the surrounding building are highly detailed and interesting to explore, and the rooms beyond the board are full of puzzles and secrets. The sound design is a particular standout, with the hollow rattle of the game pieces having some real resonance. It all combines to create a subtle, pervasive sense of dread - horror built around uncertainty over what you're experiencing. Overall, Inkshade is well worth considering for horror aficionados, but roguelike fans might want to give it a pass. Inkshade is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/QuartetA.jpg) Source: Author. ## [Quartet](https://store.steampowered.com/app/1307960/Quartet/) Quartet is an old-school console-style RPG with a modernized combat system and a narrative that focuses heavily on its unusual setting. Quartet is the story of magic and how it affects the lives of four people - a chef, a minor noble, a soldier, and a shop assistant. Each of them comes from a different land with a different philosophical approach to magic, treating it as an everyday tool, a long-abandoned superstition, or a looming threat. Slowly, their individual stories converge upon a common point and a grand secret that unifies all of their societies. A disaster broke their world in the past, and they'll have to race to stop it from happening again. The game is a traditional JRPG using the staggered turn system that's now more or less standard to the genre. Combat mechanics are also typical, though there are a few quirks. There's a greater emphasis on special abilities, with all characters regenerating their mana automatically and each having an ability that accelerates that regeneration further. Regular attacks also have their own distinct elements, which is important as hitting weaknesses is particularly important here. There are lots of party members, though only two permanent members from each of the four introductory stories. After completing the intro sequence for each of the protagonists (which takes around 5-6 hours), the player will have an eight-person party with four active members at any given time. On any character's turn, the player can swap that character for an inactive member without giving up that turn. Inactive party members continue to regenerate mana, so swapping is key to taking full advantage of everyone's skills. Returning to the story, Quartet is something of a mixed bag. The characters are varied and distinct in their personalities and voices, and the setting - which is absolutely central to the plot - is a creative masterstroke. However, the science fantasy story also lends itself to an excess of expository dialogue, and the whole thing ends up coalescing around a World War II allegory that doesn't quite land. And the less said about the humorous sections, the better. Overall, Quartet is an old-school RPG meant for fans of the style. It's not going to change anyone's mind, but it's a great throwback all the same. [Quartet](https://quartetrpg.com/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/YarnGuardianA.jpg) Source: Author. ## [Yarn Guardians](https://store.steampowered.com/app/2928940/Yarn%5FGuardians/) Yarn Guardians is a twin-stick shooter with some Metroidvania-influenced design elements. It's a multiplayer-focused game that can be played solo, but is better with friends. Rudy is a winged cat enjoying an easygoing life until an army of rabbits attacks his peaceful home. Cleaning up after the skirmish, he learns that he's part of a lineage known as the Yarn Guardians, caretakers of arcane balls of yarn that won a war over the other species in ancient times. One of those enchanted yarn balls is in the house, and everyone wants to lay their paws on it. Thus begins a journey that will see Rudy traversing the land, meeting allies, and wresting control of the other yarn balls from assorted villains. While it's promoted as a Metroidvania, Yarn Guardians has only minimal exploration elements, being far more focused on combat. Most fights take place in large, open areas to take advantage of the main character's freedom of movement. The protagonist can fight with either a melee attack or by using one of the balls of yarn acquired through the story. These offer a range of offensive options, though using one repeatedly will run down its energy until it becomes unusable. Savvy players can switch between yarn types, allowing the low-energy ones to recover while continuing the fight. Yarn Guardians leans pretty heavily into its multiplayer options, particularly co-op. Rudy gets companions at certain story points, which can be controlled by another player. In single-player mode, the computer controls these companions and does a capable job in helping out with the more intense fights. However, it's pretty clear that this was designed more as a multiplayer experience, and you might want to bring a friend along if one is available. Overall, Yarn Guardians is a respectable twin-stick shooter distinguished mainly by its multiplayer and co-op. [Yarn Guardians](https://pentapaw-studios.com/) is available for PC via Steam and [EGS](https://store.epicgames.com/en-US/p/yarn-guardians-fdd020) and for [Nintendo Switch](https://www.nintendo.com/us/store/products/yarn-guardians-switch/). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/LnLa.jpg) Source: Author. ## [Luck & Loot](https://store.steampowered.com/app/3208110/Luck%5F%5FLoot/) Luck & Loot is a dice-based roguelike with a focus on customizing a small set of dice. As with most similar games, manipulating luck and mitigating risk are the key abilities. The player has four dice, which are rolled each round. The faces on these dice can include any standard deckbuilder skill types - damage, block, healing, and utility. There is no energy, and the player can play all four dice each round, though it is possible for a die to land on an empty side that does nothing. As with any dice-based game, learning how to control luck is necessary. The means of doing this in Luck & Loot are far simpler than in something like Astrea. Each turn, the player gets a set number of rerolls that can be used to selectively reroll any or all of the dice. The limits of this method require that the player also properly structure the dice. Each die is massively customizable. The player earns new skills that can be added to one side of a die or sacrificed to level up one of the dice, adding passive abilities. The only restrictions here are the number of faces and a capacity limit that stops the player from stacking powerful abilities on one die. Skills can be swapped around at any time outside of battle, but breaking the game is a lot harder in Luck & Loot than in many other deckbuilder-type games. The actual gameplay is straightforward, and there won't be too many surprises for veterans of the style. There aren't as many events or enemy types as in some similar games, which makes planning easier but can also make runs feel similar. Overall, Luck & Loot is a solid deckbuilder that is recommended to more experienced players due to the luck element and the difficulty curve in designing the dice. [Luck & Loot](https://smartcreative.cz/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/BossfightTacticsA.jpg) Source: Author. ## [Bossfight Tactics](https://store.steampowered.com/app/1635710/Bossfight%5FTactics/) Bossfight Tactics is a party-based strategy game that pits players against their own previous characters. It's a game with some interesting but frustrating twists on the usual tactical game. The player controls a three-character party with the objective of defeating or evading a series of enemy parties. Character actions are based on the equipment they carry, with each character having three to five slots. The player has a limited number of moves each turn, which can be distributed between the characters as desired. Enemies drop their gear upon being defeated, and a quick character can scoop it up, either to use or sell it to the merchant who trails the party at all times. Each run is divided into a series of acts, which, in turn, are broken down into individual fights. Upon defeating the boss party at the end of an act, the player's party is anointed as the new bosses for the following act. The player then gets a new party and must again fight through a series of lesser groups with the goal of defeating their own previous party. The game field in Bossfight Tactics is one-dimensional, much like in Shogun Showdown, but the addition of multiple player-controlled characters makes movement a far greater challenge here. There is no standard movement option - the only way to maneuver is by using items, some of which can be a bit gimmicky. This is easily the hardest aspect of the game, as getting characters into position to fight can demand a lot of logistical headaches while leaving party members exposed to danger. Overall, Bossfight Tactics has some interesting ideas, but the quirks in the combat system can be frustrating, and it's only recommended for advanced players seeking a serious challenge. Bossfight Tactics is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at the indie games that caught our attention in August! Be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Tommie Earl Jenkins + SUPERJUMP URL: https://www.superjumpmagazine.com/tommie-earl-jenkins-superjump/ Last updated: 2025-08-30T13:27:16.000Z **Big news, folks.** We're incredibly excited to announce the newest member of our team here at SUPERJUMP: None other than the legendary Tommie Earl Jenkins, who you may recognise as Die Hardman from the Death Stranding games. We have been working on a project for [our new YouTube channel](https://www.youtube.com/@superjumpmag) and we're absolutely thrilled that we can finally discuss it publicly. If you're curious, here's a preview: Source: YouTube. As always, we hope you enjoy our work and look forward to our new projects. If you could do all the things - [like, share, subscribe](https://www.youtube.com/@superjumpmag) \- we'd be most grateful, as this absolutely helps our shiny new YouTube channel to grow. We plan on more exciting collaborations like this in the future. If you're in the games industry and you'd like to work with us on a project, please feel free to [reach out to me directly](mailto: jb@superjumpmagazine.com). Oh, and if you'd like to support our work (*and* have your name mentioned in our YouTube video credits alongside folks like Tommie), please consider [becoming a Backer](https://www.superjumpmagazine.com/#/portal/signup/629b32d90048a0003dbfde9f/monthly). Thank you for your support. **SUPERJUMP Team** ### Sword of the Sea Is Pure Art URL: https://www.superjumpmagazine.com/sword-of-the-sea-is-pure-art/ Last updated: 2025-08-29T15:00:08.000Z **There aren’t any other media where we can quite experience something as profound as Sword of the Sea.** It is a form of beautiful art that we are lucky to call a piece of gaming. It exemplifies what makes gaming unique amongst other media, and why I love this medium so dearly. Sword of the Sea is one of these games, striving to be not just a game but an experience as well. Created by developer Giant Squid (who also created Abzûand The Pathless), it feels very much like a spiritual successor to both Journey and Abzû, but Sword of the Sea is worthy in its own right of being labeled as gaming art in its purest form. I cannot gush enough about how much I love games of this sort. Abzû and Journey were both gems in their own right, yet it feels as if the studio knew how to take this genre to new heights. These types of experiences aren't for everyone, as they do not set out to be video games first and foremost; rather, they seek to provide you with an artistic experience in the form of a game. There isn’t anything I can particularly say to sway those who do not gel with this type of game. That is also something Sword of the Sea really homes in on for me, the idea that our chosen hobby of gaming could be so varied and vast that an experience like this can coexist alongside things like Dark Souls, Mario, or Xenoblade, for instance. I want to express that primarily because I feel as if games such as Sword of the Sea are important. They’re proof of artistic expression in gaming as a whole, and I hope more indie developers and small studios will explore games like this. [Nomada Studio's Neva](https://store.steampowered.com/app/2420660/Neva/) comes to mind, as well as Giant Squid’s PS5 release window title, The Pathless, though I've yet to play that one. Journey, I have to add, wasn't made by Giant Squid, but the founder of the studio was the Art Director for Journey, and the music for both games was done by the incomparable Austin Wintory, so there is significant inspirational carryover between the two. It is clear they inherited much of Journey’s DNA while making Abzû, and subsequently, from both games while making Sword of the Sea. Hence why I must say in advance that I can’t help making comparisons, but know that it comes from a place of genuine love for all three games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/scmngv.jpg) Wraith, the main protagonist. Source: Press Kit As is the case with Abzû and Journey, Sword of the Sea features a silent protagonist called Wraith, and the game contains no dialogue whatsoever. You’ll find Wraith sets out on a journey upon his awakening to restore the ocean from a dry and arid desert. They’ll activate runestones that bring the oceans back into existence. Wraith travels by surfing on a sword, dashing through sand dunes, and more on his quest to restore the seas. There’s your general synopsis. I can do my best to describe the things you’ll see on Wraith’s journey, such as his eventual companion named The Wanderer, but no matter how much I put into writing about Sword of the Sea’s beautiful world, it wouldn’t do it justice. This is a game you must experience for yourself. The surfing controls very smoothly, much more than you might expect. It’s not too complex, as you merely use the left stick of your controller to move about, hitting a button to jump as needed as well. It is very oddly relaxing, more so than Journey or Abzû ever was. Journey was intent on creating a different experience, one that is more lonely and melancholy than its spiritual successors. Abzû’s water-bound controls were prone to veer off at times and became a bit stiff to use while turning. That is not the case with Sword of the Sea, as it handles beautifully for the most part. When tight jumps are needed, you’ll find the momentum of the surfing does occasionally cause some errors, but it nonetheless works great. Puzzles are placed intermittently throughout the game, though I use the term “puzzle” very loosely. The extent of these is merely surfing around or jumping with some light platforming to reach a runestone you’ll activate with the hit of a button. A few puzzles require you to carry a water bubble without popping it, which aren't hard to clear your way through either. I have to admit I was rather unenthused by the segments where you ride a sea creature, such as a dolphin, and ram into crystals to progress. This particular mechanic didn't feel great to play, though fortunately, these segments didn’t last long. I'm glad Sword of the Sea respects the player’s time, for much of this level design would’ve grown repetitive, despite the beautiful atmosphere, if the game were much longer. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-9.png) Source: Steam. I was also rather confused at the inclusion of a collectable currency in the game, much like the ones you’d find in retro 3D platformers. You’ll be able to invest these funds at merchants to unlock extra abilities for Wraith, but these abilities don’t really affect gameplay, for better or worse. For the better, this doesn’t force you to go around collecting currency in order to progress at all, but on the other hand these abilities then have to be optional. In a game where the controls are nothing more than surfing and jumping, what could these unlockable abilities really be? The ones I was able to grab were merely the ability to do mid-air tricks to increase your score. There are also timed challenges where you attempt to achieve a high score. I assume the score is tied to a Trophy or Achievement of some sort, but I couldn’t help wondering what the point was. Sword of the Sea felt like such a deliberately crafted artistic game that these “game-y” mechanics don’t really give the sense that they belong here. They unfortunately feel very tacked on, and I’m not entirely sure they needed to be in the game at all. I ignored them for the most part and still adored my time with Sword of the Sea. With the choice to feature no dialogue in the game, visual storytelling is left to carry the weight of the narrative. There is a tiny bit of written lore here, in the form of small stones with engravings you find throughout the journey, offering some vague droplets of background information. It’s a welcome shift from Giant Squid’s previous work, which was even more vague. I am of the mind that stories that don’t spell every little detail out are actually to the benefit of the overall narrative. However, I also believe there is a fine line to cross where you run the risk of being *too* vague. You want your player to come up with their own interpretations, but you also don’t want them coming away wondering what in the world your game was even about. Although Giant Squid’s previous work did not need written lore bits in my mind, they handle it well enough here by still keeping it vague to a point where it neither hurts nor harms the game from its inclusion, and helps build this world further. Structurally speaking, Sword of the Sea shares a lot with Giant Squid’s previous work. The protagonist proceeds on his journey until they inevitably hit a challenging threat that almost kills them, only to power through and take it head-on. I admit I was a bit disappointed to find that the game reused this structure, for it was what held Abzû back for me. However, Sword of the Sea has its own unique messaging and themes that help circumvent my disappointment from Abzû. No, it doesn’t reinvent the wheel, but it retools it just enough that it stands on its own in a way that still shines. I personally find Journey to be the most resonant game for me still; there was something about the lonely melancholy present throughout that title that was just hauntingly beautiful. Sword of the Sea captures some of that at times, and it is partly why I’d say it impressed me. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/scmngx.jpg) Sword of the Sea takes cues from Journey and Abzû for its art design. Source: Press Kit Of course, the visuals in general are stunningly beautiful; the sand dunes really pop, and feel as if you can run your hand across them to see the ripple effect while Wraith surfs over them. Fish that emerge and float around whenever parts of the sea are restored, and you can admire the sea life beneath the newly formed waves as well. The way the land pulsates and fluctuates really invokes the idea that the ocean is right beneath the land you’re surfing over. Even as you progress into more varied landscapes, snowy vistas here and magma there, you’ll notice the ground has the same effect. It fits the theme of the game, the ocean beneath the surface that has been conquered by the land above. The sound design is lovely, especially the music. Austin Wintory, you’ve done it again, you brilliant man. Renowned for his work as a composer on Journey as well as Abzû, Wintory is remarkably magnificent yet again here. The game's atmosphere is really built from this soundtrack, the music hitting those large swells you want it to in the right moments. Those times when you enter a vast landscape after surfing through a long section, admiring the beauty before you while the music crescendos; there’s nothing really like it. I was also surprised to hear the vocals in the music from a voice I actually recognize! Malukah does the vocals here, which is a name you may know from her gaming song covers on YouTube for games like Skyrim. She also very notably did several songs for the Call of Duty Zombies series, including the beloved “Where Are We Going”. I recognized her voice almost immediately and confirmed with a search that it was indeed her, so hearing her do more game work really made me smile. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/scmngw.jpg) Source: Press Kit Even with the joy I found in the game, I can't escape the sadness of how rough the games industry is right now. There’s a real possibility that other experiences like Sword of the Sea may not ever get made. [In an interview](https://twistedvoxel.com/sword-of-the-sea-director-says-playstation-plus-day-one-launch-saved-their-studio/), Matt Nava admitted as much. > “It has been rocky for sure, and there’s definitely been moments where we’re like, are we gonna make it, you know? But we’ve had some really fantastic partners over at PlayStation Indies program who believed in this project from the very beginning and when times got tough they came in and they saved us." While I'm happy PlayStation’s PS Plus program saved this game and its studio, I’m very disturbed that the world could be robbed of art like this due to the industry's continuing volatility. It’s incredibly heartbreaking to me that a game as beautiful as Sword of the Sea almost didn’t make it *out of the door* without a major publisher striking a deal with them. How many other games may not see the light of day without that type of backing? What would those games have been like? We'd never know. Please, I am imploring all of you reading this, give the game a shot on your own volition. Open your heart to this kind of experience if you haven’t tried this type of game before. It’s special in its own right, and I think gaming as a whole is much better when we have unique experiences like this. We need games where we can say, “I’m glad this exists. I’m happy someone made this. I hope they were at peace with what they put out into the world.” For me, it provides a very meditative experience that I really needed right now, so I felt an immense connection while playing. Sword of the Sea’s messaging is open to interpretation, of course, but I feel it resonates as commentary on climate change, especially on how our oceans are being neglected. This world you explore is devoid of life, but with every piece of ocean restored comes healing. This world can be healed so long as we fight to do so. There is so much beauty in the world that we’re losing over time. That doesn’t only stem from climate change, but perhaps in general as well. I brought this up even in my [review of Hypnospace Outlaw](https://www.superjumpmagazine.com/indie-review-roundup-part-2/), where I noted that even the internet itself has lost so much of its color and vibrancy since the 90s. The message behind Sword of the Sea isn’t the most complicated thing you’ll ever hear. It’s not complex or perhaps even thought-provoking. What it is, however, is something we all need to be reminded of, and that’s a more valuable message than any new release I've played in 2025\. It’s more valuable to people as a whole, a sobering reminder that we belong on this planet, regardless of how everlastingly ominous the future may appear. Sword of the Sea is a reminder of that, and I cannot recommend it enough. ### Dispatch Is Here To Save Superhero Storytelling URL: https://www.superjumpmagazine.com/dispatch-is-here-to-save-superhero-storytelling/ Last updated: 2025-08-28T00:22:18.000Z **I first saw the trailer for Dispatch when it auto-played on my second monitor, and just from that tiny snippet, I was enraptured.** This was quickly followed by a deep dive into "Dispatch" on Google, and I was hit by a three-punch combo that cemented it at the top of my most anticipated media list for 2025. **BIFF!** It's actually a game! From its gorgeous visuals and phenomenal voice acting, I had assumed it was a movie or TV show. **POW!** Not just any game, but a game made by a team of ex-Telltale Games executives and devs, now collectively known as [AdHoc Studio](https://www.adhocla.com/)! **WHAM!** The cast behind its vocal talents is eclectic and elite, featuring Hollywood and veteran voice actors, as well as YouTubers, musicians, and comedians! Source: Youtube Naturally, when Dispatch's playable demo dropped during Steam's Next Fest, I was on it faster than Batman's fists on white makeup. Despite this being their inaugural offering, AdHoc has come up with a tantalising audiovisual canapé that has re-stimulated my appetite for cape fiction after "[Superhero Fatigue](https://entertainmentstrategyguy.com/2025/02/12/is-super-hero-fatigue-real/)". ## The Super Narrative Straight away, we're introduced to our hero–or rather ex-hero–Robert Robertson. Formerly the crime-fighter Mecha-Man, he's reduced to a mere man again when his suit is destroyed in an epic duel. He's offered a path back to heroship by the Superhero Dispatch Center, who promise to rebuild his suit in return for a stint as an office worker (as if he wasn't depressed and despondent already). Sentenced to a cubicle, he's tasked with coordinating a team of ex-criminal supers; sending them to save kittens, put out fires, and most importantly, shaping them into a functional Superhero team. From the moment we get introduced to his team, their vivid personalities are on full display. The team's verbal duels and jibes reminded me of listening to casual conversation between party members in Baldur's Gate 3, a fan favourite feature of the award-winning game. The team riffs off each other so naturally, the chemistry and characterisation so strong, that I found myself compelled to replay the demo multiple times just to explore what other dialogue options were offered if I made different decisions. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/74A95B8C549BCDC.jpg) Source: Author Robert himself embodies the despondent veteran trope, and we're teased with the very beginning of his development. The classic foible of his archetype is that it can get annoying pretty quickly; there's a thin line between snarky comments and forced one-liners, and it takes a mature pen to draft it. Fortunately, the ones holding this pen worked on The Wolf Among Us, and remoulded Bigby Wolf from an unfeeling sociopath in the Fable comics into one of gaming's most beloved grouchy protagonists. Similar to Bigby and Snow, Robert's charm is unveiled through interactions with his supporting cast. In the few minutes we spend with Blonde Blazer and Chase, the embers of the camaraderie they once had still glow faintly. Watching Chase joke about resurrecting and then re-killing Robert's dad in front of him is somehow incredibly endearing, and really speaks to Adhoc's execution of the characters. The writing wouldn't be half as memorable, though, without the talented performances by their voice actors. Robert's exasperation is delivered viscerally by Aaron Paul, which, honestly, shouldn't be surprising for anyone who followed his tenure as the beaten-down Jesse Pinkman in Breaking Bad. Similarly, the stern gravitas of Jeffrey Wright's tenor imbues longtime dispatcher Chase with authority. Despite the big-name actors, the rest of the characters hold their own as we hear the familiar tones of Matt Mercer, Laura Bailey, Erin Yvette, and Alanah Pearce. AdHoc was busy pillaging the Critical Role staffroom for this game, it seems. The surprise performances for me were Charles White Jr., aka YouTuber MoistCritikal, who was responsible for the monotonous quirkiness in Man-Bat homage Sonar, and the Irish accent of my childhood, Jacksepticeye, as the moustached muscle Punch Up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/365B39-1.JPG) Source: Author The recruitment of Hollywood actors has actually been telegraphed for a while. In an [interview](https://variety.com/2019/gaming/news/adhoc-studio-telltale-ubisoft-1203128704/) with Variety back in 2019, the Adhoc founders hinted at their goal of innovating on Telltale's interactive narrative formula and integrating it with live-action mediums. > *“It feels like we’re at the precipice of a big shift in how we consume media where the lines between film, television and games are starting to blur,”- Pierre Shorette* Suddenly, mistaking Dispatch for a TV show seems like the highest compliment I could have paid it. The gorgeous visuals certainly helped, as the game looks the part of a big-budget Netflix production. The animations are smooth, gorgeous, and stylised, complementing the powerhouse vocal performances to create a very complete package. In the same interview, AdHoc also talked about how they wanted to push the boundaries of the format. They mentioned Netflix's interactive narrative "Black Mirror: Bandersnatch" as an inspiration, which allowed people in the real world to influence the in-game story. I'm curious to see if any other innovations made it into Dispatch, because while the demo has a narrative television serial feel, it hasn't hinted at much else in terms of technological innovation. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/39623E39969171D1.jpg) Source: Author ## The Desk Job Aside from innovating in form, the developers have also taken their subversive aspirations to the gameplay. Along with the classic cutscene and dialogue tree gameplay that have become synonymous with Telltale games, AdHoc has also introduced a worker management simulator. Surprisingly, it's one of the more engrossing ones I've played. As disasters pop up around the city, you delegate a team member or members to put things back together. They spend time to get there, fix it, return, and then have a cooldown before they can go out again. Each disaster requires different stats, which are usually thematically related, so it's pretty instinctive which team member is required for each mission. Rescuing a child's pet from a tree should require agility and charisma, so don't send the lumbering clay monster and scar young Billy for life. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/51CA18-1.JPG) Source: Author Doing missions also allows team members to level up, which creates some fun decision-making opportunities. Do you double down on your members' strengths so you have a team of specialists, or do you want to bolster their weaknesses for a squad of general operators? Team members even gain hidden perks after hitting certain levels, often involving their character or theme, which combines characterisation and gameplay in a fun way. The acerbic Invisigal, for example, unlocks a perk that allows her to be more efficient when deployed alone. It's this integration of character and gameplay that I think really sunk the game's hooks into me. Dispatch's gameplay is great, but it's elevated because the game does such a great job investing you into the characters. Some of the missions are centered around specific characters, and it gives you the choice to make decisions that may have narrative ramifications. I was forced to choose whether or not to let Sonar go on a mission that would involve one of his scientific idols, knowing full well my choice may trigger the infamous "... will remember that" tag. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/42F009-1.JPG) Source: Author All in all, the Dispatch demo doesn't feel like a first game. It's refined, mature, and knows its strengths. The trailer writes big cheques, but the demo has delivered so far. The gameplay is fun, the characters are engrossing, and there's so much potential for the cast to develop. Despite being a sliver of the completed game, it oozes a creative confidence that all but compels you to wishlist it. Dispatch is almost too good to be true for anyone who sorely misses Telltale-style storytelling, but I've been converted, and I'm preaching the good word that episodic storytelling is back, in Cape-fic form! We should've seen it coming, though, because nothing ever stays dead when it comes to superheroes. ### Aaero 2 Is Revitalizing a Lost Genre URL: https://www.superjumpmagazine.com/aaero-2-is-revitalizing-a-lost-genre/ Last updated: 2025-08-28T00:22:24.000Z **There was a time, not so long ago, when rhythm games reigned supreme.** Throughout the mid-2000s and into the early 2010s, entering the home of a gamer all but guaranteed that a lightweight, plastic guitar controller was stashed somewhere in that house, its colorful buttons worn down with use and love. Behind that guitar may have been a small, cheap drum set or even a horrible quality USB microphone with a game's branding etched into the front of it. Regardless of what console you owned or how often you played, the ability to plink around on Guitar Hero or Rock Band helped define a generation. They may not have been the first rhythm games to grace living rooms across the globe, but they were, without a doubt, the most popular. That surge in popularity had one major unintended consequence: oversaturation. [18 Guitar Hero games](https://en.wikipedia.org/wiki/Guitar%5FHero) and spinoffs, in addition to[ 12 Rock Band games](https://en.wikipedia.org/wiki/Rock%5FBand) and spinoffs, were released in a single decade. By the time the final Guitar Hero and Rock Band games were released, the veneer of fun, quirky rhythm party games had lost all of its shine, and genre fatigue led to the industry moving away from console rhythm games as a whole. Despite arcades consistently showing that there's still a market for these titles, the last ten years have seen very little success in the rhythm game genre. The market hasn't seen a true genre standout in years. The 2010s burnout on traditional rhythm games forced studios creating these experiences to branch out and redefine what a rhythm game could be. Games within the Cadence series used rhythmic timing as its core mechanic for everything from movement to combat. Games like METAL: Hellsinger smartly integrate the music into every encounter, forcing the game to become a heavy metal ballet. That ingenuity torch was passed seamlessly to Mad Fellows' [brilliant indie rhythm game Aaero 2](https://store.steampowered.com/app/3010090/Aaero2/). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-4.png) Source: Press Kit. The experience here is a bit difficult to pin down. It's an on-rails rhythm game that follows a spaceship as it flies through levels, navigating obstacles and shooting down enemies. While navigating the tunnel that serves as the level, streaks of light will appear around the outside of the tunnel, serving as guides for you to follow. This is all done to an absolutely phenomenal, pulse-pounding EDM soundtrack, featuring licensed tracks from artists like KUURO, Droptek, and MUZZ. Your ship tends to follow the lyrics, if there are any, and musical beats in the lyrics' stead. As you zoom around the tunnel, watching the pretty blue lines satisfyingly break against your ship's hull, enemies will occasionally fly onto the screen for a limited amount of time. You have two choices when taking out enemies: a machine gun, which is the safer option to deal chip damage in a steady stream of fire, or missiles, which require you to hold down the fire button and release it at the correct time. The closer you release them to the beat of the music, the more points you'll get. Enemy encounters can be sparse, but they're an excellent way to break up the standard rhythm gameplay, and they force you to split your brain into 3 different directions. Aaero 2 seems like a simple, fun time-waster on the surface, but some of the levels can be legitimately challenging and demand you pay attention if you want to get a good score. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-8.png) Source: Press Kit. Where Aaero 2 hits its biggest stride is when it's played in multiplayer. It can be played with up to two people, including a staple of rhythm games: couch co-op. One player controls the original blue ship, while the second player controls an identical orange ship. Songs are split into different parts, with one ship's guiding trails focused on the rhythms and melodies themselves, and the other ship focusing on the lyrics or opposing rhythms. While there can be some lulls for one person (more than once I found myself aimlessly rotating around the tunnel while my partner slammed her notes,) more often than not the blue and orange ship will float and dance around each other in a mesmerizing menagerie of sparks, bullets, missiles, active levels, and a pulse-pounding sound track. Aaero 2 does exactly what a rhythm game like this is supposed to do, putting you in a trance that itches that very specific part of your brain that loves to see everything come together. Pair it with a decent sound system or good, bass-heavy headphones, and you get a bona fide hidden gem in indie rhythm development. The only major drawback here is the game's short length. There aren't a ton of different tracks to choose from, but the vast majority of the music on offer are excellent and flawlessly fit the whole aesthetic of the game. EDM isn't even a music type that I lean towards, but thanks to Aaero 2, I now have a multitude of new artists who have found their way into my playlist rotations. Rhythm games are supposed to make you fall in love with the music they're supplying by hypnotizing you into a flow state that's unlike most other gaming experiences, and Aaero 2 nails that in pretty much every aspect. The game only costs $15 on Steam, so if you're into rhythm games and want another fantastic one to add to your collection, I can't recommend Aaero 2 more. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-7.png) Source: Press Kit. ### WordPlayer: The Drifter's Casual Aussie-ness Is a Delight URL: https://www.superjumpmagazine.com/wordplayer-the-drifters-casual-aussie-ness-is-a-delight/ Last updated: 2025-08-26T00:49:19.000Z **If you're a game fan in Australia - and there are millions of us! - then you know the rare thrill of hearing your country properly represented in a game.** The trill of region-appropriate magpie warbling birdsong; a casual "she'll be right" or "mate" at the end of a piece of dialogue; the choked roar of a shitbox 90s Ford Falcon. I knew that The Drifter was developed by an Australian team - the geniuses at Powerhoof, the team behind the excellent [Crawl](https://store.steampowered.com/app/293780/Crawl/?curator%5Fclanid=32968909) \- and that there would likely be a degree of Aussie-ness to it. Adrian Vaughan's performance as Mick, the poor unfortunate sod at the game's center, was iconic before the game arrived - a classic "your dad's mate" Aussie drawl, thick and deep and familiar. As it turns out, there are a few distinctly Australian accents in The Drifter, a game that is, just quietly, set Down Under, and they've endeared me to this game on a deeper level than I expected. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/202508-1.JPG) Source: Screenshot taken by author The Drifter is a pulpy point-and-click adventure title about Mick Carter, the eponymous drifter, who in the game's opening minutes becomes embroiled in a conspiracy involving time travel, a shadowy corporation, and a lot of personal pain. Actually, describing the core plot elements of The Drifter really undersells it - this is a marvellous game, full of great classic point-and-click puzzles held together by the sort of stretchy logic that the genre excels at and a plot that twists and turns in fun ways. It takes a great sci-fi turn, tinged with a bit of horror, and manages to juggle tones brilliantly. It's fantastic, and one of my favourite games of 2025 so far. But the thing that has delighted me most about The Drifter is its casual, but unmistakable, Australianness. I don't mean that in the sense of "this feels like a product of the Australian ecosystem", more in the sense of "this was made by Australians with a certain degree of love and attention." Vaughn's voice acting is a big part of it - he leans into the accent without exaggerating it, letting his natural ocker-ness come out in the odd "bloody oath". It's such an authentic and sincere performance, and I absolutely loved it. The closest thing you'll get to cultural cringe in The Drifter comes when one character describes themselves as "a few flies short of a dunny", but I think they basically get away with it. In fact, the clues that the game is set in Australia are largely contextual. Between the accents, occasional slang, the battered orange Datsun one character proudly drives, and the one moment in the game where you find a "waterlogged Twisties packet" on the side of the road, there's enough here to suggest a defined sense of place. Yet the city of The Drifter is entirely invented, and some of the iconography - box cars travelling through metropolitan areas, the newspaper box outside the paper's office - feels like it is there for the sake of pulp authenticity rather than *local* authenticity. The city map does not neatly match up to any city I've ever been in, and the specific locations you visit are all made up. The Australianess of the game is ambient in a way that you don't see very often. Mick certainly never looks at the Sydney Harbour Bridge and says "strewth, what a beaut" or anything like that. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-2.png) Source: The Drifter Steam page One location in the game, the Wunyerra Desert, isn't a real place, but the name has a nice ring to it. *Wunyerra* is, according to [this source](https://veryphotographic.com.au/the-native-tounge-a-valuable-vocabulary), an indigenous word from the Narangga tribe of lower Yorke Peninsula in South Australia, meaning "the Devil" - which speaks to the kind of trouble Mick gets into across the game. Meanwhile, a shadowy, monstrous force is referred to throughout the game as the "*malindji*", which I believe is a term for a representation of a deceased person's spirit. Australia has, historically, been quite bad at meaningfully embracing indigenous Aboriginal languages, and while The Drifter isn't exactly taking giant leaps by featuring two different words, it's still more than I'm used to seeing. Folks who recognise my name and vaguely remember getting angry at me in 2016 may be familiar with a piece I wrote for Vice back then about Forza Horizon 3 and its depiction of Australia, which I called "[a better Australia than Australians deserve](https://www.vice.com/en/article/forza-horizon-3-depicts-a-better-australia-than-australians-deserve-310-playground-games/)". I stand by that piece (and despite what I just said, a lot of readers did too, even if it was the really angry folks who flooded my inbox afterwards). Ever since writing this piece, whenever I really enjoy a game that depicts Australia, I find myself examining that thought with a little more scrutiny than I might have otherwise. What is it, exactly, that makes "Australianness" good in a game? The more I thought about it, the more I realised that one of the things I really like about The Drifter is how *incidentally* Australian it is. There's no sense of celebration, or national pride, or even that the game *needs* you to know that it's Australian. If you're really bad with accents and lack cultural context, you might not pick up on the setting. There are no kangaroos, no culturally appropriated boomerangs, no exoticism. No romanticism or sense that Australia is a weird mythic land where things are just *different*. You're in grimy urban environments, run-down cemeteries, and, later on, an underground lab that would fit right into a pulpy 90s sci-fi thriller. There's something about it that makes Australia feel more like a part of the larger world, as people understand it, rather than a strange, isolated island that does its own thing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-3.png) Source: The Drifter Steam page It's rare to have a story that feels so Australian, that does not necessarily make a big point out of *being* Australian. It's a game you could adapt into being set elsewhere easily, and I love that, because Australia simply isn't a *default* setting in games. If a game is set in Australia, it's usually baked into the game's fabric inextricably, and I kind of loved that this wasn't the case with The Drifter. This game could have been set elsewhere. But it's from an Australian team, with Australian actors, and it gets to be Australian without that feeling like the game's core identity. All of this speaks to me of a clarity in vision. The Drifter has a grounded setting, and it has an identity, and those two things are separate. This isn't rare in games, broadly speaking, but it's not something I'm used to seeing in Australia. So it's clear to me what needs to happen now: we need to cast Adrian Vaughan in all games going forward. The next Street Fighter character should be a guy who fixes washing machines on weekends for extra money. A party member in the next Final Fantasy should have the vibe of someone who can really handle their beer. The next Resident Evil could have a STARS soldier who you imagine helps his son's friends with their car troubles. Why not? ### The Wrong Way Up the Wyrm: What Sable Taught Me About Playing Differently URL: https://www.superjumpmagazine.com/the-wrong-way-up-the-wyrm-what-sable-taught-me-about-playing-differently/ Last updated: 2025-08-23T19:05:58.000Z **In the evolving landscape of interactive storytelling, Shedworks’ indie title Sable (2021) stands apart for its striking approach to narrative.** Described variously as a platformer, adventure title, puzzle game, and simply a cozy game, Sable sees players shaping the protagonist’s journey through her Gliding. This coming-of-age rite determines her very future, the role she will take in her world. The game is heavy on exploration, especially via hoverbike, and puzzles and quests are dotted throughout the fantastical landscape. There are many aspects of Sable worth praising, from its art style to the shoegaze soundtrack by Japanese Breakfast. In my time with the world, it’s the presentation of the narrative and the way Sable encourages players to form their own experience that stood out the most. ### Breaking the Mold: A Different Approach to Game Design Though there are many, many narrative games, some of the most successful narrative titles are linear, with a clearly defined beginning, middle, and end. Even open-world games, lauded for their apparent freedom of choice, routinely shepherd players through main quests and sequential storylines. Objectives are usually fixed, steering the player toward a predetermined conclusion. Sable defies these trends, marking a radical departure from gaming conventions. At first glance, Sable appears familiar. The pre-Gliding tutorial consists of fetch quests, puzzles, and a straightforward narrative arc. But after the prologue, the game reveals its true essence; Sable’s narrative becomes nonlinear, as meandering as the hoverbike journey itself. Your only “objective” during the Gliding is to choose a mask — a symbolic decision that defines the protagonist’s career and life path in this world. There’s no set order for earning masks, no quota to meet, and no ending tied to how many you collect. Whether you choose just one, gather all fifteen, or forgo the search to chase other collectibles, the choice is yours. This openness empowers players to shape not only their journey, but also its meaning and conclusion. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image-1.png) Source: Steam. My first encounter with Sable was met with equal parts curiosity and skepticism. Without a clear objective, I wondered: what was the point? That doubt quickly faded as I settled into the game’s unorthodox rhythm. Sable is less a traditional game than a meditative experience. At its heart, it’s about gliding through cel-shaded landscapes, guided only by your curiosity and a lo-fi soundtrack. While traditional gameplay elements like quests are available, they unfold at your own pace. This tranquil approach offers a refreshing departure from the objective-driven norms of most games. ### Imperfections in a Unique World Still, Sable doesn’t always execute its vision flawlessly. Technical hiccups — like lingering hoverbike trails and occasional soundtrack glitches — can momentarily break the game’s otherwise serene flow. These minor bugs were more distracting than deal-breaking. What stood out more were the limitations placed on certain in-game interactions. Consider this scene, for example: *I had been traveling for a while when I saw it. A hulking, towering shape. The Wyrm. It loomed high into the sky, dominating the landscape. Its presence produced a thousand questions. How did it get here? What is it? Is it dangerous? I approached it cautiously. As I drove closer, I noticed spiked-shaped objects protruding from its entire body. The objective seemed clear: I must climb this creature’s husk. I jumped onto the first platform, then one to my right, then the one after that. I kept climbing, edging sideways across and up the beast. I fell several times, once losing half of my progress. But I persevered, determined to reach the top. I finally made my way to the highest point I could access. The view was like the game itself — strangely beautiful, peaceful, and isolated. The cel-shaded land spread out before me. I spent a few moments simply taking it all in. Then I looked around, wondering if I was supposed to find a reward or perhaps an NPC. Nothing.* *It had taken me a while to ascend, so I decided not to descend before researching if there was something to discover. A quick Google search and — Oh. Ohhh. I had done the absolute incorrect thing. The *interior* of the Wyrm is a puzzle, one which grants a mask upon completion. Players are not expected to climb the exterior at all. I felt an acute sense of disappointment. Taking one last glance at the scenery, I stepped off the Wyrm and floated slowly towards the ground.* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/ss_e13b29d28b0342943b3ba93d49ddbb86c22d3678.jpg) Source: Steam In the above example, one could argue that I *was* rewarded by the lovely view and didn’t need an official payoff. However, I had spent quite a lot of time climbing the Wyrm, and I was dissatisfied with the result. The Wyrm was one of several instances where Sable’s design clashed with my gamer instinct, revealing a fundamental disconnect between the way I had learned to play games and the way Sable is designed. ### The Gamer Instinct and Sable’s Aberrations Moments like my ill-fated Wyrm climb didn’t just frustrate me — they revealed how deeply my expectations had been shaped by other games. I’ve developed a “gamer instinct” based on prior knowledge of completing narrative and adventure games. Years of playing titles with tightly designed reward loops, clear markers, and immediate feedback had trained me to read environments in a specific way: large structure = boss, or puzzle = reward. So I climbed the Wyrm. But Sable (usually) doesn’t follow that script. Its world isn’t built to funnel you toward a payoff at every turn. Sometimes, things exist just to be looked at or explored. There are many striking areas in the game that offer no puzzles, no objectives, and no tangible rewards. Sable continuously undermined my gamer instinct — yet at some points, it fell into the same trap of gaming conventions. While the outside of the Wyrm provided no reward, the inside did, and the designers had clearly been expecting players to read the Wyrm in a certain way, one that was just slightly different from my own instinct, as it so happens. And that’s exactly why the Wyrm incident was so frustrating. It could have been a brilliant subversion of gamer instincts — where a player works for something with intrinsic value (a breathtaking view) but no in-game benefit. Instead, Sable did follow conventional logic, offering a puzzle and a reward — but only if players entered the Wyrm the “correct” way. In a game that had continually challenged me to play differently, this moment felt like a retreat into tradition. At times, I found Sable’s inclusion of puzzles as a whole a little vexing. They felt at odds with a game so focused on freedom, exploration, and choice. Most of Sable’s puzzles had a single intended solution, which clashed with the broader invitation to play however you like. While puzzles add depth and intrigue to the gameplay loop, I wonder if Sable would have benefited from being a walking sim — or in this case, a hoverbike sim. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/ss_dbe1b07f58393b56c20e9ac031442e1e161fa989.jpg) Source: Steam ### A Few Concluding Thoughts While it isn’t perfect, Sable’s approach to game design and narrative is unique and deserves attention. Sable is more than a beautiful game — it’s a provocation. It asks players to unlearn the instincts shaped by decades of objective-driven design. It’s not always comfortable for the player. Sometimes, it leads you up the wrong path — literally, in my case. And sometimes, Sable itself seems to forget its own philosophy, falling back on traditional mechanics. But despite these moments of friction, Sable is doing something bold and commendable: inviting players to value the journey over the reward, the detour over the destination. In a gaming landscape crowded with markers, missions, and minimaps, Sable dares to say: do it your way*.* For me, even the wrong way up the Wyrm became part of the story — not a failure, but a moment of strange, unexpected beauty. Sable serves as a reminder that games don’t need clear endings or constant rewards to be meaningful. Its design is not just a challenge to gamer instincts, it’s an invitation to outgrow them. With more polish and confidence, the next wave of games could go even further, crafting stories that don’t hinge on goals and worlds that reward wonder over completion. I look forward to playing those games — and getting lost along the way. ### Here's Why Clair Obscur: Expedition 33 Has the Secret Sauce URL: https://www.superjumpmagazine.com/heres-why-clair-obscur-expedition-33-has-the-secret-sauce/ Last updated: 2025-08-22T00:49:35.000Z **To call it *greater than the sum of its parts* is, well, not just trite and boring, but also inaccurate somehow.** Clair Obscur: Expedition 33is a very good game. A Game of the Year contender, surely. An all-timer, even. But great games are released with some frequency. This year has been a treasure trove already, featuring the likes of Blue Prince, Mario Kart: World, Monster Hunter: Wilds, Split Fiction, and Kingdom Come: Deliverance II,to name but a few*.* Yet,Clair Obscur: Expedition 33 feels different — stronger and more well-liked than most. If there’s a Game of the Year frontrunner at the time of writing, it’s certainly this one. So, what is it about the game (which I will now refer to as just Clair Obscur) that has players reacting with such fanaticism? Yes, its gameplay is fun and satisfying. Its story is impactful and emotional. Its characters are well-realized and expertly crafted. Its worldbuilding and lore are fantastical and interesting. All the above and more are done with expertise, confidence and excellence. Yet I’d still argue that there are a handful of games released each year of which you could say something similar. Why does this one feel different? ![The remaining expeditioners of expedition 33 in Clair Obscure: Expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_9e050e6a61a4d9f4fe54bc62c8c73.jpg) Source: Steam When discussing the 2025 masterpiece from Sandfall Interactive, many will cite all of what I’ve listed above as what makes it feel special. But that’s only because they can’t put their finger on what’s actually so special about it — they can only *feel* it. Clair Obscur’ssecret sauce is baked deeper — deeper,I say — into every facet of its being than you’ve even realized. *Clair Obscur’s secret sauce is that it is cohesive.* And so, let's peel back the layers so you can *see* what you’ve been *feeling* since you first stepped into Lumiere. Clair Obscuris cohesive in a way that few other games manage. It is cohesive in a way that makes *cohesive* feel like an understatement. Every inch of its visuals, audio, gameplay, mechanics, themes and narrative are in synchronized lockstep from hour 1 to hour 100\. The game feels less like a multidimensional wonder of programming and playtesting and more like a living organism of which every cell in its being is centered on one, overarching purpose. ![Lune attacks a Nevron in Clair Obscure: Expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_49ba857fef972f2584e41fa0b46cd.jpg) Source: Steam Players don’t notice it because it is so natural. It happens so effortlessly, unfolds so realistically. But these descriptors — natural, effortless, realistic — are not building blocks set in place by genius game developers; they are intrinsic consequences tied to the game’s cohesive nature. The purpose that Clair Obscur’scohesion serves is what so many will take away as their favorite and most important memory — its story. Clair Obscurflexes its structuring by ensuring that every aspect serves the larger narrative: the story of the Dessendre family’s grief. If you’re paying attention, you can find the Dessendre’s story, their weaknesses, their affinities, and more in the most surprising of places. ### Clair ObscurPaints a Pretty Portrait ![Maelle and Gustav explore the flying waters in Clair Obscur: Expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/2025-07-21-17_12_06-Media.png) Source: [Expedition 33 Official Website](https://www.expedition33.com/media) --- > Clair Obscurdoesn’t really hide anything in its story from you. It just doesn’t tell you what to look for. --- Every one of its locales is gorgeous , a blended concoction of the most imaginary and vivid colors, scenarios, and atmospheres. They run the gamut from dense, quasi-submerged coral forests and floating city rubble, to scattered, illuminated Victorian streets. Visually, the clarity slider is turned up to the maximum, creating a surreal, art-nouveau-styled fantasy, akin to something you might see in a painting... because you *are* in a painting, after all. No wonder Lune stands at the ready in combat with a weapon so eerily similar to a painter’s palette at her side. In fact, she’s actually at her most powerful when she places colored ̶s̶t̶a̶i̶n̶s̶ drops of ink onto her palette and then blends their colors in one, glorious attack. It was there all along, you see. Sewn into the fabrics of the very environments you were existing in, walking upon, and exploring – but it is also in the tools you used to fight in them. Clair Obscurdoesn’t really hide anything in its story from you. It just doesn’t tell you what to look for. Astute observers of the many hidden Manor rooms might note that each child of the Dessendre family has a creative tool in their room ; Verso’s room features a piano, Clea’s holds her sculptures and figurines, while Maelle’s is home to a solitary typewriter surrounded by shelves upon shelves of books. When the reveal of the external Writers vs Painters conflict arrives, players can connect the dots — Maelle was a ripe target for the Writers to bamboozle because of her affinity for reading and writing. But what if I told you that you could’ve figured that out well before arriving at her hidden Manor room? Have you ever paid attention to Maelle’s *Stendhal* skill? Did you give it a Google search? ![Maelle attacks in Clair Obscur: Expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_8439c07d7b1f2fcfc6449db5f051f.jpg) Source: Steam The name Stendhal stems from the pen name of a 17th century literary writer***,*** Marie-Henri Beyle. This, of course, alludes to us of Maelle's association with reading and writing, but we can also choose to go as deep with it as we want. Stendhal’s works often centered around [realism](https://medium.com/@TheBlaringBlue/dualities-contrast-pragmatism-in-clair-obscur-expedition-33-3e1b218a581d), which is how we can describe Renoir’s and Clea’s attitudes towards the canvas; they are attempting to steer their family towards embracing reality, not dwelling in fantasy. Furthermore, Stendhal’s most famous pair of novels — The Red and the Black — feature a protagonist whose passions betray him. Not unlike Maelle’s seem to betray her. Note also that Clair Obscur uses the color red to ascertain life, while black is most often found associated with the Void, or death. Indeed, it is not just Maelle’s writing affinity that is quietly revealed to us via her skill tree and battle mechanics, but also the pains of her past. Aside from the lightning damage caused by the Gustav’s Homage skill, the only elemental damage that Maelle can do with her abilities is fire damage. Many of them cause burns on the enemy. Many of them are enhanced when attacking a burnt foe ; take Swift Stride, for example, whose after-usage effect switches Maelle to her most powerful Virtuose Stance only upon colliding with a burned enemy. It’s one of the few ways you can actually enter Virtuose stance — via a burn. And it doesn’t end with Maelle. ![Sciel begins to attack in Clair Obscur: Expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_0902af724ac45a9093dee022a7893.jpg) Source: Steam Sciel makes use of skills with “harvest” in their name and fights with a scythe. For the majority of the game, we shrug our shoulders and tell ourselves it’s because Clair Obscur is a fantasy game, and scythes look cool. But that turns out to be misguided logic. Deep into her optional relationship conversations, we find that she was literally a farmer in Lumiere. Let’s look at Sciel a little more. Our fortune-reading farmer is almost inhumanly optimistic throughout the campaign, remaining undeterred and “sunny” even in the face of her impending gommage. Yet she hides what is arguably the darkest past of any of the cast. This is mirrored mechanically in combat, where she’s only at her strongest when light and dark collide, when she accepts both aspects of herself. Meanwhile, Verso’s abilities are often sacrificial in nature — hinting at the ultimate sacrifice he paid to save his sister in the fire. Skills like Burden, Leadership and Defiant Strike either strip him of health, strip him of rank, or apply a negative status effect, all while offering benefits and bonuses to his allies instead. Let’s not ignore the rest of his skill tree, either: - From Fire overtly hints at Verso’s manner of death with just its name - Paradigm Shift could be interpreted as alluding to the Act II reveal, in which players must flip their perspective of the world after realizing it is all a “fake” painted universe - Angel’s Eyes is a skill that grants a revival bonus, only coming into effect when Verso dies - End Bringer might be a hint towards Verso’s ultimate objective of ending life in the canvas And how could we conclude this breakdown without mentioning Monoco? ![Monoco sits in Clair Obscur: Expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/2025-07-21-17_12_55-Media.png) Source: [Expedition 33 Official Website](https://www.expedition33.com/media) Inside the canvas, the oddly-articulate gestral fights with a ***stick***, collecting ***bones*** to earn his power ups. Outside the canvas, we find the family pet resting by the fire — a dog named Monoco. What follows is nothing but conjecture, and maybe I’m reading *way* too far into things, but… I’d wager Real Monoco likes to chew on bones and play with sticks. When you find a new weapon in Clair Obscur, you don’t find "generic bronze sword number 233" like you might in Generic Open World RPG: The Video Game. You find weapons that suggest Verso’s death, like Abysseram and Corpeso, or that imply his inversion of Gustav, like Dualiso. You unlock Stendhal on the skill tree and have something important and plot-relevant about Maelle revealed to you subtly. It’s all there. It always has been. ### Clair Obscur Has Prescient Lyricism It doesn’t stop at the gameplay, either. Clair Obscur’smusic hums in all the same harmonies that we’ve examined thus far. One need only look at the lyrics to the tunes that guide our journey to see the evidence. ![Lune strums some tunes in Clair Obscur: Expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/2025-07-21-17_14_48-Media.png) Source: [Expedition 33 Official Website](https://www.expedition33.com/media) Take [Une vie à t’aimer, ](https://www.youtube.com/watch?v=oMWiqElIUK8&ab%5Fchannel=AngSai)which features Renoir and Aline quite literally talking to each other. > Aline: Arrete de m’aimer (Stop loving me) > Renoir: Je t’aimerai roujours (I will always love you) > Lache ce pinceau, quitte cette toile (drop this brush, leave this canvas) > Aline: Je peindrai toujours (I will always paint) I’ll have to cut myself short; I could put every lyric of this song in this article , as it’s a painstaking and heartfelt window to Aline’s soul whose instruments fall and crescendo along with her passions and grief. Instead, we could look at [Lumière s’éteint](https://www.youtube.com/watch?v=eMbMip7lsXA&ab%5Fchannel=FateAwaits), the slam-poésie (slam poetry) spoken word ballad that interrupts your curiosity at White Sands. This song describes the gommage. > Les petals d’iris envahissent les rues du jour decrinant / muet complices du clair obscure vacille, nuance de chagrin / ils dansant autour des heures littorales, eclipses, florals,Iris petals invade the streets of the waning day / A drifting haze of trembling chiaroscuro / Shades of sorrow dance around the shore-bound hours / A floral eclipse / Lumière fades Even the dim dim das of [Lumière](https://www.youtube.com/watch?v=t0nPyX%5FMwVo) feature hidden meaning when heard in your native tongue, describing the effects of the fracture and the nature of the world itself. > Clair-Obscur, trouble de rature courbera Eiffel / Chiaroscuro, a blurred erasure will bend the Eiffel’s spine > Clair-Obscur, guardeo peinture, trouvera sans elle / Chiaroscuro, I watch over the painting, yet find it on my own ![Esquie flies over the continent in Clair Obscur: Expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/2025-07-21-17_12_29-Media.png) Source: [Expedition 33 Official Website](https://www.expedition33.com/media) --- > He didn’t create hype music for the exciting parts and sad music for the grief-stricken parts. He delved into the essence of the writing and characters and built something around that framework. --- Lastly, in the Prologue when the gommage arrives, the track that plays over the scene is Renoir’s theme — because, of course, Renoir is *really* the one bringing the gommage. It’s no wonder this aspect of the game leans so heavily into the story — just listen to the game’s lead composer, Lorien Testard, [describe how he works](https://www.youtube.com/watch?v=mXLOLgC2V2Q). > “We looked for a really long time at character concept art and the script. I built my vision of these characters and then started building the song … I spent a lot of time to be in front of the concept art and let ideas come. Sometimes I compose with the art on my second screen and I see the song in my mind.” He didn’t create hype music for the exciting parts and sad music for the grief-stricken parts. He delved into the essence of the writing and characters and built something around that framework. Thus, he captured the story in his audio. You don’t always see these things outright on your first playthrough, but you can feel them culminating in the background as the narrative builds. ### The Team Behind the Scenes This comes directly from the developers, from a group of people who were in sync from day one and never faltered. ![the development team at sandfall interactive ](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Sandfall-Interactive.jpg) Source: [Sandfall Interactive Official Website](https://www.sandfall.co/) This isn’t a combat design team that worked separately from the narrative team, who also worked separately from the RPG mechanics team. No one was siloed, blocked off by layers of bureaucracy and management. This is a studio that worked as one, in complete and total unison, all aligned on one goal — to tell the story of the Dessendre family’s grief in every aspect of the medium that was available to them. To use the art form to create art. As a result, Clair Obscuris complete. The entire game is in sync with itself. From the environmental design to the music to the gameplay, every segment of the team used their place in the development cycle to support the mission. No aspect of Clair Obscur lacks the game’s narrative unity. Many games can boast the vague accolade of being *more than the sum of their parts.* But few have the secret sauce*.* Few have that special something, that extra 5%, that elevates them to an untouchable status of game design excellence. For something like Bloodborne, you could point to its atmosphere. For The Elder Scrolls you could mention the game’s lore and worldbuilding. For God of War, we point to the brilliant, human narrative between father and son. ![maelle in clair obscur: expedition 33](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_c130295c9e1169dc0c63eaae0618e.jpg) Source: Steam For Clair Obscur, it is less tangible. It’s an interconnectedness, a oneness that drives everything it does. It is in the game’s cohesion that it achieves greatness, in its harmonies that it truly sings, and in its complementariness that it paints. ### Elden Ring Nightreign Is a Step Towards Even Better FromSoftware Games URL: https://www.superjumpmagazine.com/elden-ring-nightreign-is-a-step-towards-even-better-fromsoftware-games/ Last updated: 2025-09-14T06:50:44.000Z **Nightreign is a good game, but its biggest contribution to FromSoftware will be what it does for future titles.** In Elden Ring Nightreign, FromSoftware is following a formula that has worked before. Nightreign’s director, Junya Ishizaki, is tackling that role for the first time. Hidetaka Miyazaki, FromSoftware’s renowned leader, wants others to learn and experiment, just as he did. When Miyazaki made Demon’s Souls, he was given the reins to experiment because the company already viewed the game as a failure. Witn Nightreign, he wanted Ishizaki to have the same freedom to experiment. The game is practically concept art, and I mean that in the best possible way, because it can be used to inspire future FromSoftware titles. Innovation is important. Even the best products need to innovate in some way to put out a new, better product. That is just as true with video games as it is for many other industries. While nostalgia is a powerful tool, innovation will take a game further than nostalgia alone. There is a reason why Elden Ring was such a massive success. It is not Dark Souls repackaged, even if it was built on the Souls formula. While all of the Soulsborne games are beloved, no one would be happy to see FromSoftware release a new game that feels as clunky as Dark Souls or Demon’s Souls did. Elden Ring increased the pace, which has been a consistent trend since Dark Souls, and became the developer's first truly open-world Souls game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/ELDENRING_05_4K.jpg) Source: Bandai Namco But Nightreign brings into focus some of the flaws from Elden Ring, those that make the game's combat (and that 0f the Souls trilogy too) less than ideal. Sekiro (and Bloodborne to a lesser extent) is the exception that has more fluid combat, although Sekiro is the obvious outlier amongst the FromSoft catalog in terms of gameplay. You can only play as Wolf, the main character, and he has one weapon that cannot be changed throughout the game. That meant the studio was able to optimize combat in a way that is not possible for a game with hundreds of weapon choices. Nightreign is optimized for combat in a different way than Sekiro, increasing the pace significantly as compared to Elden Ring, and incorporating some changes from which future games could greatly benefit. In my opinion, the most obvious example is the ability to scale walls. Elden Ring navigated this in the open world by giving Torrent a double jump ability. But the player character is unable to climb anything higher than their shin without Torrent’s help. I do not believe that climbing in Elden Ring is necessary to the extent that it is in Nightreign, but some verticality would make a huge difference. If FromSoftware wants to continue creating open-world games, climbing is almost a must-have. I would not ask for something as extensive as you see in the Horizon games or Ghost of Tsushima, for example, but something akin to Dragon’s Dogma 2, where you can climb small ledges and boulders, would be a significant quality-of-life improvement for an open-world title. Other small mechanics that feel good in Nightreign include the burst sprint, using the map while moving, and applying weapon grease to any weapon. Burst sprint would be a good alternative to a mount while in the open world, even if it were disabled inside legacy dungeons. I never thought anything was wrong with the map function in Elden Ring until I played Nightreign and experienced how fluid it is to use the map while moving. Even though Elden Ring is a slower game, since going back after Nightreign, I find myself wanting to be able to move while using the map. On a similar note, I have always found it annoying how the map is disabled in Elden Ring if an enemy is aggroed. I would like to find the best direction to run away, and if I get attacked while looking at the map, I have no one to blame but myself. It is another mechanic built for the open world rather than for legacy dungeons, but they would do well to consider adding it to future titles. Regarding weapon grease, there is no reason why Elden Ring limits its use so much. Why can’t I buff my Cinquedea with grease? It does not do elemental damage natively, but because it is upgraded with somber smithing stones, you cannot add an element with grease. It does not make sense. Having grease available for any weapon, or at least expanding its use to all non-elemental weapons, would not be game-breaking. It would be one less point of friction for players, which is not bad. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Map-While-Running.png) Source: Author Another mechanic from Nightreign that is worth exploring further is the class system. I might be a bit biased because Sekiro is my favorite of FromSoftware’s “Souls” catalog, but a game with multiple static and defined classes has great potential. They showed their skill in character-building with Nightreign, and Sekiro showed their ability to build skill trees for a character. It is a system that Dragon’s Dogma utilizes well, and it would be exciting to see FromSoftware experiment more in that regard. With this option, they would be venturing further out from the traditional “Souls” formula, but if it works, people will play it. Building from the class system, in a way, is the idea of how stories are told. Storytelling through item descriptions should not be eliminated, but it does not mean that they cannot add to what they do well. Considering Nightreign's focus on hyper-intense, replayable, and unique 40-minute runs, I (wrongly) assumed that the story would be shallow and not worth the time. While some remembrances are better than others, Nightreign does a surprisingly good job of story-building for each of its characters. The most memorable remembrance for me, as is probably the case for most people, was Revenant’s. It would fit perfectly within a horror game. Her final cutscene was emotional, brutal, and sad. I have a hard time with horror, but I found myself wanting more Revenant lore. We rarely see this kind of storytelling from FromSoftware. While the typical text-heavy and minimal cutscene approach in Souls games has its own appeal, cutscene-driven storytelling is more visceral and harder to ignore. As popular as Elden Ring is, it is likely that a vast majority of people who have played it do not understand what is going on. Barrier to entry, usually in the form of difficulty, is considered an essential piece to a Souls game, and many hardcore players appreciate that others do not "get" the game like they do. But an opaque story and difficult gameplay do not have to go hand in hand. Just look at Sekiro; it is considered by some to be the most difficult Souls game, but its story is more approachable than others. That doesn't mean it was light on lore, as it still had mountains of that in item descriptions and boss memories, but understanding the basic premise of the story took less effort. Sekiro featured a highly cinematic opening cutscene and numerous others to push the plot forward. The story is also far less complex than Elden Ring, as it is playing out in real time and with fewer key players. Some games feel like you are playing a movie, and Sekiro does just that, whereas other Souls games do not. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Sekiro---_-Shadows-Die-Twice_20250804160559-1.jpg) Source: Author I am not advocating for FromSoftware to move away from what they are good at and what makes their games great. If anything, I am advocating for them to lean into things that they have proven they do so well. They shouldn't feel trapped by their success, and they should be willing to push the boundaries with new and interesting titles. They are one of the few developers that I would trust with that mission, as they have been doing it since Demon’s Souls. They are already proving that they are willing to experiment with Nightreign and the upcoming Duskbloods on the Switch 2\. And when we get their next single-player entry, I hope that we will see the fruits of their experiments. ### How To Be Evil, PBJ: The Musical, and the Wonder of Wildermyth URL: https://www.superjumpmagazine.com/how-to-be-evil-pbj-the-musical-and-the-wonder-of-wildermyth/ Last updated: 2025-08-18T06:38:25.000Z Our newsletter is back! _This post is for subscribers only._ ### Death Stranding 2: Should We Have Connected? URL: https://www.superjumpmagazine.com/death-stranding-2-should-we-have-connected/ Last updated: 2025-08-18T21:30:57.000Z **I hate being on the other side of an amazing video game.** That thing that I anticipated, that I yearned for, that I loved playing—it's all behind me now. The action of enjoyment cannot be replicated; the innocence of the unknown has been spoiled in my favor, and I cannot experience it for the first time again. There was a world in which I'd never played Death Stranding 2, had only dreamed of what it could be, of how its story could unfold after the first; now there is a world after, and I am at fault for these actions, because I can only sit with myself and remember. Death Stranding is a game about connections. It's about loneliness, isolation, and bridging the impossible gap between the self and the other. Where Death Stranding is about uniting strangers, its sequel is about building stronger relationships with the familiar. It remains a game about traversal, meditation, and small accomplishments, but now we are treading new and old ground, with personal agendas hardening our mission. > "To live is to imagine ourselves in the future, and there we inevitably arrive. Yet our place in said future may not be the one we envision." > > **Kōbō Abe** In Woodkid's track "To the Wilder," he says: "But if you doubt and question what the future holds, remember there's no place you can't call home." Death Stranding 2 isn't just about finding a material home, but about preparing ourselves for an uncertain future and imagining a place of belonging. It's a game about the iron strength of camaraderie, and how deepening our connections with others is the only true way to be human. When you surround yourself with friends, you are never really alone. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/197ed66a25f99-screenshotUrl.jpg) PS5 Screenshot. Source: Author. ## Sticks and Ropes I've been obsessed with Death Stranding for years now. Long before the original in 2019, I was enraptured by Kojima's teases of a game that seemingly defied genre and explanation. Now, having played both titles, the mystery is lessened—Death Stranding still upholds its strangeness. Still, the *knowing* is there, and my limited observation leaves me with an artistic experience that I can comprehend, if just barely. In my other writings about [Death Stranding](https://www.superjumpmagazine.com/death-stranding-and-the-unfailing-perseverance-of-optimism/), I explored the title's unrelenting optimism. Kojima was inspired by Kōbō Abe's concept of "sticks" and "ropes," the first tools of mankind, where one was meant to keep others at bay, and one was meant to bring others toward us. Death Stranding is a "rope" game, where the use of harmful tools is generally punished in catastrophic ways. Kojima tends to be prophetic. This comes from his being an avid student of history. He and his team can replicate cycles in their stories, which is why Death Stranding feels like a quintessential Covid game—its themes and concepts of separation and delivery in the face of such catastrophe emulate real-world events to a shocking degree. Death Stranding 2 leans into the stick. Our ropes are still in place, and Sam must again unite a portion of the world via an advanced iteration of the internet, forging connections that allow both physical and digital interactions to flourish in a post-Stranding world. This time around, weapons and machines are delivered at a much faster rate, with the player having access to specific weaponry that helps fight off BTs, humans, and mysterious Ghost Mechs. While still largely meditative, Death Stranding 2 feels far less lonely than its predecessor. We have the sticks on our side, and we are ready to use them. ## The Man Who Delivers I am having a difficult time fully articulating Death Stranding 2\. The game wears its merits on its sleeve and deserves to be a contender for Game of the Year. It may well be the most beautiful game I've ever played, with graphics that far exceed those of its contemporaries. Many of the environments are so realistic that it's difficult to believe they are graphics at all, and not some sort of photographic trick. It's obvious that the team spent a lot of time observing these locations, especially Australia, where the game attempts to replicate the realism of this country, rich in diverse biomes. Death Stranding's "America" was infamously designed after Iceland, and Sam Porter Bridges travels across moss-laden footpaths, dewy hillsides, and rivers that snake through cloistered copses. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/197b27643bb62-screenshotUrl.jpg) PS5 Screenshot. Source: Author. --- > "In our small, careful way, we have changed the world, and what's left for the players is to take a victory lap, to reflect on the strands that unite us." --- Death Stranding 2 makes you feel like you're there. I've never visited Australia, and even if liberties are taken, there is an artistic application to the landscape that felt even *more* realistic than Death Stranding's believable landscape of wetlands and mountains. Between Mexico and Australia, the limn design of these real-world places still bears the beauty of the artist. In too many modern games, the desire for realism comes across as flat and uninspiring, the pursuit of "realism" flattening the creative. In Kojima's verisimilitude beats the heart of the place, redistributed through graphical design. As with the first game, I'm sad to no longer be in these places, making my deliveries, connecting folks, saving the world. The Sam of the first game is more infamous than the man himself, and the "Man Who Delivers" has become a sensation. In our small, careful way, we *have* changed the world, and what's left for the players is to take a victory lap, to reflect on the strands that unite us. ## Give Up I don't wish to spoil Death Stranding 2 in any meaningful way. My desire here is not to offer a review, but to try and summarize my post-game feelings. As a writer, I remain frustrated that there is no word in English to describe this specific post-game feeling. Finishing a game does not feel like finishing a movie or a book. It's a unique bit of emotional and physical digestion, putting away this thing that I've spent the last month engaging with day after day. Death Stranding 2 didn't just happen to me—I was a participant in its world. It makes me want to cry. In anticipation of Death Stranding 2, I replayed the first one, this time finishing my Director's Cut file. I still wasn't able to accomplish all the new si,e content before the release date, but I essentially played nothing but Death Stranding from April to July this year—that's a lot of deliveries. Ignorant, chronically online folk still label Death Stranding as a "walking simulator," and while it categorically defies that label, it's difficult to describe just how *fun* it is to walk, climb, and build in these games. There is a great effort in the hikes between deliveries, and even after building ladders, bridges, and highways, the journey between destinations becomes something philosophical and enjoyable. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/197b2924da512-screenshotUrl.jpg) PS5 Screenshot. Source: Author. How many times in my Death Stranding 2 experience did I deliver a package to a new destination as a piece of affecting music began to play out of nowhere, yet another gorgeous track from Low Roar or Woodkid or Magnolian or Gen Hoshino, or Silent Poets? How many times did the melodic, intense tracks of Ludvig Forssell animate story scenes? Walking under a giant moon, traversing a snow-capped mountain, stomping through rivers, carefully moving over craggy peaks, each time an emotional gutpunch of silence punctuated by familiar voices, as I performed my somber task—*this* is Death Stranding. It never became repetitive. It never lost its luster. And never once did I give up. *Minus sixty-one...* ## Same As It Ever Was Death Stranding makes me think of Shadow of the Colossus. Maybe not in the specifics of their design, but in their pensive similarities, how each game feels so wholly intentional it's hard to believe it didn't come into existence fully formed, a tome pulled from the artifice of time. Art, in the form of a game. I played Shadow of the Colossus for the first time in 2006\. It was spring break, and I'd rented it based on its impressive ad campaign. At the time, there was nothing else to compare it to, and the scope of the game alone was enough to pique my interest, not to mention the radical design of the colossi themselves and the mystical, foreboding dark green color scheme. It wasn't the first game to make me consider that video games were perhaps more than pieces of consumable entertainment, that maybe entertainment was the part of the experience that was holding their greater themes back. I've played many games in my life that I didn't find particularly "fun" to play—they either grew on me, or the experience was so impactful because of music or story that they continue to live in my brain, adding to the Bible of inspiration that I pull on every day. A video game doesn't have to be *fun* to be valuable. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/198064546b73-screenshotUrl.jpg) PS5 Screenshot. Source: Author. Death Stranding 2 *is* fun. Moreso than the first game, its gameplay loop is tighter, with much of the game feeling like a recreation of Metal Gear Solid V, Kojima's unfairly maligned opus that predated his exit from Konami. [Woodkid told Rolling Stone](https://www.rollingstone.com/culture/rs-gaming/woodkid-hideo-kojima-death-stranding-soundtrack-1235357959/) that Hideo Kojima was worried the game was a little too good, that it would not be polarizing enough for players. *"...we have been testing the game with players, and the results are too good. They like it too much."* Now, after playing Death Stranding 2, which was excellent and immensely entertaining, it makes me wonder how it was before, and what Kojima changed. There is a weirdness in the game that tops even that of the first, but it's nothing that Metal Gear Solid veterans can't handle, and maybe a level of meta that should be expected from artsy Japanese games as a whole. Perhaps Kojima will find what he's looking for in OD or his other upcoming projects. > “I don't know why people expect art to make sense. They accept the fact that life doesn't make sense.” > > ***David Lynch*** Now, not *every* aspect of Death Stranding 2 is rip-roaring fun, but it's the sum of its parts, and how the game is so cohesive that it begins to feel, again, like nothing else. Though Kojima once touted the "Strand-like" game as a new genre, in the time between releases, we have not seen a slew of indie releases mimicking the specifics of Death Stranding, even if delivery system games are not entirely unique. It's the totality of it, the way that Death Stranding 2 is somehow formulaic (in the way that Souls games are formulaic) and entirely original. Death Stranding and Shadow of the Colossus care far more about the presentation of the experience than your personal interpretation, and American gamers especially are so intensely solipsistic that they demand games cater to them, and not the other way around. ## Phantom Pain Death Stranding might not be for everyone, but whether or not it's your cup of tea, you should be overjoyed that it exists at all. [Yoko Taro recently said on Twitter](https://automaton-media.com/en/news/nier-automata-creator-yoko-taro-says-there-are-less-weird-people-in-the-gaming-industry-nowadays/): “I’ve been a part of the game industry for 30 years, but I feel there’s less ‘weird people’ now. I don’t know if this is something simply happening in my field of view, if the game industry ended up like this, or if the whole world is like this now.” Kojima Productions feels like a real-world iteration of its creator's own Diamond Dogs mercenary group from Metal Gear Solid V. In a world of AAA games that are beholden to budget changes, oversight, and misappropriated budgets, Kojima Productions is allowed to be fully weird and creative, utilizing the power of their funding to create truly unique pieces of art that do not have equals in this rather strange and frustrating moment of video game history. It's not uncommon to hear gamers' displeasure with the AAA gaming scene in 2025\. Studio fractures, sudden layoffs, poor investments, and trend-chasing lead to games that are shipped glitchy, unfinished, or dead in the water, with millions of dollars and tens of millions of man-hours wasted. This is what makes talking about Death Stranding so frustrating, because it continues to feel like it exists within its own planisphere, taking extraordinary chances in game design, presentation, cutscene length, and the integration of its many disparate parts. It is not *without* equal—there are plenty of indie games and indie creators whose originality might even be beyond that of Kojima—but it's the ability to direct an expensive game studio toward a singularity of vision that I'm certain feels mind-boggling at times. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/197b27643ba48-screenshotUrl.jpg) PS5 Screenshot. Source: Author. ## Tomorrow Is In Your Hands We forget that we matter, sometimes. I'm not certain it's inherent. I think it's a mechanism of the world we live in, the oppressive nature of society stripping away meaning and treating us as cogs of capitalism. Sometimes, all it takes is a dinner with friends to remind us that we are important in the smallness of our world. Death Stranding 2 is about our material place. It's a political game; whose politics are deeper and stronger than whatever braying of gamers could demolish with their bad takes and half-cocked essays. It is a symbiotic game; whether it was designed for Covid or not, whether it was written to be emblematic of our current America or not, Death Stranding presented itself as a rallying cry for an audience desperate for meaning in a big-budget game. Sam's "America's finished" line from the first game feels different once we step foot into Mexico and Australia. It's not only an angry, reactionary ideology; it's the truth. Death Stranding 2 showcases the importance of cooperative globalization, a connected world that does not need superpowers and walls. I've written about Sam's pain before, how Kojima's insistence on putting the world on the shoulders of a deeply traumatized, emotionally disabled man also feels political. I remember back in 2021, during Hurricane Ida, there was a video of a man making deliveries in the depths of the storm, trudging through waist-high water to deliver someone's food. The news painted this man as a hero because who else would make such a silly delivery during a deadly storm? But maybe the framing should have been on the other side of the story—who would order something at the end of the world? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/198064546b797-screenshotUrl.jpg) PS5 Screenshot. Source: Author. --- > *"Maybe Sam does what he does because it's who he is—the man who delivers."* --- Death Stranding 2 offers a glimpse of a happier, semi-retired Sam, but, being a video game, it's essential to inflict additional trauma on our hero before sending him off on yet another journey. This is where Sam Porter Bridges feels like the everyman, despite his abilities: his actions occur because they are the right thing to do. Is it selflessness? In this world of increasing solipsism, vicious political sides, and a tide of fascism, selflessness feels as rare as an adult cryptobiote. Maybe Sam does what he does because it's who he is—the man who delivers. ## Should We Have Connected? Death Stranding 2: On the Beach has an important tagline, one that crystallized as I neared the end. "*Should We Have Connected?"* comes across as a question of consequence, a retaliation for our efforts in the first game. While the UCA might have been successful in connecting its threads across America, there are unanswered questions forged by individuals throughout the experience. It is still America, the king of wars, a sovereign nation of imperialism, that caused the Death Stranding. Even before such a calamity, we continue moving into an era where America's usefulness has waned. Reality versus perceived reality might be the game's most important philosophical value. Sam Porter Bridges is softer here and less alone. Tarman, Dollman, Fragile, Rainy, and eventually Tomorrow join the crew of the DHV Magellen, and the lonely, traumatic feeling of the first game is replaced with something that feels like home. There is always a place to return to, no matter how tough a mission is. We don't have to wait until we get to the next bunker; we can simply return to the ship for a shower and a nap. Death Stranding and Death Stranding 2 feel like chapters of a whole, their themes and connections paroxysmal as we guide Sam across yet another foreign landscape. The heroic, gamified, fourth-wall truth of it all is that we expect to be rewarded for our efforts, we expect a boss battle, we expect a sewn-up ending, and we are given that. The unknown becomes strangely familiar as we *get* Death Stranding, even when Kojima unleashes his deeper weirdness. In the depths of these dance-offs and kaiju battles are pieces of a bizarre familiarity, especially for those like me who have been playing Metal Gear Solid for most of their life. The Kojima-fication of fiction is anything but expected, but the perception has changed. There is a life before and after Death Stranding 2\. Over the last few weeks, I've watched social media bloom with newcomers *finally* giving the first game a chance, undeterred by the lazy bloviations of those afraid of authentic experiences. Maybe that's the real connection, hailing back to the concept of the original. It's not only the material concepts of building zip-lines and freeways, but of acknowledging our fellow enjoyers, and seeing that it's still possible to be creative in an era that's imploding with "stuff." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/1980726d3da1-screenshotUrl.jpg) PS5 Screenshot. Source: Author. ## On the Beach Death Stranding belongs to a particular family of storytelling where it truly doesn't matter if you understand everything or just a little. It's Twin Peaks, or Silent Hill, or even something more mainstream like Lord of the Rings. After playing Death Stranding twice, am I close to fathoming every painstaking piece of lore? Absolutely not. It's in the depths of the weirdness, tar-logged, fantastical, that story beats emotionally resonate. It's a micro and macro-methodical climb. It's seeing Sam with Lou. It's the return of friendly faces. Strip Death Stranding down to its atoms, and maybe it's more familiar than you want to believe. But we owe ourselves to the experience, to the totality of a thing, where the flavor *is* the meaning, and we return again and again with new understandings, to make the pieces fit. My partner watched me play Death Stranding 2 here and there across my 60-hour trek. They watched the last few hours of the game with me, and even without the scope or context, they cried. That's the emotional resonance. That's what makes Death Stranding so fascinating. It dips into something primal and human, and beyond the memes and the silliness, it's stronger storytelling than we usually get in this medium. The world wants your weirdness, your creativity. It *demands* it. Play Death Stranding and realize you are selling yourself short, that you could be truer to your heart, that your tastes are valuable, and should be celebrated. It might be difficult to continue holding the hands of strangers, or imagining a better world, or even wanting to leave the safety of your home. The value of connections changes over time. Too often, it's our perception that is flawed; you are surrounded by people who love you, and that's a world worth fighting for. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Screenshot-2025-07-27-162737.png) ### Joystick Legends: The Arcade Icons That Took Over the World URL: https://www.superjumpmagazine.com/joystick-legends-the-arcade-icons-that-took-over-the-world/ Last updated: 2025-08-17T05:47:56.000Z **Long before consoles were in every home and phones could handle high-speed racing games, there were dimly lit arcades packed with neon lights, clinking coins, and buzzing screens.** These were the stomping grounds for players chasing high scores and bragging rights. If you spent your youth in one of these spaces, you probably remember the sound of joysticks snapping back into place and the thrill of seeing your initials on a leaderboard. Arcades didn’t just deliver entertainment. They created a global movement. The best part? Many of those early titles still have a huge following. From pixelated space invaders to brutal one-on-one fighters, the golden age of[ arcade games](https://www.betson.com/arcade-games/) gave birth to legends that never truly left. ## The Beginning: Simple Games, Big Impact It started with games that were easy to understand but tough to master. Titles like Pong and Breakout introduced the idea of competitive fun in public spaces. Soon, developers realized that a single cabinet could generate serious foot traffic—and revenue—if the game was addictive enough. Then came Space Invaders in 1978\. With its relentless alien waves and eerie soundtrack, it drew massive crowds. In fact, some places in Japan reported coin shortages because of how many people were playing. It was clear: arcade gaming was becoming more than a trend. ## Donkey Kong: The Rise of a Mascot [When Donkey Kong hit arcades in 1981](https://classicgaming.cc/classics/donkey-kong/history), it didn’t just introduce a fun new platforming challenge. It launched the career of a character who would go on to define Nintendo—Mario. Players were hooked by the simple premise: climb the girders, dodge barrels, and rescue the damsel. The game’s design was clever and its difficulty curve kept players coming back. More importantly, Donkey Kong showed that storytelling had a place in arcade cabinets. It wasn't just about high scores anymore. There was a hero, a villain, and a goal. ## Galaga and the Space Shooter Boom Space shooters became a cornerstone of arcades, and Galaga was one of the most beloved. Released in 1981, this game took the classic Space Invaders model and added more movement, better visuals, and a killer hook: enemy ships could capture your fighter, and if you saved it, you could play with double firepower. That mechanic alone made Galaga a must-play. It was fast, satisfying, and easy to learn. Even now, retro gaming enthusiasts list it among their top favourites. You’ll still find it in bars, game rooms, and even modern arcade collections. ## Street Fighter II and the Competitive Revolution Fast forward to 1991\. Street Fighter II changed everything. It wasn’t the first fighting game, but it was the first to do it right. Each character had a distinct style, personality, and backstory. The game rewarded skill, timing, and combos. And if you beat your opponent? They’d often reach into their pocket for another quarter, ready for a rematch. This head-to-head format helped arcades evolve into competitive arenas. You didn’t just play Street Fighter II—you had to prove yourself. Local champions would hold court for hours. Word would spread when someone was particularly good. It became a community in its own right. ## Mortal Kombat: Shock Value Meets Gameplay Just a couple of years after Street Fighter II, [Mortal Kombat burst onto the scene](https://www.britannica.com/topic/Mortal-Kombat) with something completely different—grit. The realistic graphics (thanks to digitized actors), buckets of blood, and outrageous finishing moves grabbed attention instantly. But beneath the gore was a solid game. Mortal Kombat had its own tight controls, interesting characters, and lore that would grow across sequels. It also sparked one of the first big debates in gaming over content and censorship, leading to the creation of the ESRB rating system. That’s a serious legacy. ## Pac-Man Fever and Cultural Takeover You can’t talk about iconic arcade games without Pac-Man. The 1980 release was more than a hit—it was a phenomenon. With its maze design, ghost AI, and catchy music, Pac-Man appealed to a broad audience, including many who had never considered themselves gamers. It also became one of the first true multimedia crossovers. There were songs, cartoons, toys, and more. Pac-Man didn’t just stay in arcades. It became part of pop culture in a way few games had before. ## The Beat Goes On: Why These Games Still Matter Even with today's tech-heavy titles and cinematic graphics, people still return to these classics. Why? Because they offer quick fun, tight controls, and a dose of nostalgia that modern games sometimes lack. You don’t need a tutorial. You don’t need a login. Just grab the joystick and go. Many game developers still look back at these titles when crafting new games. The simplicity, pacing, and sense of challenge continue to inspire. ## A Few More Legends Worth Mentioning Here are a few more unforgettable arcade games that deserve a nod: - **Frogger** – Cross roads and rivers with perfect timing. Still challenging, still satisfying. - **Teenage Mutant Ninja Turtles (1989)** – A co-op beat ‘em up classic. Grab some friends and relive the chaos. - **NBA Jam** – Over-the-top basketball with insane dunks and hilarious commentary. - **Centipede** – Fast-paced and unpredictable. Great for reflex training. - **Time Crisis** – The pedal system was genius. It made shooting games feel immersive and active. ## Arcade Culture Lives On Even though classic arcades have become rare, the spirit hasn’t disappeared. Many cities now have “barcades”—a mix of retro gaming and craft beer. Events like Comic-Con often feature arcade sections. And home collectors are bringing these machines back to life with restored cabinets and tournaments in their own garages. You also have new generations discovering these games through retro compilations, emulator platforms, and remakes. Donkey Kong, Galaga, and Mortal Kombat are no longer just old-school titles. They’re digital heirlooms. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/pexels-technobulka-5883539.jpg) Photo by [Stanislav Kondratiev](https://www.pexels.com/photo/video-arcade-games-5883539/). Arcade legends earned their place in history by being bold, creative, and addictive. They didn't need massive budgets or online multiplayer. They just needed a joystick, a screen, and a reason to keep playing. Whether you're chasing ghosts with Pac-Man or going head-to-head in Street Fighter II, these games still deliver the kind of fun that sticks. And that's something worth celebrating. ### Death of a Wish Uses Less To Push More Spectacle Fighter Boundaries URL: https://www.superjumpmagazine.com/death-of-a-wish-uses-less-to-push-more-spectacle-fighter-boundaries/ Last updated: 2025-08-17T19:36:23.000Z **In Death of a Wish, the main character, Christian, fights nightmares and occult soldiers using holy-powered slashes and elemental spells, a**ll while fighting alongside adorable diabolical companions. He can also move to light sources at hyper speed as a mobility option. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/holyslash-1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/mobilityoption-2.jpg) Death of a Wish. Source: Author This variety of mechanics is what you would expect from the spectacle fighter genre, where the character pulls off multiple stylish tricks in combat. The most prominent examples of this type of game are the Devil May Cry, Bayonetta, and the God of War series. All three franchises boast big "AAA" game development budgets and high-fidelity 3D graphic styles. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/dmc51.jpg) Devil May Cry 5\. Source: Author Death of a Wish, however, is an indie spectacle fighter title where the art style is akin to a Calvin and Hobbes comic strip, but more simplistic, dark, and abstract. These visuals allow the game to feature many more mechanics and places to explore than one might expect within a game file that takes up a mere 1.82 gigs of space on your system (for the Steam version, at least). The game is also available on the Nintendo eShop, where it reportedly takes up even less space. The mood of the game's story is similar to its art style, with glimmers of perseverance and cynical humor from allies you meet. Christian, a former member of the religious cult Neo Sanctum, is on a quest for vengeance against the corrupt regime. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/steam3of9neosanct.jpg) Source: Steam Again, the story is very dark. The developer [melessthanthree](https://melessthanthree.itch.io/) is transparent about the amount of sensitive content on the game's Steam page. Overall, Death of a Wish covers way more emotional themes with its art style and mechanics than it does with vehicles. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/steammaturecontent.jpg) Source: Steam The environments look bleak and post-apocalyptic, drawn with rigid line art. Small scribbles are scattered on the ground for texture. Trashed cars are piled up in local areas surrounding trees and street lights. An important railroad system gives off a cozy light. You even traverse through abandoned offices, apartment buildings, and rooftops. Bright colors are used to highlight the ironically adorable characters of Christian and his allies. The game utilizes refreshing choices of music genres. Artist Nicolo Telesca composes down-tempo shoegaze and drum n' bass sprinkled with dreary MIDI organ keys, which are all fitting for the game's modern/lo-fi aesthetic. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/steam6of9forest.jpg) Source: Author Of course, the game wouldn't be a spectacle fighter without multiple combat options to discover and switch through in real time. Death of a Wish is filled to the brim with these, and action RPG mechanics are also featured for progression. Christian uses weapons called Arias for primary attacks, each with different elements that are strong against certain monsters. Arias can also be equipped as magic spells along with your primary weapon, and some can combine with others to create mixed slashes. Christian can find pets that attack with special abilities as well, including lasers, bomb explosions, and shotgun blasts. All of the offensive weapons scale off of stats you can raise from leveling up. Spells and pet attacks drain points from your charge meter, which can also be leveled up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/steam7of9slashes-1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/steam8of9equipment.jpg) Source: Steam That's not even the end of the equipment you can find to change how Christian fights. Prayer cards can be equipped to give the player special passives like increasing the speed of special attack charges or the range of Aria attacks. Virtues directly affect how your fighting style as well, including temporarily increased power after taunting enemies, and healing effects after defensive mechanics are executed. Speaking of defensive options, why have one option when you can have multiple? You can dodge attacks, but with the right timing, you can slow down time (witch time, basically). If you dodge toward an attacking enemy, you can parry them, damaging their shield and gaining access to their health gauge sooner. I did find that avoiding attacks was made easier by listening to the audio cues enemies make before they attack. This may make the game less accessible or more frustrating for the deaf or hard of hearing, and more options could be implemented or adjusted to make the defensive options easier to use. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/parry.jpg) Source: Author Scope is important in game development. There are only so many features you can add to an experience. Along with the usual genre staples and RPG mechanics to level up stats of your choice, there's a multitude of player expression here. Death of a Wish shows that it is possible to make a unique, fast-paced, flashy spectacle fighter without the use of a giant budget or high-fidelity graphics. It can leave room for a much more emotional story, a diverse environment, or in-depth combat. This means smaller independent developers with fewer resources can create their own interpretation of the spectacle fighter. ### Indie Game Club Issue 5: Ranita Fishing URL: https://www.superjumpmagazine.com/indie-game-club-issue-5-ranita-fishing/ Last updated: 2025-08-15T22:33:38.000Z **Welcome back to SUPERJUMP Indie Game Club for our monthly discussion of free, independently published video games!** This month, we are discussing an abandoned project by [Fáyer](https://itch.io/profile/fayer) called [Ranita Fishing](https://fayer.itch.io/ranita). We invite anyone to play along with us, and you can jump into the action now! Our next game will be [Loria](https://store.steampowered.com/app/946660/Loria/) which is available for free on Steam! Now sit and drop a lure as the team lets you know what this demo is all about. ## Alexander B. Joy I was excited when our club settled on Ranita Fishing this month. Fishing games number among my stranger passions (such that I literally [wrote the book about the Game Boy’s finest example](https://bossfightbooks.com/products/legend-of-the-river-king)), so I went in wondering whether this indie project would mark a worthwhile entry in an underappreciated genre. My verdict, unfortunately, is “not quite.” It’sa good game that needs a rebrand, for Ranita Fishing is less a fishing game than a gentle platformer that encourages clever uses of a fishing rod (culminating in a downright inspired boss battle of sorts that relies on inventive casting). It’s a lovely little experience when considered through that lens, but a fishing game it is not – and it doesn’t grasp what makes such games fun. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Screenshot-2025-07-23-193933.png) Source: Author. Where Ranita Fishing excels is with its aesthetics. Its draw is the promise of spending time amid relaxing, appealing surroundings, and the game’s presentation delivers, adopting the polished plasticine look of the Link’s Awakening remake on Switch. Its world resembles an assemblage of bright and colorful playthings, telegraphing a space where you can exist peaceably and free of threat. Accordingly, the game overwhelms with coziness and cuteness. The fish designs aim to make you smile, often opting for silly yet creative forms that are delightful to uncover (the Rockfish, in particular, put a big grin on my face). Small touches, like your protagonist’s grandfather waving when you enter his line of sight, add to the charm. Despite its title, Ranita Fishing is fundamentally a platformer because the actual act of fishing is an afterthought. For starters, it takes too long to start hunting for fish – the first chunk of the game has you scouring a hilly landscape for the scattered pieces of a voxel piñata, which you must find before you see any trace of aquatic wildlife (what dp I care about scavenger hunts? I’m here to fish!). When you do start fishing, it amounts to an Animal Crossing-style test of patience. But instead of the exciting reflex challenge that Animal Crossing presents, here you only need to press a button once the fish is hooked, irrespective of timing. Stranger still, it’s often less advantageous to study the movements of the fish and lure than to watch your character on land, because the bright red exclamation mark that appears over its head when the fish bites offers a more conspicuous reel-in signal than any seen on the water. What kind of fishing game incentivizes ignoring the fish? That single mechanical error embodies my central problem with Ranita Fishing. At their core, fishing games are about learning where to allocate your attention: what to watch, what to look for, and how to turn the observation of small details to your advantage. Ranita Fishing has no idea where your attention should go, leading some of its scattershot ideas to end up half-baked. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Screenshot-2025-07-23-180344.png) Source: Author. Even so, Ranita Fishing makes no pretense of being anything more than a tech demo that a few friends created in a short span. With those constraints in mind, it’s a success – ably showcasing a set of gameplay principles that, given the appropriate development resources, could blossom into an enticing adventure. I do hope someone provides the team that opportunity, because I’d happily spend a few more afternoons helping a cute frog hoist some weird fish. ## Nathan Kelly To our luck, pioneers of the 3D platformer continue to expand their skills and find new ways to push the genre forward by taking the relationship between character and environment to new heights. Fishing and jumping are two cornerstones of game design that have evolved together throughout the decades and occasionally meet in the middle every so often so that Big the Cat can go looking for his frog. Ranita Fishing’s blueprint does not propose anything radically new in the platforming space; however, its novel take on fishing left me surprised and entertained for its short duration. The initial room of the demo fails to showcase any notably new features, though it does display beautiful 3D graphics with obvious inspiration from Animal Crossing. The first area also reminds me to be grateful when a developer stops showing tutorial pop-ups after the first time picking up a collectible. That is not the case here, and it slows the game's pacing down much more than it may initially seem, amplified by the random nature of fishing when the game allows you to do so. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Screenshot-2025-07-23-182106.png) Source: Author. The first room was not a great introduction, but the remainder of the demo had me hooked for the remaining 30 minutes that I spent running around watching the silly animation the frog does each time it takes off into a sprint. Using the fishing rod to reach places that you otherwise wouldn't does not make for engaging puzzle solving, but it does make the exploration more satisfying. I loved my time catching leaves in bushes and plucking birds out of the sky. The fishing didn't mesh well with the collection-based gameplay, to my tastes. The completionist mindset often engaged by collection platformers grated against the relaxed attitude that fishing demands. I was sprinting to the other parts of the various ponds, trying desperately to catch fish before they ran away from me. I was challenging myself to catch every fish on the board as quickly as possible, as if they were minikits in a LEGO game. Finally reaching the end, I found a fun and inventive boss fight and a rewarding fishing list to finish. Ranita Fishing is a gorgeous demo, displaying fun ideas that I would have loved to see expanded upon with new fishing rods or environments. I hope this developer gets to make a form of their vision, as they are clearly a team of talented creators who just need the idea, funds, and playtesting to make something truly great. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/Screenshot-2025-07-23-182533.png) Source: Author. ### Peak: Climbing and Falling With Friends URL: https://www.superjumpmagazine.com/peak-climbing-and-falling-with-friends/ Last updated: 2025-08-14T00:50:53.000Z **Original co-op games are some of my favorites to check out with friends.** Recently, fellow SUPERJUMP writer Taylor and I had a chance to play the game [Peak](https://store.steampowered.com/app/3527290/PEAK/) from developers Aggrocrab and Landfall (who worked on Peak as a joint venture known appropriately as LandCrab). Peak is a roguelike climbing adventure for up to four friends who don’t fear heights or working together. If you don’t mind some stumbling (and falling) along the way, this is a great game for a group. ## Josh For me, Peak feels like a step above the many platformer party games, where the controls are often very janky; here, you need to get really good at movement if you want to have any chance at winning. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/20250622160004_1.jpg) Source: Author ## Taylor This game reminds me a lot of the few parkour-type games I’ve played in terms of mechanics. There is a lot of climbing, a lot of falling, and a little bit of timing. How high you can climb will depend on how full your backpack is, how hungry you are, whether or not you’ve walked yourself right into a poisoned plant, or even whether or not you’ve already died once (or twice). ## Josh There is certainly a lot that must happen during a run for you and your team to stand a chance at winning. As we were talking about after a game, I don’t know how one person is supposed to win solo, given that you can only hold at most 7 items, including a backpack. ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXd0v4NgxwWIX3w6Z7fvpfS2BnAxAT5-xkb7WqTPhIjgdpZ7ixUce2JEbXHLWlmyd5-ReZ5MtSu2LM31QD_Tru3a1cyLwCx6gCVrFTcyEaxyulUv6Srgc1zcEeugSE-5B6appj-gbA?key=4uNMYO0RW9ihT8Ab4ARlvg) Source: Author ## Taylor The playthrough may be most successful with a team of three to four players. It can feel like a struggle bus with two, and I couldn't imagine trying to get through the whole map solo, given the limitations of how many items you can carry at a time, as well as afflictions and effects that can wreak havoc on your stamina over time. Got too hungry? You aren't going to be able to progress. Not on your own, at least. When you're just shy of having enough stamina to get you up the next ledge, your friend can offer you a helping hand to pull you up that last little bit. Peak emphasizes never leaving your comrades behind. If you do, there can be some interesting consequences. ## Josh Although climbing and all of a sudden seeing the ghosts of your friends right in your face can deliver some hilarity 🙂 ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/peak-gif.gif) What did you think about the 24-hour reset of the map? ## Taylor I actually loved the 24-hour reset of the map. I think it increased the game's playability on a massive scale. Even if you complete the game, you're given an entirely new challenge the very next day. That aspect alone has streamers left, right and centre playing this game almost every day. It's like it has quickly become its own little niche! ## Josh I’m surprised by how well the game is doing, and I think Team Peak is as well. We’ve had a really good run of innovative multiplayer experiences. It’s a very smart use of a roguelike-ish approach. In a way, it reminds me of how much you can get out of the map generations of Deep Rock Galactic, as a lot of your play is dependent on the other players rather than just adding more to the maps themselves. ## Taylor The actual dependency on the other players adds an extremely fun and refreshing element to the game. Between helping you up when you’re just shy of the amount of stamina you need, a team effort in carrying important items or food, all of it speaks to what Peak’s main theme appears to be: teamwork. ## Josh I do wonder if the game will lose some of its novelty as people begin finishing it. The developers are mentioning they have some more content coming, and I wonder if we’ll see something similar to Deep Rock Galactic, where the option to spend more money is there for cosmetics and such, but the game continues to grow with new seasonal content. ## Taylor I think new seasonal content would be awesome; however, there are a lot of gamers deterred by something like microtransactions being added to popular games. It would be great for the developers to be able to earn extra revenue for a fun, affordable game, but I wonder if it would hurt them at all in the long run. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/08/image.png) Source: Steam. ## Josh My worry about a game like this is whether or not there will be a player base the initial buzzy period when it's new and being featured by streamers. If you can’t find people to play with, or have friends wanting to play, as we said, you can’t really do it solo. The idea itself is still ingenious, and I hope that we see more developers inspired to make an original multiplayer game that’s not about ghosts or horror 🙂 ## Taylor That’s actually a great point, too. I personally know a lot of people who will be hyped up about a new game for the first month, and then they drop it for something else that’s new. I think it would be good to keep the game fresh with new updates, and a new map every day is a great start. Hopefully, it lives past the first buzz, because as you just said, and what we sort of talked about earlier, trying to get to the top of this peak as a solo would be next to impossible. ## Josh Looking at the store page, the game is definitely a success sales-wise, and I’m happy that the team has hit a home run with it. I would like to see how it fares with a full party and the craziness that can come from it. I can see how they could expand things with more peaks, more biomes, and of course, more items to try and figure out how they work. ## Taylor Definitely; I think the addition of new and useful items would be a huge bonus. Also, it would be interesting to see them lean a bit more into the comedic value of the game as well. It has the element, but it could be expanded on just a little, I think. ## Josh With a bit more reason to keep coming back, I think Peak could be an amazing game-night game, and for anyone reading this, if you have at least one other friend whom you would climb a mountain with, then you need to try this. ## Taylor I couldn’t agree more. The game is affordable, and the gameplay is good – grab your friends and climb a mountain together! There’s so much fun to be had with this one. Peak was played with press keys provided by the publisher ### It’s Good To Be King: Suzerain’s Kingdom of Rizia URL: https://www.superjumpmagazine.com/its-good-to-be-king-suzerains-kingdom-of-rizia/ Last updated: 2025-08-11T21:50:04.000Z **In 2020's** [**Suzerain**](https://store.steampowered.com/app/1207650/Suzerain/)**, we panicked as we guided Anton Rayne, Sordland’s democratically elected president, through a tumultuous period in his fictional country’s history.** Kingdom of Rizia is a 2024 DLC that puts us in the shoes of Romus Toras, the new king of Rizia. You have absolute power, but absolute responsibility when anything goes wrong, too — and it will, trust me. Hope for the best, but expect the worst is a useful motto here, as we’ll find out when we look at Suzerain: Kingdom of Rizia. ### The Foundation of a Character > *When I was a fighting-man, the kettle-drums they beat,* > *The people scattered gold-dust before my horse's feet;* > *But now I am a great king, the people hound my track* > *With poison in my wine-cup, and daggers at my back.* > [The Road of Kings, Robert Ervin Howard](https://en.wikisource.org/wiki/The%5FPhoenix%5Fon%5Fthe%5FSword/Chapter%5FII) Like in the base game, a prologue tells us the story of our protagonist’s early life, and also gives us chances to shape his political views, relationships, and actions. Even at this early stage, what we choose to do will have significant ramifications further down the line. We also customize our Romus’ appearance before the action begins. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Rizia-Screenshot-Romus.jpg) Source: Official Suzerain Press Kit. Some of it will be unfamiliar to old Suzerain players, though. Decrees, for example, are a new feature; laws you pass without having to worry too much about politicians or government oversight. Rizia has a House of Delegates, but it’s more of an advisory body than an arm of government. You control the media, too. The real power sits in your hands. A king is also different from a president, of course. Monarchs are often involved in their country’s religious life, which is reflected in the game as well. Three main religious groups dominate life in Rizia: Wruhecism, Dastnurism, and Golcondism. They seek your support and feel irked when you favor one group over another. Making the religious balancing act even harder is that neighboring countries, each favoring a particular religion, will also scrutinize your decisions, and it turns into a factor during negotiations. Wruhecism is the official religion of Rizia, but the kingdom’s religious future is not set in stone. Or perhaps you will choose to turn away from religion altogether? You can take several paths, with all of them leading you to different outcomes, much like in a visual novel. ### **A Crown Sits Still** > *Was it not said, sir,* > *By some philosopher as yet unborn,* > *That any chimney-sweep who for twelve hours* > *Dreams himself king is happy as the king* > *Who dreams himself twelve hours a chimney-sweep?* > [Life Is A Dream, Pedro Calderón de la Barca](https://www.gutenberg.org/files/2587/2587-h/2587-h.htm) As a king, your social circle is also broader and more diverse than in the base game. During your reign, you encounter grizzled military veterans, idealistic princesses, unscrupulous business people, and perceptive butlers. They will offer their advice, whether it’s sound or not. What I enjoyed was hearing more distinct character voices this time around. Some aren’t afraid to quip now and again, either, and it opens up hilarious exchanges. Throughout a playthrough, the characters will change, including in how they view you, which makes it feel dynamic and dangerous, even though you sit at the top of the hierarchy. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Rizia-Screenshot-Exhange.jpg) Source: Official Suzerain Press Kit. The royal line of succession is another added factor in the Kingdom of Rizia. In a democracy, your successor is whoever the people choose during the next election, but that’s not the case in a kingdom. It’s an interesting problem. Tradition comes up much more in Rizia than in Sordland. Many Rizians cling to traditions, with the king as their figurehead, to find a sense of stability. Castles, knights, and jousts don’t dominate the world anymore, though. Planes rule the skies, and submarines stalk the waters. Radio and television bring news into people's living rooms. Part of the fun is looking for a way forward, despite how difficult it becomes to navigate your responsibilities. You never forget how heavy the crown weighs upon you. ### **Borders Delineate a Future** > *I mean to say that man has a tyrant — ignorance. I voted for the death of that tyrant. That tyrant engendered royalty, which is authority falsely understood, while science is authority rightly understood.* > [Les Misérables, Victor Hugo](https://www.google.co.za/books/edition/Les%5Fmis%C3%A9rables/pZA6Nj3RKx0C) Rizia lives in a different neighborhood in the Suzerain fictional universe. The kingdom sits between Lespia, Wehlen, Morella, Derdia, and Pales. This gives you an opportunity to learn more about the history and cultures of another section of Merikopa, the fictional landmass of this universe. Each of these countries also has its own political objectives. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Story-Select-Rizia.jpg) The mobile version's story select screen shows the world map. Source: Official Suzerain Press Kit. Lespia is a proponent of democracy and free-market capitalism. They are a key member of the Arcasian Treaty Organization, an alliance that seeks to stop the spread of Malenyevism, which advocates for a global workers’ revolution. Rich Lespian companies have spread across Merikopa, and their government is never far behind, either. Wehlen lives under the gaze of the dictator Wiktor Smolak. When you ascend your throne, Smolak has already strengthened his grip on the military, using it to eliminate political opponents, minorities, or anyone he doesn’t like. The support from United Contana, a powerful Malenyevist confederation of states, allows him to stay in power. Morella’s recent economic crisis paved the way for its first left-wing government to win an election and take office. Alma Saltana, its new prime minister, is eager to break away from the path of the nationalist parties of her country’s past, especially as it struggles to take advantage of its natural resources. Derdia is the only Golcondist country in the region; as a result, its leader, the Supreme Wiseman, places importance on political issues that affect his religion’s adherents. Its community of expatriates also links it to various countries in the region. Although the country struggles economically, its military remains formidable. The Duchy of Pales was a part of Rizia for over a century — a contentious bit of history for both countries. This small absolute monarchy, with its own plan to exploit its natural resources, bolstered its influence by forging strong ties with Lespia. Pales’ current ruler, Duke Axel Reinhart, is a hot-headed playboy, though he is also serious about his royal responsibilities. ### **Division With a Castle** > *A very fit consideration, and matter of reflection, for those kings and princes who sacrifice the lives of so many people, only to flatter their ambition in being masters of some pitiful corner of this small spot.* > [Cosmotheoros: Or, Conjectures Concerning the Inhabitants of the Planets, Christiaan Huygens](https://books.google.co.za/books?id=wf9N%5F3KHgz8C) Rizia’s aristocrats have their agendas, too. Three royal houses control regions within Rizia: House Toras, House Sazon, and House Azaro. This structure adds another layer for you to navigate, because each house seeks to enlarge its influence and ingratiate itself with the king, although their aims might not always align with what is best for the country. Authority is a new resource that measures how well your subjects respect your rule. It’s tricky to balance it, since certain actions and decrees diminish your authority, so it’s often a good idea to keep track of those fluctuations, along with the other resources: your kingdom’s energy and money. Unlike the base game, it’s easy to track your assets though, meaning it allows you to plan your future expenses. It also means you’ll still have to choose which issues you care most about, since you have a limited amount of resources and time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Rizia-Screenshot-Combat.jpg) Source: Official Suzerain Press Kit. Kingdom of Rizia also boasts a new combat minigame. This tactical system is an improvement over the combat in the previous Suzerain game, where it occurred off-screen or in story sections. The fact that you can determine your army’s composition and military spending gives you even more agency in this area, too. You can’t keep everyone happy. It’s true in our lives, and it’s true in Rizia. How you navigate the confrontations influences whether you’re a deposed king or a celebrated monarch. Suzerain: Kingdom of Rizia doesn’t force you down a path that is “right” or “wrong”; it is a game that contains room for nuance and choice. Though, just like in Suzerain, one choice can bring you to ruin, and you can’t load an earlier save when you play on Torpor Mode — a devastating outcome after you have put a dozen hours into a story. But perhaps that’s also one of the game's strengths. It makes you feel like your choices do matter, even though it’s often a heavy weight to bear. In a sense, this aspect is similar to a roguelike, where you learn from past choices or consult a guide to reach a desired outcome. Just like in a roguelike, you shouldn’t be too discouraged by your failures. ### **A Sanctuary at a Crossroads** > *Because a man plays a king superbly well does not mean that he would make a good king.* [*Comstock Lode, Louis L'Amour*](https://www.google.co.za/books/edition/Comstock%5FLode/YNi2XsELCU8C) Is Suzerain: Kingdom of Rizia a political simulator, a visual novel, a roguelike, or a strategy game? It incorporates elements from all those genres, perhaps even more so than its predecessor. The improvements, such as to resource tracking and combat, show that Torpor Games listened to player feedback, too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Rizia-Decree-Screenshot.jpg) Source: Official Suzerain Press Kit. With these two Suzerain games, the developer signifies its attempt to carve a niche for thoughtful, politically conscious games. They haven’t tried to appeal to everybody’s tastes, allowing themselves room to explore topics that don’t receive much attention in the video game industry. That’s the beauty of indie projects. Playing Suzerain: Kingdom of Rizia is a thought-provoking experience. Of course, most of us won’t ever ascend a throne, but living through the experiences of a king and agonizing over his decisions allows us to look at political issues from a top-down perspective. From there, we see how a society — a large group of people with different outlooks, backgrounds, and dreams — might work together, or fight amongst each other. It is up to us to lay the groundwork. Choices hold the power to shape our future. ### Now Playing at SUPERJUMP, Issue 33 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-33/ Last updated: 2025-08-10T23:27:50.000Z **We're back with a brand new Now Playing, and we've reached the third-of-a-century mark!!** Some of us are playing more games than usual, and some are sticking with the games they've been hooked on for a while. No matter what we're playing, we want to share with you and maybe send you down the path to try something new. Let us know in the comments what you're playing and what news has you excited for the future! ## Ben Macready ### Final Fantasy XIII-2 Magic: The Gathering recently crossed over with Final Fantasy. While this move was certainly contentious, it's also undeniably been financially successful. MTG Final Fantasy packs have been flying off the shelves, as though an Aeroga spell has hit them. All of this has gotten me in the mood for a bit of fun with Square Enix’s biggest franchise. XIII-2 may not be a particularly beloved entry in the series, but I played through 80% of it during my teens, and I've decided to dust it off and finally finish it. Like its sequel, the original Final Fantasy XIII has a divisive reputation. It is often criticized for being overly linear, having environments that are devoid of NPCs to interact with, and a levelling system that doesn’t allow characters to be adequately customised. XIII-2 was clearly designed to address many of the criticisms levelled at its predecessor. It's time time-travelling story features a huge number of side quests to complete and collectibles to gather. The world is densely populated with NPCs and feels fully inhabited, and there's a new monster catching system allowing for plenty of party customisation. Despite these changes, XIII-2 still has a rough reputation due to its story. Without giving any spoilers, XIII-2 has issues with its tone. At times, the dialogue is light and uplifting; the power of the character's bonds can rewrite fate and potentially save the timeline. This hopeful mood can turn on a dime, and the game can quickly become excessively brooding and bleak. However strange the game's story may be, I have enjoyed my time with XIII-2\. The improvements upon the original Final Fantasy XIII are clear and greatly appreciated. Having said that, I’m also someone who enjoyed the original XIII more than most. I would encourage any RPG fans looking to try something a bit experimental to give the Final Fantasy XIII trilogy a chance and look past their muddied reputations. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-19.png) Cybercorp. Source: Author. ## Ben Cantrell ### CyberCorp I'm currently playing through CyberCorp, a dungeon-crawler meets twin-stick looter shooter set in a rainy cyberpunk metropolis. It focuses on tight, fast-paced combat, simple gear progression, and short mission-based gameplay that makes it easy to dip in and out. There’s not a lot of story or cutscenes getting in the way, which I actually like. CyberCorp throws you into the action and lets you get on with the blasting. Each mission drops you into a procedurally generated isometric level, bathed in flickering neon and urban decay. Some take place in rain-slicked alleys and shadowy backstreets, others on rooftops, in shopping districts, or inside polished industrial gigafactories. The layouts shift just enough each time to keep you guessing, never quite sure which corner will spawn the next wave of shotgun-wielding thugs. The action-focused combat is definitely the main draw. You carry two primary weapons and a selection of abilities, so every encounter turns into a dance of spray, dash, reload, repeat. Cooldown timers encourage strategic decision-making, and smart use of cover is essential. You play as the Agent, a human operator who remotely pilots a cybernetic body called a Synth. You work for CyberCorp, a group that operates as a private military contractor hired by the mayor of OmniCity to restore order in a city overrun by gangs and criminal syndicates. Progression is non-linear, with a range of missions always available, from story objectives and survival challenges to system hacks and boss fights. Bosses can be replayed and grow tougher with each encounter, rewarding you with better loot and keeping the challenge engaging. Released on Steam in August 2024 and consoles in mid-2025, CyberCorp is more Minecraft Dungeons than Diablo (with a generous helping of The Ascent), but that quick, pick-up-and-play rhythm is exactly what makes it work. Twin-stick shooter in a cyberpunk world? Yes please. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-21.png) Redline Crooks. Source: Steam. ## Alexander Joy ### Redline Crooks This game is pure pleasure, tapping into the elemental joys that powered the NES classics. Here, you race through procedurally generated courses of increasing complexity while weaving among hostile traffic and dodging bloodhound black-and-whites. Your mission is to cause as much havoc as possible while keeping your pace – and your vehicle – intact. The game feels excellent, providing a persistent sense of speed and a satisfying crunch to every vehicle you smash. With roguelike inventiveness, each level's escalating chaos exploits the logical but surprising interactions of simple systems, and the altogether volcanic results are riotous to watch unfold. Best of all, every playable character represents a distinct way to approach the game, making it a genuine challenge to master them all. Fun color customizations and unlockable difficulty tweaks (think Risk of Rain's artifacts) lend a toybox feel to the overall package. I can't praise this game enough. It's terrific. Go buy it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-22.png) Suzerain: Kingdom of Rizia. Source: Steam. ## C.S. Voll ### **Suzerain: Kingdom of Rizia** This is an unforgiving game, but it seems I'm a glutton for punishment, because I just keep going back to it. During my second playthrough, I was able to achieve more of my objectives, but at what cost? My family hated me, the public wanted my head, and a superpower sanctioned me into oblivion. One of the game's strengths is that it doesn't always reward Machiavellian behaviour; you have to live with the consequences of your choices. It was fascinating to see a different side of its world, too. My second king was a strict authoritarian, although he was also quite capable. This time around, I explored a mystery storyline and learned more about the events preceding my coronation. The new update also added more polish and content, which is always nice. This is definitely a game you could return to over and over again. Thought-provoking, deep political simulators scratch a different kind of itch, after all. By the way: Congratulations to Torpor Games for winning the Best in Civics at the Games for Change Awards 2025! ### **Steins;Gate 0** From the outset, you can feel this is a different kind of Steins;Gate game. For one, the menus, art, and user interface look beautiful. You can clearly see that by the time this game was released, in 2015, the franchise had already grown into a juggernaut, and the quality of the title reflects this evolution. A funny thing I noticed at the beginning is how it captures the distinct vibe of an academic conference. I sympathize with you, Okabe, I really do. Sometimes, despite your best efforts, you come off as awkward, and all you can do is roll with the punches. Thankfully, there are also kind souls out there. I think that's also one of the deeper themes of Steins;Gate as a whole. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-23.png) Clair Obscur: Expedition 33\. Source: Steam. ## Bryan Finck I've played several games over the past month, which is rather unusual for me. Without much time to play games in any given week, I'm typically slogging through a single game a bit at a time, but the stars aligned for me to have a go with multiple titles recently. Fresh off its 10th anniversary, I dove back into The Witcher 3, which I had started without getting very far into the story. The game is, of course, epic and incredible, and I'd like to think I will finish this playthrough eventually, even though I'm already on to other things. I'll make it my goal to finish it before the fourth game comes out. Sony's excellent first-party title, Returnal, was another game I started before falling off, though this was due to a lack of skill and patience. I set my mind to making real progress this time around, and it worked to some extent, as I'm now matriculating my way through the third of six total biomes. It's a game that I can put down and revisit after a few weeks without much degradation of skill, and the combat loop is damn-near perfect, so I *will* bend the game to my will - eventually. I'm a huge fan of side-scrolling indie games, so when I heard that one of the developers of Dead Cells had founded his own studio and published Nuclear Blaze, I knew I had to check it out. The game is a delightful, bite-sized shooter, though you're not using bullets or magic this time, you're using water. You play as a firefighter, tasked with putting out an everyday conflagration, when you stumble upon a secret underground facility where something nefarious has clearly gotten out of hand. You'll douse the flames across several small levels, trying to outwit the flames and other environmental obstacles. It's only about 3 hours of gameplay, but I had a blast with it, and I hope to see more from the studio. And finally, I'm currently absorbed in the excellent Clair Obscur: Expedition 33, and it is as grand as everyone says it is. The story is excellent, the combat is way better than I ever expected, and the voice work and soundtrack are divine. I'm less than halfway through, and I'm torn between making the experience last and tearing through to see what's next. If you're a fan of JRPGs, this should be at the top of your list. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments, and check back next month for more of what our team is getting into. ### Indie Review Roundup, Part 2 URL: https://www.superjumpmagazine.com/indie-review-roundup-part-2/ Last updated: 2025-08-08T17:09:32.000Z We're back with Part 2 of my roundup of the indie games I've been playing over the last several months! [In Part 1](https://www.superjumpmagazine.com/indie-review-roundup-part-1/), I told you how much I loved Monument Valley, how Rentlord killed an interesting concept with very little depth, and how Click & Conquer's underlying anti-war message really spoke to me. Now we're back with three more indie treasures that I had to tell you about, so let's get right to it! ## Tower Wizard ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_b154dc19d94f1ecd4608b26ca4a7adb63a32ca96.1920x1080.jpg) Source: [Steam](https://store.steampowered.com/app/3372980/Tower%5FWizard/) I want to briefly talk about this little game I encountered called Tower Wizard. I’ve really been digging these idle clickers lately. I work from home at my PC primarily, so I am totally okay with checking on these incremental games in the background every so often. Tower Wizard is a really well-made example of the genre, and I’m kind of sad it’s now over; I hit 100% on the achievements, so I’ve effectively beaten it. I wasn’t even looking for an idle clicker, but it was on the store page for me, and I bought it on a whim during the sale. Maybe it was fate. I think one thing that gets overlooked with these idle clicker games is how well-designed they can be. It’s not something that crosses your mind for games where all you do is click and leave it in the background. In Tower Wizard, your goal is to collect resources and build a tower as tall as possible. You’ll begin the game farming Magic, then Knowledge, and then Wood a bit afterwards. Whenever progress gets slow, much like other idle clickers, you’ll use the Prestige points you’ve earned to invest in permanent upgrades. At certain intervals of the Prestige system, you'll also gain additional passive bonuses for free. I was particularly fond of the ability that increases the output of the last thing you clicked by 80%; it was very useful, and I made thorough use of it throughout the game. I have to critique this Prestige mechanic a bit, though, because I found it to get really slow in the late-game, around when you’re going to be doing damage to the walls. Maybe that’s by design, but I ended up beating Tower Wizard without getting to the end of the Prestige tree simply because it was so darned slow. I didn’t really see a benefit to Prestiging again after investing a total of 18 points, since I was making relatively good progress by simply leaving the game idle. In a way, I appreciate it not being required, but I also would’ve liked to see what my yields would’ve been like if I hit the end of that tree. You’re often limited by Spirits when it comes to the late-game, and if you don’t optimally place them, Prestiging is worth it merely so you can reset and place them more effectively. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/3372980_305.jpg) The Inverted color option is reminiscent of the Gameboy. Source: Tower Wizard. Source: Author. What I love about Tower Wizard is that the game continually introduces new forms of mechanics and resources as you progress. One of the first it’ll throw at you is Alchemy, where you’ll collect Gold and craft different ores or relics with that to provide passive boosts to your yields. Eventually, you’ll hit a wall, both literally and figuratively, which you must destroy. At this point, Damage becomes what you’re focused on. No matter how far you progress, you’ll find that previous additions to the tower remain relevant in some way to the next phase, being endlessly synergetic. At one point, for example, you’ll need to collect cosmic dust, which is accumulated based on the damage you deal, right after the last phase introduced Relics to boost your Damage output much further than by default. It’s brilliant game design for that reason, and it never really feels like a portion of your tower gets completely phased out or irrelevant. They all become parts of a bigger synergistic machine in a really satisfying way. I have to mention that I love the pixel-art style here. I was particularly fond of the Inverted colors (try it, trust me) since it made the game look like it belonged on the original Game Boy. I wish there was more to say about Tower Wizard, but that’s really it. I’ve summarized it the best I can, and I loved it! It’s a tiny little incremental game with great game design that I hope you love too. I am still pretty sad that it's over because I was having a lot of fun checking on my tower. If you love incremental games and idle clickers, you should 100% pick up Tower Wizard. ## Shotgun King: The Final Checkmate ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/shotgun-king-the-final-checkmate-playstation-5-red-art-games-296713.webp) Source: [Shop Just for Games](https://www.shop-justforgames.us/products/shotgun-king-the-final-checkmate-playstation-5?shpxid=3a48dc84-c02c-4ae4-9e2f-9dc7309b5ab6) I really love finding little indie games that are quite a novelty to play, and Shotgun King: The Final Checkmate is one of those. It is a tiny, fun little romp of a game that I absolutely find to be a joy to play. It's not a game I can speak on at length due to how small the experience is, though there is depth to be found here for those who enjoy being completionists. I was satisfied with playing enough to win a few runs before setting it down. However, I do see myself going back to this between other games, as is the norm for most roguelikes. Add this to the ranks of the plethora of stellar roguelikes in existence, I suppose. Shotgun King is pretty hilarious in concept, and its ridiculousness genuinely made me laugh during the tutorial. The king of the black side of your average chess set has become a tyrant in his kingdom. Enraged after being overthrown, he does what any sane individual would do and grabs his trusty shotgun to exact his revenge. The tutorial ends with his loyal bishop resigning after seeing how insane the king has become. The tutorial is great at introducing you to the game’s mechanics in a humorous and enjoyable way, making it easy and quick to wrap your head around. If you’re a Chess player, you’ll find some familiarity with the strategy aspect of this game. You’re only using the King here, armed with his prized shotgun. The game is turn-based, and each turn, you’ll decide to move or fire off a shot at the enemy pieces on the board. You also need a turn to reload. The goal here is to defeat the enemy King, actually, and you’ll breeze through many stages more easily when you realize this: focus on firing at the King whenever you can. The rounds grow more difficult as you progress, with more pieces being added to the board. By the last round, I was asking myself, “Is that a full chess set?” Moving around on the board will add more bullets in reserve. You’ll lose if your King enters Checkmate and you run out of moves. Even explaining the game’s mechanics kind of drives home how silly this concept feels. That’s what makes it likable, though, and we all need something a little more lighthearted every now and then, don’t we? The roguelike aspect of the game comes from the cards you select at the end of each round upon defeating the enemy King. You’ll be presented with two pairs of cards that provide a passive boost during the rest of your run. These cards can range from a boost to your firepower, the spread of your firing arc, or other beneficial effects. The catch is that whatever pair you choose, the enemy gets a card to buff them, too. You’ll sometimes find yourself forgoing beneficial cards due to the enemy card they’re paired with being too good. I personally liked playing this game at a slower pace, so I would often skip the “Final Countdown” enemy card, which ends the game after a set amount of turns, even if the card it was paired with would be beneficial to me. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_fe61bfd5bbe954b5ae1edeb2a77d88ca7f30c1d3.1920x1080.jpg) Deciding what cards to take becomes more difficult as you progress. Source: [Steam](https://store.steampowered.com/app/1972440/Shotgun%5FKing%5FThe%5FFinal%5FCheckmate/?l=english&curator%5Fclanid=28359939) As with many roguelikes, you’ll find yourself preferring specific cards over others based on your own playstyle. I enjoyed being stationary and taking shots downrange as enemies came to me, so I liked the Moat card a lot, which prevented enemies from crossing to your side of the board in one move. Another card slowed Pawns in particular while they were crossing this moat. I really enjoyed this setup, and in general, I love it when you can fine-tune a run around a specific playstyle. I find it very valuable in the genre, as I discussed with Rentlord, that feeling of “Okay, what build am I doing this time” when you see what cards you get is part of what makes roguelikes so addicting. I see that Shotgun King originated from a Game Jam, and I’m definitely impressed with that in mind; the developers really know how to design a game, and they have my utmost respect for that. I have to say that the price is a bit high at $10, though. Shotgun King has a fair amount of Unlockable content, Achievements, and challenges to complete, but don't think it has enough depth in its core gameplay to really be worthy of such a price. While it is a fun and lighthearted game, it does have the energy of a Flash game; when you hit the end of one of those Flash games, you're not likely to want to keep playing. Shotgun King suffers from a similar problem; merely having content won't give every player a reason to *do* that content, is what I’m trying to say here. There’s not enough that is intriguing about a run to really make me want to keep going with it. I don’t know what the solution to this would be, though my mind initially goes to Slay the Spire’s random events. Slay the Spire is a game that is sort of deceptive with its depth; it isn’t really that complex of a game when you look under the hood, but every run still feels fresh and unique. Shotgun King unfortunately gets repetitive faster than you’d really want it to, and tha's what holds it back. Regardless, I would definitely recommend picking up Shotgun King sometime and messing about with it. I grabbed it on the Steam Summer Sale when it was around five bucks, and that’s pretty well worth it to me for what it offers. If you need a game that’s more on the lighthearted side, something to give you a little brightness in this everlasting storm of life in the 2020s, Shotgun King can do that for you. It put a smile on my face while playing it, and we should place more value on games that can pull off that move. ## Hypnospace Outlaw ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/hypno-shot01.png) Source: [Press Kit](https://www.hypnospace.net/press/) You know, after gaming for a long time, I really value experiences that are just darned *weird*. There’s really not enough of the weird or surreal in gaming, and that’s a shame. I don’t think any other entertainment medium is as capable of diving into the realm of weirdness that many of us secretly desire. I don’t always want another by-the-numbers open-world game, or another game that festers with dark moments and aura. I want something that is zany, wacky, and goes off the rails a bit. I know many often bring up Kojima’s work when it comes to games that aren’t afraid to get weird, and I’m not saying you’re wrong, but I don’t exactly want that either. I hope that doesn’t come across as a shot at Kojima because that’s not my intention - there’s a certain brand of weirdness that not even Kojima has really delved into that I particularly desire, and Hypnospace Outlaw is the embodiment of that. Hypnospace Outlaw is an indie game that does its best to emulate the 1990s era of the internet; the time of Geocities, hyperlinks, and expression via your own web pages. I won’t act like I was around for this era, because I wasn’t quite old enough at the time, though I experienced early 2000s internet, which wasn’t much more adanced. From what I can recall of my early days on the web, much of it was spent in forums or IRC chats, but those odd little websites that emanated like a window into a person’s life were still around. I’m sure someone who experienced the internet in this era will be hit much harder by Hypnospace Outlaw’s themes and atmosphere, but I nonetheless found the game to be fantastic. The game's interface looks like its own desktop operating system, called HypnOS. When you open this game on Steam, it’ll actually open in its own window labeled “HypnOS’. A lot of work was done here to make it authentic. You can change the wallpaper and the color scheme, and even adjust the placement of icons on your desktop. You can buy one of those shady desktop assistants, wallpapers, themes, or even buy virtual pets that will run around on your desktop as well. HypnOS has its own web browser that you’ll be using extensively through the course of the game’s events, called “Hypnospace Explorer”. As you’d expect while using this custom web browser, you’ll find a sudden injection of nostalgia, as the numerous links to different web pages are all there. I genuinely appreciate that Hypnospace Outlaw does not have any time limit or running clock, for this is a game that deserves to be explored. The attention to detail here to make all of these different web pages feel real, fitting, and authentic is miraculous. You can click on a plethora of links that aren’t even relevant to the main plot and simply see someone’s page advertising a product or writing about their personal fanfiction, or promoting their band’s new song, mundane things you’d expect to see. The game's soundtrack enhances the experience even further, as you’ll hear plenty of music on different pages you visit, just as many individuals would choose custom music for their pages back in the day. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_d267916cead944ef8b2976b3c369fa315e107677.1920x1080.jpg) A majority of web pages in HypnOS have custom music to fit the vibe. Source: [Steam](https://store.steampowered.com/app/844590/Hypnospace%5FOutlaw/) It really invokes a different time and methodology when it comes to the internet, doesn’t it? There was this era of self-expression that we’ve really lost over the years, and it makes me genuinely sad. When you browse Twitter, YouTube, or even BlueSky, everything feels very minimalistic and professional. Everyone’s profile looks exactly the same beyond their avatar and banner image. There’s no real way anymore to truly express yourself or really exude one’s personality from their page alone. Hypnospace Outlaw makes me ask, why have we devolved this far? Where’s our creativity? Where’s our expression? What happened to really being ourselves?Via this emulation of the 90s internet, the game dares to remind you what it’s like to be painfully and utterly, remarkably human. The personal pages of Hypnospace Outlaw make me feel like I *know* that fictional person more than I do a *real* person whose online profil I’ve clicked. The more I find myself reflecting on this, the more a pit forms in my stomach, distraught over what we’ve lost. The internet has become significantly more tasteless. Beyond being a web browser, the moment-to-moment gameplay is actually a puzzle game. You’ll be placed as an Enforcer for “Merchantsoft”, likely a parody of Microsoft in this world, whose job is to police the web. Your duties involve reporting any signs of crime you find online. It’s here that I appreciate the game has a text-to-speech feature. You’ll need to do a lot of reading to absorb what the game wants to tell you, and often having it read to you makes it click, particularly when you’re a person like me who has issues with focus. The crimes you’ll be looking for can range from copyright infringement, extortion, and scams, to cyberbullying and more nefarious deeds. Quite humorously, one of your first tasks in this game will be to copyright strike images of a retro cartoon character that people are reproducing online - the “offender” in this instance being a poor school teacher lady who is merely a fan of the character. Even the drawings of the character that her students made, which were subsequently posted to the site, are liable for copyright infringement. Sorry, Bethany, Age 7 - your drawing is getting the copyright strike hammer. It’s utterly hilarious and a really fun way to introduce you to the game by making you do something that isn’t really morally correct. You’re given very vague information to solve the different cases you’re handed. It is up to you to explore the internet and really delve into where you can find the reported violations. Hypnospace Outlaw, as a resul,t becomes a mixture of a mystery and puzzle games, adding to its unique qualities. Beyond merely browsing the web, you’ll also find yourself having to dig up passwords or download programs to really find the solutions to these mysteries. One case in particular had a solution that involved downloading a program and clicking the resulting pop-up ad to be taken to a web page that was only accessible via that pop-up ad, from which I could then report. It is a game that really encourages you to explore and take your time, though I did find myself stuck a few times with very vague clues on how to proceed. Try not to get too frustrated, as you'll eventually find your way through and the juice is definitely worth the squeeze. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/iqrilfw8yqhgecxkyr61.jpg) Hypnospace Outlaw is a sobering reminder of when the internet was more personal and colorful. Source: [Engadget](https://www.engadget.com/2018-04-25-hypnospace-outlaw-geocities-internet-game.html) Hypnospace Outlaw is one of the most unique experiences you’ll find in gaming, and it really pains me that I can’t dive into the story side of things here since I need to remain spoiler-free. I have to say that Hypnospace Outlaw really exudes this feeling of being human in a way that is stunningly beautiful. Although my main critique would be with how abruptly the game ends and shifts to its climax, I still adored my time with the game. This is something to genuinely be cherished. It is not simply a homage to the 90s web. Hypnospace Outlaw is much more than that - it is a masterpiece of a game that reminds you of so much that we take for granted: the self-expression and spontaneity of the early internet; the way the internet has plummeted from a place of color and flavor; the things that seem mundane but make us human and unique. I’m floored by how creative Hypnospace Outlaw is, and I cannot recommend it enough. I personally had it on my radar for a while, but when Jay Tholen, the man behind this game, announced that the sequel, called Dreamsettler, was cancelled, I was heartbroken to see how devastated he seemed. I hope Jay is doing well, and t him, if he’s possibly reading this, and to all creatives in general - please *never* stop creating. Your creativity is beautiful, it’s special, and it deserves to be harbored in a way that the world can see. Flex your creativity and let your colors shine. Hypnospace Outlaw, in many ways, is a depiction and embodiment of what human creativity can be. If you take away anything from this, I want it to be that we don’t get experiences like this if we are afraid to get weird or creative, so what’s stopping you? Fly free and make the art *you* want people to embrace. ### Why Twitch Streamers Need a VPN URL: https://www.superjumpmagazine.com/why-twitch-streamers-need-a-vpn/ Last updated: 2025-08-04T04:39:13.000Z You most likely spend hours honing your setup, producing content, and growing your following if you broadcast on Twitch. The point that most streamers fail to consider, though, is whether you’re taking active measures to protect yourself online. Your internet connection (and accounts) become a possible target each time you go live. Your exposed IP address might be used by trolls, hackers, and even envious competitors. A virtual private network, or VPN, can help with that. Let's examine why a VPN is so necessary for all Twitch streamers and how it may make your streams safer, more seamless, and more intelligent. ## What is a VPN? VPNs hide your IP address and encrypt your web traffic. A VPN functions like a private tunnel between your device and the internet. Meaning no one can easily track your online activities or figure out your physical location. For streamers, this is significant. Without a VPN, your IP address is exposed to the internet, making you open to DDoS attacks, swatting, as well as potentially being stalked or doxxed. ## 4 major benefits of a VPN for Twitch streamers Okay, so a VPN helps you. But concretely, how does it do that? Let's examine a few ways VPNs benefit streamers like you in more detail: ### 1\. Protection against DDoS attacks Distributed Denial of Service (DDoS) attacks have the ability to take down your Twitch feed by flooding your connection with phony traffic. This strategy is frequently employed by trolls to interfere with well-known or competitive streams, to get them offline. By masking your true IP address and directing your traffic via a secure server, a VPN keeps you safe. A DDoS attack will thus only affect the VPN – not your local network. Your stream will remain steady and live thanks to the built-in defense against these assaults that good VPNs provide. DDoS may be the cause of your stream's sporadic breakdowns, and a VPN may completely prevent it! ### 2\. Stop swatting and stalking If you’re active on Twitch, you’re obviously already familiar with the concept of swatting. Swatting happens when someone makes a fake report about a crime at your place to get the police, emergency services or SWAT teams (hence the name) to show up. It’s really risky and scary, and it usually starts with someone revealing your IP address. After that, stalking and doxxing can become big problems. One example is Twitch streamer Nick Frags, who had armed police surround his house due to [a false claim that he had killed his whole family](https://www.businessinsider.com/swatting-livestream-twitch-nick-frags-heyitsmesalty-police-2022-6). Thankfully, he was unharmed. And, while some may think it’s just a prank, it’s punishable by law. Your IP is hidden with a VPN, so no one can pinpoint your exact location and connect it back to you. It’s just a tool that keeps your life private from the public eye, while streaming live each and every day for hours on end. ### 3\. Stream securely, even on public Wi-Fi Public Wi-Fi is risky, particularly when streaming on some open network when you’re in a hotel, at the airport, or at other events. Open network connections provide hackers with an easy opportunity to steal your login information, observe your web activity, and even hijack your session. If you are a streamer using any of the cool tools, like OBS, Discord, or just logging in a web browser, the risk is certainly real.Using a VPN completely counteracts this, because VPNs encrypt your internet connection, even while connected to public networks. It is similar to creating a private tunnel to keep your data safe anytime, anywhere. Whether cruising down the highway or logging in, wherever you are at your local café, making use of a VPN allows streamers to stream safely and protect their credentials. ### 4\. Accessing geo-blocked content Geo-blocking prevents you from accessing things, tools, or games that aren't accessible in your location. This can sometimes restrict the material you can produce or stream. For instance, some Twitch extensions may be region-locked, or game releases might occur early in different countries. By altering your virtual location, a VPN enables you to get around these restrictions. If your goal material is geo-resitrcted, you can just make yourself appear to be in the United States, the United Kingdom, or Japan – with just a simple click. This keeps your connection secure and confidential while providing you with creative freedom, access to servers around the world, and a competitive advantage. For streamers, it's freedom. ## What to look for in a VPN for streaming Numerous VPNs are available. However, not all of them are safe or quick enough for streaming. Twitch streamers should search for the following features in a VPN: ● Quick speeds to ensure seamless streaming; ● Servers across several nations; ● No-logs policy (your data is not tracked or stored by the VPN service provider); ● DDoS defense and robust encryption; ● Compatible with consoles, mobile devices, Macs, and PCs. Surfshark is a trustworthy [information source](https://surfshark.com/download) when choosing a trustworthy VPN. Because of its speed, security, and cost, it is highly recommended by gamers and content producers. ## Final thoughts: A small tool with big protection Twitch streaming is inventive, thrilling, and occasionally surprising. However, that does not imply that you should be careless with your digital life. It's time to take your online safety seriously if you want to broadcast; add a VPN to your streaming configuration now, rather than waiting for a negative event to occur! ### Hidden Gems of Game Design Volume 38 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-volume-38/ Last updated: 2025-08-07T23:23:56.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### Entity Researchers (2022) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-10.png) Source: Steam Growing up playing so many standard JRPGs and not really getting into the CRPG side, I get excited whenever I find a game that bucks the traditional RPG trends. [Entity Researchers](https://store.steampowered.com/app/1562230/Entity%5FResearchers/) is a creature ( or “entity” as they are known here) collector roguelike. Taking place in the 90s, you work for an organization that is trying to keep our reality safe from creatures invading it. The general gameplay involves entering procedurally generated dungeons to find items and resources while defeating and capturing the different entities within. The money earned from completing jobs and raising your rank will unlock new features and challenges to conquer. Combat is centered around mini-games, as each spell will require you to click on different symbols and time it properly to get the most damage. Your party will be made up of the different entities that you capture, each with different strengths, weaknesses, and elemental affinities. There's a lot going on under the hood for this game, which, along with the style, gives it a unique feel. With so much happening at once, the game’s central concept feels a bit muddled as a result. Despite the number of entities to find, they don’t change the base concept of combat. Given how important stats are, if you’re not careful, you can get into a fight with an enemy who will just utterly destroy your party without any recourse other than hoping that you can run away. The main problem for me is that it makes use of your computer’s clock to determine quests and available entities. Depending on what time you play, this will affect which missions, and by extension, which entities you will go up against. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-13.png) Source: Steam To that point, let’s say you can only find time to play the game at 6 PM; you will only get access to one specific group of entities. And for a game like Pokémon or Shin Megami Tensei, everyone knows that not having a varied party is a death sentence. The repetition of the missions at the start can also leave you feeling a bit drained after your umpteenth time, hoping to find a new entity or resource needed to progress. In the end, Entity Researchers is one of those games that isn’t the most refined experience, but does do things very differently compared to everything else out there. ## Antony Terence ### Seven Kingdoms (1997) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-11.png) Source: Steam (from Seven Kingdoms: Ancient Adversaries). Real-time strategy fans, here’s a game that’s often overlooked in retro disc piles. With elements borrowed from Age of Empires, Civilization, and Warcraft, Seven Kingdoms may seem like your usual fare of oversized soldiers crossing the map, fighting foes, and capturing territories. But under its pixelated visuals, several routes to victory intersect at key junctions: racial harmony, espionage, trade, taxes, and powers of biblical proportions. As one of seven races, you’ll grapple for control over unaligned cities scattered across the map. Taking over a city could mean anything from bribes, favorable trade, and the promise of better governance, to straight-up conquest. Over time, retaining your people improves their skills, leading to better resource yield and military prowess. Picking a general of the same race as a city’s majority enhances their loyalty and tempts neighbors to switch sides. While securing iron, copper, and clay is important in Seven Kingdoms, the right manpower is just as essential. With resource piles all over the map, it can take a while for you to have a steady surplus, making trade a worthwhile investment. Caravans and ships let you trade your goods across markets and ports. Invest in your trade routes, and you could broker treaties and even buy out opponents outright. The game’s manual has an entire section on trade route optimization. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-12.png) Source: Steam While violence remains a solution, it’s seldom the most satisfying one. Lose battles, and your disheartened troops could change sides. Get your king killed, and you might run into a rebellion before you crown a successor. Instead, the route I preferred as a kid was espionage. By sneaking spies into neutral or enemy cities, you could influence the local population, letting them seize control or even assassinate a leader. If you really want a target for your ballistas and catapults, point them at the Fryhtans, Seven Kingdoms’ version of largely neutral monsters. Raid their lairs or use them as a distraction as you pursue magic scrolls to build Seats of Power. These structures produce Greater Beings, overpowered units that could wipe out entire cities if left unchecked. Seven Kingdoms might not be a visual stunner, but there’s just enough magic in its complex underlying logistics to merit a look, [especially at the low price of free](https://7kfans.com/). ## Ben Cantrell ### Saiyuki: Journey West (1999) ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXca-Ojw_2QywpA2FbSzedfylEUlucZWmrlpsYbEblU9NUyBO0W6uMMSILX-N-sdGCO5sM0UGySSsa6sk1idITHLT2wSNjwW5MVkCBf9pLTgR7csJ2hQdI4JhrQb4DuJGuHXcsGboQ?key=QyvI7_rIEujP8hInF4qruQ) Source: Author. If you’re into turn-based tactical RPGs like Tactics Ogre or Final Fantasy Tactics, and you’ve never stumbled across Saiyuki: Journey West on the original Playstation, it’s one of those forgotten gems that’s absolutely worth a look. Released in Japan in 1999 (2001 in the West) by Koei (yep, Koei of Dynasty Warriors fame), it’s a bit of an odd one in their catalogue. This was their only tactical RPG set in this universe, and they never followed it up with a sequel or any other titles in the franchise. It kind of came and went with barely a ripple, which probably explains why it’s stayed relatively hidden all these years. The story is loosely based on the Chinese myth Journey to the West, where a monk travels from China to India to collect sacred scriptures, joined by a band of magical companions like the monkey warrior Goku and others. Koei turns this into a charming, mythological RPG where you choose the gender of your main character, Sanzo, and take on turn-based strategic battles as you journey across an ancient landscape. ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXcM6zU8oF3gzmbIpTinWccyPiWJFJTo2BpTn4NtymvJkYpuFzKG_zeB10qPAjS-_mlaGvkOjIQ4fJ2bqmby55m1nHts-dhV1JUNEb-e_2tjiit5KgtMPBnoq2FHUBHAoUZ5YahZ_g?key=QyvI7_rIEujP8hInF4qruQ) Source: Author. Gameplay-wise, it’s very similar to something like Vandal Hearts, or a boiled-down version of Final Fantasy Tactics. You’ll fight groups of enemies through scripted, grid-based encounters on isometric battlefields that you can rotate in four directions. The characters are beautifully hand-drawn sprites, and the game keeps things moving with brief cutscenes that get down to the point. The gameplay loop has a nice rhythm to it: you’re doing combat, watching HP/MP bars, upgrading weapons, buying healing potions, and leveling up at dojos between battles. There’s also a 'wereform' system where characters can temporarily transform into beasts with unique abilities, while the main character, Sanzo, uses guardian spirits for buffs and spells. During fights, you can easily view any enemy’s remaining HP, level, and other stats with a quick check. Overall, the game feels thoughtfully designed and approachable. Another nice touch is the quick-save feature that lets you save mid-battle, making the game super forgiving if a particular strategy doesn’t pan out. It’s definitely not the hardest tactics game around; in fact, tactics veterans probably won’t break a sweat with this. But it’s well-paced, nicely designed, and full of personality. Everything just feels intuitive and smooth to play. ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXesmDGc2W0SptGEINfHDN0370-zJnP99pl3sHilZCV0hCPuaf0jCkffcovnmws3hq_2HQ0rWVAjO2oGIKYikS-IEKQwEpNeU2U_JcIC-aNVRAaxjPoRficodV9oTQS8aRXTKzv-HA?key=QyvI7_rIEujP8hInF4qruQ) Source: Author. For anyone who loves tactical RPGs and hasn’t checked this one out, Saiyuki: Journey West is a solid, often-overlooked gem from the PS1 era that is worth tracking down. It’s a one-off, but it’s got that classic tactical feel, and it’s aged surprisingly well. ## Varun Abraham Karunakar ### Prince of Persia (2008) I'll be the first to admit I was kind of sceptical about a reboot of Prince of Persia. After rolling credits on Yuri Lowenthal's take on The Prince in The Two Thrones, I hated the idea of a new game that would force me to leave behind the excellent story that the Sands trilogy set up, taking the franchise in a bold new direction on both the narrative and gameplay fronts. But Nolan North's take on the titular character and the gameplay loop Ubisoft brought to the table in Prince of Persia (2008) quickly won me over. It made the most of its distinct cel-shaded visual style to present an experience that brought emotional heft and undeniable immersion to its gameplay loop. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/2785.jpg) Nolan North's excellent performance made The Prince relatable and quite the lovable anti-hero. Image Credit: Ubisoft The Prince wasn't really a prince at all. But Erika's presence as the Princess of a failed kingdom that had abandoned its allegiance to a deity who left it behind made her the perfect counterfoil to his lone wolf personality. The duo's interactions and her integral role in Ubisoft's new gameplay loop made Prince of Persiaa game that has me longing for my PlayStation 3. That's because it built on excellent traversal mechanics from past titles, taking them up a notch in a land that needed its protagonists to utilize every advantage they had to deal with its threats. Ahriman was a brilliant antagonist, his influence permeating every square inch of the world while his lieutenants brought truly poignant backstories to explain their allegiance to him. From the second I began to explore the land and attempt to free it of his influence, I knew that Ubisoft had something truly special on its hands. Running across walls, leaping to distant platforms, and taking on enemies required that I use a specific input tied to either The Prince's limited repertoire of skills or call on Erika to help out. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/2783-1.jpg) The game's art style and visual flair were brilliant, making its gameplay loop all the more immersive. Image Credit: Ubisoft The synergy that the duo eventually achieved made every facet of its gameplay loop very satisfying in a way that surpassed even the Sands trilogy's excellent combat and exploration. And don't get me started on its incredible audio design and soundtrack! Another factor that brought the entire experience together into a cohesive whole was the fact that the game's overarching narrative was a part of its very DNA, a heady mix that Ubisoft hasn't really managed to replicate in the intervening years. I've yet to come across a duo as incredible as The Prince and Erika, although the way their relationship progressed to a bittersweet end continues to haunt me 17 years later. Prince of Persia (2008) is one of those titles that I'd jump at the chance to play again. I'd even go as far as to say that I wish it were the game Ubisoft chose to remake instead of The Sands of Time, and that's saying something considering how much I loved that one back in the day. Thanks for reading! Come back next month for another entry and more great hidden gems to check out. [You can find all previous Hidden Gems stories here](https://www.superjumpmagazine.com/tag/hidden-gems/). ### Indie Monthly: July 2025 URL: https://www.superjumpmagazine.com/indie-monthly-july-2025/ Last updated: 2025-08-03T20:34:58.000Z **July is usually a slow month, and the indies are no exception.** I only have two games for you this month, but take heart - I'm not leaving you high and dry. To compensate for the lack of reviews, I'm going to give you, the reader, a quick preview of the upcoming fifth State of Indie article, scheduled for November. So let's skim the stats: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/PC-Indie-Game-Sales--January-June-2025.png) Source: Author. The first half of the year has been pretty slow for small developers, but that doesn't mean 2025 will be a bad year overall. The indie market is overwhelmingly hit-driven, with the vast majority of the money generated by a small number of games. Those mega-hits are seldom evenly distributed. If they all come out early, it can create the illusion of a strong year when it's actually quite typical. If they come out late, then it can look like a weak year when that might not be the case. 2024 was highly skewed by the release of Palworld in January. By contrast, 2025 has had two massive indie hits in R.E.P.O. and Schedule I, both of which have generated over $100 million in revenue (in comparison to your "typical" indie mega-hit, which generates revenue in the low eight figures). However, that's still peanuts compared to the half a billion dollars made by Palworld. Take that game out of the equation, and the two years are a lot closer than they appear. On the whole, it looks like the indie market isn't really growing. It's been stuck at around 1-2% of the entire video game industry for the better part of a decade, and while there are some signs of growth, I doubt that these small developers will seriously threaten the AAA big dogs anytime soon. But that isn't to say that we can't still enjoy them, and the two games below are definitely worth a look. [Incidentally, if you have or are releasing a game in 2025 and want to participate in State of Indie 2025, you can take the survey here.](https://form.jotform.com/251814366686063) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/DeathRelivesA-1.jpg) Death Relives. Source: Author. ## [Death Relives](https://store.steampowered.com/app/1987400/Death%5FRelives/) Death Relives is a first-person survival horror game built around Mesoamerican cosmology. It's a familiar feeling game that stirs the pot by adding a single unstoppable foe and a novel gameplay cycle. Adrian, a student, is returning home with his mother when they come across an injured man on the road. Stopping to check, the man suddenly rises, attacks the mother, and drags her away into the wilderness. Adrian follows the two of them to a mansion that contains dozens of flayed and dismembered corpses. But the building is also home to something even stranger: Xipe Totec, Aztec god of agriculture, as well as the disembodied souls of his priests and artifacts dedicated to his worship. If Adrian can't escape, he might be the next one to offer his heart on the altar. Death Relives proceeds similarly to many survival horror games, save that there is only a single enemy in the area. Should Xipe Totec catch up to the player, Adrian will meet a gruesome death. Adrian has two tools to prevent this from happening: The God Seed, which tracks the location of both Xipe Totec and the current objective, and a sacred handgun that can be used to slay the deity. Xipe Totec dies easily, but of course, that's not the end of the story. Aside from the very limited amount of ammunition available, there's an ugly side effect to Xipe Totec's defeat. The God Seed is a relic of Xipe Totec, so killing him causes the God Seed to rapidly wither. If the God Seed dies, Adrian dies as well. He can revive the Seed by feeding it sacrificial blood, harvested by ambushing and killing one of the Aztec priests spawned in the wake of the deity's death. Doing so also resummons Xipe Totec to the world of the living with greater health than he had before. As a result, the gameplay of Death Relives follows a cycle. The player moves around the mansion, collecting items and solving puzzles while using the God Seed and hiding points to avoid Xipe Totec whenever possible. If forced to fight Xipe Totec, the player must quickly break off from the current objective and seek out a priest to revitalize the God Seed, which restarts the cycle. Death Relives is not an inherently difficult title, but the gameplay cycle does demand both efficiency and speed. The former is standard for survival horror, but most of these games have a somewhat more leisurely pace. The risk of death by attrition and the growing strength of the game's adversary call for more aggressive play than you'd normally need in an old-school horror game. Overall, Death Relives is a novel take on a well-worn genre, with a simple yet challenging gameplay loop and narrative that mixes things up. [Death Relives](https://www.nyctophilestudios.com/) is available for [PlayStation](https://store.playstation.com/en-gb/concept/10006282), [XBox](https://www.xbox.com/en-us/games/store/death-relives/9N42845FHFTR) and for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/KickbackA.png) Kickback. Source: Author. ## [Kickback](https://store.steampowered.com/app/2753870/Kickback%5FShoot%5Fto%5FMove/) Kickback is a shoot-em-up with roguelike elements and a novel means of movement. While it's not the easiest game to get a handle on, it's an interesting challenge for experienced fans of the style. The player controls a damaged ship that only possesses the use of its armaments, and as such, the only way to move is via the recoil from the ship's weapons. The ship comes equipped with two weapons based on the pilot, at least one of which is used primarily as a mode of movement. This means that, unlike a typical twin-stick shooter, it's not possible to move and fire in different directions without some tricky maneuvers. The player will quickly unlock other ships that feature more conventional movement schemes, though they all have their own gimmicks. After picking a ship and pilot, the player is dropped into one of three arenas. All three are open spaces with damage-causing areas in the corners to prevent the player from getting too comfortable, but the size of each arena and the enemies that appear differ greatly. The objective is to survive against waves of enemies for a set amount of time based on the difficulty level, after which a boss spawns. Defeating enemies and collecting dropped items powers up the player's ship. At set levels, the player will gain either a bonus to one of five fixed stats, the choice of a random upgrade that can be equipped to either of the ship's weapons or the hull, or an active ability on a cooldown. Each ship also levels up between runs, unlocking new pilots and weapons. Kickback has a definite learning curve. With the default ship, it can take a while to really get a handle on tight maneuvers, which becomes an issue when facing enemies that flood the screen with projectiles or larger enemies that are harder to dodge. On the other hand, the ship is durable and packs a punch, which really levels the playing field. There's also a lot of variety in the enemies, and few of them feel overpowered or frustrating to fight. Overall, Kickback can take some getting used to, but a shoot-em-up fan willing to spend an hour getting a handle on it will probably find something to like. Kickback is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at the indie games that caught our attention in July, and the preview of how indie games are doing overall. Be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Indie Review Roundup, Part 1 URL: https://www.superjumpmagazine.com/indie-review-roundup-part-1/ Last updated: 2025-08-08T17:10:19.000Z **We are unbelievably lucky to live in times like these.** It may not always feel like we are, per se, but in terms of gaming, there is a plethora of content out there just waiting to be eagerly devoured. There are hundreds of games out there made by independent developers, average people like us who deserve attention, one way or another. The notion that a normal person can flex their creativity in ways that really resonate with others is one I value deeply. It is absolutely brilliant that we have such easy access, not merely to games but the general creativity of others. No matter what the fate of the AAA scene may be, I believe we’re in good hands when it comes to indie games. I’m not going to lie to you all either. I wasn’t always a huge supporter of the indie scene. I know, shocking. I didn’t *dislike* indie games, I merely overlooked them. I focused on different types of experiences. Over the past few years, however, I feel I’ve really opened my eyes more to what independent developers have to offer gamers, and I regret not taking the plunge sooner. Once you get the taste for indies, there really is no going back. I am still unafraid to tear into an indie if the game simply isn’t good or has its fair share of issues (which you’ll see in one entry later), of course. I don’t see lines between AAA, AA, or indies; I simply see *games* as a bigger medium, experiences that I cannot receive anywhere else. And that’s why I’m here to showcase and review a few games for you. I had a lot of fun with my pieces on [Steam Next Fest](https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-1/) and wished to do something similar once that was done. All of these reviews will be positive except for one in particular that really disappointed me, but as usual when I critique things, I try to be as polite as possible to the developer. It’s their work and their art, so they deserve to be treated with respect for sharing that with everyone. There’s a game in here that really left me stunned, and may be one of my favorites of all time now. There are two games from the same genre with one standing out more than the other due to its messaging, although the other is an overall better game that really exemplifies game design within that genre. Instead of being cryptic, I shall leave you on the note that I genuinely hope one or more of these games resonates with you enough that you’re willing to try it yourself. Perhaps in the future I’ll do another one of these when I’ve accumulated enough smaller game reviews, since this was really enjoyable to put together. ## Monument Valley ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/nexus2cee_monument-valley.png) Source: [AndroidPolice](https://www.androidpolice.com/2018/01/02/freebie-alert-monument-valley-free-many-countries-around-world/) I was absolutely floored by Monument Valley. It was a game I overlooked, though never intentionally. It seems almost destined to be overlooked, perhaps owing to its origins as a mobile-only game at a time when such games were defined more by Angry Birds clones than works of art. Monument Valley is a puzzle game, a genre that seems perpetually stuck in the middle of the popularity spectrum. It'ss an indie that only takes 1-2 hours to complete, and yet it sits at “Overwhelmingly Positive” on Steam. While I find the game beautiful in many ways, it doesn’t stand out much when viewed among thousands of other titles on a digital storefront. Monument Valley looks like a pretty little game, which it is, and nothing wrong with that, but the masses likely won’t latch onto it. What a shame that is - Monument Valley is a stunningly beautiful puzzle game not from sheer visuals alone, but from a music and game design standpoint. There is no voice acting to be found here, and any dialogue you see is kept to a minimum. That very minuscule amount of written dialogue makes the story very open to interpretation. For the sake of keeping things spoiler-free, I won’t provide my own explanation or interpretations. It’s a game you really and truly need to play on your own to genuinely absorb all it has to offer. I wouldn’t be able to do it justice by merely spelling it out to you here, though I will say that it is a very heartfelt story that likely will resonate for many when they really read into the deeper meanings. I’ll admit I’m a sucker for atmospheric games, and Monument Valley is certainly one of those. The music is brilliant, with the beautiful melodic notes truly enhancing the game’s overall vibes. It invoked Journey the most for me, which is one of my favorite games of all time for its melancholy beauty and loneliness. Monument Valley has a very similar energy. It feels so completely and utterly lonely, and I love it for that. I think games can portray that unique hollowness of melancholy like no other medium really can, so I highly value it when a game like Monument Valley pulls that off. The music helps form that melancholy atmosphere into something hauntingly marvelous. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-8.png) This entire level pops up from a box you have to pull open. Source: [Into Indie Games](https://intoindiegames.com/walkthroughs/monument-valley-walkthrough-chapter-8-part-3/). The puzzle design in Monument Valley is near-perfect. It is so great at ensuring you’re not frustrated during your playthrough, at least not for long. Unlike many other puzzle games where you may bang your head against the wall for a prolonged time, Monument Valley is very much a comfortable difficulty. It’s the perfect difficulty, in fact; not too hard or too easy. It manages to captivate even a person like me who doesn’t usually gel with puzzle games, providing those satisfying eureka moments whenever a puzzle is solved. As a result, Monument Valley is a very relaxing game to play, and I somewhat wish it were longer. Though I am aware there is additional downloadable content and a sequel, I don't particularly think it needs that to resonate the way it does. I believe Monument Valley is, was, and will always be special in its vanilla state. The core gameplay is simplistic but also rather fresh, and that’s why it works. You click on the screen to guide the protagonist, Princess Ida, towards each level's goal. You click and drag parts of the level to adjust the layout as needed to solve puzzles and guide Ida on her way. That’s all there is to it, to encapsulate what the game’s core design is as briefly as possible. It knows what it wants to do as a game artistically; it sets out to do it and it pulls it off wonderfully. Each level has its own spin on the game’s core design. One level will have you shifting around a totem in conjunction with Ida to progress through the level, while another has you rotating the entire stage to progress. Perspective puzzles are also common in Monument Valley, where you can only progress by angling the stage in specific ways that may look like an illusion at first glance, but allow you to progress to a higher platform or area. I was particularly thrilled with one level that was contained entirely inside a small box. You’d tug on different parts of the box with your mouse, which would reveal different parts of the level. When Ida went from one part of the level to another, you’d have to close the box and tug open the section she went into, like a pop-up book. It really floored me with how incredibly ingenious and adorable it was. It blew my mind honestly, and it was here that Monument Valley really cemented itself as an incredibly well-designed puzzle game. I’d highly recommend giving Monument Valley a shot at some point. Whether you like melancholy games like me or merely puzzle games in general, I cannot recommend this wonderful art piece enough. Fantastic work. ## Rentlord ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/61d4UK.png) Source: [vertygames](https://vertygames.itch.io/rentlord) I originally [wrote about Rentlord in my 3-part piece on the Steam Next Fest](https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-3/) here at SUPERJUMP. In that piece, I noted the inevitable rise of Balatro-likes. Much like Survivors-likes became a thing after the success of Vampire Survivors, these Balatro-likes attempt to take Balatro’s formula and put their own spin on it. While I don’t mind the concept, I want developers to be more creative when they use the formula. Don’t just slap it on anything that resembles a board or card game; be creative and do something unexpected. I praised the idea behind Rentlord, finding a property-management spin on Balatro to be a very novel concept on paper. Rentlord was due to release not long after Next Fest, but I was working under the assumption that it would debut in Early Access. Much to my surprise, it instead came out as an actual full release! This is a huge problem, because as I pointed out when I originally wrote about Rentlord, the game is significantly lacking in depth, detracting from what is otherwise a solid concept. That lack of depth was excusable in a demo, so I assumed the full game would rectify that in some way. If it was released in Early Access, even, I’d also completely understand. By putting Rentlord out as a full release, you’re telling people that your game is ready and complete, when that is absolutely not the case. Rentlord plays similarly to Balatro, as one might expect. You buy properties that appear on a map which shifts every in-game day. Each property has a base rent and multiplier, with a limited number of different types of properties that skew their values differently. You collect rent for each weekday (not weekends), attempting to hit the revenue goal by the end of the week. You’ll purchase Plugins (similar to Balatro's Jokers) to affect your score, multipliers, etc. There are Portfolios that change the parameters of the run, just like Balatro’s different Decks. That’s basically the gist; it’s a fun idea. The music is lovely, and the UI is great, resembling a desktop interface, though I wish there was an option to turn off the CRT filter. At a base foundation level of a game, there’s good quality design here. However, Rentlord is so utterly barebones that it is genuinely shocking to me that it’s not an Early Access game. The prime example here is the Plugins. Do you want to take a guess at how many unlockable Plugins are in Rentlord? Go on, take a quick guess. Just 17, that’s it, with 46 in total. That’s absolutely dreadful for a game based on Balatro, much less a roguelike deckbuilder. A roguelike should have a large amount of diversity, new things for players to find on the presumably large number of runs they will go on. You want to give players a reason to really get pumped up when they start a new run. Each one should feel fresh, requiring quick thinking on the fly to adjust your strategy based on what becomes available. Rentlord doesn’t have that at all, and it’s a glaring, fatal flaw for a game derivative of Balatro. I noted even from Rentlord’s demo alone that you’ll keep seeing the same Plugins over and over again. This hasn’t been rectified at all upon release. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_8b372fd4d566161f9bf29a77c57bf4e45e1f243d.1920x1080.jpg) Rentlord lets you make big numbers go up, but without much substance. Source: [Steam](https://store.steampowered.com/app/3546440/Rentlord/) To exemplify Rentlord’s lack of depth, look at my playtime. I have unlocked 23 of Rentlord’s 34 Achievements in only my 2 meager hours of gameplay. I’ve unlocked 8 of the 17 unlockable Plugins already. Is that not insane to anyone else?! How can you release a Roguelike game that has the potential to be completed *this* quickly? Listen, I get it if you’re excited to release your new game, but there was no reason for Rentlord to be pushed out as a full release. I respect the cheap pricing, but I still don’t see the point of playing this game over Balatro in its current state. A full release should not have content slapped with a “Coming Soon” tag. I’m absolutely shocked the game doesn’t have *anything* besides Plugins to affect your runs. Rentlord almost immediately becomes stale after several runs as a result of its lack of depth. Nothing against Rentlord's developers, but the game simply wasn’t ready for prime time. It needed several more months at least, purely to add more depth. Give it more time to bake, don’t take it out of the oven when it’s undercooked! All of that content on the Roadmap? That should be what the game is launching with as a full release. You don’t release a game and say all of the content is coming later. You’re a roguelike deckbuilder, not a live-service game. Rentlord has a cool concept on paper, and it makes me really upset to critique it like this, since I felt like they really had something with a lot of potential on their hands. Perhaps it still *does* have potential as it gets updated over time, in the same vein as Cyberpunk 2077 or No Man's Sky. I wish the developers well. I cannot in good faith recommend Rentlord at this time, nor can I rate it well. The state of the game at release is utterly barebones, barren of content and boring, making it overall a mediocre game. ## Click & Conquer ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Untitled-1.jpg) Click and Conquer hides an anti-war message under an otherwise average idle clicker. Source: [Steam](https://steamcommunity.com/sharedfiles/filedetails/?id=3510841910). Click & Conquer was [another demo I covered in my Steam Next Fest](https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-1/) overview. I was particularly taken by this little clicker idle game, so I thought it’d be worth a pick-up of the full title. Click & Conquer sets out to be a relaxing idl experience, and I really believe it pulls that off. However, there’s a lot more here from an artistic standpoint than one may expect, which is worthy of praise as well. I’ll be spoiling a bit of the game's messaging that mainly comes late-game as well as when you beat the game, so please keep that in mind before you read on further. Click & Conquer’s gameplay loop combines an idle clicker with a bit of Minesweeper. The currency you’ll earn each second is called War Bonds, though I found myself merely calling it “Cash” because of the icon it uses, and I will proceed to do so from here on for convenience. You’ll use this Cash to purchase upgrades as well as new areas. When a new area is unlocked, it’ll open up another branch of upgrades for you to unlock. Rinse and repeat until you reach the Pyrrhic Victory “upgrade”, which will end the game once you finally purchase it. There’s a tad more to Click & Conquer’s gameplay than merely allowing funds to accumulate. While you can make progress by leaving it idle, you’ll inevitably find that progress grows very slow at one point or another, much like many other idle clickers. That’s where the Minesweeper-like portion of the game comes into play. Each unlockable area is where you enter the “Conquer” phase. You’ll find a battlefield in a grid format, each square of the grid shrouded by fog that you’ll have to drop a set amount of bombs into. Your goal is to defeat as many enemy troops as possible on the field before you run out of bombs. You’ll earn cash for each enemy defeated, as well as XP for the area. Each time an area levels up, it’ll add a permanent percentage boost to the cash you earn per second. As you progress, later areas will have a larger field and more enemies, along with enemies that take more than one bomb to defeat, but the percentage boosts you receive for leveling up these areas are progressively larger. You can upgrade the damage radius for your bombs to reveal more fog, as well as increase their quantity or damage later on. Thanks to this part of the gameplay loop, Click & Conquer demands more involvement from the player than your average idle clicker. Late-game, especially, is where you’ll find that you need to farm those hefty boosts to reach the trillions that the game asks of you. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-9.png) Source: Steam. During the “Conquer” phase of the game, you’ll also collect Intel. Funnily enough, the upgrades in the demo didn’t name this item as Intel, so I speculated on what these paper things were called. Intel was one of my guesses, and it makes sense. You’ll need to spend Intel when prestiging (resetting current progress in exchange for permanent bonuses) to access upgrades that provide needed boosts to your cash flow. I’d highly recommend bee-lining the upgrades that keep your progress whenever you prestige. You can only carry 3 Intel to start, but you’ll be able to carry 3 more for each area you unlock, at a max of 33\. It’s here that I must critique Click & Conquer a bit. You’ll find a plethora of upgrades that increase the spawn rate of Intel, purchasable with both cash or in the prestige menu with Intel. I don’t quite understand why these are here, though. Once you buy and invest in one of these Intel spawn rate upgrades, they appear quite often. You don’t need to stack multiples, since you’re constantly hitting the limit of how much Intel you can carry anyway. It feels pointless to upgrade the Intel spawn rate any further; they just seem like a waste. If there was no limit on how much Intel you could carry, I suppose I could see the logic in it, but as it stands, these unfortunately feel like dead upgrades. Towards the mid-to-late game, I was disappointed whenever one of these appeared instead of a more interesting cash upgrade. Almost every single branch of the progression tree has at least one of them. Back to the spoilery bits I mentioned earlier: Click & Conquer’s final message really resonated with me as someone who is very adamantly anti-war. Upon beating this game, the same game where you’ll often drop bombs on soldiers in the midst of battlefields or even cities, you receive a rather sobering on-screen message. This message quotes American writer and novelist Pearl S. Buck: *“In any war, a victory means another war, and yet another, until inevitably the tides turn, and the victor is the vanquished, and the circle reverses itself, but nonetheless, a circle.”* It is a very fitting quote for the gameplay on offer, where you’re constantly in this loop of going back to the battlefield to farm more cash by defeating more enemies. The wheels of war keep turning, and it’s a never-ending cycle. I’m of the mind that this kind of messaging is something that needs to be said in today’s climate, and I believe it makes Click & Conquer as a whole resonate much more than it otherwise would’ve. Click & Conquer isn’t an idle clicker that you’ll play endlessly, and that is likely by design. Even if it's not, it aligns with the game’s messaging beautifully. What is left to achieve after everything is destroyed or “conquered”, if you will? It’s a lovely and relaxing little clicker game, though not inherently remarkable or mind-blowing. The pricing is very generous, so I’d recommend picking it up, but I'm not enthused enough to rate it too highly, though I really enjoy what it tries to do within the genre. To end off, I believe the achievement description for reaching the game’s Pyrrhic Victory is actually a great encapsulation of the game’s messaging, and a perfect way to really have you think about what Click & Conquer really means - “You won, but at what cost?” --- We're only halfway done with our indie game review roundup, so [click over now to Part 2](https://www.superjumpmagazine.com/indie-review-roundup-part-2/) for three more games we loved! And always stay tuned to SUPERJUMP for more reviews, interviews, and so much more! ### Terry's Vegetable Patch and What You Should Know About the Giggleland ARG URL: https://www.superjumpmagazine.com/terrys-vegetable-patch-and-what-you-should-know-about-the-giggleland-arg/ Last updated: 2025-07-30T19:11:50.000Z **Giggleland has released its first demo, titled Terry's Vegetable Patch.** Don't trust the friendly-sounding name, this is full-fledged mascot horror. YouTuber Nightmind has released a [Let's Play of the demo](https://www.youtube.com/watch?v=ktQ-6yP2JFU&t=43s) with instructions and analysis. Game Theory [has also](https://www.youtube.com/watch?v=8w5U33MIKS0&pp=ygUVR2FtZSB0aGVvcnkgZ2lnZ2xlbmFk) delved into the game and the connected ARG. You can view the [Steam release trailer](https://www.youtube.com/watch?v=oybFKdCfI-c&ab%5Fchannel=Giggleland) here. After [a free online game](https://giggleland.wiki.gg/wiki/Eliot%27s%5FAdventure%5F%28Game%29), several animated shorts, and a hidden diary, Giggleland has found its audience. It is a combination of ARG and a mascot horror video game, with the ARG coming out first in a series of Acts. The official [Discord](https://discord.com/invite/ndndYDzXDM) has interested fans and investigators keen to solve the mystery, with the anonymous developers releasing announcements to track content and solved findings. Despite the supernatural elements in each installment, the mundane scares reflect the real world. We have a narrative of child abduction and cults hiding sacrifice in plain sight. Artists find malevolent leaders corrupting their initial visions. The investigators' persistence may have also led to a child kidnapping. On the surface, Terry's Vegetable Patch is a typical horror game where a player character explores an abandoned theme park. Then you dig deeper into the online community's findings on Discord and Reddit. The ARG and demo also have biting commentary about authority figures who claim to know everything and abuse the trust their charges give them. There's a full Giggleland game in the works, but Terry's Vegetable Patch provides a proper introduction and story for newcomers, and something to tide existing fans over until the full game arrives (release date pending). The ARG hasn't uncovered new material since the demo's release, but the developers have hinted at more tidbits to come. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-17.png) Source: Steam. ## "Isn't It Dangerous To Do Farm Work At Night?" The demo starts with you exploring a strange amusement park with a farming theme. You are Tolie, a girl trying to find her father. Terry's Vegetable Patch, a pastoral amusement park, is the last clue that Tolie has. This checks out for a standard mascot horror story. Terry's Vegetable Patch seems to evoke the Poppy Playtime factory in a rural atmosphere, where you perform tasks among animatronic sheep and paintings of angels. None of the cornstalks or hay seems real, and there are no real animals. Any cheery music fades into eerie whimpers. The equipment also breaks down when you play by the rules. To find the truth, you have to explore. Breaking a few rules is also an option. A mysterious figure is also watching: Eliot, the cat magician mascot for Terry's Vegetable Patch. Rather than the friendly orange toon from the posters, a shadowy figure peers at us. Eliot also directly interacts with the player via audio recordings and takes screencaps of their session, raising questions about his sapience. Despite this, Eliot doesn't seem malicious. He's curious. My standards for abandoned amusement park demos are high; you have to do your research. In this case, I can believe such a tourist trap is possible after visiting a friend in rural South Dakota last year. When you know about reptile houses and rollercoasters in the middle of nowhere, mechanical sheep creaking as they "eat" their feed seems plausible. The extra material also reveals that "Farmer Terry," also referred to as "Uncle Teri" in supplementary material (more on that below), tested smaller versions of this idea at world fairs. He did his marketing without the horrific creative meddling. That meddling would come later. Note that if you play the game, it reveals some screenshots of your desktop and wallpaper. A patched-in Streamer mode has fixed this if you would like to stream the game without that Easter egg. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-15.png) Source: Steam. ## Supplementary ARG Material After the initial [Giggleland teaser trailer](https://www.youtube.com/watch?v=eVQjQtO31q8&ab%5Fchannel=Giggleland) was released with binary code in the YouTube description, more material came from websites with hidden codes. People went to town in the official Giggleland Discord, while the Steam page has a link to the first Ella and Eliot cartoon. [A Tumblr user named Sarah](https://www.tumblr.com/sarahisspeaking06) also posted interest in the company behind Giggleland, Kids Media Workshop. Why? Because her mother has a history with them and paranoia about Sarah ever leaving the house. It's implied she's only let Sarah attend school remotely and has vetoed art school, especially out-of-state. Sarah chafes at these restrictions and posts about how to get around them. Unfortunately, social media attention may alert KMW about Sarah's whereabouts, and that's not a good thing. The Giggleland Discord has investigation channels organized, announcing when archiving ensues. In addition, [Giggleland Reddit](https://www.reddit.com/r/GigglelandGame/) has active users investigating the demo and any potential new material. Thus far, users have seemed to uncover as many stones as possible while waiting for the game's full release. ### What the ARG Investigation Has Uncovered Ostensibly, the company KMW (Kids Media Workshop) and an unknown developer released Giggleland and a free flash game online: Eliot's Adventure. Playing the game straight through leads to a happy ending with missing content. [Walkthroughs](https://www.youtube.com/watch?v=kXtCfx7t8G8&pp=ygUdRWxpb3QncyBhZHZlbnR1cmUgd2Fsa3Rocm91Z2g%3D) will guide you to multiple endings and Easter eggs. [A diary unlocked by sleuthers](https://giggleland.wiki.gg/wiki/Debbie) reveals that a girl named Debbie created the Ella and Eliot cartoons with her friend Simon. "Uncle Teri," the man who brought her to the KMW Commune when she was a child, meddled by making each cartoon horrific, complete with onscreen violence, murder, and maiming. Then he would show them to the other children at the commune. Uncle Teri refused to listen when Debbie and Simon told him that he was ruining their concepts and the cartoons had become inappropriate. They also found something scary in the commune's barn, something that Simon never discussed after Teri moved him from animation to game development. Debbie eventually ran away after giving birth to twins, and one was stillborn. She's trying to hide her living child, Sarah, from KMW. ### Eliot's Adventure Eliot's Adventure puts in a lot of references to the Datura flower, Aztec symbolism, and child sacrifice. Datura flower species have hallucinogenic properties that can be used for divination, medicine, or poison. With one cartoon short showing Eliot burying his bullies in "Mr. T's" garden and the hidden notes in the Giggleland demo, it seems that Uncle Teri has gotten into child sacrifice and cultural appropriation of Aztec culture. Given his erratic behavior, he may have also developed a Datura addiction, if you believe a fan theory. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-16.png) Source: Giggleland X/Twitter. ### What Are Some Reasonable Conclusions? KMW has kidnapped kids. The media doesn't say it outright, but you can figure out the subtext. Dr. Valteri Nadear was a psychiatrist for a girl named Laura before bringing Debbie to the commune. Debbie's diary hints that she is Laura, and Dr. Nadear is "Uncle Teri." The Giggleland demo also shows that a boy named Isaac went missing on April 17, 2025\. No one has stopped KMW from their evil plots. If they have released the Giggleland game as the Steam page indicates, the question becomes whether the game and supplementary material are a confession or an indication of a fall. ### **Who (Or What) Is Eliot and Ella?** That's the biggest question. What purpose do the two mascots serve? The trailer indicated that Eliot was a master of ceremonies, manipulating Ella and other cartoon victims, but the animated shorts hint that it's the other way around. We don't know who controls the narrative in either media, though "Uncle Teri" may be responsible for the latter. Extra material in the Giggleland demo hints that Eliot has broken his game script, leading to glitches that a player can find. If Eliot has come to life, then something is amiss. The game trailer indicated that he has hijacked the park and its show. Still, he doesn't see your player character as a trespasser, which raises more questions. Most mascot terrors go for the kill. Eliot watches. Suppose Eliot really isn't to blame any more than Ella is for the horrors. The Eliot who is walking around in the game could be a real human being in disguise. Eliot, then, is a mask for Uncle Teri or other malevolent mundanities. Take out the supernatural aspect, and the two are just character victims of an egotistical director's meddling. Debbie mentioned in her diary that Uncle Teri took over her and Simon's idea to do a wholesome PBS-style cartoon and add horrific elements. The question becomes, what is Uncle Teri's endgame? What does he want the player to find? ## Waiting for the Full Story It's still yet to be determined when the final Giggleland game will release. The real, anonymous creators have thanked people on Steam for their ongoing support. They've advised players to stay patient as more material emerges. Any hints will come from hidden codes or Easter Eggs. The full story will have to explain what the deal is with Uncle Teri, Eliot, and the missing children. We probably won't learn how Uncle Teri got a business loan for all those animatronics, but I hope we find out why this so-called doctor is obsessed with "educating" children by traumatizing them. The real world does enough of that. One final note - if the creators of Giggleland end up going the way of previous horror game creators–donating millions to Trump's campaigns, abusing employees, investing in NFTs, cyberbullying fans, and so forth–then I will update accordingly and remove my recommendation. ### Do I Even Like Borderlands Anymore? URL: https://www.superjumpmagazine.com/do-i-even-like-borderlands-anymore/ Last updated: 2025-07-28T23:17:47.000Z **Our interests often change and fade, ebbing and flowing as the years pass**. The fixations you had as a teenager are likely not the same as they are now. I can’t think of a game franchise that more closely embodies this idea for me than Borderlands. The legendary post-apocalyptic series was a shooter franchise I enjoyed quite a bit when I was younger. It’s a damned good FPS series, with a fair amount of replayability in each entry. However, what makes Borderlands so synonymous with its era in gaming is the large amount of humor injected into its writing. For better or worse, this is what Borderlands is known for amongst people today, perhaps even more so than its stellar gunplay. When a game decides to live and die by a design choice, or simply decides on a given direction at all, it will inevitably reach the "die" of that expression, with a sudden downfall eventually rearing its head. If you’ll forgive a sports analogy in this gaming piece you’re so kindly reading, I’d compare this to the rise of three-point shooting in the NBA. Sure, the pacing and game flow are better, statistically and from the eye test alone, the rise of three-point shooting dominance is much more enticing than the plodding style of basketball we were subject to in the past, but once those shots stop falling, whether from an off-night or otherwise, you ‘die’ by the three. ### Too Much of a Good Thing I bring up the basketball example not to shoehorn in a reference to a sport I love (definitely not), but because Borderlands isn’t too different when you put some thought into it. When you rely heavily on subjecting the player to constant silly nonsense and time-capsule humor, eventually your jokes simply won’t land. Your audience will outgrow that phase of humor, or you’ll go overboard to a point where it is utterly grating to hear. Borderlands did accomplish action-comedy quite well, at least for a while. Borderlands 2 is renowned even today for being a fantastic game of its time. That is especially miraculous when you consider how loaded the FPS and shooter market was in 2012\. Dishonored, Call of Duty: Black Ops II, Halo 4, Spec Ops: The Line, Far Cry 3, and even Mass Effect 3 all received releases that year, and yet Borderlands 2 remains one of its most memorable games. But then Borderlands 3 died by that focus on comedy, souring the opinion many had of the series. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BL3_2_ACTION.jpg) Borderlands 3 reviewed well but rubbed many fans the wrong way. Source: Media Kit. Haven’t you noticed that a new Borderlands game is releasing in 2025? It seems rather muted, doesn’t it? It’s almost as if nobody *cares* anymore about the franchise. The awful attempt at a film adaptation certainly didn’t help, but I suppose many don’t really acknowledge that anyway. No, Borderlands 3 already damaged the franchise’s reputation before any Hollywood cash-ins could even be considered. Borderlands 3 went far overboard with humor and nonsense, needlessly killing off characters in ways that provided no driving force to the plot. Think of it this way: Borderlands 2 is Thor: Ragnarok and Borderlands 3 is Thor: Love and Thunder. It was simply too much of something that did well, and so was destined to fail. I try my best to understand the artistic vision of the people behind these games, but I admittedly fail to see what the writing in Borderlands 3 was attempting to accomplish. It felt very out of touch with what resonated with people in 2019\. Despite the QoL changes made to the core gameplay of Borderlands in the third entry (fourth if we’re counting the Pre-Sequel), I was so put off by the writing decisions that the game felt shallow as a result. The gameplay was better, yes, but it was not a dramatic shift forward whatsoever. I've continuously attempted to push the game’s awful plot out of my mind in some vain attempt to pretend it doesn't exist, that it's a fib and fabrication formed by the internet. This is indeed in vain, though, for every time I think of the franchise nowadays my mind instantly goes to those awful antagonists in the form of the Calypso Twins, whose humor felt outdated by at least 3-4 years even in 2019\. That’s a problem. I’m sure many feel similarly. Your franchise now invokes that memory for many, and it fuels the kind of numbed reactions to Borderlands 4 we’ve seen thus far. Personally, I reacted to Borderlands 4’s announcement almost negatively. Why should I go back to this series? I simply don’t trust Gearbox anymore to deliver something of substance, and why would I? It begs the question, actually... **Do I Even *Like* Borderlands Anymore?** This is a terrible feeling to have. It's as if happy memories were stripped from my brain, or forgotten in the wind. I’d compare it, honestly, to my feelings around Overwatch. I grinded Overwatch so hard from 2016 through late 2019 that I must refrain from writing my hours placed into the game here for fear of embarrassment. Once the game became stale, though, I suddenly saw my friends become disinterested and unenthused. They moved on. I tried to hold on, I really did, for quite a while longer, and when Overwatch 2 released, I gave it a fair shake! Though try as I might… *I don’t love Overwatch anymore*. Overwatch 2 has improved recently with the addition of Perks and the Stadium mode, but I cannot bring myself to play it. Talking about it even, if you'll forgive the hyperbole, feels like stirring up memories of an estranged ex. It was such a significant portion of my life, after all. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ovrwtch.jpg) Despite many changes to improve the game, much like Borderlands, I've fallen out of love with Overwatch. Source: Media Kit. --- > What immediately struck me about Borderlands 1, not long after you begin doing missions in Fyrestone, was how *utterly lonely* it feels. --- I feel similarly about Borderlands as a franchise. All of my memories of it feel hollow, scattered in ruins of joyful moments that are so far out of reach. My memories of Borderlands are akin to crumpled paper balls in a waste basket. I asked myself, “Do I even like Borderlands anymore?” I had to know, so it was time to venture there again. I went all the way back to 2009, to the original entry of the series, in hopes of finding some semblance of the enjoyment Borderlands once gave me. It’s been a long time since I replayed the original Borderlands. It was released at a time when the younger version of myself was preoccupied with many bigger, more popular games. Call of Duty: Modern Warfare 2, Grand Theft Auto IV’s DLC, The Sims 3, and even Minecraft captured my attention at the time, so I never really went back to Borderlands. There were so many fantastic games you could get lost in at the time (2010 and 2011 in particular) that once Borderlands even crossed my mind again, the sequel had already been released. So, I figured it time to give it the fair shake it deserves in 2025. ### Revisiting the Loneliness of Pandora What immediately struck me about Borderlands 1, not long after you begin doing missions in Fyrestone, was how *utterly lonely* it feels. Is this partially due to playing this game solo? Perhaps, to some extent, but I believe the tone Borderlands 1 presents is starkly more intriguing compared to later entries in the series. Despite the inherent silliness of the small number of characters you’re introduced to, the game invokes a sense of loneliness that is hard to describe. When I’m walking around the desolate wastes of Pandora, I really get this almost melancholic feeling, or perhaps not quite that, but rather an overbearingly noticeable and longing sense of unease. There was something here that is no longer here. If I were playing a game such as Journey or even Fallout, this feeling would be a more apt description, I suppose. For Borderlands, it took me off guard, and I genuinely needed time to figure out what this feeling was. I did eventually put my finger on it. In terms of tone, structure, and emptiness, Borderlands 1 feels much like a dead MMO. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BL1_4_ENEMIES.jpg) Fyrestone is where many players will spend their initial hours of Borderlands (2009) and is completely barren of life. Source: Media Kit. It’s in the way quests are handled, for instance. NPCs don’t really have anything to say to you when handing out quests beyond a few generic lines. Towns in the game feel empty and barren. Fyrestone, in particular, doesn’t have a soul in sight beyond Ned and Claptrap. Even when Marcus opens his shop in Fyrestone, you never actually see him there either. There’s nothing in the explorable areas of any significance, importance, or intrigue beyond enemies and loot. Though their design structuring may vary, all the explorable areas have the exact same desolate aesthetic and often blur together while running around Pandora. The lack of dialogue means that any semblance of plot you’re getting requires you to listen to the few lines of dialogue you do get, and to actually read the quest logs in the tab where they’re found. Not that the game’s plot is too interesting anyway; the game doesn’t really have an antagonist for most of its playtime and only drops one on you in the final 2 hours or so, and it turns out to be the owner of a voice you've heard only once before. I’m keeping this spoiler-free, so I cannot get into it further, but believe me, there’s not much to talk about here as it is. Oddly, I actually enjoy that sense of loneliness. The dead MMO feeling is almost a novelty. There’s no antagonist calling you at random intervals to deliver empty and unintimidating threats. Any dialogue from NPCs feels like a rare treat rather than commonplace background noise. More importantly, that criminally underrated original soundtrack gets to shine through here. The soundtrack in Borderlands 1 reminded me quite heavily of the nostalgia I have for the early entries of Fallout, the isometric games by Interplay Entertainment. --- > We have to remember that Borderlands really cemented the identity of the looter-shooter genre. --- The soundtrack is perfect for a desolate wasteland setting, with a dark and gritty undertone. It gets the tone perfectly too, switching to more rock-based tracks whenever you’re engaging in combat. It’s a soundtrack that really works and fits exceedingly well within the game! With how barren the world of Pandora feels, the soundtrack really accentuates those feelings of loneliness. What also shines is the core gameplay. It speaks a lot to the series as a whole when I say that they really nailed what the formula should be, right off the bat. The gunplay is simply fantastic; punchy and satisfying in all the right ways, while also being perfectly paced. Each weapon class feels viable and like something you can build around. The different weapon brands having their unique quirks is such a small but really cool piece of worldbuilding. For example, weapons from X brand tend to function X way, which is really cool! Although many may critique the visual chaos of damage numbers popping up all over the screen when dealing damage, I don’t find it to be particularly intrusive. Once you have a really good build set in stone and are aware of what weapons your class is geared towards, seeing the damage numbers pop as you melt down enemy health bars is worthy of a chef’s kiss. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BL1_DLC2_3.jpg) The gunplay was something Gearbox nailed even in 2009\. Source: Media Kit. We have to remember that Borderlands really cemented the identity of the looter-shooter genre. Yes, there were some games prior that were shooter-based Action-RPGs, but the concept of a looter-shooter wasn’t really crafted together until Borderlands came onto the scene. Even as of 2025, when I think of looter-shooters as a subgenre of shooters, I think of Borderlands, as I’m sure many people do. That feedback loop of each area filled with enemies and tons of lootable boxes for ammo and guns is fantastic and simply a joy to play. Personally, I really loved the Double Anarchy SMG’s raw damage output combined with the Class Mod for my Siren that upped its damage by 44%. With those in hand, enemies just melted before me. I’m grateful the core gameplay of Borderlands is so good even today, because the game has many issues otherwise. One such example is that the vehicular combat leaves much to be desired. It feels geared more towards co-op players, as if there was no consideration made for how solo players would use the vehicles. If playing solo, you’ll have to park your ride at certain points in order to hop into the gunner seat to fire the vehicle's turret, leaving you open and vulnerable to enemy attacks. It’s a mind-boggling gameplay decision, only amplified when you get to the missions that require you to do vehicular combat. Although I’m sure it’s fun in co-op, it doesn't translate well to single-player. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/maxresdefault.jpg) The Enhanced version of Borderlands looks better but has its own set of issues. Source: [Nick930](https://www.youtube.com/watch?v=rZl13vnNmt0). The game is also a bit of a technical mess at times. While aiming, I’d have these odd, hard swings to the left or right, as if someone suddenly turned my Aim Assist up to 200\. Certain side quests were straight-up bugged and required a restart. It’s rather telling when even the Enhanced GOTY edition of the game is having technical issues, chief among them a memory leak, much like Pokémon Scarlet & Violet. If you do not restart the game every two hours or so, the frame rate will plummet. I found this out firsthand when my 120+ fps on Ultra suddenly tanked down to 20-50 fps during an extended play session, and remained there even when I adjusted the settings to Medium. If I had known this going in, I wouldn’t have bothered with the ‘Enhanced’ edition. I’m not sure why this hasn’t ever been acknowledged by Gearbox or even straight-up fixed with how severe the issue is. In terms of general gameplay, I also noticed AI behavior for enemies was poor, with enemies often getting stuck on objects. Enemies will sometimes not notice you approaching and simply stand around aimlessly. Many enemies have generally poor pathing; I recall one particular enemy attempting to phase into its cover and repeatedly getting stuck in the animation as a result, causing it to jitter up and down. A few of the game’s bosses feel as if they don’t even attack or hit you, not that they’re much of a challenge anyway. It’s common for enemies and the player to get stuck on random pieces of the environment. That’s a lot of technical issues, I know. If I were reviewing the Enhanced GOTY edition of the game specifically, I would give all of that *more* flak for how much of a mess it is at times. But, to be fair, it is playable so long as you dodge around that memory leak. However, I’m reviewing and looking at the original Borderlands from 2009 here. Even if some of these issues are inherited from the original, I do like cutting slack when it comes to older games. And to my knowledge, the memory leak, which is the biggest issue, seems to be exclusive to the Enhanced GOTY edition. Borderlands, as the sum of its parts, unfortunately, doesn’t do enough overall to be particularly mind-blowing. I quite enjoyed replaying it, and it’s a great game, but it’s not something that you’ll find all that memorable. This is largely due to that barren loneliness of it; while I personally like how barren it feels, I don’t think that sense was entirely intentional. If the consoles at the time were capable of it, perhaps those NPCs in towns wouldn’t be so static in place. Maybe if they had more of a budget, they wouldn’t have to skimp on voice acting throughout the game. I believe this is the case because of the game's various DLC, where Gearbox unfurled their wings and seemed able to make more of the game they intended. It’s a weird conundrum, isn’t it? One of the key things I loved about this game was most likely unintentional, so how much credit does that aspect deserve? To me, it's still worthy of credit because that’s the game they shipped, and it's what I ended up playing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BL1_DLC1_3.jpeg) The Zombie Island of Dr. Ned was a perfect DLC for Halloween, with a refreshing aesthetic. Source: Media Kit. ### New Content or More of the Same? There are four DLCs for the original Borderlands: DLC 1 is The Zombie Island of Dr. Ned; DLC 2 is Mad Moxxi’s Underdome Riot; DLC 3 is The Secret Armory of General Knoxx; and DLC 4 is Claptrap’s New Robot Revolution. DLC 1 was released on October 15, 2009, close to Halloween. The last DLC was released in August 2010\. They’re intriguing because you can witness Gearbox slowly evolving the game into what their vision truly was, which was later fully realized in Borderlands 2. The first DLC is delightful! The Zombie Island of Dr. Ned is, as expected,d a zombie-centric DLC, and it's a lovely little time. However, I wanted it to be a little better than it actually ended up being. It has a whimsically spooky aesthetic, which is a very refreshing shift from the plain wastelands of the rest of Pandora. It respects your time and has the expected amount of missions for a DLC, with a final boss at the end. The plot is lacking, but aside from that, it's all I reasonably ask for or expect from a DLC. My real issue with The Zombie Island of Dr. Ned is the amount of enemy spam. I get the idea behind it; they’re zombies, after all, so they should indeed appear in hordes. But with how quickly enemies respawn, the DLC soon becomes taxing to play. By that point, my guns were quickly cutting through enemies like butter, especially being overleveled after completing the main game’s storyline and side quests. The enemy spam wasn’t challenging or difficult in any way; it was merely annoying. There were these raven-like enemies called ‘Corpse-Eaters’ that attacked in really large hordes, and were so abundant that they dropped the frame rate whenever they were attacking me. I thought the little spooky enemy swaps were cute, though, such as the “WereSkag” or the “Skellerakk”. But, ultimately, it's the enemy spam that is the bane of this mostly ‘fine’ DLC. I’d love to go over DLC 2, Mad Moxxi’s Underdome Riot, but I unfortunately cannot. For some reason, this DLC is completely bugged for me, and I can’t even play it. After the intro cutscene, I didn’t see Moxxi or any other prompt to start the DLC. All the exits from the Underdome are red and locked, meaning I can't exit through them. I figured I’d come back to this later to see if it fixed itself, but after doing the entirety of DLC 3, I came back to find the same issue. It’s very unfortunate, but from what I remember of this DLC, it isn’t much more than a glorified arena mode. That’s not really a bad thing in and of itself, but it's not really interesting either. I find both the 3rd and 4th DLCs to be most fascinating, because they feel as if they’re the missing link between Borderlands 1 and 2\. Considering the sequel's absence of a lot of the slapstick and humorous dialogue in the vanilla Borderlands 1, I grew curious to see where Gearbox shifted the tone to what we experience in Borderlands 2\. The Secret Armory of General Knoxx is where we see the start of this. The antagonist will call you and taunt you. The jokes are more abundant (although many don't land for me, personally), and the NPCs actually talk much more than they do in the vanilla game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/2352.webp) The dull highways ruin what would be a solid DLC 3 for Borderlands. Source: Media Kit. --- > What I’m looking for in a DLC is some variation from the base game in terms of aesthetic, gameplay, or enemies. --- Unfortunately, DLC 3 is bogged down by large swaths of highway roads, which are very linear driving segments separating the small number of playable areas. These sections are incredibly dull, especially since you’ll be forced to go back and forth along them several times throughout the DLC’s story. It gives you a new vehicle called the “Monster”, with the intention of helping you blow up the cars and drones that attack you along these roads, but the Monster has the armor of a paper plane. You’ll take much more damage than expected, making it more practical to just drive past many of the threats on these highways with the aptly named “Racer” vehicle you eventually gain access to. The highways all have military checkpoints that you can (and sometimes have to) clear out for loot. The 3rd DLC doesn’t really do much beyond that, even with its storyline. If it had fast travel points that allow you to bypass these highways, I’d enjoy it much more, but for some reason, Gearbox became really stingy with fast traveling in these DLC areas, and the only one you’ll find is in the hub area where you first arrive. I thought The Secret Armory of General Knoxx would have the most potential based on first impressions, but I was ultimately disappointed. DLC 4, then, is centered around Claptrap and is somewhat of a collage of the first and third DLCs, design-wise. It maintains the Borderlands 2-like humor and silliness of DLC 3, but is on a much smaller scale like DLC 1, with an even shorter set of missions. There’s really not much to say about Claptrap’s Robot Revolution, unfortunately. You kinda get the gist of what it’s going to be within the first 2 hours. If you love Claptrap, you’ll love this one, but overall, it's just fine, no better or worse than DLC 1. I was left really disappointed by these four pieces of content. What I’m looking for in a DLC is some variation from the base game in terms of aesthetic, gameplay, or enemies. Fallout 3 does this really well; The Pitt, Point Lookout, Mothership Zeta, and Operation Anchorage feel significantly different from the base game, which makes them feel very fresh to play. They somehow take Fallout 3’s formula and expand on it in a very creative way, which is thrilling and intriguing when it comes to gameplay. DLC 1 of Borderlands 1 has a nice, new aesthetic but reuses a lot of enemies, while DLC 3 reuses the vanilla game’s barren aesthetic. DLC 4 does both, although it does feature the addition of an annoyingly winding cave early on as well. None of these DLCs do anything to shake up the core gameplay of Borderlands 1\. I’m not asking to drastically shift the way the game plays, but rather for a change-up of the structure, make things more linear, or put me in a unique situation. Don’t plop me into three hub areas back to back and have me go outwards from that hub area for each mission. It’s simply not fun after playing the vanilla game for so long. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BL1_DLC4_2.jpeg) DLC 4 dropping you into yet another hub area within a wasteland shows early on that it is more of the same. Source: Media Kit. ### It Was Fun, But... Although the core Borderlands gameplay is fun, there is only so much of it one can reasonably take. By the time I was nearing the end of DLC 4, I found myself desperately wanting to move on from Borderlands 1\. I contemplated the idea of whether or not I was burned out, since I was admittedly grinding the game. But when I took a break and returned, I still wished for it all to be over. Look, I love doing side quests in games. I love becoming overpowered as long as it's earned, and grinding outside quests is part of that. While I did all of the side quests for the first DLC, I simply couldn’t bear the incessant highways of the third. I skipped all of them, and by the time I reached the fourth DLC, I didn’t even want to think about side quests any longer. I can’t express enough how tapped out I was. It was odd that someone like me, who is usually thorough with side content, skipped it entirely. It’s all left me very conflicted about my feelings towards Borderlands. I do want to insist that Borderlands 1 is a really great game, and I’m of the mind that its Metascore (84) is about dead-on. I enjoyed most of my time with it, but I’m still skeptical about whether or not I like the series as a whole. While playing the DLCs, it became clearer to me what vision Gearbox had for its games, and I was beginning to question if I enjoyed it, especially since I wasn’t really having fun towards the end of my time playing. The jokes weren’t really landing for me, but humor is subjective. I suppose to make a fair assessment, I’ll have to go and replay the other games in the series, which I intend to do. For now, though, I feel somewhat hollow having completed Borderlands 1\. It's a feeling I can’t quite explain, but it certainly doesn’t feel good. I must propose the question again to myself: **Do I Even *Like* Borderlands Anymore?** I genuinely don’t know how to answer that. I thought I’d be able to know after playing Borderlands 1, but now, more than ever, I’m so confused about what this series really means to me, despite enjoying most of my time with it. While I do want to replay the other games in the series, I’m not particularly looking forward to doing so. I don’t know how to answer the titular question here, and that makes me utterly sad to admit. And yet there’s a part of me, deep down, that desires to keep re-exploring the series, in hopes of capturing that fleeting feeling I had for it once again, as if I might resurrect those memories from dust. ### How To Be Evil in RPGs When You’re a Chronic Goody-Two-Shoes URL: https://www.superjumpmagazine.com/how-to-be-evil-in-rpgs-when-youre-a-chronic-goody-two-shoes/ Last updated: 2025-07-26T23:24:36.000Z **Role-playing video games utilize a feature mostly unique to their genre; injecting elements of *you* into the game through your choices as the protagonist.** While classic RPGs like Final Fantasy 1-9 achieved this personalization by allowing you to simply rename the hero from “Cloud” to your own name, many modern RPGs enhance this feature by giving you the option of creating an entire character from scratch, appearance and all. You can sculpt the spitting image of yourself, but more wizardly! Or perhaps you want to create a character from a different game, or an actor from a show, or your mom. Whoever! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/EldenRing-Zagreus-front.jpeg) I particularly enjoyed my Zagreus Elden Ring playthrough. Do it with Hades music instead of ER music, it's phenomenal. Source: Author. Through robust character creation, it’s easy to form a sort of personal link to the digital avatar that you invested time and creativity into. They’re uniquely yours. Even if you don’t have complete creative control over their appearance, you have control over their *choices*. You get to live vicariously through them as a digital extension of yourself. By your actions, this simulacrum has been given will. What does their future hold? If you’re like me, then you almost always guide your character into becoming a hero that saves the day, and you find it exceedingly difficult to play as a “bad” or “evil” character. I don’t want to cause harm, I want to save the realm/princess/universe! I want to develop meaningful connections with my companions and persevere against immeasurable odds only because we have each other’s backs *that hard*! Yet the voice of curiosity would whisper to me from the void, “What kind of experience are you missing out on? An untapped side of beloved games awaits, if you have the strength.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/KOTOR-hk473.jpg) Excellent suggestion HK-47! Source: Author. As a chronic goody two-shoes and possibly overly-compassionate person, I’m on a continuous journey to learn how to better tackle “evil” playthroughs in RPGs without personally feeling like a guilty sack of crap. I’ve set up camp during this voyage of darkness to share what I’ve learned. The games I’ve done or am doing evil playthroughs in: - Baldur’s Gate 3 - Star Wars: Knights of the Old Republic, and half of KOTOR 2 - Mass Effect 1, and half of ME2 (playing the sequel *right after* the first one apparently burns me out.) - Infamous and Infamous Second Son - Bioshock 1 You may be thinking, why even bother? What’s so good about being bad? Follow along, if you will. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/KOTOR-zaalbar.jpg) You mean besides the potential gobs of loot? Source: Author. **Keep the game fresh by being rotten –** What gamer hasn’t wanted a beloved game to feel new again, to [essentially forget](https://youtu.be/pYQ07g14Rg4?si=p835kvN3Uu8brPXb) that you’ve put in dozens, if not hundreds, of hours so you can have a fresh experience? I can’t erase your memory, but playing as the bad guy puts a new spin on something familiar. It’s not so different from putting a self-imposed modifier on a playthrough, like doing a soul level 1 Dark Souls playthrough. **Fully experience what the game has to offer –** In massive narrative-driven RPGs like the Baldur’s Gate or Mass Effect series, game developers not only created a good/paragon journey in their games, but they also created an entire evil/renegade journey. If you’ve only played the game through as a good guy, then you’re missing out on a huge chunk of what’s possible. You won’t miss 50% of existing content in the game, but I’d wager on a rough estimate of 20%. In smaller games like Bioshock, you won’t miss out on a ton of narrative content, more so resources, dialogue, and alternate endings. But in Baldur’s Gate 3? Woweee, Larian Studios put in *so* much work. **Provide an avenue for your anger** – I found it weirdly therapeutic to do an evil playthrough when I was in a rough spot personally and harboring a lot of pent-up anger. In the months leading up to my wedding, my now-wife and I experienced an extremely close death in my family, chronic illness, and a very unhealthy living situation. Sometimes it feels like life is a shit cannon and you’re the target. Even with therapy, it can be hard to process all the anger and negative emotions, especially when it’s piled on so high. During this time, I did my Sith playthrough in KOTOR 1, and honestly found it helped me. It felt sort of like listening to really angry or intense music when in a bad mood – it provided an avenue for these emotions to flow through and out of me. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/KOTOR-sith-end2.jpg) Gooooood. Let the hate flow through you. Virtually. Healthily. Source: Author. **Evil is compelling** – The Joker, who is certifiably insane, is the most iconic and captivating Batman villain for a reason. Insomniac’s Spider-Man 2 shows the development of Venom over the course of the game and forces you to take part in their malevolent journey. The Witcher 3: Wild Hunt forces you to make many morally grey choices that can be viewed as right or wrong depending on perspective, and at one point, a few “monsters” put Geralt on trial for his/your decisions. Perhaps you killed what humans thought of as a monster, but it was really a misunderstood creature just trying to exist peacefully. The “evil” or “bad” paths are often engaging in their own right and can produce nuanced, intriguing characters and storylines. Now with the benefits outlined, let’s move on to tips and methods that I found have worked for me over the years. ### Don’t be evil on your first playthrough Don’t fight your nature on your first go! Play through the game as you normally would. Have a great time and be you. By fulfilling that need and knowing how the game turns out when you’re the hero, you won’t deprive yourself so much on a future playthrough. I can’t say it’ll be *easy* to be bad later on, but at the very least, you won’t be going against your nature *and* wondering what you’re missing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/MassEffect-Sniper.jpeg) Infiltrator Renegade is a vibe. Source: Author. ### "It's what my character would do" Sometimes this phrase is a catalyst for great disaster, ruining tabletop campaigns and sparking interpersonal conflict. And sometimes it generates excellent role-playing that elevates the session to new heights. It really depends on the scenario, and [RPGHorrorStories](https://www.reddit.com/r/rpghorrorstories/) on Reddit has a bounty of cases. This saying can be groan-inducing to some tabletop players since we, the player, are not actually the in-game character, and are equipped with outside knowledge that helps us act in a way that allows the game to be fun and cohesive for everyone. Yet in the comfort of your home within a single-player videogame, you don’t have to think about your actions affecting anyone else. If you want to play an evil murder-hobo who wanders about in a blood-fueled haze in Baldur’s Gate 3, then go for it! When you’re confronted in-game with a list of options and find yourself grappling with the weight of choosing the bad one, just think “What would this character do?” NOT “What would I do?” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BG3-Nessava-Evil3.jpeg) Embrace the Dark Urge. Source: Author. ### Create a character WAY different from your norm Everyone has a preferred play style and tends to follow similar patterns in character customization across various games. You might always make a girl with lime green hair, or name your character something that always has the letter “z” in it, or adjust all the facial sliders until you’ve stewed up an eye-searing abomination. For this evil run, go *WAY* off book from your usual! Choose a different race or identity. Give them burnt orange hair, or none at all. Don’t include the letter “z” in your name. Make someone kind of beautiful instead of a walking, talking Lovecraftian horror. If your typical pattern already consists of going in wildly different directions, then don’t. The idea is to stray from your norm. For me, it also helped to make someone who *looks* evil. My first Baldur’s Gate 3 run was with a pretty standard-looking silver male Dragonborn, and now in my current run, I’m a female Drow Dark Urge with face tattoos and ominous-looking heterochromia. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BG3-Nessava-Mocc-Combo2.jpg) Mocc the Warlock Hero of Baldur’s Gate vs. Nessava the Dark Urge Murder Incarnate. Source: Author. Don't stop at aesthetics. Try a class or build that you've never done before. Try ability combinations that you'd never choose normally, even if they don't make sense. Deviate from your comfort zone!! By building an incredibly different character from your usual “good” playstyle, you’ll create some mental distance between you and your character. You’re no longer controlling a digital avatar representing an extension of you and what you would do. You’re instead guiding this character towards a predetermined dark fate. ### Commit to the bit Often used in improv or comedy, “committing to the bit” means to follow a concept or joke all the way through to the end, no matter how wild or uncomfortable. Actors do it. Writers do it. Parents do it. You can too. Rather than second-guessing yourself during the evil playthrough and possibly wasting hours on the weird character you’ve created, *stick with it*. By committing, each subsequent decision becomes far easier since you already know the direction you’re headed. As a moderately indecisive person, automatically eliminating multiple choices helps immensely. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BG3-Nessava-Home.jpeg) There's no place like home! Source: Author. My personal recommendation is to dive right in and make the evil choices right away, just like jumping into the pool rather than submerging a toe at a time. If you don’t make the plunge quickly, it will only get harder over time. And when that potential pivot grows uncomfortably difficult, you might just wind up playing the same way you always have. On a similar note, it can help to **have a plan for your playthrough**. And while the plan can be as simple as “be evil this playthrough,” you can also sprinkle in some nuance to spice up your character’s narrative. For example, I didn’t cannonball right into the metaphorical evil pool in my current BG3 run. I chose the Dark Urge origin character along with the Oath of Vengeance Paladin class, and decided that I would descend into evil over the course of Act 1\. The Dark Urge storyline frequently offers sadistic opportunities, so I acted the part of a harsh yet just paladin until I encountered a significant moment that I deemed an appropriate catalyst for their oath to break, and their descent into evil. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BG3-Nessava-JamSession.jpeg) Before Nessava was bad, she was just bad at playing the flute. Source: Author. ### Be Scum, Save Scum For those of you who don’t know, “save scumming” is when you save your game constantly with the intention of reloading your file whenever something happens that you don’t like. Since you’re saving your file all the time, you never lose more than a few minutes of game time. I’m recommending some light save scumming here because it’s possible in some RPGs to choose an option that’s a bit *too evil* for your liking. Or perhaps you selected an option that doesn’t fit the narrative you’re trying to weave. Or by instinct, you opted for the good choice because your heartstrings got tugged by an NPC. Another BG3 example: In the beginning of Act 1, you can find a magic portal with a hand sticking out of it, and a voice calling out from the portal for help. Grasping the hand and pulling hard enough allows you to meet Gale, the affable wizard companion. But as the Dark Urge, you can choose to fantasize about cutting off the hand, and then the screen turns to black… and yep. You chop off his hand. Gale is gone, never to be a companion. NOPE NOPE NOPE. Reload. Astoundingly evil moment, yes, but it didn’t fit the story I was trying to tell. It was too early to take the dark plunge per my plan. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BG3-Nessava-Evil.jpeg) Source: Author. Some people may say “*ThAt’S nOt HoW yOu PlAy ThE gAme”* and to that I say, whatever. You do you. If this method helps create a more enjoyable experience for you and your run, then embrace it. I recommend having 2-4 save files, always overwriting the oldest one whenever you save. By overwriting the oldest file, you still keep forward momentum. Don’t create a bajillion files, or else you will leave the door open for every choice you make. Plus, your storage device would fill up with unnecessary clutter, and let’s be real, you’re most likely not going to reload a save from five hours ago, let alone a save from one hour ago. ### Get comfortable with discomfort You may find yourself mentally tuckered out from going against your goody two-shoes nature. Especially in narrative-heavy RPGs, where you may have to make high-stakes decisions with immense impact. So if or when that happens, take a short break and come back later! It’s all about balance. Discover where your threshold is and what works for you, yet also try to stretch beyond your norm to experience something new and grow as a person. It’s like working out a muscle. If it legitimately gets too uncomfortable to manage, then pull back for a time and rest. I wager that most people don’t *like* to feel uncomfortable, but eventually you may embrace it. Hold on, “embrace discomfort?” Sounds kind of masochistic, doesn’t it? Like… *\*squints eyes\** something an evil character would recommend. Yet heroes do it all the time. There is no “hero’s journey” without discomfort and challenges instigating the positive transformation that defines them as a hero. There’s a reason the advice of “get comfortable with being uncomfortable” is commonly given by successful people of all stripes. When you’re uncomfortable, then you are actively challenging yourself, and that’s how you grow. You’ll learn something new about what you’re capable of. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/MassEffect2-Afterlife-Squad.jpeg) Do you think Commander Shepard was comfortable with getting blown up? No. Did he become even more badass afterwards? Yes. Source: Author. At the end of the day, play in whatever way gets you the best experience. There’s no one-size-fits-all solution, as we’re all unique people with wildly different life experiences. If there are certain parts of an evil playthrough you’ve discovered that you actually quite like, then lean into that! Maybe you’re less of a murder hobo and more of a selfish ass-hat. You get to define what “evil” is here. It doesn’t *have* to be the bottom-right choice on the BioWare conversation wheel. Evil can be a matter of perspective. Some of the most engaging villains are simply people who firmly believe they’re right, or have an undeniably good point within their bloodstained logic. Some villains are classified as such only because they’re compared against those with slightly better morals. And some heroes are far more merciless than the villains they seek to destroy. There is [nuance in being evil](https://www.superjumpmagazine.com/being-evil/),. I’m still learning too. While sometimes this journey challenges my willpower or downright induces guilt (I’m looking at you, KOTOR 1 Kashyyyk storyline), overall, I’m having an absolute blast being bad. Join me for a short jaunt on the dark side, and you may too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/BG3-Nessava-Cheers.jpeg) **Cheers to your future evil playthrough! Source: Author* ### Orchestra Victoria Brings Indie Symphony II to Melbourne URL: https://www.superjumpmagazine.com/orchestra-victoria-brings-indie-symphony-ii-to-melbourne/ Last updated: 2025-07-25T10:57:34.000Z **The first week of July saw two spectacular nights of video game music given the full symphonic treatment.** These nights were hosted by Orchestra Victoria at the legendary Hamer Hall in Melbourne, Australia. Meena Shamaly had the hosting honours, known for a show on Australian Broadcasting Corporation (ABC) radio which is about, you guessed it, video game music. Personally, as a Melbourne local, it has been a real privilege to see the city become a hub of video game culture, and the nation as a whole producing so many games. Music featured selections from indie titles, notably UNDERTALE, Darkest Dungeon, Slay the Spire, and Hades II, among other big indie hits. A real highlight and delight was none other than Untitled Goose Game. The one big mega AAA title featured in the lineup was Baldur's Gate III. The 2-hour setlist wowed the audience with unique renditions of video game soundtracks, and the audience was a welcoming mix of gamer and non-gamer crowd. And so, whether you were just a video game buff or someone who also understood the finer nuances of a symphony orchestra, both audience types were comfortably catered. We were lucky to be invited to the performances and want to share our experience with all of you. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/undertale-feat-image-2.png) Source: Press Kit. ## Jahanzeb Khan There have been video game symphony concerts in Australia before, but these were catered to a niche audience. I remember an organisation called Eminence, which at the time scored some pretty impressive games, SoulCalibur included, but I recall the presentation and production leaving a lot to be desired. Then there was Video Games Live and other overseas imports, but we definitely needed something to call our own. Indie Symphony was a much-welcome production which warranted the follow-up that I got to attend. I have an interesting relationship with UNDERTALE. For one thing, I think the gameplay is rather boring! Secondly, the storyline is hammy at best, but even as a naysayer, I could never say a bad word about the incredible soundtrack composed by Toby Fox. Indie Symphony II featured a medley of tunes from the soundtrack that really took players on a journey through key moments of the game's story. I was especially thrilled to hear 'Hopes and Dreams', which is a track I often listen to for inspiration. If there was a performance that stole the show, it would have to be the Untitled Orchestra from Untitled Goose Game. It was a wonder how the cheeky, whimsical music of the game would translate into a serious orchestra performance. They succeeded in putting together a serious rendition that retained a sense of humour too, thanks to the addition of the signature goose 'Honk', in an on-point performance by Daniel Golding. It made the audience laugh throughout, and was a fun moment to share with everyone. Closing off the show was an epic medley of Baldur's Gate III, and the way the performances were sequenced, it really took the audience through an immersive journey, with host Meena Shamaly really succinctly and eloquently presenting the themes underlying the music and the games they came from. Meena did a great job speaking to a wider audience; no video game expertise was assumed from the crowd, and personally, it's great to see video games presented this way to include more people in the experience and conversation. You don't even have to play video games or be a gamer to be moved by the emotion and story told by its soundtrack. On a similar note, I'll probably never play through UNDERTALE, but I will always enjoy its soundtrack in full, and felt lucky to see it performed live at Indie Symphony II. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-7.png) Source: Steam. ## Jam Walker I actually attended the performance with a small degree of Fake Gamer Syndrome; of the ten games whose music was featured, I'd only played four and only completed one! Here's the thing, though: it didn't matter. Every piece was impeccably performed and presented, and each was entirely powerful and evocative enough to stand tall without the context of the work they were pulled from. For further proof of this, I actually took along my mum as my plus one, and she hugely enjoyed it from start to finish! It's truly heartwarming to see established cultural institutions such as Orchestra Victoria embrace more pop-cultural fare and have audiences enthusiastically respond in kind. It's also an incredibly smart way for them to attract a younger and more diverse audience, a problem plaguing 'high-art' organisations the world over. Seeing Austin Wintory conduct music from his ABZÛ score was an unexpected treat, and the extended medley from local smash Cult of the Lamb was powerfully moving, given the recent sudden death of its beloved composer Narayana Johnson, also known as River Boy. Though I know it had been done elsewhere years ago, I'm still just in complete awe as to how Toby Fox's infectious UNDERTALE chiptune score was converted for a full orchestra. It's a testament to the brilliance of the tunes themselves that it could actually work, but I cannot for one second comprehend what the process of doing so must have involved! My mum also told me a day later that she kept thinking about 'the one that featured the clapping', otherwise known as Catch Me! by Thomas Brunet from Chants of Sennaar. I sincerely hope that we don't have to wait another two years for Indie Symphony III, though if we do, hopefully I can find time to actually finish Baldur's Gate III by then. --- Orchestra Victoria did an amazing job by putting on back-to-back nights of Indie Symphony II, with both being near sellouts too. A real highlight was having some of the original composers join on stage and share their stories and how they crafted the various scores. It was a special evening, not just of enjoying music, but of discovering more about the creative process behind some of our favourite compositions. Special thanks to Arts Centre Melbourne for providing SUPERJUMP with tickets. ### Our Painted Worlds URL: https://www.superjumpmagazine.com/our-painted-worlds/ Last updated: 2025-07-22T23:47:25.000Z **Some stories are difficult to write about.** Not in that there isn't anything to say, but in that what was said in the story was enough on its own. It's difficult to dissect satisfaction. After I rolled credits on Clair Obscur: Expedition 33 (known furthermore as "Clair Obscur"), I had a very long list of thoughts, but that was entirely because of its exquisite execution. These were nebulous takeaways, at first, coalescing only when I started voicing them to my partner while staring up at the ceiling past midnight and wondering on the nature of fiction. Why do we feel the pull to create? What becomes of our art when we die? Is it better to live a life reliant on fiction, or one buoyed by hope for reality? Where is the middle ground? When loss arrives at our doorstep, do we spurn it or greet it? These thoughts were posed enticingly above me the day after I finished the game, while I did chores, while I bent to water my house plants. The soundtrack would spin on in my headphones, and I'd listen – eyes closed, tapping out those delicate few notes of "Lumiere." I was surprised to see that I wasn't as emotionally exhausted by the narrative as I had been with, say, Final Fantasy XV. Certainly, Clair Obscur was a tragedy, but I had chosen the ending that I felt most suited my interpretation of the game's underlying narrative. I was content. When it came down to that final choice between Maelle and Verso, when we are left to decide the fate of a painted world, I didn't hesitate. Reality might be cruel, but it is not bereft of hope. And so, coldly, confidently, with the callousness of a fickle artist, I unpainted it all. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/Spoilers_Ahead.png) Spoilers ahead for Clair Obscur: Expedition 33. ### An Open Canvas They say when you write, you must, at some point, kill your darlings. This is a phrase that has been co-opted into the larger writer's zeitgeist – one that shifts meaning at the boundary-testing strokes of creatives. Does it mean you rid your narrative of unnecessary content, exposition, passages, and sentences? Does it mean that, with the single press of a button, an entire chapter might vanish? Does it mean something a little more concrete? Does it mean you literally kill your characters, for the story's sake, or because they don't belong anymore? We massage this meta-narrative of what it means to be created and create continually, trying to pin down what happens behind the curtains of our mind. It is an intricate relationship that artists have with their art, and we tend to dismiss, explore, and agonize over it. From the pervasive archetype of the nigh-immortal Sherlock Holmes to a personally crafted Dungeons and Dragons campaign character, all of us are full of worlds, and those stories and characters, once set on the page, outlive their originators. Clair Obscur exudes the elegance of a mourned painting half-finished; an artist's canvas shifted to a corner after the death of its creator. Claire Obscur itself is a fully realized story. Still, it crafts its world with half-imagined sporadism, making it appear a fallen dream, a languishing past, a far place that is crumbling under the weight of its irrelevancy. There is an inherent tragedy in that lack of finality, and we see it when we first leave behind the Expedition's devastating losses on the beach at the opening of the story. We enter the open world format and think: what is this place? What story is this world telling? Why is all of this here? It feels so wonderful, and yet so peculiarly *random*. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/clair-obscur-2-1.jpg) Source: Steam --- > ...this is a child's world, broken by adults. --- Good writers weave with purpose and subtlety, delicately hinting instead of dousing audiences with forthright exposition. Breadcrumbing, I like to call it. This soft placement of clues and indicators lacks full context. The context will come, but first, here: walk into the forest, into the open maw of the story, and pick things up one piece at a time. We see this sort of drip-feed method throughout Clair Obscur, with clues as to what might come next, but never a full picture until much later. This gives us room to be curious – who is that mysterious woman, and why is the Paintress so unreachable? – that pulls the tension taut through the first half of the game. In Clair Obscur, we are part of a small core group: Sciel and Lune, Gustave and Maelle, and eventually Verso, Monoco, and Esquie, exploring this world with all of them. We find out later that it is all a fabricated world, very literally a painting, and that the brushstrokes of others have disfigured it, turning the canvas into a battleground. The Verso we play as, and the family members he encounters, are but crafted shades of their real counterparts; based on them, but not them. The characters called Gestrals are reminiscent of wooden poseable figures, the kind used for gestural drawings, and I read somewhere that this,was a pronunciation likely butchered by a child Verso, into "Gestral." Esquie is based on a plush doll, and the Gestral Monoco shares a name with one of the Dessendre family dogs. Maelle, who has an odd connection to the world, is revealed to be the real youngest sister of this family, who has been wholeheartedly "absorbed" by the painting. These hints aren't exactly subtle on a second playthrough, but because we lack context for what, exactly, the Gestrals are our first time around, or why these odd figures visit Maelle in her dreams, we assume it's just part of this odd, strange, fantasy land. But after the big reveal, we realize that no, this is a child's world, broken by adults. Given that revelation, I found myself wondering if even our human characters, such as Sciel and Lune, weren't inspired by some off-screen relations or friends of the Dessendres; if Gustave, initially poised as Maelle's pseudo-brother figure, isn't merely a stand-in for her real lost brother; if any of the characters that we encountered in the canvas actually had a heart of their own, or if they were merely pieces of other things drawn from reality and stitched into semi-sentience. There are implications for the lore that contradict this interpretation, presenting them as fully aware beings, but in my mind, there was just this: the pen and the hand, drawing out that thin string of inspiration to place as life on the page. Clair Obscur's larger lore asks a bigger question of players: Is this world that we've occupied for the past forty hours truly alive? Once the revelation came that Alicia, or Maelle, was essentially lost in the fictional world her late brother Verso had made, that had been bastardized by her mourning mother, her pragmatic older sister, her loving father – I knew this story was more than a fight against fate, it was a fight for truth. ### Art and the Artist At the beginning of the game, we are thrown into a story about defeating an enemy known as the Paintress, who, each year, paints a number. People of that age die, or "Gommage", which is essentially death by dissolution. This year, the Paintress paints 33\. It is a countdown, inevitable, and so we join our team in a fight against this monstrosity because we witness, as Gustave, the death of a lover in the opening act. We hear stories of lost parents, friends, and families. We are introduced to a world teetering on the edge of madness, broken by something called "the Fracture." We embody the soldiers of this society, looking out at that ever-distant island where the Paintress lies, curled, with head buried. Is she sad? Is she lost? Is she truly evil? Tomorrow comes, our team says. We continue. In the end, tomorrow certainly comes, but in its aftermath, we are left to grapple not with the fixing of the world, but with how the grief-stricken navigate the abyssal mire of mourning. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/clair-osbcur-3.jpg) --- > Art is an exercise in introspection that, like a diary, functions to sate the artist rather than the audience. --- Clair Obscur provides us with a complicated picture of life and loss. We are left to explore a world – a canvas – slowly dying. Regardless of the aftermath of our final battle, we can start right back where we were before it, booting up the game after the credits roll to play again. After all, there's more to see, more of the world's portals to enter, more enemies to beat. But now we know what it is, and what it costs. While we're able to break from that reality as a player and view it more literally as a game, the underlying darkness is apparent in the fact that our lingering here is a slow suicide. In this world's real world, remaining in a painting for too long is a process that slowly kills, so by losing themselves to a false world, the Dessendre's are losing themselves in the real one. Because of this, there were times I saw myself more in our antagonists than in our heroes. In Alicia's desperation for solace, I couldn't help but see her giving up. This canvas was a playground for the Dessendre siblings – namely Clea and Verso – and we see this in the way the painted world's characters talk about missing those days of idyllic childhood whimsy. But these were crafted beings, made for them to enjoy. Verso's death as an adult is what makes his canvas suddenly that much more precious. It is what remains of his story, his ideas, his soul. His mother is the first to act on her grief by drawing herself into the world and painting a false Verso, a fake son upon whom she can impose her real love. They become, effectively, puppeteers. But this is something all artists do. Some pursue their art to a malefic caliber, and thus the image of the lone, masochistic creator, fettered to the whims of muses, pervades the minds of the masses. Verso's canvas is a dream comic, though, consisting of haphazard ideas thrown this way and that, further augmented by his parents' and sister's own inclusions. But it began as a vision. Art is an exercise in introspection that, like a diary, functions to sate the artist rather than the audience. Being that this is Verso's childhood world, we can assume it is a child's attempt to learn to wonder and imagine. It makes the family's warring over it feel like a perversion. At the end of the game, represented by a child's ever-painting, is the last remaining vestige of Verso's soul, and we are met with a moral dilemma of great stakes: erase the world to end the family's pointless fighting, or let it remain, forever tainted by the death of its creator. By letting the "real" Verso stop painting, the game allows the "false" Verso to also die. By dropping the brush, we cede that interior world to oblivion. ### Truth and Grief Upon finishing, I read many reflections on forums about how Verso's ending was a cruel absolution of an entire world, and that the lives of those in Lumiere and the wider painted world were true and factual lives. On one hand, yes, they are. But at the bird's eye of approach, when looking merely at metaphorical contexts, no, they aren't. And even if they are, the idea of starving life to feed fantasy feels anathema to the game's entire second half. Fiction is a mirror, a window, but beyond that fractured pane *is* a world. This shift of narrative focus reminded me of Nier: Automata's great mid-game rug-pull. In Nier, oddly enough, I was more tortured by the clawing of these little androids towards their humanity. In Clair Obscur, I was at peace with the end choice I made as Verso, even given the utterly disparate look that Sciel gives to him upon her final Gommage at the end of their world, because it feels like a final acceptance of grief. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-6.png) Source: Press Kit. It's in her hand, reaching out to his, dusting away to flowers, that I was struck by an awareness of the fact that I, like Verso, have also killed my ghosts. Sciel might not seem a ghost – she has feelings, a family, a beloved late husband – but many characters contain those same multitudes. Sciel is, in Dessendres'he context of our world, a manufactured character created for the game. The overwhelming emotion – perhaps selfishly – wasn't pity, but that untraceable feeling of letting go. For people who rely on fiction, who have sutured their wounds with it, bled through its gauze, used it to cope with terrible things, a relinquishment of that safety is akin to a death in itself. Clair Obscur's larger lore implications prioritize interpretations that the painter's powers give their worlds sentience, and that they function like gods of their own self-contained little canvases. But there are times when we're navigating the world and encounter an entrance to the Dessendre manor – often as a door sitting cock-eyed – and we can enter it to see a recreation of what we can assume is the Dessendres' real home. These are glimpses of the real world, reminders of what's on the other side of the canvas, of who's holding the brush. Remember the kitchen? Remember our rooms? We used to play here. Clea's room is filled with paintings of Nevrons, the monsters we encounter in the world, reminding us that they were once only ink and idea. The story has very quickly, at this point, become a meditation on denial. If Verso is alive in the painting, then the real world's truth of his death doesn't matter. Their ghosts will always occupy the chair beside us, even in the emptiness of it. When we mourn, we listen to the voicemails of those we've lost, perhaps even saving them in real-time, knowing how precious they'll one day be. Slowly, in small ways, often without even knowing it, we try to inoculate ourselves against the inevitable death of those we love. Clair Obscur doesn't grapple, necessarily, with the paean of artistry itself, because it is far more a story of this grief. It explores the death of an artist and a family's desperation to keep him alive. It explores a girl's struggle to find meaning in a life that has robbed her of hope. It's this struggle in the canvas world, one she co-opts from her companions, that becomes the vital journey. It is the beacon of her hope. Clair Obscur pulls at grief like taffy, relishing the sentiment and layered emotions that are born of it. But it's much more than that; it interrogates how we cope with our suffering. In Alicia, we see this most evidently, as she was scarred so severely by the fire that ended her brother's life that she cannot speak. It's why she loses herself easily to the whims of their shared fantasy, because it is the easier pill. She even voices this at one point; isn't it better here, where all can be somewhat controlled? Where we might fight a great monster, slay dragons, sing songs? In this, I am reminded again of another story that deals with the imminence of death: Patrick Ness's A Monster Calls.In the story of A Monster Calls, we follow a child named Conner whose mother is undergoing treatment for an aggressive form of cancer, as he lives through a series of stories at night that slyly coax him through his fears. It is a pre-grief movement, suspending the audience in that space between life and death, forever hovering in that moment before the letting go. Connor's desperation – and denial – impact his real life. And we witness a cruel real life: bullies, a detached grandmother, an absent father. In Conner, we see a child clinging to fantasy, filled with quiet rage for the things beyond his control. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/monster-calls.PNG) A Monster Calls. Source: IMDB. Photo by Travis Topa - © 2016 - Focus Features --- > Grief, for them, is extended indefinitely because they refuse to face it. --- His fear of grief is framed as a monster – it is a destructive, terrible force. It is fuel to the fire of great cruelties. But it is also a certainty, and so the monster becomes a lesson, an accompaniment through life, both to fear and to forfeit fear to. Clair Obscur grapples with a similar vision of loss, but it is one in which our characters *can* choose to exist in a fantasy. Connor doesn't have this same outlet, and while he never leaves behind his stories in a spiritual sense, he knows he cannot be coddled by tall tales. In the ending of Maelle's choosing, where she salvages the painted world and remains in it, where she forces Verso to conduct a symphony and coldly hushes his agonized pleas for release, we end on the shock-horror image of her eyes dripping paint – a stark reminder that all is not right in this world of perfect endings. ### A Life to Dream It was in their father, Renoir, that I found my peculiarly kindred spirit. He is all blunt love, desperate to pull his daughter from the clutches of their man-made grief. His wife, Aline, is already falling into its false visions, chasing the ghost of their son to a place he'll never exist. Grief, for them, is extended indefinitely because they refuse to face it. It arrives at the doorstep, and they simply shut the door. Clea, the eldest sister, is the cold, pragmatic presence that pervades the canvas. Not necessarily a villain, but an annoyance. A voice calling for dinner when you're in the middle of a really good book. *Wake up!* She seems to scream. This painted world isn't ours anymore. One day it will crumble, and so will you. You aren't Atlas, dear sister. You are Sisyphus, and you must let go of the boulder. Grief is a lonely path, even when experienced as a family, because each branch holds a different weight of leaves. Can we use our fantasies to buoy our reality, to create a sanctuary, or will the lure of their lullaby capture us entirely? When we rely less on painted worlds, do we lose a part of them in us? When there is no child to play in the sandbox, what happens to its castles? In the final image of the game, if you chose to side with Verso, the painted world's characters wave a final goodbye to Alicia, after a formal funeral held for the real Verso, where the Dessendre family, now in their own world, gather before his grave. Alicia – or Maelle, who she'll always carry with her – looks on alone at the fading friends and family she had made in the canvas world. It is with the final wave that I saw a waving off of my own childhood, a goodbye to the stories that had raised me. Always there still, in pieces, in me, but no longer the crutch, the retreat, the turning away. Life is cruel, unfair, and strange, but it is why we create. Love, after all, forms the backbone for the entirety of Clair Obscur's runtime. Love is the game's aperture. It is the scaffolding of everything else, and love is a product of the world's realities. In the Verso ending, that grief becomes a bitter hope. It is a slow dissolution of mourning, and in it we glimpse an Alicia who, even for all her struggles, can live a life worth painting again, because of the lessons she's learned in and beyond that canvas. To create is a compulsion, that sweet song of the muses ever-calling, and sometimes we sit before a canvas and lose ourselves to the song. Especially when things feel awful, or we are struggling, or hurt, or in mourning, it is a place of release, and it can be wielded properly to that end. But it can also be a rejection of reality. We paint truths we *can* face, rather than the ones we *need* to. I am reminded of Sirene, that beautiful island of cloth and sand and song, that we reach later in the game. It is based on Aline, their mother, and beckons us in a way reminiscent of a siren. Come, partake only in beauty, not blood, because here it does not exist. The final boss of that level dances in its center and is visible in peeks as you traverse the map there, an ocean away, and then a stone's throw, as you drift further into the fathoms. It is a reminder of that lullaby of safety, like a mother's song, in which we might spend our whole lives longing again for the cradle. And so, blades out, we end its dance. Eventually – fingers hurting, eyes dry – we set down our brushes, gaze out the window, and open the door. It's bright outside. A breeze rushes in, on it laughter from a farther room. The work is unfinished. Perhaps, in a way, it always will be. But ah, yes, I nearly forgot – I still have plants to water. ### Unfiction and Digital Horror: The Evolution of Games You Can't Play URL: https://www.superjumpmagazine.com/unfiction-and-digital-horror-the-evolution-of-games-you-cant-play/ Last updated: 2025-07-20T17:53:43.000Z > Hey guys, I just wanted to start a record here. This... this application just showed up on my computer. I’ve tried deleting it; I’ve tried factory reseting my computer; I’ve tried installing one of those security scanners to check and see if my computer has a virus; I’ve even bought an entire new computer. But it’s still there. I can’t even move the icon on my desktop. I have to know what’s in here, why it keeps showing up on my computers. I finally got the courage to open it, I mean with the fresh computer I’ve got nothing to lose if it’s a virus or hack or whatever. > I opened it and it’s... a video game? **Introductions like these are commonplace among digital horror projects that fester and grow in niche places of the internet.** It’s likely that unless you are searching for a project of moderate renown, you wouldn’t even know you were reading or watching one. They typically come camouflaged to appear as if they were the amateur game play footage of a grade school YouTuber, with videos titled like “Minecraft with my buddy part 1”. These projects trend toward science-supernatural and eventually show unexplainable events that thrust the most conspiracy-prone of us into our detective coats. The trick is, they aren’t games at all, at least not ones any of us can play. They start as something recognizable, but through creepy, tacked-on twists, they become an experience closer to a campfire story. “I Found This Game” (IFTG) is a genre of Creepypasta digital horror that revolves around the unwitting discovery of a video game that is haunted, cursed, possessed, hiding a terrible secret, or has other equally disturbing qualities. To understand how these stories carved their niche in horror gaming history, we have to go back to just before the new millennium. --- The Blair Witch Project (1999) is a found footage horror film that follows three students as they travel into the Black Hills to investigate the Blair Witch, a local legend in their town of Burkittsville, Maryland. The movie, released without advertising as was typical of indie horror flicks at the time, was passed around internet avenues as an underground release, purporting to be from three students who the movie lists in its credits as either missing or dead. The shock that this extensive multi-media project created forever changed the way horror could be experienced by inventing what is now known as “unfiction”, fictions that are presented as real, documented experiences. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-5.png) Blair Witch Project. Source: [IMDB](https://www.imdb.com/title/tt0185937/mediaviewer/rm3358075904/?ref%5F=ttmi%5Fmi%5F146) Jumping ahead to about 2010, we see a boom in video game Creepypasta, as game modding became more accessible and easier to perform. The ability to modify a game and share footage on the internet of very realistic-looking alternate “haunted” versions frightened kids as stories and rumors spread from blogs, YouTube channels, and other sharing platforms. Tales from this time still stimulate the minds of internet historians as they give their interpretations of unfiction that bends and breaks nostalgia. Notable releases during this time include Ben Drowned (based on The Legend of Zelda: Majora’s Mask) by Alexander Hall, Red (Based on Godzilla: Monster of Monsters) by Cosbydaf, and Sonic.exe (based on the original Sonic the Hedgehog) by JC-the-Hyena. Larger projects like these are typically Alternate Reality Games (ARG) that ask their audience to explore clues over a wide range of media. However, some of these take the form of simple internet rumors like the Pokémon Red and Blue “Lavender Town Syndrome,” where it was said that the Lavender Town song caused the suicide of 200 children in Japan during the game's 1996 release. While a closer inspection of any of these stories would easily reveal fantastical supernatural implications, a cursory glance could easily startle and rouse the imagination. When I was a kid and heard that Pokémon music was cursed, I totally believed it! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image.png) Paul Found This Game, Source: [YouTube](https://www.youtube.com/watch?v=6e6RK8o1fcs&t=137s) On March 12th, 2017, an uncredited YouTube channel called Petscop posted its first self-named video [“Petscop”](https://www.youtube.com/watch?v=6e6RK8o1fcs&t=137s). The video comment reads “The game I found” and opens with our player, Paul, trying to prove to his friend that the PlayStation game that he found in his house exists. The game features several pets that you can collect by solving several environmental puzzles that are admittedly a bit unintuitive and counter to any normal puzzle game design. The game world is called the Gift Plane, which has a bright aesthetic, shades of pink, and a cartoon art style, giving the audience the impression that this is some long-lost children's game. Eventually, Paul meanders down to a wide expanse filled with a grass-like texture and a night fog overlay. The mood immediately dampens as the light-hearted music disappears and the bright primary colors mute to a darker palette. Paul continues to explore the dark underbelly of the Gift Plane to find an entrance that oddly resembles a cellar door, implying that there is even more underneath. The first episode ends with Paul standing by the cellar door, not knowing what to do next. If you continue to watch this series, you start to understand that the game is telling an oddly personal story to Paul that starts to taunt him as it continues. The crux of this story follows a warping of our understanding of the self-playing DEMO mode seen in many arcade games or some console games. The DEMO mode is meant to show potential players what the game looks like before they have to spend their hard-earned quarters to play. What is less known about DEMO mode is that this is typically not a video or a screen recording. DEMO mode loads into the actual game and the game is given the autonomy to play itself, the same way a player would. It’s an engaging series to watch that twists the role of game and player in incredible ways if you have the patience to stick with a slow-burning mystery. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-1.png) The Truth Beyond, Source: [YouTube](https://www.youtube.com/watch?v=6e6RK8o1fcs&t=137s) I highlight Petscop first because of its stark contrast to, and inspired similarities with, our previous examples. Petscop exists in the same genre as the Blair Witch Project because of its commitment to a believable found footage experience in video format. It is also inspired by projects like Ben Drowned because it pulled on our nostalgia for early 2000s video games as a device for atmospheric horror. But the most important difference, at least in the case of Ben Drowned, is that you can't play the exact horror version, but you can go play The Legend of Zelda: Majora’s Mask. You will never be able to play the original version of Petscop. There have been fan recreations, but the original creator might never release Petscop because it’s not a video game; it’s the set of a horror series. It is a video game built from the ground up to be played and filmed by exactly one person. Horror mods like Sonic.exe and Ben Drowned paved the way for modern unfiction creators to realize that game development doesn’t only have to create shareable interactive media. You can use game development engines to build your stage and bring to life your puppets as actors. Games today and those in the future are buying into this new ethos to produce even more engaging projects. Published on November 7th, 2020, by Seirea, [Diminish](https://www.youtube.com/watch?v=TPT85%5FluGsA&list=PLUumX4w6RT4eN0jyW7moBmv5Wz11%5F0gc9) brings a new and even more believable spin to the IFTG genre. It is immediately confirmed that the game they are playing was made specifically for our player by his dying sister. This is (of course) not the entire truth as revealed by Seirea later, but regardless, it became the most believable unfiction story since The Blair Witch Project. Its grounded story and lack of traditional supernatural elements are the direct cause of this; however, the great portrayal of Will and the incredible detail poured into the game help its believability and popularity. The broad belief that Diminish was a real experience had gotten so out of hand that the creator eventually came forth to explain that he made the game to vent a personal experience and to help anyone going through something similar. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/image-2.png) A Message (from Diminish). Source: [YouTube](https://www.youtube.com/watch?v=TPT85%5FluGsA&list=PLUumX4w6RT4eN0jyW7moBmv5Wz11%5F0gc9). I’ve been nothing short of obsessed with these games that I can never play. The mystery and subtle horror achieved in these stories are incredible to behold. An evolution decades in the making, in the way that we scare audiences, proves that a game engine can be used in ways that we hadn’t even dreamed of before. The easier these tools become to use, the greater the creative projects we see, not just from the indie games space, but also the indie film space. If you like to watch gameplay and want to experience a hand-crafted horror narrative in the video game space, I urge you to find as many of these projects as possible. They are hidden and waiting for their audiences to stumble upon them, mistaking their spooky premises for reality. ### From Hands On To Home: Welcoming the Switch 2 URL: https://www.superjumpmagazine.com/from-hands-on-to-home-welcoming-the-switch-2/ Last updated: 2025-07-19T16:40:38.000Z **Hello, friends.** It's been a few months since we launched our [YouTube channel](https://www.youtube.com/@superjumpmag). Things have been a little quiet on that front ever since the release of our [first video](https://www.youtube.com/watch?v=WEK%5FiLy8FfE), but I'm pleased to share our second project with you. It's quite different than the first, involving significant live shots and a different visual style. This video pairs with our [Nintendo Switch 2 hands-on preview coverage](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-1-the-hardware-and-mario-kart-world/). While the written stories provide greater depth, the video takes you inside the preview event and explores the Switch 2 launch from a far more personal perspective. Source: [SUPERJUMP](https://www.youtube.com/watch?v=tM12zTfd86M). I hope you enjoy it. I welcome your feedback as we continue to explore video as a new format for SUPERJUMP's work. And as every YouTuber says, please do like/comment on/share the video; it would really help us build our still-new YouTube presence. Thank you. Take care and happy gaming. **James Burns** ***Editor in Chief*** ### Indie Game Club Issue 4: No More Papers Please URL: https://www.superjumpmagazine.com/indie-game-club-issue-4-no-more-papers-please/ Last updated: 2025-07-17T01:42:12.000Z **Hi all**, **and welcome back to SUPERJUMPS Indie Game Club!** After last month's [existential loathing in the fish farms](https://www.superjumpmagazine.com/indie-game-club-issue-3-how-fish-is-made/), we present a lighter issue that tackles the woes of clerical overtime. No More Papers Please by [Panchinerino](https://panchinerino.itch.io/), [Urbancat](https://urbancat.itch.io/), [NotFrancis](https://notfrancis.itch.io/), and [Flammyth](https://flammyth.itch.io/) is a game jam entry created for the [2020 Epic MegaJam](https://itch.io/jam/2020-epic-megajam), and we are inviting YOU to play along. You can read what the minds at SUPERJUMP thought about the game below and then [try it free here](https://panchinerino.itch.io/no-more-papers-please) for yourself! And we are only taking a short break from the fish, because next month we are playing the adorable [Ranita Fishing by Fáyer](https://fayer.itch.io/ranita) which you can play on itch.io for free ahead of our thoughts next month. Enjoy this month's indie impressions and remember to give independent media a chance! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Screenshot-2025-06-23-181939.png) Source: Author. ## Nathan Kelly A game that says a lot in just under 10 minutes. A simple physics game about processing paperwork that basically stays a simple physics game about processing paperwork all the way through. There is a distinct moment where the panic starts to well up inside of you as papers start to pile on top of each other. You struggle to finish even one thing, as more papers flood your desk, and you wonder if this will ever end. Eventually, it does. The paperwork then becomes a smooth process, and by the end of the pile, I even had a bit of a system going. Dragging papers and tools around your desk is super fun when you get the hang of it, and it even becomes a bit relaxing. I had time to organize my desk just a bit and pick up that clock that I threw around in all of the… The clock read just about 9 pm, and a wave of dread poured over me. There is a second layer that is happening while you scramble to pile up papers. You occasionally get notifications from your family. Little blurbs like “Hey, Dad, I can’t wait to play video games with you tonight.” The closest thing that No More Papers Please has to a timer is the clock that tells you roughly what time it is. I technically beat No More Papers Please, finishing all of my paperwork. But seeing the messages from your wife saying “Dinners getting cold…” and “Goodnight, don’t work too hard” hits the same as any game over screen. Just like any great short film, No More Papers Please takes a simple idea and puts the audience into an experience that makes them think about its themes long after its short runtime. The work never ends. I have seen enough toxic office culture in my lifetime to know how to say no to unfair requests. But if this game reaches an audience that hasn’t joined the workforce, I hope they can find a lesson among the game's layers of satire. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Screenshot-2025-06-23-181930.png) Source: Author. ## Hazare Renne-Glover Six minutes... That is how much time I spent playing, cursing, enjoying, and ultimately *finishing* **No More Papers Please**, an indie title developed by Panchinerino. Designed with simple mechanics and straightforward objectives, you begin your day at the end, stamping or shredding the final documents to fulfill your daily assignments. Or so you thought. Leaving the interesting parts for you to find out, I'll instead describe my experience playing No More Papers Please by setting a scene. Let me take you back to the movie theaters of 2004\. The Incredibles, an animated superhero movie by Pixar, has been released, and there you are, in your seat. Ten minutes into the film, you're hit with the scene of Mr. Incredible at his current day job. Signing papers, heckled by his boss, stamping papers, more boss heckling. Now focus on his face; that look of pain, anguish, and abject loathing. Having yet to live through that exact scenario, Panchinerino's second published indie managed to serve that feeling to me on a coffee-stained document. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Screenshot-2025-06-23-181728.png) Source: Author. A behavioral pattern I've noticed is that sometimes, I might enjoy the pain, maybe a little too much. That typically lands me a second attempt at voluntary torture, a mistake in which I frequently indulge. After completing my first trek through the escalating organizational nightmare, I unfortunately thought I had worked out a simple meta and foolishly attempted to complete the game faster by using it. Never have I force-quit a game so quickly. To my credit, I abruptly and reluctantly ended my second run because the blue stamp got stuck behind the monitor on my desk, and I couldn't get it back. Sidestepping the masochism, I think some may share in the relief I felt upon completing this game. That feeling of being released or overcoming a struggle/hardship, Panchinerino's No More Papers Please is a testament to a specific kind of pain and suffering. Throughout the cubicle crucifixion, I was undermined by fits of anxiety and frustration. But still, after the credits, I was smiling and thankful to have weathered this unjust trial of unadulterated clerical abuse. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Screenshot-2025-06-23-182855.png) Source: Author. ### To Build With Stories: An Interview With Appnormals Team Founder Iñaki Diaz URL: https://www.superjumpmagazine.com/an-interview-with-appnormals-team/ Last updated: 2025-07-17T01:42:36.000Z **In my second playthrough of Frank and Drake, I tried a different approach: to choose the things I was averse to doing the first time around.** This is a game reliant on relationships; there's a meter that continually measures how things sit between Frank and Drake and their roommate, and depending on how you go about your priorities or allocate your sympathies, that relationship shifts. I've always been a fan of point-and-click games, from my days with Putt-Putt and the gang to my evenings playing Nancy Drew. The genre has enjoyed a relatively quiet popularity, and I find the limitations of the game design actually beneficial for the stories they tell. These games lend themselves to a certain patience, often in puzzle-solving and dialogue exchanges, and thus make for more contemplative experiences. I received a code to play Frank and Drake and write a review about it, and then I was offered the amazing opportunity to connect with the founder of Appnormals, and co-creator of Frank and Drake, Iñaki Diaz. We discussed some of what makes game development worthwhile and what makes it difficult as well. Indie development is never easy, but working tenaciously under conditions that seem antagonistic while still providing an honest story product is proof that real heart can prevail above all else. --- ### SUPERJUMP So, I'll get started right away, and it's mostly just to thank you for the interview and ask a little bit about your journey as a game developer! How did you come to form Appnormals, and what was your journey like? ### Iñaki Diaz I come from a different background. I studied advertising and digital design. I was working on digital agencies, doing websites, interactive stuff for museums… many different things. In one of these jobs I met the former co-founder of Appnormals. We'd always loved video games, of course, and that's why we started thinking – "Maybe we can do something in our spare time." We created our first app and then our first small mobile game. It was something we did for fun at the time, until we found a videogames incubator here in Barcelona called Game BCN. Eventually, we applied, and we were fortunate enough to be one of the winners and received some acceleration funds and mentorship to develop a full game. It was back in 2015, and mobile games were quite successful for us in terms of downloads, but they weren't profitable enough to sustain a company. But when we won this award, we had the resources to develop a fully professional game. And that’s how we made STAY, our very first real video game for PC and consoles. And since the STAY release went quite well, considering the low budget and low expectations, we were able to grow both the team and the ambition for the following projects. ### SUPERJUMP Wow! That's a pretty significant jump, or was it kind of easy to go from doing mobile to something more traditional? ### Iñaki Diaz It was a big jump! When we were developing mobile games, my partner was programming, and I was handling art and design: that was it. Our first little game was a quiz about comic books, with pixel art characters, very simple yet fun to play. Compared to that, STAY had a sophisticated narrative. It was a more serious game, darker, with a lot more meaning and purpose personally. And overall, it took a lot longer to develop. It was all new for us. So, that was a steep learning curve. The game wasn't super complicated compared to others like 3D games. We tried to maximize our strengths. But it wasn’t just the two of us, we did have a lot of help. Starting with the writer, Ana, but also another good programmer and other talented artists as well. It was the first time we were developing a game with other professionals. It was an adjustment for us, and it took a lot longer than expected. The full development of STAY was nearly three years, from the initial idea to the released product. Aside from the development challenges, we tried to show the game as much as possible. We traveled a lot and attended many gaming events. We were in Tokyo and the US twice before launching, among many other places. I think that helped us find publishers and deals but above everything, it created awareness of the title. Now the industry is a lot more complicated, a lot more saturated… but back then, if you did your homework, and the game was good, you could get decent exposure. I feel that nowadays you can do everything right but still need a good deal of luck to have traffic, and that makes things a lot more difficult. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/stay.jpg) STAY. Source: Steam. --- > What we do is find an appealing narrative premise, and then pivot around it, trying to find the best general presentation in terms of gameplay and visuals... --- ### SUPERJUMP Mobile games are so big right now too. ### Iñaki Diaz Well, we were doing mostly premium mobile games. Some were free to download, but we didn’t really know how to monetize them. And we realized that it was impossible without sophisticated economic systems in place. The games had decent traction and downloads, but we weren't earning anything. And the premium ones didn't have enough sales. That's why PC and consoles became a better option for small indie studios, on these platforms the average user is usually a bit more open to buy games, particularly indie games. Personally, I prefer to play games on PC or console, but even though I'm not a big mobile gamer, I always keep an eye on what’s new in that space. It’s surely a more restrictive space for creativity and innovation compared to PC, and free-to-play will remain the norm, but I also believe that great mobile premium games will always have a good chance too, especially thanks to subscription models like Apple Arcade. ### SUPERJUMP I looked at your games – I didn't get a chance to play STAY or Terracotta – but I noticed the different styles that you used for those games. I know Frank and Drake was rotoscoped, and I know that must have taken a lot of artistic understanding for how that would work and translate to a game. How do you decide on an art direction for a specific game? ### Iñaki Diaz That’s a great question! When we started on mobile, we only worked with pixel art, because that was something we knew well. I’ve been illustrating pixel art for a long time, just for fun. I think I was the first ‘pixel art’ teacher in Barcelona, a few years ago. For us it wasn’t even considered to do any other style: "We have the skill, so let's do it in pixel art." But once we got a bigger team onboard, things shifted for the better, opening to different visual directions. And this change didn’t affect only our artistic approach. For example, we started having a full-time writer, which is uncommon in most small studios. That meant the narrative weight was going to be more relevant moving forward, affecting our creative process from the beginning. What we do is find an appealing narrative premise, and then pivot around it, trying to find the best general presentation in terms of gameplay and visuals, plus the available team and resources, obviously. In Terracotta, we kept the pixel art choice because we wanted the top-down perspective, plus we had a really good pixel art animator. But in Frank and Drake, for instance, it didn't make sense because it didn’t require that retro vibe. Instead, the surreal notion of extraordinary characters trying to blend into an ordinary world was really important for the storytelling. So rotoscoping was a better fit, in that case. Speaking of rotoscoping, it wasn't always in our minds. While the plot was being written, I remembered this animation technique from my digital studies back in the day. We are also fans of Richard Linklater's work, and over the years we watched other movies and series done in that style, like Undone or Loving Vincent. We didn’t have any 3D artists or 3D animators on the team, but we did have a couple of really good and versatile concept artists, very proficient in 2D art. And from there, the question was: what if we try this? After a few successful tests, the roadmap ahead was clear. It's very rare to choose rotoscoping because it's very time-consuming and puts unnecessary hurdles and challenges in the development, but at the same time, it was what made the game special, at least from a visual standpoint. Maybe our next game will be something totally different, like 3D. Who knows? Whatever visual style fits the core idea and emotions that we want to convey with the gameplay experience. ### SUPERJUMP That's awesome. The art was wonderful. The movements felt really natural, and I even liked the slow movements, where you had to take a moment to step physically forward. ### Iñaki Diaz At the beginning, we wanted to make it fully interactive. I mean with total control of the character: walking, stopping, and moving characters with responsive controls. Defining segments and connecting them together, so as flexible as any other game but done with rotoscoped frames. But we realized that with our limitations, it wasn’t feasible, and it was impossible to achieve. At the end of the day, we were a very small team after all, with a limited budget. We needed to pick our battles, highlighting relevant moments for the story and scattering these special scenes throughout the game. It was out of scope for us to do something more complete in terms of the amount of rotoscoping, even though we drew over 8,000 frames! That’s the case more often than not, unfortunately, you feel that with more resources you could have done more. Is this the best possible game we could have ever done? Surely not, because we worked with constraints. Is this the best we could do with our resources and team? Probably so, and that’s the goal, try to excel within your context. But I never felt confident to say, "Check this out, it’s our flawless masterpiece" like we've been working on this forever and every single detail is perfect and we’re 100% happy with it. It's not exactly what we envisioned originally, but it's how the project evolved. I believed we delivered a solid, compelling experience. In hindsight, of course, we would have loved adding more animations and refining many things. But at least we were able to tell the story the way we wanted to tell it. So all in all, we're really proud of the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/frank-drake-1.PNG) Purposeful movement adds a contemplative element, slowing the action down. Source: Author. ### SUPERJUMP I love those kinds of games. I grew up with the Nancy Drew games, and those were very point-and-click, an intimate but fun kind of mystery-solving. So, I really clicked with how that worked in Frank and Drake because I was like, "oh, this is right up my alley!" ### Iñaki Diaz Glad to know that! It's not for everybody, and that’s perfectly fine to me. But when it clicks with you for any reason, whether it is the mood or the characters that are interesting to you, then it can be really intense. I think you can tell that it has a lot of soul and effort to make it deep! By the way, another important decision we made was to have different story paths and routes, and reward the user with different backstories, interactions, puzzles, or locations based on your choices, so it has high replayability value. I have to admit, it always worries me a little bit that maybe many users will do just one route and will miss a lot of stuff. But that's how interactive adventures with multiple choices are. Or how they should be, in my opinion, making choices meaningful and not just cosmetic. ### SUPERJUMP Yeah, I have a later question, actually, that focuses on that. But speaking of the puzzles too, there are a lot of different puzzles in there, and I did only play my first route! And when there's a bond meter with characters I tend to try to make it very close, because I like it when characters are close. But I was just playing it today a little bit and I was trying to make them strangers. Just like – "Okay, what's the inverse of what I typically want to play it as?" And that led to a whole bunch of different puzzles I had never seen before. How did you craft all those different puzzles? Is there a favorite type of puzzle that you try to use? How does that work? ### Iñaki Diaz In our first game, STAY, we made an important mistake which was making the puzzles too complicated, often very dark and cryptic, and eventually, we realized they became a stopper to the narrative for many users. If you check the reviews on Steam, the negative ones are often like: 'oh, I found the maze unplayable, that puzzle is frustrating – I'm dropping the game.’ Or ‘I was so engaged until this point, but now I’m angry. It's too complicated and badly designed." I hope we learned the lesson from that game, at least we didn't want that same feeling with Frank and Drake. Puzzles can be a bit intricate sometimes, but they were designed to entertain and ultimately be solvable. We needed these moments to avoid a passive experience, and offer always something different, almost surprising the user. You can’t explore the universe with free movement, so we needed to give the user as many unexpected interactions as possible. We tried to make the puzzles very mundane, with real-life objects usually, and down-to-earth actions, like fixing objects, literally. This aligned well with the idea of the monster of Frankenstein, and what we do at the beginning of the game: picking stuff from the junkyard in the alley and bringing objects back to life, almost giving them a second opportunity. It's difficult to brainstorm and design different puzzles that are not very complicated, but interesting enough to play. You spend a lot of time designing, programming, making specific graphics assets for that moment, and if it lasts 10 seconds, it's just a waste of effort by everybody involved, and probably not even appreciated by the user either. It needs to be a little bit more intricate, either because you enjoy the interaction or because it takes you a couple of rounds to figure it out. The goal was to create intriguing but enjoyable experiences that could last at least a few minutes, more or less, based on the user’s deductive skills, extending gameplay time and feeling rewarding once completed. Once again, each choice generates a different route with respective locations and interactions. Since we wanted to make that very clear, we had to display the decision tree. You've picked up this at the fork, so now you're aware that you’re moving forward but you’ll be missing some stuff as well. That is important and affects how the narrative of Frank and Drake unfolds. With one playthrough you don't fully understand everything, but you have some fragmented information… then you play another route, and you start crossing references and understanding a bit more about the characters and the universe around them. In summary, I think we improved puzzles a lot compared to our first narrative game. We understood they need to be simple. Some users loved STAY, and some users hated it. The fans of the game embraced the story and tolerated the frustrating puzzles, but that was an unnecessary risk. Having mixed reviews, or so to speak a yellow label, isn’t a good thing and damages your chances a lot. In retrospective, if we had done puzzles much lighter and straight forward, I think we would be comfortably in the 80%+ range on Steam, and therefore we would have had more success. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/fd4.jpg) Frank and Drake. Source: Steam****.** ### SUPERJUMP I did the word search today in the game, which I found very cathartic! It's not really a puzzle, it's very simple. I remember – Drake had nightly ventures where he'd see those hobo symbols. And I know those were historically used for people who were on the road. I like the detail because it informs a character's story, and it also informs the player of an actual historical fact. Like you were saying – the mundane kind of puzzles were based on real things. How much research goes into the more either historical or the more detailed puzzles when you're crafting a character's backstory? How do you decide to incorporate those? ### Iñaki Diaz Well, like you said, there's a lot of research behind every detail. I will go back again to Ana, our narrative mastermind, because aside from writing the script and deciding how the game evolves narratively speaking, she does all the research. Often, new gameplay ideas emerge directly from this process. For example, the hobo symbols. I didn't know about this code, and it made me have a better understanding of the word ‘hobo’ itself, which has a lot more meaning than the typical negative connotation. They were nomads, and they had this asynchronous language to communicate with each other, leaving symbols to indicate ‘this is a safe house’ or 'stay away from this place'. Once Ana discovered that it needed to be part of Drake’s journey, and how that community helped him and his mother. In the game, the learning of this symbolic language through abstract magical puzzles helps Drake to figure things out. Another interesting result from research was setting the story in Baltimore, a city in the US that has been often diminished, but at the same time, a place where diversity is accepted and where everyone helps their neighbor. And that's what happens to both Frank and Drake: they don’t know each other, they become unexpected housemates, and they have to develop this connection and empathy towards each other. And speaking of neighbors, they are really important as well in the narrative. They don't usually appear directly, but you get to know them through their empty apartments. The overall sense of community is very important for the plot. Bottom line, research is very important in Frank and Drake. Starting of course with references to the classic novels, but in other aspects like the references to Baltimore. I remember Ana, and Romina, our background artist, navigated the city with Google Maps to discover interesting real locations of the city. In the game we never mention it and instead, we call it Oriole City, using this bird as a symbol of love and acceptance. ### SUPERJUMP I just put that together! My friend lived in Baltimore for a long time. ### Iñaki Diaz Really? A Nintendo Switch reviewer also discovered that and mentioned it in his article, "Oh, okay, it's Baltimore!" If you know the city, you can definitely identify some locations. It's a fictional city but it's heavily inspired by Baltimore. Related to research, I want to emphasize something, to explain why we focus so much on this, maybe compared to other studios. We are not engineers, and for us it would be impossible to start developing a game with white boxes and gameplay mechanics directly and eventually figure out a story to dress it up. In our case, it's the other way around. We start with the story and the research around that premise, and then we try to build gameplay around that. It’s not ideal and has many challenges. Not saying that this is better than any other way, but it’s just how we work. ### SUPERJUMP Yeah, I mean – I live in a city. I'm from the East Coast, so I've been to Baltimore plenty of times. Oriole felt like a very lived-in place, and the connections the characters had to each other felt like it was very lovingly depicting the messy parts of city life. And it was very nice to see that. Did you pull the team together for their experiences in a city to kind of get a better picture for how to build a city from the ground up, even though it is Baltimore? ### Iñaki Diaz We live in Barcelona, so I guess it might be similar in some aspects, but overall, completely different. More than anything, I think it was the will of our writer to set an interesting location for the story. The more she knew about it, the more inspired she was as well, and we thought it was important to use some well-known locations for important moments of this story. The challenge was to make it cohesive visually, but since the game isn’t in 3D and the controls are limited, it was a matter of connecting backgrounds properly. In fact, we had to create two cities with different relevant spots: the daytime version for Frank, and the nighttime version for Drake. Two voices and two perspectives of the universe around the characters. Another important aspect was to provide, when possible, some environmental choices. Going under or over the bridge, for example. Offer some agency to the user, but within some limits we could control, and try to be as efficient as possible with our resources. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/fd-2.jpg) Frank and Drake. Source: Steam. --- > Sometimes, not even AAA games tie everything very strictly... with more choices, it is harder to control all possible outcomes and make them equally solid for every possibility. --- ### SUPERJUMP Yeah, it's not a straightforward story in the sense that there are so many branching potentials, which is different than writing a story with one way through it. Moving those pieces together must have been a very different process than simply writing a story where everything's on the table at first. ### Iñaki Diaz This was very difficult. We had some experience with branching and setting meaningful choices and dilemmas, but the new element in Frank and Drake was also adding sticky notes dynamics. Different things that both characters could write, and then different ways to react to that, while keeping everything connected to the main plot. Controlling the outcomes from day one forward, so there weren’t any broken links by day four or five, was really challenging. Sometimes, not even AAA games tie everything very strictly. I remember playing highly polished games where you have a new quest with something extremely urgent… then you can walk around in an endless open world, doing whatever you like! With more choices, it is harder to control all possible outcomes and make them equally solid for every possibility. An interesting narrative aspect of the sticky notes was the physical restriction, because you wouldn't explain your life in a small piece of paper. It needed to be very specific, to the point. So, how do you develop that relationship? They don't know each other… so we had to be very concise and express a lot with just a few words. The subtle difference between saying "Okay, I prepared the room for you", or "I didn't have time to prepare your room, sorry." You are completely separating the approach and attitude towards your new housemate by the nuances of this single message. I guess that happens in real life, too. Sometimes a conversation changes drastically, whether you smile or not. Details change the perception, sometimes entirely. ### SUPERJUMP That makes a lot of sense for how you have to organize a game based around that dynamic. I mean, characters are going to act differently based on what decisions you make. ### Iñaki Diaz The story needed to move forward all the time and fast; it’s a thriller. So aside from solving what's happening and progress, we had to control all the different ways to get to that point. For instance, you can experience a special moment when Drake can meet Frank to help him. And for that, we needed to control the trajectories of both characters until that moment, on the fifth night. Even from the player's standpoint, that’s hard to control, because you're playing both roles without knowing exactly what you're saying to each other and the consequences of your choices. The unexpected factor plays a role. ### SUPERJUMP I like that. When I was playing it recently, I chose decisions that I thought weren't going to really go over as well, and it's interesting to see the immediate change from the character when the bond goes down. It's like, well – we're strangers now. Versus, the first time, they were so close. There's a lot of selflessness, a lot of trying to get to know each other, versus now, as I play, they're a little more distant. ### Iñaki Diaz I’m happy these subtle differences are noticeable! It’s always weird to see people playing the game; you always have surprises, both good and bad. But I think overall we succeeded in making it interesting and deep through multiple playthroughs. Each run gives the user a better understanding of these characters, their identities, and the universe around them. And once again, we needed this story to go from zero to 100 in just a few days of narrative, with a big sense of urgency, so some shortcuts were needed. We needed to get to the climax fairly soon, because Frank and Drake is not a ‘slice of life’ simulation game. Every day, something relevant needed to happen to move forward. Starting with the inciting incident right on day one with Drake’s arrival and move the story quickly to uncharted territories. ### SUPERJUMP I'm a night owl, so speaking of Drake, I was always like, "oh, Drake's coming up!" He's an interesting character. And, of course, Frank has all these scars. The character designs informed a lot of my curiosity about them. ### Iñaki Diaz It was our first time doing rotoscoping, so we had some interesting stories. And as I said earlier, limited resources. We couldn’t afford to hire a makeup artist or costume designer. So our artists had to adapt and draw some things that didn’t exist in the footage. For instance, Frank's actor has a lot of hair. We put a bald cap on his head, which is far from perfect when you have to draw exactly what you see frame by frame. But it was even harder with Drake: she is an actress! We did our first shooting before Covid. Then Covid hit, so we couldn't meet for like 12 months or so. When ‘Frank’ came back, he had been working out a lot, and he was a lot stronger than before, and ‘Drake’ had longer hair. We had to draw it differently so it could fit the existing material from the first shooting. I remember thinking..."in production with a bigger budget, would it have happened this way?" Surely not. Sometimes I dream of making the same game with top-notch professional equipment and crew. It was difficult to make it blend, but hopefully it is unnoticeable for the most part. We did our best! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Screenshot-2024-02-23-221639.png) Frank and Drake. Source: Steam. ### SUPERJUMP I can imagine that's difficult! I didn't get a chance to play STAY or Terracotta, but STAY has a real time clock. The premise is of this man who's been kidnapped, and when you're not at the computer, you can't talk to him. How did you guys come up with that kind of concept? ### Iñaki Diaz I can't explain a lot because I don’t want to spoil the story for you! But one of the references, gameplay-wise, was the Tamagotchi: a little creature that will die if left alone for a few days. Our premise was "let's make a game where your absence is as relevant as your presence," where we can’t control what happens when we're away, but we can control how the character reacts when we're back based on the absent time. Whether it has been for just one minute or several hours and days, it's a different reaction. We didn’t want to create all the content while the user was away, only the suggestion that something happened in that window to give you more anxiety. The character is alone in a strange place, unknown to him, and in desperate need of help from the outside. Meaning the player should be naturally reluctant to run away and leave him. Many users said things like "I've been playing for four hours with my partner" or "I've been here all night with Quinn, and I can’t quit the game because it feels so wrong to leave!" It's a bit stressful indeed. It is important to mention that we put into our games a lot of our own feelings, and we usually connect better with more mature audiences. It can be challenging; we see users coming to the games because they love the premise or the art style, but maybe they are not the target audience of the story itself. And at the end, it can be hard for them to be engaged in that narrative. But back to STAY, I think we’re good at creating compelling premises. In this case, one character, a dark room with a computer. It creates a lot of mystery and curiosity right from the get-go. It was partially inspired by a game called Emily's Away, where you're just chatting with someone, but that game didn't have a webcam. We wanted to express more by adding the webcam. When you leave the game, you still see the character moving around. You are spying, a little bit, on him. What's he doing? But then eventually the game takes you out. Because if you don’t want to stay active, then you're away, and you shouldn’t see what’s happening. That's why we have two clocks and the stay/away metrics. We received a few screenshots from users beating the game with 00:00:00 absent time. Not leaving Quinn alone for a second! ### SUPERJUMP Oh, wow. So I guess it's kind of beneficial to give the game time to be away, because then they'll get to see those interactions that wouldn't have been there if you were constantly staring at the screen. ### Iñaki Diaz Yeah. Some deaths are a bit dark. Leave Quinn for days, and you’ll experience his most vicious reactions. He basically needs someone supporting him from the other side to overcome the fear and tackle all the mysteries, one at a time. He lost his personal courage and will. And there was a reason why this story was built this way. It's very personal. It's inspired by personal experiences and, again, those feelings are not for everybody. Our core team is literally a family. The writer is my girlfriend, and one of my best friends is the programmer. Our rollercoasters of emotions in life are somehow represented in the games we craft. And sometimes we realize that unconsciously. Other team members and professionals who worked on Frank and Drake told us exactly this: "I think I know you better now as a person." But not because we worked together on the game, but because of how the game was. From character's voices to the emotions portrayed… we put our own feelings and thoughts into the mix, completely unintentionally. ### SUPERJUMP Yeah, when you're crafting something, you can't help but put yourself in it. So, it's really neat when you do play games that are made with a lot of story focus, you do get glimpses of the creators. And I mean – I think that's a wonderful thing about being able to play games. It's all these different lives you're seeing and all these different experiences. ### Iñaki Diaz I agree, to me it makes it more interesting. And sure, sometimes you just want to play for fun and to chill, but it's cool when you play heavier games too, experiences that move you for some reason. Where you connect on a deeper level, and sync somehow with a group of people who poured their heart and soul into the making of a creative piece of work. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/frank-drake-3.PNG) Frank and Drake. Source: Author --- > In previous developments, we committed to an idea too early, and then we were in a race against the clock. That's good in some ways, but at the same time, it is very stressful. --- ### SUPERJUMP And I think that elevates the work in a way, because it is, in my mind, it was very, very focused. This was very dedicated, this was a very loved thing. So, it just feels a little more important, a little more precious. It's good to be able to have that. ### Iñaki Diaz Exactly! I'm glad you feel this way. ### SUPERJUMP I'm trying to think because I'm now going off my script, so Frank and Drake was your most recent release. I guess I have two questions, but I'll start with this one: You said how you do story first, and you kind of fill in the space with the game mechanics and everything. Is that something you'll probably continue to look at doing, have a narrative focus? ### Iñaki Diaz I think we can only do things this way. So far, we have done very personal projects, things that meant something to us. We didn't really look at the market to check the latest trends or what the publishers were looking for. We did what we wanted to do. And then we realized that this approach is extremely challenging. As a small developer, eventually you’ll need external funding more often than not. We have to make it interesting for potential partners, and ensure that is going to compel others and not only us. The game has to click with so many others, on many different levels. Right now we want to make a more conscious effort of trying things, and not be afraid of discarding them if they don’t work. Give ourselves more time to explore before deciding what the next step is for the studio. In previous developments, we committed to an idea too early, and then we were in a race against the clock. That's good in some ways, but at the same time, it is very stressful. Every development generates critical decisions to make almost on a daily basis, and it is very easy to make a bad call. It's not easy to convince a publisher to invest money in a project. There’s a lot of competition and great games out there. So, answering your question – yes. We are not going to make a first-person shooter for the sake of just finding a deal or making a game. We want to make games that are interesting for us and that we would love to play. We love a good story and narrative will remain our focus but, having said that, we will keep a closer look at the preferences of players. We’re extremely proud of Frank and Drake, but it's also heartbreaking to see games like this go under the radar. I guess what I’m trying to say is that ideally, we can keep the essence of the story, but make enough tweaks so it's more accessible and can reach a broader audience. ### SUPERJUMP I think that's a very difficult balance to strike. The want to do something that you creatively enjoy, and obviously there's consumer needs, because it's – I mean, in every medium, games to movies to books, art always has to satisfy certain needs for the masses, even if they're creative indulgences, but I like those indulgences because they're very raw. They're very real. ### Iñaki Diaz That’s very true. Making games is expensive, though, so finding the balance between creative integrity and profitability is not easy by any means. ### SUPERJUMP I know there are physical copies of the games that you guys are able to do. Does that happen often that you're able to sell these games physically? Because that might be more money in your pocket, in a way, when you can actually have people physically buy them. ### Iñaki Diaz It is more a symbolic thing than real money, for indie titles, it's usually a limited edition. There's a lot of partners in-between. Digital sales are a lot more profitable for small studios, but physical copies mean a lot to us gamers. It becomes tangible, and you feel you’ve accomplished something. It’s a nice recollection, a nice memory to have, but the only real money that games can make with physical is when you do prints that are heavy in number. We were lucky enough to have physical versions of STAY and TERRACOTTA. I can’t disclose anything else right now, but hopefully Frank and Drake won’t be the exception. Our real battle is on digital platforms, there are so many games out there, so many launches every day, that it's very difficult to get traction. That's why reviews are so important. We always ask: "Please do a review of the game!" Because it helps us a little bit to move higher and help the algorithm. Usually, when you make a good launch on Steam, it spreads out on other platforms too, it creates a chain reaction. It's very rare to fail miserably on Steam and then do super good on Switch. It can happen, but it's uncommon. Usually, it's something more consistent throughout platforms. So it's a good indicator to have good Steam metrics, and reviews are very relevant, obviously. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/fd-3.jpg) Frank and Drake. Source: Steam ### SUPERJUMP Yeah, it's different than selling books or making a script for a movie and selling it. I think all media has to work with within the constraints of what they're trying to profit off of, but also just, what kind of budget you have for anything. You're doing indie publishing versus, you know, indie films. ### Iñaki Diaz And indie games have changed a lot, too. Nowaday,s we say indie games, and it doesn’t mean a $10,000 budget; we have ‘indie’ games with budgets of 1 or 2 million. A lot of skilled professionals, for several years. Of course, it's far from AAA games, but still, it's difficult to just finish and launch a game. To the average user, you are completely unknown. Indie games are more recognized now, but we're still very far from the big names in the industry. At least financially speaking, it's a completely different universe. ### SUPERJUMP That's a hard threshold to make it through. Because there are so many big hitters out there that just kind of take over the conversation. I'm a huge Final Fantasy fan, so once a new Final Fantasy game comes out, I forget everything else. ### Iñaki Diaz Every week, there are at least 2-3 highly anticipated games, and everyone's going to play those. As much as you try to find a good window to launch, it's literally impossible to find a good one; there's no room for anything unless it's a very specific genre for a very specific audience that is waiting for your game. ### SUPERJUMP It's like looking at the box office numbers too. I know movies tend to shift around based on who's releasing what film when. But even then, you're not going to find a big gap. It's different because games take up more time. So, I mean, if you're releasing Elden Ring – people spent hours on that. Trying to release something even two weeks after, it's like, well, someone's still playing Elden Ring. ### Iñaki Diaz Exactly. In other media like movies, the competition has some limits. The box office for example, you can’t have 1,000 movies being premiered the very same week. But in games, you are competing with technically endless competition. Plus, maybe the game that launched one year ago or 10 years ago is on sale now, and it's 75% off, making the decision to buy your recently launched game even tougher for the user. Everyone knows that any game will already be on sale 8 weeks after launch. You have 10 bucks, and you can pick an unknown new game or a hyper-validated title with overwhelmingly positive reviews. It becomes a no-brainer. And it makes it super difficult to make the leap of faith and buy your little strange game. We are asking too much of the user. ### SUPERJUMP I'm sure there are niches that people want for point-and-click adventure still, or for things that are more simplistic in their style. I mean, there's so many cozy games that have launched recently where they're much more focused. Not the big shooters, not even the Final Fantasies. It's just much more of a quiet story. ### **Iñaki Diaz** You’re right, but following a trend requires to develop really fast, otherwise by the time you finish your game, there will be 1,000 cozy games and it will be equally difficult. That’s the difficult choice to make, whether to go with your gut feeling and passion, ignoring the market, or doing your research and analysis first. You want to mitigate the risk, but I still haven’t found the exact recipe. Luck and being in the right spot at the right time is part of it, too. But you want to put the game in the best possible situation to succeed. We understand it's a lottery, but we need to buy as many tickets as possible. ### SUPERJUMP That makes sense. Honestly, this was a game I got the code for a while ago, and then I got some time to play recently, and I was like – alright, sitting down, writing the review – I didn't even know you guys would see it, but I was excited when you did! I was like, "Oh, awesome!" ### Iñaki Diaz It has been my pleasure! It was very encouraging to see your review. Super happy that you connected with the game and you enjoyed it, and having the chance to talk to you has been awesome. Thanks to you for covering the game. I know it's a different game, and not for everybody, and you wrote a really nice piece. Just objectively speaking, it was really well written. ### SUPERJUMP Thank you! All right, I do have one last question – can you talk about anything you're currently working on? Are there any things that you and the team are thinking about doing, or any future games, possibly? ### Iñaki Diaz After Frank and Drake, we have been working with different concepts, exploring and discarding many ideas. We wanted to keep the narrative drive, obviously, but maybe do something a little darker, and try the horror genre. So, we recently announced a small, creepy experience called MANDATORY. A health and safety protocol for all employees, although you’re alone in the office. Your participation is not optional, and you have to comply and pass all modules before midnight. Imagine Stanley Parable meets Indigo Park, with a touch of our very own STAY. I hope it sounds interesting! The Steam page is up already, and we’ll release some news soon. I think you will love it! 💡 You can buy Frank and Drake on Steam right now, along with STAY and Terracotta. Appnormals Team's other games are available on most platforms. You can wishlist the team's upcoming game, MANDATORY, on Steam too. ### Indie Monthly: June 2025 URL: https://www.superjumpmagazine.com/indie-monthly-june-2025/ Last updated: 2025-07-14T21:40:21.000Z **Summer is usually a bit on the slow side, but this June was an active one.** We've got seven games on display this month, showcasing a fair variety. There's a definite theme of dream realms and fantastic worlds, but beyond that, you have genres ranging from ARPG to puzzle platformers to old-school adventure. I'm sure that whatever's to your taste, you'll find it here. As always, [you can see the games in action here](https://www.youtube.com/watch?v=aRT54giCW8Q&list=PLerWTn3E-2CkTvCMDJ873hYXBAzizQa4a). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/ZefyrA.jpg) Zefyr: A Thief's Melody. Source: Author. ## [Zefyr: A Thief's Melody](https://store.steampowered.com/app/1344990/Zefyr%5FA%5FThiefs%5FMelody/) Zefyr: A Thief's Melody is an action-adventure game with stealth elements. It's a real love letter to the gameplay and graphics of games from the 2000s, with Wind Waker being a particularly obvious inspiration. The game follows the career of a young man from a remote archipelago, aspiring to enter the Thieves' Guild. Once an order of actual thieves, ages of tranquility have turned the Guild into a group of explorers, fortune seekers, and errant problem solvers. But when a previously dormant rival band of pirates begins raiding the islands again, the Guild is called upon to get to the bottom of their misdeeds. Zefyr is something of a hybrid, featuring elements of 3D platformers, adventure, and stealth games. Missions are varied, but most demand a combination of sneaking and platforming skills. Areas are very vertically oriented to take advantage of the protagonist's climbing skills, a key talent that the player will unlock right away. The character can stick to almost any wall indefinitely and then travel in any direction for a limited distance, allowing them to find alternate routes to many locations. Stealth is a fairly basic affair; the sight lines for guards become visible once they spot the player, offering a short window to get out of sight before they go on alert. Fighting guards head-on is possible, but the protagonist isn't much of a fighter, and many guards have special weaponry that makes combat extremely unwise. Most of the protagonist's gear is designed more around distraction anyway, so outside of a handful of bosses, fighting is really not recommended. While Zefyr starts as a fairly linear game, it eventually opens up into something far more exploration-oriented, with the protagonist gaining transportation options that allow for island hopping. This is very much tied into the flow of the game. There is a main questline, but Zefyr is more invested in its many sidequests. It's a game made more for people who like to wander rather than those seeking a tight story campaign. Overall, Zefyr is a game with design principles that match its early 2000s-era aesthetics. It's a solid choice for fans of any of its precursors, but don't expect to see too many new ideas in the mix. Zefyr: A Thief's Melody is available for PC via Steam, [Itch](https://oneiricworlds.itch.io/a-thiefs-melody) and [Game Jolt](https://gamejolt.com/games/aThiefsMelody/614748). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/TtNA.jpg) Through the Nightmares. Source: Author. ## [Through the Nightmares](https://store.steampowered.com/app/1266210/Through%5Fthe%5FNightmares/) Through the Nightmares is a difficult precision platformer with light physics elements. The design is built around a novel size-shifting mechanic that really separates the gameplay from the competition. Something has gone awry in the world of dreams. Morpheus, the lord of sleep, has abruptly begun abducting children, confining them within prisons of nightmares. As the Sandman, bringer of good dreams, your task is to rescue those captive children and ultimately find the source of the madness of Morpheus. Through the Nightmares is divided into a series of discrete levels, each relatively short, generally taking one to two minutes to finish, with boss chase levels running a bit longer. Of course, as with any technical platformer, one shouldn't expect to finish any given level in a single try. This is especially true when pursuing optional objectives, such as finding hidden objects or finishing a level without using checkpoints. The key mechanic is the Sandman's ability to change the size of his body at will. Holding a button will cause the protagonist to shrink, reducing his stature and mass. Aside from the obvious function of allowing him to get through smaller passages, this also affects the height and trajectory of his jump as well as how surfaces react when he walks across them. More complex puzzles demand that the player rapidly change size back and forth, turning this into the primary feature distinguishing the game from other difficult platformers. Aside from this mechanical gimmick, Through the Nightmares is also set apart by its visual design. Stories set in dream worlds always offer the freedom to explore bizarre aesthetics, and in this case, the main themes are childhood fears. The different areas are surreal while also following some common narrative threads, avoiding the cliches we see with some other dream-themed games. Overall, Through the Nightmares is a visually and mechanically distinctive game that's an easy pick for anyone who loves challenging platformers. Through the Nightmares is available for PC via Steam, on [PlayStation consoles](https://store.playstation.com/en-us/concept/10014204), [Xbox consoles](https://www.xbox.com/games/store/through-the-nightmares/9pdmb5rn184z) and [Nintendo Switch](https://www.nintendo.com/us/store/products/through-the-nightmares-switch/). A copy was provided for review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/BygoneB.png) Bygone Dreams. Source: Author. ## [Bygone Dreams](https://store.steampowered.com/app/951620/Bygone%5FDreams/) Bygone Dreams is a high fantasy action RPG. It's a well-made example of the subgenre, though without anything groundbreaking. A young warrior named Wa awakens to the sight of Aelona, the prime deity of his realm. In the last moments before she fades from view, she tells him that their world - the dream realm of Lune - is being threatened by a new nightmare, and Wa is their last chance to stop it. His task is to track down the guardians of Lune, but the world is already fracturing, and none of the guardians are themselves. One way or another, Wa will have to rally their support before Lune is swallowed by the darkness. The core mechanics of Bygone Dreams should be familiar to fans of the subgenre - combat built around combinations of light and heavy attacks, with defense tied to either parries or dodges, depending on player preference. Wa quickly finds a bow for ranged combat, and he also acquires one-sh0t items and magic for additional effects, but most combat is hand-to-hand. Melee combat is less forgiving here than in some comparable games. Wa has access to a range of weapons that feel very different to use, but all of them have a lot of momentum, so combat will feel a little slower than you might be used to. Wa is also limited by a stamina meter that drains quickly when using melee combos and dodges. This means that some cheaper tactics aren't so viable and, combined with the slower pace of attacks, require every blow to count. Add in the hard-hitting enemies, and you have a highly challenging game, though veterans of the Souls games will be able to adapt without much of a problem. The aesthetic design is particularly noteworthy; each area has a distinctive feel, with some highly original theming and a lot of detail. The music fits nicely with the visuals, and the game punches well above its weight in terms of presentation. Overall, Bygone Dreams is an attractive, if somewhat standard, addition to the crowded action RPG market. It's a solid choice for anyone looking for something a little different than what you get from AAA companies. Bygone Dreams is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/GriffordA.jpg) Grifford Academy. Source: Author. ## [Grifford Academy](https://store.steampowered.com/app/2445780/Grifford%5FAcademy/) Grifford Academy is a turn-based RPG with highly streamlined mechanics. It's designed for less experienced players, but there's also plenty of challenge for anyone who wants to test their RPG skills. The titular Academy is an ordinary school housing a strange secret. Within the library are books that write and unwrite themselves, telling the story of Caldria, a kingdom that never existed. Erika, a student at the Academy, finds one of these books and is pulled into the land of Caldria along with her brother and several classmates. Now trapped in a world overrun with aggressive monsters, she must find her brother and get to the bottom of Caldria's woes. Combat in Grifford Academy is turn-based with staggered turns, similar to active time battle but without the fight constantly advancing. Each party member carries four pieces of equipment, with each item corresponding to a combat action. The first slot is always reserved for a character-specific piece of equipment that scales to the party's level, but the other three are unrestricted, and the player can always sell gear for 100% of the purchase price. Characters are slightly specialized in certain types of equipment, but there's still a lot of room for customization. Outside of combat, the gameplay is greatly simplified and streamlined. There's no free overworld exploration - combat areas are purely combat, while towns contain only areas of interest. Grifford Academy is also a grind-free experience, with the party leveling up at key story moments. The simplification of the gameplay, combined with the story and aesthetics, may lead you to believe that this is a game for beginners, and by default, this is true. However, set the game to strategy mode - the elevated difficulty level - and it becomes a far more challenging experience. Winning fights in strategy mode demands a more careful approach, managing status conditions and cooldowns, and even adjusting equipment to counteract more difficult enemy arrangements. Overall, Grifford Academy is a solid RPG experience that can appeal to neophytes and experts alike. Grifford Academy is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/CantaloupeA.jpg) Cantaloupe Chronicle. Source: Author. ## [Cantaloupe Chronicle](https://store.steampowered.com/app/3176050/Cantaloupe%5FChronicle/) Cantaloupe Chronicle is an adventure game centered around the nuts and bolts of newspaper journalism. It's an unorthodox frame for gameplay that will be instantly recognizable to anyone experienced with 90s PC adventure games. You are a young, hungry journalist headed off to your first real job - cub reporter for your aunt's newspaper in the tiny town of Cantaloupe. It's not thrilling work, but it's an opportunity to learn the basics of the trade in a low-pressure environment. However, Cantaloupe has something of a secret history, one involving classified military projects and an unidentified corpse. You're probably not going to get to the bottom of the town's history, but every rock you turn over is a chance to bring some secret to light. Cantaloupe Chronicle is an old-school adventure game with a narrative twist - the puzzles focus on the mechanics of reporting. The player has a daily task, usually focused on getting the facts of some mundane local controversy. After the first day, there's also an ongoing objective based on researching the town's hidden history. The primary objective requires going through the process of reporting - gathering background, taking photographs, coming up with a hook, and then assembling it all into a finished article. While there are a few novel mechanics, this is still a definite throwback game, and that means experiencing some vintage adventure game puzzles. Each day requires the protagonist to solve at least one extended puzzle built around finding and combining items. Expect some of the solutions to be a bit off the wall - the unorthodox story doesn't spare you the moon logic. On the bright side, Cantaloupe Chronicle has a few built-in features that make these puzzles more manageable, including a hot-spot locator and a helpful (if intentionally cryptic) hint system. Overall, Cantaloupe Chronicle is definitely for fans of the computer adventure games of yesteryear. Others might find it a little too old-school, even with the somewhat interesting narrative. Cantaloupe Chronicle is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/CellCommA.jpg) Cell Command. Source: Author. ## [Cell Command](https://store.steampowered.com/app/3362040/Cell%5FCommand/) Cell Command is a biology-themed roguelike strategy game. It features a deceptively complex unit-building system that's bound to take players a while to really understand. The player's forces in Cell Command are built up from base nucleotides, serving as melee, ranged, or support based on the combination used. These units grow as they move across tiles, eventually reaching a maximum length determined by unit type and any enhancers equipped to the cell. Aside from the obvious tactical element, this also determines the unit's life. This means that units effectively heal themselves every round, and larger cells may require coordinated attacks to take down. Each run lasts for fifteen standard fights ending in a boss match. The standard fights have varied objectives - destroying all of the enemy cells always wins, but some types have alternate win and loss conditions, such as destroying or defending stationary targets or lasting a certain number of turns. Finishing a fight earns the player biomass, used to unlock upgrades for individual cells, and science, used to unlock permanent run-to-run bonuses. The player is also occasionally required to take on a mutation, which changes the nature of units in all future fights. This usually makes those fights harder, though a clever player can use mutations to control what units the enemy can dispatch. This system offers a lot of potential for interesting builds, but the learning curve is quite brutal, even by the standards of roguelike games. Cells tend to have traits based on their nucleotides, such as cytosine yielding cells with ranged attacks, but combinations can be unpredictable. Until all the combos have been unlocked, a player can easily turn a frontline fighter into a non-combatant healer by mistake. Add in the unorthodox positioning system and the large number of unit traits and gimmicks, and it may take a bit of time getting to grips with everything. Overall, Cell Command is a game for people who are comfortable with complexity and willing to try and die a few times. Those wanting a more conventional roguelike experience may want to look elsewhere. Cell Command is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/MangoA.jpg) Mango's Fisharium. Source: Author. ## [Mango's Fisharium](https://store.steampowered.com/app/3697890/Mangos%5FFisharium/) Mango's Fisharium is an incremental game tasking the player with stocking and operating an aquarium. It's a relatively simple example of the genre that streamlines the mechanics into a single minigame. The gameplay shifts between two screens. On the fishing screen, the player adds to the available collection of fish through a simple minigame. The player drops a hook at one of a series of unlockable spots, then maneuvers it back and forth to catch as many fish as the weight limit allows. Each caught fish is added to the aquarium screen, where the player can spend money on upgrades or unlocking fishing spots. All money is generated passively. Each captured fish generates an amount of income based on the level of the fish (increased by catching more of them), the level of the fishing spot (increased by catching any fish at that spot), and the number of marketing upgrades purchased. As such, the game can be fully idled if the player wishes. The one wrinkle compared to similar games is the existence of dream pearls, one of which can be found in every fishing spot beyond the first. By resetting the game status and entering the dream world, the player can spend pearls to unlock permanent bonuses. While not strictly necessary, these greatly accelerate the later chapters of the game. Mango's Fisharium is a fairly standard example of its genre - well produced, but without adding anything very interesting to the formula. Mango's Fisharium is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at all the indie games that caught our attention in June. Be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Should You Bare Your Soul in Fireside Feelings? URL: https://www.superjumpmagazine.com/should-you-bare-your-soul-in-fireside-feelings/ Last updated: 2025-07-12T16:56:24.000Z **I recently realized that I hadn't bought or received review codes for any 2025 LGBTQ+ games.** We are getting a Coffee Talk installment and a Boba Tea shop simulator, the latter of which is in Early Access on Steam, but for June 2025? We still have some queer fluff and comfort during dark times. [Fireside Feelings](https://store.steampowered.com/app/2990600/Fireside%5FFeelings/), but indie developer Team Empreintes, just came out with 2D animation and *feels*, and you know how much I love an underdog. Fireside Feelings is a game about trust. You collect memories and photos while talking about your lives. And maybe, just maybe, your faith in humanity is restored for an hour or so. ## Quiet conversations In the game, you meet a sentient campfire named Spark, who introduces you to different people...or, rather, you all choose a different animal persona and customize them accordingly. Spark then asks several icebreaker questions. We type in our answers, and in so doing learn about these strangers. When the conversation wraps up, we take a selfie and Spark expands our customization. More areas in the game unlock, allowing us to travel a digital landscape and schedule more fires. Here's a twist: these people aren't NPCs. We also don't have any generative AI, thank goodness. Your conversation campfire partners are real individuals that have also bought the game. As the campfire explains, the game developers have recorded answers from previous players that bought the game and introduced a time delay, so no responses are in real time. Automatic and manual moderation goes through the answers to avoid bad actors. Everything remains anonymous and we get to keep talking. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/fireside-feelings-1.jpg) Source: Steam. --- > Your conversation campfire partners are real individuals that have also bought the game. --- Fireside Feelings presents reasonable boundaries. Settings allow you to filter out conversation categories that risk triggers, like drugs or specific trauma. You can adjust those settings as you go if a conversation topic becomes uncomfortable. In addition, you can leave the campfire if needed and return to it later. I haven't verified if these moderation policies are real, but teams working with developers on [Reddit](https://www.reddit.com/r/cozygames/comments/1ky728s/fireside%5Ffeelings/) have stated they intend the game to optimize safety. At the very least, the game having a price point means that no one can just download it and start trolling the system. You do have to pay for Fireside Feelings and say yes to the user agreement. These aren't hoops but reasonable filters, and we also get to compensate the developers for their hard work. Since I was streaming the game and knowing the whole world could watch, I kept my answers short. My conversation partners told me more about their lives. I do admit that it's not a great streaming game unless you are completely confident in talking about your life outside of playing games. ## Trusting strangers Of course, there is the big question: can we trust the users and the game? We'll find out as a community grows around it. The game does have a link to send feedback to the dev team, and the game and Steam page both have a link to a community Discord. It's all about leaning back and diving into the pool of the unknown. I've become a bit jaded about meeting people. Recently, I've experienced people I've known for ten years changing, and you don't know the signs that you missed. There was one time I tried a website that an ex recommended to me, where strangers could comfort you, and said stranger got into a fight with me. Here is the contradiction: everyone needs other people. Even introverts like me. The pandemic made me feel stir-crazy, yet I thought I could handle being inside all the time. With that said, I've learned that you can't tell people everything. Baring your heart, even to someone you've known for a long time, can hurt all the more when they flip 180 degrees and stab you in the back. The two conversations I had were eye-opening and relaxing. Individuals talked about their relationships with work and family. And yes, they felt comfortable saying "partners", so this is a game that is safe for LGBTQ+ players. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ff2.PNG) Source: Author. --- > Here is the contradiction: everyone needs other people. Even introverts like me. --- Maybe Fireside Feelings will restore my faith in people and prove good for my health. That talking bear, honeybee, or cat sitting opposite me is someone I don't know talking in a safe space but from a far distance. We can choose the topics and answer them accordingly. Even for playing only an hour, there were two conversations that made me feel good. The only way to go is upward with simple icebreakers and insights. ### 10 Iconic Lightsabers Ranked by Style, Power, and Legacy URL: https://www.superjumpmagazine.com/10-iconic-lightsabers-ranked-by-style-power-and-legacy/ Last updated: 2025-07-18T01:04:19.000Z **There’s something undeniably magnetic about a lightsaber.** Whether it’s igniting with a snap-hiss or slicing through the air in an epic duel, each saber in the Star Wars universe tells its own story. Some are iconic for their raw power. Others earn their status through design, history, or the legends who wielded them. And in many cases, it’s a mix of all three. This ranking doesn’t just weigh who won the most fights—it celebrates the lightsabers that left the biggest impression. Across movies, animated series, and games, here are ten lightsabers that earned their place in Star Wars lore. And yes, we’re including the [Cal Kestis lightsaber](https://www.theorysabers.com/character/cal-kestis)—a weapon that didn’t just shine in combat but stood out in storytelling, customization, and emotional weight. Let’s dive in. ## 10\. Ezra Bridger’s Blaster-Saber Hybrid **First Seen:** [Star Wars Rebels](https://starwars.fandom.com/wiki/Star%5FWars%5FRebels). **Why It’s Iconic:** A lightsaber that also works as a blaster? Ezra’s first saber is quirky, youthful, and reflects a scrappy Jedi Padawan raised on Lothal, not Coruscant. While not the most elegant weapon, it’s memorable for its dual function and the way it broke tradition in the best way. Think of it as Star Wars' answer to a Swiss Army knife—chaotic but cool. ## 9\. Ahsoka Tano’s White Lightsabers **First Seen:** Star Wars: Rebels (after being reclaimed in The Clone Wars). **Why It’s Iconic:** Ahsoka’s transition from Jedi Padawan to independent Force user is beautifully symbolized in her white sabers. They’re not red. They’re not green or blue. They’re purified, neutral, and reflect her choice to walk her own path. The clean, graceful design and rare color make these blades stand out on sight alone. ## 8\. Cal Kestis’s Customizable Saber **First Seen:** Star Wars Jedi: Fallen Order. **Why It’s Iconic:** Cal’s saber starts broken—literally. What makes this lightsaber so special isn’t just the lore behind it or its combat utility (which, let’s be honest, is top-tier). It’s how players can rebuild and customize it, reflecting Cal’s journey from survivor to Jedi. The \[Cal Kestis lightsaber\] is a fan-favorite because it evolves with you. Whether you choose a single blade, a dual configuration, or a crossguard variation, the saber becomes an extension of how you play. It’s a symbol of trauma, growth, and choice. ## 7\. Kylo Ren’s Crossguard Saber **First Seen:** The Force Awakens. **Why It’s Iconic:** Nobody forgets the first time they saw this one ignite—crackling, unstable, and menacing. Built with a cracked kyber crystal, Kylo’s saber reflects his fractured psyche. The side vents that double as hand guards aren’t just edgy (pun intended); they’re functional, dangerous, and give the saber a brutal, medieval vibe. Love it or hate it, this saber had personality. ## 6\. Count Dooku’s Curved-Hilt Saber **First Seen:** Attack of the Clones. **Why It’s Iconic:** Elegant and refined, Dooku’s saber mirrors the man himself. The curved hilt allows for precise fencing-style combat, which matches Dooku’s Form II lightsaber technique. It’s a saber built not just to win but to duel with grace and control. Bonus points for being a rare deviation from the standard cylindrical design. ## 5\. Mace Windu’s Purple Lightsaber **First Seen:** Attack of the Clones. **Why It’s Iconic:** Samuel L. Jackson wanted his saber to stand out—and it did. The purple blade, canonically explained as a mix of light and dark Force affinities, has since become symbolic of Windu’s unique place in Jedi hierarchy. This saber doesn’t just pop visually; it represents complexity in a galaxy where lines between light and dark are rarely clear-cut. ## 4\. Darth Maul’s Double-Bladed Saber **First Seen:** The Phantom Menace. **Why It’s Iconic:** Two blades, one smooth reveal, and a fight sequence that blew everyone’s minds in 1999\. Maul’s saber may not have deep lore, but it changed how we saw lightsaber combat. Its design opened up a whole new era of choreography and dual-blade fandom, echoed years later in Cal Kestis’s own saber style. ## **3\. The Darksaber** **First Seen:** Star Wars: The Clone Wars. **Why It’s Iconic:** Part ancient weapon, part political symbol, the Darksaber holds unmatched cultural weight—especially among Mandalorians. With its black blade, unique hum, and legacy tied to leadership, the Darksaber isn’t just a weapon. It’s a throne. Whoever wields it commands more than just power—they command a people. Its recent appearances in [The Mandalorian](https://www.rottentomatoes.com/tv/the%5Fmandalorian) have only solidified its legendary status. ## 2\. Luke Skywalker’s Green Lightsaber **First Seen:** Return of the Jedi. **Why It’s Iconic:** The first time we see this saber, it’s already iconic. Built between Empire and Jedi, Luke’s green blade is a visual cue that he’s not just a Jedi student anymore—he’s become the real deal. This saber featured in emotional duels, memorable standoffs, and even a Mandalorian rescue mission that sent fans into collective goosebumps. ## 1\. Anakin Skywalker’s (Then Luke’s, Then Rey’s) Blue Saber **First Seen:** A New Hope. **Why It’s Iconic:** The one that started it all. Handed down from Anakin to Luke and eventually to Rey, this saber’s legacy is longer than most characters’ screen time. It was lost, recovered, destroyed, and reforged—mirroring the rise, fall, and rebirth of its owners. No other lightsaber carries the same generational weight. It’s the Excalibur of Star Wars, plain and simple. ## Honorable Mentions ### Qui-Gon Jinn’s Saber Minimalist but memorable, this green blade was wielded by one of the most emotionally resonant Jedi in the prequels. ### The Inquisitor Sabers With spinning blades and fearsome design, these sabers from Rebels and Jedi: Fallen Order are both terrifying and visually stunning—especially in the hands of the Second Sister or the Grand Inquisitor. ### Yoda’s Saber Small but mighty. This little green blade held its own in battle and proved that size really doesn’t matter when it comes to the Force. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/pexels-vika-glitter-392079-20011472-1.jpg) Photo by [Vika Glitter](https://www.pexels.com/photo/sorceress-standing-with-light-sword-20011472/) via Pexels. ## Why Lightsabers Still Matter Star Wars has never been just about the ships, the planets, or the politics—it’s about the people. And few things reflect a character’s arc, ideology, and transformation like their lightsaber. Whether it's passed down, built from scratch, or pieced together from the wreckage of the past, each saber in this list tells a story. That’s what makes Cal Kestis’s saber so compelling. It wasn’t forged in a temple or handed down by a wise master. It was salvaged. Rebuilt. Modified. And made stronger by the trials its owner faced. That narrative of resilience—told through upgrades, color choices, and hilt styles—lets players connect to a galaxy far, far away in a deeply personal way. **This story contains links from one or more partners.* ### Volgarr the Viking II Review URL: https://www.superjumpmagazine.com/volgarr-the-viking-ii-review/ Last updated: 2025-07-11T14:26:51.000Z **Volgarr the Viking II is the school of hard knocks in a modern era.** The original Volgarr the Viking was an interesting indie action title I first picked up on Xbox One as it was part of the then 'Games with Gold' lineup of titles. This was long before the days of Game Pass and its ever abundant library of games, but the Games with Gold curation had a similar idea, and so if a title was carefully chosen by Microsoft, then it was probably worth checking out. Of course, back then (and even now) you simply had to be subscribed to Xbox Live Gold in order to access online multiplayer functionality, so it was nice to have a few freebies included in the subscription. Volgarr the Viking was one of those games, back when Microsoft were looking to showcase indie efforts especially via the ID@Xbox program for indie developers. I can't believe this was all nearly a decade ago! It didn't blow me away, but Volgarr the Viking was a pretty cool game for what it was: a real throwback to challenging 2D action platformers that emerged out of the British gaming scene. During my childhood I was a big fan of Gods by Bitmap Brothers, even though I wasn't good at it at all, I dug the Greek mythology aesthetic. Recently I also had a chance to discover the Stormlord games thanks to the Commodore 64 (C64) collections on the Evercade platform, these games drew upon Norse mythology and are brutally difficult. These British action games were quite dark and mature too, especially for their time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_d5f59f9ee3a6ccd8e8463ce976b7855f8feab3bf.1920x1080.jpg) Source: Steam. --- > It didn't blow me away, but Volgarr the Viking was a pretty cool game for what it was: a real throwback to challenging 2D action platformers that emerged out of the British gaming scene. --- Volgarr the Viking II nails its intended presentation nicely, sporting a graphical style that feels like it would be right at home on the Commodore Amiga platform (the Amiga mini console is well worth hunting down, by the way) with loading icons represented by floppy disks (primitive media but at least the entire game fit on it... unlike those Switch 2 Game Key Cards!). It makes use of a wide range of colours and yet maintains an overall dull aesthetic to really sell the old school vibe. While the graphical and visual presentation may be deliberately stylised to resemble a bygone era, the epic orchestra is anything but retro. The sweeping orchestra score with haunting vocals really starts the game off strong and remains sweeping throughout, really instilling an epic mythological battle cry. Much like the aforementioned Gods, Stormlord, and even its own predecessor, Volgarr the Viking II is extremely difficult and not for the faint of heart. Sure, you may take control of a hulking Viking who's got muscles in places where most people don't even have places, but it's one hit death, and the hit-box is ultra sensitive too. Expect to see warrior hero humbled over and over again as he explodes into blood, guts, and bones. That being said, the core gameplay is versatile. The basic sword attack is effective, and can be used in an effective spinning jump slash which also serves as a double jump to reach higher platforms, and a spear can be vaulted as an effective projectile. These basic attacks can also be charged up with a flame to inflict more damage. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/ss_376552e5239b1544e7401a2ba1edeea754950cd0.1920x1080.jpg) Source: Steam. --- > The sweeping orchestra score with haunting vocals really starts the game off strong and remains sweeping throughout, really instilling an epic mythological battle cry. --- The game has sound 2D action platforming fundamentals and the controls are quite tight and responsive; it's just that it relies entirely on player skill and perseverance to get the most out of the adventure. There are minimum quality of life features here, so this is an experience designed largely for its intended niche audience. I have an appreciation for the style and era of 2D action that Volgarr the Viking represents, even though admittedly I'm not good at it either. In the decade long gap between the Volgar the Viking II and its predecessor, nothing much has changed or evolved, but these are a punishingly-fun pair of action games that hearken back to a time when games gave players their money's worth; not through bloated 100 hour campaigns which include story cinematic sequences, but through difficulty set so nigh impossible that it would take 100 hours just to master the whole adventure. ### PBJ: The Musical - How the Developers Cooked Up This Handmade Twist on Romeo and Juliet URL: https://www.superjumpmagazine.com/pbj-the-musical-how-the-developers-cooked-up-this-handmade-twist-on-romeo-and-juliet/ Last updated: 2025-07-08T22:43:12.000Z > *"If Shakespeare lived today, what would he write about?"* As of late, there has been a resurgence of games – or in the case of [Grand Theft Hamlet](https://www.youtube.com/watch?v=MLpGIHjwhNE) (which I've still yet to see), a documentary-theatre experience of sorts done entirely in GTA Online – based on ancient rites written by none other than William Shakespeare. Yes, the same lad who gave the world King Lear and made entire generations of English-speaking school kids utter the famous words, "To be, or not to be..." Britain-based The Royal Shakespeare Company is [reportedly](https://www.avclub.com/royal-shakespeare-company-video-games-lili-macbeth) making an adaptation of Macbeth called Lili, which is played in the style of Sam Barlow's Her Story. Then there's the upcoming [Hail Macbeth](https://www.vice.com/en/article/shakespeare-entices-gamers-through-hail-macbeth-an-ambitious-blend-of-theater-gaming-and-dynamic-storytelling/) made by former theater director Paolo Sacerdoti, which, based on the description alone, sounds like something out of Telltale Games' playbook (read: a choice-based interactive experience). Personally, illiterate fool that I am, I'd consider Alan Wake 2's glorious musical bit as Shakespearean as video games can be, even if it's led by leather-laden oldtimers with eyepatches and riffs instead of soliloquies and jazz hands. But that's just me, a guy who cries every time he watches La La Land. Speaking of interactive experiences, PBJ – The Musical is an experience unlike any other. Developed by Philipp Stollenmayer, a paper artist-turned-game designer known for Song of Bloom and a series of \[*Insert name of food*\] – The Game titles, PBJ is a "badly researched" retelling of Romeo of Juliet, but with anthropomorphized ingredients singing and rolling through the screen instead. Romeo is a well-bred peanut boy. Juliet is a strawberry girl who dreams of being a big-time movie actress like Katharine Hepburn, and they both have googly eyes. Your finger is your finger and you use that to guide the not-so-tragic lovebirds by pushing them along using interactive objects Pinball style. It's all very sweet and sticky, not to mention catchy - before you know, you'll find yourself singing "*Nutty nut nuts, we got the knack*" while taking a shower. Did I mention it's all made the same way every school production of "The Sound of Music" is staged? Why yes, by doing a lot of handcrafts with scissors, vintage cookbooks and whatnot, and getting to compose tunes and have kids sing them with no help from that dastardly AI. Not sure which is more amazing, though: the way PBJ looks and sounds – even on my ancient iPhone 7 Plus – or the fact that Lorraine Bowen (aka The Crumble Lady), Britain's Got Talent semi-finalist and the composer of the game, managed to hold the musical little devils in one place for hours and get the takes she loved without going bananas like the Lady Macbeth (spoiler: it was the good ol' bribery by biscuits and tea.) Which, I guess, brings us to this interview. Reader, I normally don't play mobile games, unless it's the entirely forgotten [Blek](https://blekgame.com/) or Sword & Sworcery EP. But PBJ made me stop in my tracks and reach out to the digital chef responsible for this virtual, googly-eyed delight. How else do we do such underappreciated indie gems justice, if not by bringing them the attention they deserve? Or, as the OG Wordsmith himself would say: "If music be the food of love, play on." (*Big shoutout to* Edge *magazine for giving a spotlight to hand-crafted games like PBJ - The Musical every single month. Now, go read the interview and don't forget to support Philipp & Lorraine by buying the game, which will cost you no more than two bags of crisps.*) ### SUPERJUMP **First things first – congratulations to both of you for making such a neat little game! Not only does it sound amazing, but the writing is on another level, too. Would you mind telling us how PBJ – The Musical started?** ### Philipp Stollenmayer (Creative Director, Kamibox) The initial idea was to make a musical out of a strip of bacon. But Lorraine didn't like the bacon idea, which I can totally understand. Thinking a bit further about that, it would've been a bit one-dimensional. If you want to write 10 acts about bacon, it would have a pretty steep curve of tension and grease *\[laughs\]*. When we have two characters, we can just do a bit more story-wise. Then the idea of peanut butter and jelly came up, which sounded innocent at first. Finding parallels to Shakespeare was quite easy then. So the writing was done by Shakespeare, we just took it into the 21st century. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-61.png) Source: Press Kit ### SUPERJUMP **To do a Shakespearean twist on peanut butter and jelly, who could have thought of that? So yeah, kudos to you, guys. But going back a bit, how did you come up with the idea? I read somewhere that the spark came when you saw Lorraine's performance on Britain’s Got Talent. Is that correct?** ### Philipp Yeah. Lorraine, what year was the performance? ### Lorraine Bowen (Composer/Singer) 2015. ### Philipp Oh, 2015\. So when I think back to around 2015, I believe I had just one game about food, which was Pancake – The Game, where you just flip a pancake and the pancake just wobbles around a bit. But Bacon – The Game, for example, was from 2018\. So that was much later. When I saw Lorraine on TV, it was more or less only the kind of humor and quirkiness that just resonated with how I designed my games. So an initial idea \[for PBJ\] wasn’t there yet. And I think I wrote you in 2020, so that was also five years after Britain’s Got Talent? ### Lorraine Yeah. So I got this message saying, ‘Would you like to write a musical?’, which is quite a funny message to get because I've been approached by a lot of schoolboys. I know it sounds a bit strange \[*laughs*\]. But since Britain's Got Talent, I've been flooded with wonderful comments. Never got a single bad comment from anyone. Anyway, I get a lot of schoolboys asking me to do this, that and the other. And I was just on the point of \[replying\], ‘Please could you get your teacher to inform me of the project, and then I can say whether I’d like to do it or not.’ But then in the second email he said that he'd won the Apple Design Award in 2020\. So it’s a wonderful story of just being on the point of being slapped in the face, I think. It was a ridiculous request because I'd never done anything like that, and certainly may never get the opportunity to do anything like that again. ### SUPERJUMP **So Philip first pitched you the Bacon idea, right?** ### Lorraine Yes. But I'm vehemently anti-pigs standard. So I simply couldn't... He doesn't want me to speak about this, I think. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/play1-1-.png) Source: Press Kit ### SUPERJUMP **Oh, okay. Phil, would it be cool for Lorraine to answer that?** ### Philipp I wasn't aware of me restricting something. It wasn’t my intention. \[laughs\] ### Lorraine No, no! It's just that I can see the look of horror on your face. \[laughs\] ### Philipp No, no, it’s really not. It’s just that provocative thing that I was doing with Bacon – The Game. As soon as you play three levels, you see that it's totally ironic. It's a parody. So I didn't mean this as a recipe collection of bacon recipes. ### Lorraine See, the great thing about meeting Philipp and working with him is that we both have the same kind of horror, a kind of nicety and a horror at the same time. Because I've written a song about burgers, and what goes into a burger. *Tongues, tongues, tongues and testicles*. \[singing\] You know, just get it out, say it how it is. And Phil has the same kind of warped mind as mine, I think. ### SUPERJUMP **Lorraine, let’s go into the actual songwriting and recording. Because this is a huge part of the production. Do you remember how long the whole process of recording and writing took you?** ### Lorraine The writing officially was 10 months, and it was incredibly intense. \[It was\] during Covid and just being a composer – which was very exciting - it was basically kind of 24/7 for 10 months. I would wake up in the night and think of tunes. And I had a pad by my bedside. Sometimes it was rubbish in the morning... but, you know, you *have* to write it all the time. When melodies come in, they come in and then they go out. I always remember Oasis saying that when they come in, it's up to you – are you gonna make the opportunity of these things or are they just gonna pass you by? How the characters started was that I would think of a friend/colleague and pass them by Philipp, 'cause everything was done collaboratively. I’d think of a friend that would be good for the character and we'd audition them. And then I would find their pitch range. I have to audition them for *la la la, la, la, la la, la* \[singing\], how high or low they could sing. Because you want to be able to create tension with the pitch. You have to write for that very particular person. It's not for any person. And you find their quirks and their eccentricities. I was looking at the storyboards, which Philipp gave me, and each storyboard was timed out. So there's an introduction for say, four or five seconds, then verse one. And he'd say about 20 seconds to 40 seconds. And I would create this song, which wasn't a song in the end. It was a very unique thing that I'd never done before. A song normally goes from the beginning to the end. And this was kind of, I dunno how to say it really... It was a section of songs but they all had to fit into each other. And there were these things called buffers. It’s \[kind of\] part of the song, but it was like an instrumental solo that could come in and be fast, be about eight bars long, so that when the player would be slow at work in the game, it would repeat itself. ### SUPERJUMP **So kind of like a filler?** ### Lorraine Yeah. That's a good way to put it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/CHEFS-Score-1-.png) Source: Lorraine Bowen's personal archives ### SUPERJUMP **And did this process require a lot of trial and error?** ### Lorraine I will say that it was incredibly hard work with these people. You have to train them up. You've thought of the tune and then you have to train them to sing that tune and direct them as well. So that was a part of my work. Then to record them as well, and to keep them happy, feed them biscuits and tea. Then obviously slot them in with the music by that time. And then it all had to be mixed and mastered. So it's a huge process. No one could ever know how long all that takes. It's like Philip's work, I imagine. ### SUPERJUMP **So you had the role of a director, a casting person, a composer - a lot of different hats. You also sang, right?** ### Lorraine I was the mother character, yes. And, well, I'm used to all this. This is the funny thing because when I look at credits on TV programs now, I see casting, directing, singing teacher, you know – it goes on like that. And I was thinking, ‘Gosh, I did everything!’ \[*Laughs*\] But that's what it is. It's... what would you say, Philip? An indie game? ### Philipp It definitely has the indie spirit. ### SUPERJUMP **And do you guys remember what was the first song you recorded?** ### Lorraine Oh, I just started from the beginning. I think you had to start from the beginning because everything comes from that tune. \[starts humming “When I Grow Up”\] I could go into a thesis for a degree student about \[this\]. \[*laughs*\] ### SUPERJUMP **It's very catchy, I'm still humming it sometimes when walking to the store. Philip, do you remember what your reaction was the first time you received the original recording of “When I Grow Up”?** ### Philipp I had a very strict idea in mind that the song would have to follow because of these buffers. Different people have different paces and use different times to get through the level. So we had to have these buffer sections, and we had to separate the voice track from the instrumental track. Then there were a few surprises. For example, the voice track now goes from bar four to bar five. And in my mind, it starts at four and it ends at five. But it doesn't start at four – it starts at 3.99 because the singer makes \[*inhale sound*\] there before he starts singing. And this really changed a lot. This is much more complicated than it sounds. And the same goes for the end because I have to know this 0.01 second before that if I want to start the whole bar before I started. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/screenshot_e-1-.png) Source: Press Kit ### SUPERJUMP **Wow. And this was your first time working with a dynamic soundtrack, right?** ### Philipp Yes. The only game I had a soundtrack written for was Song of Bloom, but it was a bit easier. It was just something that could loop. Not something that really interacted with the game. ### SUPERJUMP **What would you say was the most challenging part in pulling together everything from a gameplay perspective?** ### Philipp The gameplay really took the longest time. I had so much focus on the visuals at the beginning. I wanted it to look like a perfect stop-motion animation. And then I thought, ‘Okay, I’ll just do the gameplay afterwards.’ But this raised so many challenges. Stop-motion animation has only 10 or 12 frames per second. But smooth gameplay – doesn't. It has to have more than 10 or 12 frames per second. So the main character now draws an invisible blob around it, and inside that blob, things move faster. You, as the player, usually don't notice that. But the edge of the screen is still animating very slowly. The other thing that was very challenging is that it looks very realistic, but it has to feel like a fragile paper. And it doesn't feel like fragile paper when you can drag it and push it; imitating that push and transferring it in your mind in this fragile paper atmosphere was really something that didn't go together at the beginning. I had to do many tests \[in order to\] make people understand what is touchable and what’s not. Because everything was so colorful, I couldn't make the touch points more visual because it's already very, very expensive in terms of where you can look. This was very experimental. In the end, I ended up with the player just tapping anywhere and the world reacts somehow. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-62.png) Source: Press Kit ### SUPERJUMP **In the press kit**, **you mentioned that you discarded some previous iterations of PBJ before settling on the current version. Do you remember what prompted those changes and how this trial-and-error approach helped you reach the version you were happy with?** ### Philipp Yes, it changed very much. In the beginning, I had a very early prototype \[of PBJ\] that felt more like Bacon – The Game. You could just tap, and something would throw. It was only a piece of toast in the first version \[that\] would throw through all the levels and fly and make stuff. And when I got more visual, I wanted to have everything at one spot so that the eye is overloaded and that the mind just is flooded with visual impressions. And then I played it: I \[realized\] this harms the gameplay because you don't have the space if you are toast or you’re a strawberry so that you could fly a long way *–* it always found some object to collide with. So I had to change the design to free more space. And I also had objects that you couldn't collide with but had to react with visually. So these objects are in the background color, for example. And the shapes of things that are cut out from paper are very irregular. And that is also why I use very big scissors to cut it out, to artificially get this handmade feeling. And that is something that is harder to control than just straight lines and easy shapes. And that is something that I just learned too late and had to do so many tests. ### SUPERJUMP **Did the design of levels require a lot of reconstructing then? Because you have to guide the player in the direction they have to move.** ### Philipp Absolutely. This is something that I found out quite early. When the curtains open and you see how the strawberry is there between these fingers, and you have to drag the finger, that strawberry falls out, it isn't clear to the player what's actually the goal here because it looks like a movie. You would expect just from the look that it just happens automatically. I had many iterations where I added more and more clues and more help. The first thing is that the gravity changes when you're too long in one spot. If you are on a flat surface and taking too long, then the surface tilts toward the goal. The second thing is the obvious one, and that is the guiding star. \[It\] comes up if you are not touching the screen or touching something too far away from the character, and helps you through the level. And the third thing is very subtle. It is a secret \[invisible\] image that lies over the whole scene that tilts the strawberry or the peanut in the right direction, depending on where you're lying on an edge. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/KaOqI6mH-1-.png) Source: Philipp's personal archive ### SUPERJUMP **Wow, that’s clever.** ### Lorraine Ignas, do you think that PBJ – The Musical could be incredibly important for the next three years as AI kind of slightly swallows up \[the industry\]? ### SUPERJUMP **Definitely.** ### Lorraine PBJ – The Musical could be an example of a rejection of that. ### SUPERJUMP **Exactly. I once even wrote an** [**article**](https://www.gameshub.com/news/features/harold-halibut-preview-interview-2637752/) **on this game called Harold Halibut. You might be aware of it, Phil.** ### Philipp Yeah. We were actually nominated in the same category for the German computer prize for the best graphic design. And this is why I think we can't win that because Harold Halibut has perfect visuals. ### SUPERJUMP **Lorraine, do you know Wallace and Gromit?** ### Lorraine Yes. ### SUPERJUMP **So the design team, they made all their scenes and animation in the style of Wallace and Gromit. Which was never done before to that extent. And they spent around 10 years making the game.** ### Lorraine But if they've got a team, then that has to be put into consideration. There's only two people here! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/work_2.webp) Source: Philipps' personal archive ### SUPERJUMP **You guys should definitely get a separate category for design.** ### Lorraine But do you see it almost as a rejection, Philipp? I mean, it's so much part of your life and your history, the paper, that it's your soul, isn't it? ### Philipp Before I did something, or before I did anything digital, I always made paper crafts. Because I was fascinated by things coming flat out of the printer, you can transfer it over the internet and then you can do something that even moves or that you can put anywhere. I even did a 3D clone of myself in the original scale, all from paperwork. ### SUPERJUMP **Would you mind sharing how long you have been doing paper art? Did the idea to make a cutout-style game come to you from your passion?** ### Philipp Do you know Song of Bloom, my earlier game? ### SUPERJUMP **Yes!** ### Philipp So Song of Bloom also had a few sections where I had cut things out of paper. And I just love how well the digital thing and the analog thing goes together. Straightaway, you have this kind of warmth that goes with cutting it out and getting it into the digital area. And this is just something that I wanted to do and everything that came after *–* I just ignored in step one. This is how it started and this is how it ended. ### SUPERJUMP **That's a beautiful line, Philipp.** **“This is how it started and this is how it ended.”** ### Lorraine It sounds almost like a song. *This is how it started and this is how it ended.* \[*singing*\] ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/char6-1-.png) Source: Press Kit ### SUPERJUMP **How much printing and scanning was involved in making of your game, then?** ### Philipp I didn't actually scan it because if I scanned it \[normally\], the shadows would have been flat. I placed it on these very low-contrast mats. When I photograph something on it, it doesn't have any reflections or any paper structure beneath it. That's why I buy these things. Then I cut it out in Photoshop, and I think this was the main work. I had done maybe 500 or so figures, tracing them all. You could have thought that cutting out everything was my main work, but it wasn't *–* it was cutting it out and Photoshop, that was much more intense \[work\] than cutting the actual things. ### SUPERJUMP **How many hours do you think it took you in total to cut out everything and prepare stuff in Photoshop and Unity?** ### Philipp If I did everything from day in and day out (and night), maybe around two months in total. Cutting it all out in Photoshop was a lot of work, but at least it was also very rewarding because you could see your progress. There were no false ways *–* every click that I made led to the target or led to the goal. And this was not the same with the gameplay. If I changed something in the gameplay, I would have to test that. And then I’d learn it doesn't work and then I have to restart that... So that was a different kind of work. ### SUPERJUMP **Lorraine, I read that you convinced Philip to sing along in some of the chorus.** **Is that true?** ### Lorraine Yes! Philip is such a star for doing that because I think Harold Halibut or whatever his name is, they haven't got that; I think game developers should become a star, a glamorous star. And I think Philipp is ripe and ready for that role. Developers now have to walk on the red carpet of the Oscars. Philip, he's just amazing. Because he rose to the challenge, just as I rose to the challenge of doing this crazy music. And yeah, it took a few times, but we got him to do the credits at the end, which is beautiful. He's also one of the chefs in Act 7\. He did some humming. \[*starts humming*\] Which is as lovely as it's beautiful. These are all really tiny little things. But for me, I hear all of them. I just hope other people will hear it too. ### SUPERJUMP **Before we go back to Philipp, I want to ask if, taking into consideration that all of the songs you had to compose had to be dynamic and full of buffers, this changed your approach to songwriting?** ### Lorraine Absolutely. Because, what you realize very soon is that the verse or the words can be taken almost out of context with the next part. Also, a musical is a really wonderful genre because there are many thoughts put into composition. Is this a commentary on what's happening or is it driving the drama forward? Is it something that will change from the beginning to the end due to music? For example, we're having a surprise party, which is just a lovely ride through the party. And I put the trumpet player in the background, so when you are opening the door, you’re hearing the trumpet. It's got a band of live musicians, and it feels very alive. It's got gate crashes that are coming in and going. Then you get to Act 6 which is a very highly intense act. That's where the peanut and the strawberry end up on the Juliet Balcony. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/screenshot_d.webp) Source: Press Kit ### SUPERJUMP **Yeah, I remember that. Both of the main characters share the same level. Was it difficult to pull off?** ### Lorraine Well, if you're asking me, the difficulty was teaching the peanut boy the lower part because he kept wanting to sing the tune. Because it's a harmony part, it's really hard. *Really* hard. And you know, they're tricky tunes for an 8-year-old and a 9-year-old. But they did it, and I want that to be known. ### SUPERJUMP **It will certainly be known. And you'll probably get plenty of great comments about your job here!** ### Lorraine I'm not after the praise. All I want everyone to know is that both of us worked really, really hard to get a beautiful artistic standard. For two people to create this amount of high-standard \[art\]? It *has* to be known that things aren't just thrown away in this society. And that people really care about their art *–* and we are the best. \[*laughs*\] ### SUPERJUMP **You are the best! And, just so you know, I love your energy, Lorraine. You are such a character. It’s just good fun being around you.** **Anyway, back to Philipp: were there any interesting gameplay ideas that you tried implementing but you couldn't figure out a way to make them work, and had to throw them away?** ### Philipp Yes. I had to throw away a few ideas. In the beginning, I thought it would be a great idea that you could drag the whole world. So really *–* everything. But that just resulted in one big mess. No one knew what should happen if everything's in the wrong place in the end. This is something that just didn't work out. ### Lorraine Iggy, did you play the xylophone in the game? ### SUPERJUMP **The xylophone? Oh, yes, yes! I even tried dragging my finger through the fingers of the xylophone. But that's not how my phone worked.** ### Lorraine It's called a pentatonic scale. It actually goes along with the music. It's incredible how it all worked out because Philip came and showed me the xylophone and I said, ‘Oh God, I can make that work!’ ### Philipp This was a bit beautiful, frustrating, and also a bit of a surprise to me. Because you see the xylophone at a section where the scale changes. And I wasn't aware that is even possible in music theory. At the beginning, I tried to find the notes myself and thought, ‘Okay, this sounds good with the music, but somehow it doesn't sound good with the music?’ I asked Lorraine if she could send me notes for the dynamic xylophone. She said, ‘That's because the harmony \[of the background music\] changes. Then also the xylophone has to change the notes or else it would just sound odd. When you play the xylophone in the game, it always sounds good with the music. That’s because the notes of the xylophone also change with the music. But you don't notice that as a player. ### SUPERJUMP **That is mind-blowing.** **Lorraine, before Philip approached you with this totally bonkers idea for a project, what was your understanding of video games as a creative medium?** ### Lorraine I don't play games at all because my life is a game. My life is a video game actually. It's full of chances. It's full of opportunities. It's full of gateways. It's full of levers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-63.png) Source: Press Kit ### SUPERJUMP **So you have three lives?** ### Lorraine What do you mean? ### SUPERJUMP **Usually**, **video game characters have three lives. At least in classic video games, like Mario, Zelda and etc.** ### Lorraine Maybe I have three lives. \[*laughs*\] I just never got into video games because my life as a musician, as a performer, is such a challenge. Why would I even wanna spend my spare time doing more challenges? I'm quite old now, and it’s just a series of doors that open and then shut. Disappointments and great pieces of joy. And that's what happens in a video game. ### SUPERJUMP **The final question, guys. And this goes for both of you: Is there a feature, a song, or a technical element that you are most proud of?** ### Philipp I think the highlight of the game is Act 10, the finale. And this builds up musically. I think Lorraine would do a better job explaining how it builds up musically. But I made sure that it also builds up visually and gameplay-wise. When the toast enters the stomach of the king – everything changes. The scale changes, the gameplay changes, the visuals change. When the toast comes out from the butt of the King, it's just a whole new world as the Wizard of Oz would say. And presenting this in such a ridiculous way is really the thing that I’d call the highlight of PBJ. ### SUPERJUMP **Love that answer. Lorraine, do you want to add something to that?** ### Lorraine I just can't do favorites because I think it's all an amazing work of art. Each act is almost like a whole game on its own... I think that's a good thing to say in your interview. \[*laughs*\] And you know, you get to Act 6 and you think, ‘I can't cope anymore!’ In fact, when Phil came in in December and showed me the game, I said \[to him\], 'Wow, after 30 minutes I need a break – a break from all this amazing intensity. *Phew!*' But I also love Act 7 – the music, I think it’s fantastic! *Menu tonight. Menu toniiiight* \[*singing*\] I love that. But Act 10 is also amazing. It starts as a fanfare for the king. Then you hear the King burping, which I think is genius. The person who farted and burped had to keep doing it for three days before I got the best farting. ### SUPERJUMP **Who did the farting?** ### Lorraine I'm keeping quiet about that. But I had to feed them beans for three days... It's a good fart. And it's a darn good burp as well. --- Stay tuned to SUPERJUMP for more interviews with creators, developers, and so many other personalities in the gaming space! ### How to Make the 3D Game Development Process as Efficient as Possible? URL: https://www.superjumpmagazine.com/how-to-make-the-3d-game-development-process-as-efficient-as-possible/ Last updated: 2025-07-18T01:04:09.000Z ## How crucial is pre-production and planning for 3D game development? Pre-production is *absolutely critical* for an efficient [3D game development](https://kevurugames.com/game-development/3d-game-development/) process. Solid planning lays the groundwork, preventing costly mid-project revisions. In pre-production, the team defines the game’s concept, art style, technical requirements, and **game design** documents. Skipping or rushing this phase is a recipe for disaster: lack of planning can lead to mismatched features, story issues, or technical dead-ends discovered far too late. Efficient 3D projects allocate ample time to pre-production to nail down the scope and detect pitfalls early. For instance, creating prototypes of core gameplay in this stage helps validate fun and feasibility. A well-planned project has clear milestones and realistic budgets, which significantly reduces the chance of crunch or rework late. As game dev veterans say, *one hour of planning can save many hours of doing*. Thus, treating pre-production with the importance it deserves – doing thorough design, concept art, technical risk assessment – will streamline the entire development, keeping the team aligned and on schedule. ## What role do modular assets play in streamlining 3D development? **Modular assets** are a game-changer for efficiency. These are building blocks (like modular environment pieces: walls, floors, props) that can be reused and combined to create varied scenes quickly. Embracing modular design means developers don’t craft each level from scratch; instead, they assemble levels from pre-made components, dramatically speeding up level design. For example, in a war game, instead of modeling every building uniquely, artists create a kit of walls, windows, roof pieces that level designers can snap together to form many structures. This not only saves time but ensures visual consistency. Modular assets also simplify collaboration – multiple team members can work in parallel populating different areas using the same kit. Additionally, reusing assets reduces GPU/CPU load through instancing (helping performance) and eases memory usage, which can shorten iteration times (the game runs smoothly during testing). In short, a **game development studio** that invests in a robust modular asset library will find that adding new content or levels becomes much faster and more cost-effective. It’s a principle in efficient 3D development: *“build once, use many times.”* ## How do version control systems boost efficiency in a 3D game team? Modern **control systems** (i.e., version control like Git or Perforce) are essential for a smooth, efficient workflow in any software project, including 3D games. Version control allows multiple developers and artists to work simultaneously without overwriting each other’s changes, thus **enhancing collaboration and preventing costly errors.** In a 3D game team, artists might be updating textures while programmers write code – a good version control setup means each change is tracked and can be rolled back if it causes issues. This saves time debugging because you can pinpoint which change introduced a problem. Moreover, branching and merging let the team develop new features in isolation and integrate them only when ready, keeping the main project stable. Efficiency gains also come from automation: version control can trigger continuous integration (building the game, running tests automatically on each commit), catching issues early. Overall, version control is like the team’s safety net and coordination hub – it reduces duplication of work and ensures that no effort is lost, which is crucial when optimizing time. As one source puts it, version control “empowers teams to work smarter, faster, and with greater confidence”. A 3D game project without proper source control risks chaos and inefficiency; with it, the team can move quickly and systematically. ## How do advanced game engines contribute to workflow efficiency? Advanced game engines (Unity, Unreal Engine, etc.) tremendously speed up development thanks to their rich ecosystems of tools and libraries. These engines provide **out-of-the-box solutions** for common functionalities – physics, lighting, animation blending, AI navigation – so developers don’t need to reinvent the wheel. For example, Unreal Engine 5’s new features allow importing film-quality assets directly (using Nanite), meaning artists spend less time optimizing models and more time on creativity. Engines also offer visual editors and real-time feedback: designers can tweak a level or gameplay parameter and instantly test it within the editor, shortening iteration cycles. Many engines now include asset stores or plugin marketplaces where you can acquire ready-made modules (for dialogue systems, inventory, etc.), accelerating development of complex features. Additionally, engines with strong profiling and debugging tools help optimize performance early, saving time that might be lost to hunting bottlenecks. In summary, an advanced engine acts as a force multiplier – small teams can produce big results quickly because the engine handles so much heavy lifting behind the scenes. The key is to fully leverage the engine’s capabilities: efficient teams take time to learn their engine’s features in depth to avoid doing manual work that the engine could do automatically. ## What’s the impact of efficient asset pipelines and automated tools on production speed? Having an efficient asset pipeline means that the process of creating, importing, and updating assets (3D models, textures, animations, audio) is as frictionless as possible. A streamlined pipeline might involve standardized file naming conventions, automated export scripts (e.g., from Maya/Blender to the game engine), and batch processing. The impact is significant: artists can iterate on assets faster when they don’t have to do repetitive manual export/import steps. For instance, using an automated tool that detects changes in a source file and re-imports the asset into the engine can cut down hours of doing it by hand each week. Similarly, automated **tools** for things like generating LODs (levels of detail) or baking lighting overnight can free developers to do other tasks. Automation also reduces human error – fewer chances to click a wrong setting – resulting in more consistent outputs. The net effect is that the team’s velocity increases; things that used to take days might take hours. As a concrete example, consider a **3d game development** scenario where hundreds of character animations need retargeting: a custom tool or script to automate retargeting can compress what would have been perhaps a week of manual work into a few hours. Efficient pipelines also mean new team members can onboard quickly because the process is well-defined and often tool-assisted. In short, every repetitive task in 3D game creation that is automated or optimized contributes directly to production speed, enabling the team to focus on creative problem-solving instead of grunt work. ## How can effective communication enhance 3D development efficiency? Communication is often the hidden backbone of efficiency. Clear, timely communication within a 3D game team (and with stakeholders) prevents misunderstandings that could lead to rework. For example, if a programmer isn’t aware that an artist changed a character’s scale, there might be wasted effort adjusting code for mismatched proportions. Regular sync-ups (daily stand-ups or weekly meetings) ensure everyone knows the current status and blockers. Many efficient teams adopt agile methodologies precisely because they encourage frequent communication and feedback loops. When issues or changes arise, prompt discussion can resolve them before they fester into bigger problems. Moreover, effective cross-department communication – say between design and programming – means technical constraints are understood by designers, and designers’ intentions are understood by programmers, resulting in solutions that work correctly the first time. Another aspect is documentation: writing down decisions and guidelines (for art style, code conventions, etc.) provides a reference that saves time down the line. Good communication also extends to tools: using collaborative platforms (like Slack, Teams, Confluence) where questions can be answered quickly or assets shared instantly. A culture that encourages asking questions early rather than proceeding on false assumptions will naturally waste less time. Ultimately, when everyone is on the same page, the project flows more smoothly. Teams that communicate well can adapt to changes efficiently and maintain morale, which further boosts productivity. ## What strategies optimize performance and reduce iteration times during development? Several strategies can be employed: - **Performance budgets & profiling early:** At the project’s start, set clear performance budgets (e.g., polygon counts, draw calls, memory usage). Regularly use profiling tools during development to ensure the game stays within these targets. By catching performance issues early (e.g., a character model that is too high-poly or a script that is consuming too much CPU), you avoid massive refactoring late in development. - **Incremental build/test workflows:** Configure the development environment so that developers can run and test small parts of the game without rebuilding the entire project. Fast iteration cycles are key – for instance, using hot-reload for scripts or prefabs means you can see changes instantly. Some engines allow live editing in play mode, which drastically cuts iteration time for tweaking gameplay. - **Continuous integration (CI):** Set up a CI system that automatically builds the game and runs automated tests whenever changes are submitted. This catches integration problems quickly and ensures that no one’s changes inadvertently break something else. It’s easier and faster to fix issues that have only been around for an hour than issues that have piled up for weeks. - **Level of Detail (LOD) and culling techniques:** Implement LOD for 3D models and aggressive culling (not rendering what's off-screen). This keeps the game running smoothly which in turn reduces iteration time (developers aren’t waiting on long load times or lag when testing levels). It also means less time spent hand-optimizing content later. - **Outsourcing non-core tasks:** If the schedule is tight, consider outsourcing or using middleware for certain aspects. For example, using a proven networking SDK rather than building your own can save months. We’ll discuss outsourcing more in the next point. By combining these strategies, you maintain a development pace where new features or content can be added without routinely grinding the project to a halt for troubleshooting. This proactive approach to performance and workflow optimization ensures that when you near project completion, you aren’t faced with a mountain of technical debt that slows final iterations to a crawl. ## How does outsourcing specific tasks contribute to overall 3D game development efficiency? **Outsourcing**, when used wisely, can significantly improve efficiency by allowing your core team to focus on what they do best. In 3D game development, common outsourced tasks include art asset production (models, textures), animation, or specialized programming (like developing a physics engine tweak or a complex shader). By outsourcing, you leverage external specialists to handle aspects that might be time-consuming for your team. For instance, if you need a large volume of 3D props for an open-world game, contracting a partner studio or freelancers to produce them can be faster and cheaper than diverting your in-house artists, who might be better used on key characters or environments. This parallelizes work – multiple art assets or features get developed simultaneously. However, to actually *gain* efficiency, outsourcing must be managed well. Clear specifications and style guides must be provided to the external team to minimize back-and-forth. If done well, you essentially expand capacity without overburdening management. A practical example: many studios outsource quality assurance (QA) testing to specialized firms. These testers can find bugs overnight (if in different time zones), which your developers can fix the next day, creating a 24-hour development cycle and reducing overall QA duration. **3D game development** often has peaks of workload (say, finalizing all levels) – outsourcing helps handle those spikes smoothly without delaying the entire project. It’s important to choose outsourcing partners with a track record and to integrate them via your version control and project management systems, so their output melds seamlessly into your build. When integrated well, outsourcing certain tasks leads to a shorter development timeline and sometimes even higher quality, since experts are handling those components. In summary, outsourcing is a force multiplier that, combined with strong in-house coordination, can drastically increase a project’s throughput and efficiency. ## Conclusions Achieving maximum efficiency in modern 3D game development is about smart planning, team coordination, and leveraging technology. By **investing time in pre-production**, teams avoid chaos and rework later. By adopting **modular asset workflows**, they create more content with less effort. Tools like **version control** and automation ensure smooth collaboration and eliminate wasteful manual processes. Ultimately, efficiency doesn’t mean cutting corners on quality; it means cutting out unnecessary work and preventing problems early. Approaches such as early profiling, continuous integration, and selective outsourcing can dramatically speed up production while maintaining quality. Communication and planning tie it all together – a well-informed, synchronized team is an efficient team. In 2025, with projects growing in complexity, these practices are not just ideal but necessary to deliver on time and budget. Studios like *Kevuru Games* apply these principles rigorously, combining advanced tools with seasoned processes to ensure that every project progresses rapidly from concept to completion without compromising on the creative vision or quality. **This story contains links from one or more partners.* ### Hidden Gems of Game Design Volume 37 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-volume-37/ Last updated: 2025-07-04T15:00:46.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### [**Teocida (2021)**](https://store.steampowered.com/app/1569470/TEOCIDA/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-50.png) Source: Steam What if you combined a puzzle platformer with the imagery of H.R. Giger? You would probably get Teocida, one of the more interesting, disturbing, and confusing games around. You play as someone taking part in an experiment - or are you trying to understand a mysterious religion? The game, within a game, was challenging players with puzzles within puzzles long before the likes of Tunic and Animal Well became famous for it. The basics involve you exploring different areas, complete with puzzles and disturbing imagery. While you can censor the game, it was designed to look and feel like a program someone would find hidden somewhere on the internet, with weird sights, flashing images, and a lot of photosensitivity warnings to go with it. If you’re still good to go on the ride, the first layer of puzzles involves hitting switches by using totems you can place down to open the exit door. But once you solve the first set of rooms, the game’s additional layers of puzzles become known. To open up the remaining doors, you’ll need keys, and said keys are hidden behind further puzzles. Even the room that the game is taking place in becomes a set of puzzles unto themselves, and the game within the game design gets more and more interesting/confusing. “Boss fights” have you trying to survive enemy patterns while either staying in front of the autoscroller or powering up switches with your totems to strike them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-51.png) Source: Steam Like the aforementioned Animal Well, just getting good at the platforming and puzzle logic isn’t enough to see this game all the way through. This and the visual design are major roadblocks and why you probably haven’t heard of Teocida. This is the third game from the developer, [Vikintor](https://store.steampowered.com/developer/vikintor), whose previous games on Steam are also chock-full of disturbing imagery and original premises. We’ve seen an uptick in games pushing through to the mainstream in the last couple of years that are not meant to be relaxing or simple plays, like Fear and Hunger. If you’re someone who likes original games and doesn’t mind being weirded out by what you’re looking at, then you want to check out these games. ## Ben Cantrell ### [Orbital Bullet (2021)](https://store.steampowered.com/app/1167680/Orbital%5FBullet%5F%5FThe%5F360%5FRoguelite/) ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXfOA5yXnmkGNPBTMjJmSuX8ofNEiN9J19KZ_jjeo7H3faRqDlOGXuGRd06J6NkEjGH_h8voVP5k1VVjpMPI04tY7QUtKgtga9awV_UqiPvWBA2vsz2AxBgtqLlMUrUSWlqlh_h4?key=QyvI7_rIEujP8hInF4qruQ) Source: Author. With fewer than 500 reviews on Steam, Orbital Bullet hasn’t made much noise, but it’s a cool little game that deserves more attention. It’s a side-scrolling action roguelite with a clever twist: the levels are built on rotating cylinders. You move left or right around the ring, hopping between multiple layers while blasting through rooms filled with sci-fi creatures in a twitchy, platforming-heavy flow. If you’ve played Resogun, it feels a bit like that, reimagined as a roguelite shooter rather than a shmup. The art style in particular works really well, blending chunky 3D environments with crisp 2D enemy sprites, and the occasional 3D model to keep things visually fresh. It’s a clean look that feels both retro and modern. Each area has its own distinct atmosphere, shifting from tech-filled underground tunnels to dense jungles, sky platforms above the ocean, and crumbling sci-fi cities. While the core structure of the levels sticks to the same cylindrical format, there’s enough variety to keep things engaging. Movement also evolves as you progress, with later levels introducing more variety, including ziplines, teleporters, and jump pads to keep traversal dynamic and interesting. ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXeo8QVADTLymZeFCyGstihPMqbvwCvDryal6lrDFcY7L9eLsowqo8UzgPzm5Md6XQTgoh6_0tMrOoz-hinT_zi_TT7Xk447ZZSPjQGSTPrpnIUmfnYJHuUxUsKHO8P-UmvCKBV4ug?key=QyvI7_rIEujP8hInF4qruQ) Source: Author. Combat is snappy and satisfying. The guns feel weighty, and enemies explode with a nice crunch. The soundtrack pairs perfectly with the action, too. It's mostly loud, gritty industrial techno that swells during fights and dips into a deep, filtered groove once a level is cleared. It’s a small touch, but it really adds to the game's sense of rhythm. You start with basic weapons, but you’ll pick up new ones as you go, along with perks and upgrades. There are shops and challenge rooms scattered throughout the levels, so there’s plenty of opportunity to experiment with builds. Like most roguelites, death sends you back to the start, but you can use the currency you’ve collected to unlock permanent upgrades across a big skill tree. It’s the classic roguelite loop of a slow and steady power climb that makes repeating runs feel more manageable over time. ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXdocpehH_LeGYVbwTEheAD_qwLjaweWx1YvGJdUl48cbKm5cL6c40RIud3fDZC4iPcW_ZUtyhHRY7WThcuwnYOfDAlivPgImvrjIdjg_CPqapSLaVc774kS3lm7ZnVKLa0f6eoJXQ?key=QyvI7_rIEujP8hInF4qruQ) Source: Author. Orbital Bullet isn’t trying to reinvent the genre, but it does a lot of things well. The 360° level design gives it a unique identity, and if you’re into roguelites and looking for something a little different, yet still satisfyingly fun in that ‘blast everything that moves’ kind of way, it’s well worth a look. It’s not the deepest or most innovative roguelite out there, but it’s a blast to play and deserves a bit of time in the spotlight. That’s why it’s my hidden gem pick this month. ## Antony Terence ### Crackdown (2007) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-59.png) Source: Xbox. A super-soldier hopping around a city and disposing of gang leaders is an idea that fits like a glove with Xbox 360-era action games. Lobbing cars through mafia hideouts and thereby destroying more of the city than the bad guys might not be everyone’s idea of relaxing, but it sure was mine as a kid. While many purchased Crackdown (2007) for access to Halo 3’s multiplayer beta, plenty grew to love the debut game from developer Realtime Worlds. With GTA creator David Jones at the helm, Crackdown naturally leans into freeform cel-shaded action as you tussle with criminal syndicates. In Pacific City, you’re an Agent tasked with bringing three crime families down. Bunkered down in conveniently designed islands, their bosses are bolstered by weaker generals scattered across their bases. Like a poor man’s Nemesis System from Shadow of Mordor, taking these targets down would make the final confrontation easier. While you might be a super-powered cop, you’re an easy target when you start the game at the Agency Tower. To become an overpowered menace to your enemies, you’ll need to level up five skills: firearms, strength, explosives, agility, and driving. Simply performing actions and clearing events tied to these stats will raise them. Pepper foes with bullets to raise your Firearms skill, blow stuff up for Explosives, and drop some punches for Strength. Agility is tied to green orbs found on buildings all over the city. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-58.png) Source: Xbox. Having to meticulously haul your Agent across the height of a skyscraper in a series of jumps before hearing that characteristic ping made each orb feel like an achievement. And while driving might not seem as important, leveling it up grants you a neat perk: Agency vehicles transforming as you step in. Floor the pedal often enough and your sports car could turn into a Batmobile lookalike, complete with machine guns. For better or worse, the Crackdown stories you’ll be sharing with your friends won’t be about its stale plot. They’ll be about Mario-like leaps between rooftops on Agility orb hunts, the Agency director’s commentary oozing satire, and jumping off ramps in an upgraded SUV. Crackdown’s gunfights against a shooting gallery of stereotypes are merely an excuse to let loose in Pacific City, and few games make blowing stuff up as comedic. While its sequels lost much of the original’s flavour, Crackdown remains an excellent classic that frontloads the fun you’d expect from a video game. **Thanks for reading! Come back next month for another entry and more great hidden gems to check out.* [**You can find all previous Hidden Gems stories here*](https://www.superjumpmagazine.com/tag/hidden-gems/)**.* ### WordPlayer: Wildermyth Lays Bare the False Promises of AI Storytelling URL: https://www.superjumpmagazine.com/wordplayer-wildermyth-lays-bare-the-false-promises-of-ai-storytelling/ Last updated: 2025-07-02T15:00:19.000Z **It took me a while to notice that Wildermyth credits its writers at the top of each story scene.** When you hit one of its procedural story moments - presented across a series of comic-like panels, with characters from your current party subbed into the pre-configured narrative beat - you're given a title for the scene, with the author or authors listed directly under it. The story you are seeing is unique: the scenario is pre-written, but it will change slightly each time depending on the characters in your party, the relationships they've formed, the personalities you have chosen for them, the journeys they've already been through, and the other interactions they've had so far. There are many variables that can change scenes dramatically, yet these stories are authored experiences, written by people, and designed for heavy variability. [Wildermyth is a strategic turn-based RPG](https://store.steampowered.com/app/763890/Wildermyth/) that layers on a procedural storytelling system, making each playthrough unique. You pick three initial starting characters, choosing their appearance, preferences and traits, then take them through one of the game's stories. Each tale will have certain unchanging points at the beginning and end of each "chapter"; however, the procedural variability comes from the journey between those points, and the different decisions characters may make at these various junctures. You'll see your characters fall in love, form rivalries, become injured and die, grow old, retire, become cursed, change forms, and live different lives, based on the choices you made when you designed them and at various other points throughout each campaign. The destination might be predetermined, but the journey is all on you. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-54.png) Source: Steam --- > By the end of a run, characters have lived entire lives within the scope of the story --- Wildermyth is like a series of lengthy collaborative tabletop RPG adventures, but boiled down to a few hours and with just one player guiding them. As you venture around the node-based world map, uncovering new locations, battling enemies, and completing objectives, you'll stumble across a mix of smaller, contained tales while pursuing the bigger narrative. During these smaller stories, you'll make choices that impact how things play out, which might determine the lives and fates of your characters. By the end of a run, characters have lived entire lives within the scope of the story, and their personal narratives are a mix of your choices, several predetermined events, and the actions you've made as a player. It's difficult to design for variability, to make players feel like their choices matter to the larger narrative. It's even *more* difficult to design a story where you can substitute different characters entirely, give them their own personal, unique stories and circumstances, and still have the larger narrative make sense, more or less. The challenge is felt in Wildermyth - it's not seamless or without friction, and the plots that unfold across a session aren't always easy to follow. But it's a marvelous piece of design, a rare kind of co-authored experience where, by the end of a run, you feel that you and the designers have worked in tandem to make something unique and interesting. Wildermyth, then, is built around a version of narrative crafting that proponents of AI storytelling tools always claim they will be capable of doing. Imagine, they say, a game where you can invent any characters you want, put them into the story framework of your choice, let it go, and a story will be written around them. Characters will deliver dialogue that is crafted on the fly, which is indistinguishable from an expertly scripted scenario. You'll be able to come up with an idea and make it happen in seconds, giving players infinite stories, they claim. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-55.png) Source: Steam It's a false promise, of course. Even in a hypothetical world where an AI can tell stories and craft dialogue that is on par with the best writing humanity has to offer, it would still be worthless - the value in storytelling has always been the way it connects readers, players, viewers and listeners to human experience. So far all we have are tech demos of deeply uninteresting NPCs that can be talked to endlessly despite having nothing of value to say, with a promise that entry level jobs are going to dry up because executives can't imagine why it might be worth hiring someone with a sense of humour to write the NPC barks that players will hear endlessly for the entire 30 hour runtime of their upcoming open world game. Endless possibilities are boring. Defined borders that can be poked at, limitations that can be explored, carefully crafted, hyper-specific exchanges that can be uncovered - that's the juice. That's where you feel the unique, special relationship with the designers, where you can see them anticipate your actions and reward you with an interesting exchange, a fun moment, something that was designed by people to be found by other people. Wildermyth is a game largely about exploring those borders; seeing how the writers anticipated the possibilities of the choices you might make and how they deliver it is thrilling. I've spent the last few years being a grump - perhaps even a scold - about the current state of the loose collective of businesses, practices and software we've come to refer to as "AI." If someone poses a question to ChatGPT in front of me, I tell them I have no interest in the answer it gives them, and if someone shows me a piece of art they generated, I have no qualms telling them that I think the work has no intrinsic value. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-56.png) Source: Steam --- > There's never any doubt that what I'm playing is the result of human ingenuity and wit --- I understand that the hardline view I'm taking is increasingly unpopular, and many people, even those who think these tools are fundamentally dangerous, have clauses by which they think these tools are useful or good within their own lives. As a writer, I know that AI can't ever replace what I do, but I also know that using AI to generate text is an awfully appealing option for anyone looking to save the money they might have otherwise spent hiring me. As always, the river of shit flows right into the ocean of capitalism (the one body of water that seemingly *won't* suffer from the environmental damage AI is contributing to). Perhaps my grumpiness has made me like Wildermyth even more than I would have if I'd played it when it first launched on PC a few years ago. Each expedition in this game is a handcrafted quilt made up of a lot of different patches, all designed expertly to fit together in a way that will look coherent and feel cohesive when you look the quilt over. There's never any doubt that what I'm playing is the result of human ingenuity and wit, a team that has dedicated itself to giving its players a good, unique, authored narrative experience each time. Because there were real, human writers behind it, the game can surprise me, too. I can be caught off guard by what a person managed to come up with, or a contingency that the designers planned for, in a way I wouldn't in a game with infinite possibilities. The writers on Wildermyth crafted stories without knowing, exactly, who the characters players created and brought into those stories would be. It means that when they wrote a romance plot, they didn't know who was falling in love; when they wrote a storyline about an evil wizard who tricked one of my characters, they couldn't know who would be tricked. When one character was injured and chose to flee the battle, losing a leg instead of their life, there were scripts for both scenarios that followed. The character's rival begrudgingly put their conflict aside to assure them they were making the right choice. After the battle, another member of the party confessed their love to that character, seeing now that they might lose them at any time (I had my newly wounded archer accept their marriage proposal - I'm worried about whether both characters will make it to retirement). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-57.png) Source: Steam That's a lot of variables to plan for, but there's a fundamental element underpinning all of this storytelling - a core understanding of humanity. Only a person knows what it feels like to fall in love with another person, or to embarrass themselves in front of someone they want to impress, or the keen sting of being betrayed, could craft these tales. You don't need to see the writer's names to know the story scenes in Wildermyth were written by real human beings; if they hadn't been, there'd be no game worth discussing at all. ### I Met Animal Crossing's Isabelle in Melbourne (And You Can Too) URL: https://www.superjumpmagazine.com/i-met-animal-crossings-isabelle-in-melbourne-and-you-can-too/ Last updated: 2025-07-01T10:08:09.000Z **One of my favourite things about Animal Crossing: New Horizons is capturing specimens of fish, insects, and fossils to share with Blathers, the professorial owl and museum director.** Receiving a well-earned "Marvellous!" from Blathers as you bring him a newly-discovered creature is especially rewarding. Although Animal Crossing: New Horizons is now a few years old, its unique cozy vibe and whimsical sense of discovery remain highly compelling. Given the game's age, I was pleasantly surprised to see that Nintendo Australia & New Zealand have launched a super cute collaboration with SEA LIFE Melbourne. And just this last weekend, the folks at Nintendo invited me along to check out the experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_010.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_009.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_015.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_024.jpg) Something tells me Blathers is in his element here. Source: SUPERJUMP. Animal Crossing's presence at the SEA LIFE aquarium gamifies the experience with the time-honoured tradition of a collectathon. You'll encounter many fan-favourite Animal Crossing characters throughout the aquarium, with each one functioning like a mini-exhibit. You'll learn more about them, and some of them will carry a special stamp you can use to mark a little catalogue you'll receive upon entry. It won't surprise you to learn that Blathers makes several special appearances to share his extensive knowledge of sea creatures (hosting the beloved museum director himself is certainly a big boon for SEA LIFE Melbourne). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_008.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_007.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_005.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_020.jpg) SEA LIFE Melbourne is full of incredible creatures; these ethereal jellyfish were one of many highlights. Source: SUPERJUMP. The biggest drawcard for many - myself included - is the opportunity to get a photo with the legendary Isabelle herself. One wonders how Isabelle found the time for such a long stint in Melbourne given her *many* day-to-day responsibilities on your Animal Crossing island. Maybe she's discovered the joys of remote working. Oh, and of course, there are some very special additions to the SEA LIFE gift shop (I took home a Blathers plushie; he sits in my partner's office ensuring there's no slacking off during work hours). I was pleased to see Tom Nook and his kids represented in plushie form among other favourites. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_001-1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_006.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/07/SJ_NintendoxMelbAquarium_023.jpg) ## Event details **WHAT:** Animal Crossing:New Horizons at SEA LIFE Melbourne **WHEN:** June 24 - August 17 **WHO:** Suitable for all ages - highly recommended for families with young children **PRICE:** Included with admission 📷 All photography by Elizabeth Burns. ### Why Grand Theft Auto III Deserves To Be Remembered URL: https://www.superjumpmagazine.com/grand-theft-auto-iii-deserves-to-be-remembered/ Last updated: 2025-07-02T06:29:03.000Z **I hadn’t planned on replaying Grand Theft Auto III right now, but a brief return visit pulled me in all over again.** Before I knew it, I couldn’t stop. Like many of Rockstar’s titles, GTA III was always a game I intended to revisit eventually. Their work shaped my formative years—I’ve always been a huge fan. Admittedly, I started my Grand Theft Auto journey far too young, but I turned out alright, and honestly, I wouldn’t have it any other way. GTA III laid the foundation for my love of gaming, as it did for many others. To be brutally honest, GTA III is not one of the best games you’ll play by any means. It is, however, one of the most important games ever made. It was the first to truly define the open-world genre in the mainstream, which is especially impressive considering how prominent that genre is today. Even in 2001, Rockstar had already figured out the foundation of their future legacy, making it a fascinating game to play in 2025\. I’d compare it perhaps to how I felt when I replayed Goldeneye 007\. You get these inklings of where many games in that genre had their genesis. There is nostalgia for GTA III. From the moment that introduction hit with those wonderful piano notes, I had a smile on my face. I sat there, PlayStation 5 controller in hand, and had a premonition of the past—a sudden dose of déjà vu. It was a familiar feeling from two decades past, only then I was holding a PlayStation 2 controller. Everything about this game’s introduction feels iconic to me by now. That piano instrumental leads directly to the introduction sequence. The police just released Claude, the main character, from a van, and now he must find work to eventually enact revenge against his two former partners who double-crossed him, leading to his arrest. That’s all I can tell you about the story without giving anything away in a quick summary. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-49.png) Source: Steam. GTA III’s plot is not complex and still follows the three-act structure in the way that many games of this time did. Yet, you’ll notice that this early entry in their open-world series already displays Rockstar’s typical satirical dark humor and focus on dialogue. I had one moment while driving around where I started laughing because I was so caught off guard by the blatant satirical humor on the radio about a pro-gun activist. Not only was it genuinely funny, but it was, unfortunately, still relevant. Unlike many of Rockstar’s games that followed, GTA III features a silent protagonist. I never understood why Rockstar made Claude silent, especially since every other character in the game is voiced, and done pretty well for the time, I must say. Thankfully, Rockstar has actually addressed this. Answering many fan questions about GTA III, Rockstar explained in a [Rockstar Newswire article](https://www.rockstargames.com/newswire/article/51974aa3a99a59/grand-theft-auto-iii-your-questions-answered-part-one-claude-dar.html): > “We were making up a lot of procedures as we went along and we decided that the NPCs should talk and we would have to figure out how to make them talk. So we decided that the games’ protagonist would not talk, partly to aid people identifying with him, but mostly because we had so many other problems to solve and this did not seem like a major issue.” The decision was mostly technical, but also had an artistic element. It’s really interesting to me how characters have evolved in gaming since then to resonate with people differently. Nowadays, if you ask people who their favorite video game protagonists are, they’ll likely answer with one that is voiced or at least has some voice lines. Rockstar’s own Arthur Morgan of Red Dead Redemption 2 is a beloved protagonist himself. Silent protagonists do work, don’t get me wrong, though you only see them work best in RPGs or more artistically designed games. In the years after GTA III, however, a voiced protagonist became practically essential to pair with the quality of dialogue, writing, and cinematic work fans have come to expect. The fact that Rockstar chose not to use a voiced protagonist here is really intriguing to me. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/LibertyTreeOffices-GTAIII.webp) GTA III was set in Liberty City, a fictional depiction of New York City. Source: [GTA Wiki ](https://gta.fandom.com/wiki/Liberty%5FTree%5FOffices). --- > Even back in 2001, Rockstar’s embrace of immersion blended with fun open-world content was clear to see. --- Our silent protagonist resides in Liberty City—a fictional amalgamation of American cities, most notably New York. The metropolis serves as Claude’s open-world playground, an early example of Rockstar’s immersive design chops. The October 2001 release of Rockstar’s New York City game was poorly timed given the previous month’s events. That unfortunate timing of the release could’ve caused a negative reaction to GTA III, surely, but it’s almost as if this game was meant to succeed. GTA III was the best-selling game of 2001 and the second best-selling game of 2002\. Those numbers are absurd when you consider the critically acclaimed games released around the same time, such as Final Fantasy X, Silent Hill 2, Halo: Combat Evolved, and Metal Gear Solid 2\. With how important GTA III is to gaming, I can’t imagine what things would be like if it did not do well. Liberty City’s immersion comes from its busy streets, with cars speeding by and pedestrians strolling and making passive remarks. Many small details throughout the game were impressively advanced for its time. For example, setting a fire will cause the fire department to actually show up and attempt to put it out. If you stay around after a pedestrian dies, you may see an ambulance arrive and try to revive them. In addition, taxis, fire trucks, ambulances, and police cars all have their own sets of repeatable missions you can access by simply hitting a button while inside the vehicle. Even back in 2001, Rockstar’s embrace of immersion blended with fun open-world content was clear to see. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-47.png) Source: Steam. The vehicles, however, don’t handle all that well. Depending on what you’re driving, the handling can be decent, but overall, driving mechanics in GTA III feel distinctly arcade-y. It’s a jarring shift if you’re coming from the smooth, realistic driving of GTA V. Cars in this title feel practically weightless, getting shoved around like toys, and sometimes even sent flying. They’re also surprisingly fragile. A few solid bumps can be enough to set your engine on fire, and once that happens, the whole thing straight-up explodes. There’s no bailout animation either, so Claude has to wait for the car to come to a full stop before he’ll exit. Unless you’re spamming the exit button the second flames appear, you’re probably going up with it. And if the car flips—which happens often—it’ll ignite too. I’m not sure why Rockstar made their cars so explosion-happy in this game, but I guess it adds a certain charm. Sadly, combat is another weak point here. Some weapons—like the M16 or sniper rifle—stood out thanks to their zoom features, which gave more control compared to the other armaments in the original release. I remember that *this* is why I spent more time preparing for combat missions when the game first came out. It’s tough to describe why the combat is so clunky, but imagine an isometric RPG character in a third-person view, using only manually-aimed ranged attacks. The updated version included in the Grand Theft Auto Trilogy thankfully fixes this. The remastered game now has a weapon wheel for simpler weapon switching and an auto-lock feature, making combat somewhat bearable. Even with these additions, though, GTA III combat remains clunky and difficult to navigate. These mechanical weaknesses give light to Rockstar’s lean into cover-based shooter mechanics with the sequels. Some folks like to criticize that design choice, but I think that critique misses the mark. For the kind of games Rockstar desires to create, cover-based combat just fits. Sure, people have tossed around ideas like adding fantasy elements or other wild deviations, but at the end of the day, it’s their game and their vision. Isn’t artistic vision supposed to matter? We’re quick to defend it when it comes to indie developers, so why the double standard with big studios? Not every game is meant for everyone, and that doesn’t automatically make it overrated. Rockstar has always prioritized immersion, creating grounded settings full of satirical humor and open-world chaos. That’s their lane. And to anyone still unconvinced, I’d genuinely recommend giving GTA III a shot—I was practically *begging* for a cover system by the time I finished. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Featuredd-Resized.jpg) GTA III requires a great deal of patience, even in the remaster. Source: Rockstar Games. --- > Drivers behave like lunatics—cutting you off, slamming into you around corners, or blocking your path at the worst possible times. --- The game's mission design also left something to be desired. GTA III features some enjoyable missions, like one where you carry out an assassination, or another where you lure pursuers into a trap and watch allied gang members take them out. But when it comes to timed missions, it’s clear they weren't well-considered. One mission, for example, gives you just a minute and a half to drive across a bridge, navigate your way to a pier on another island, and claim a boat—all by car. And the timed missions only get more frustrating as the story progresses—not because of the countdown itself, but because of the clunky gameplay wrapped around them. One thing you’ll notice is the increase in gang members throughout the city as the story progresses. Most carry automatic weapons and can shred your car’s weak armor in seconds, often causing it to explode even faster than usual. Traffic in Liberty City is also a bit *too* immersive. Drivers behave like lunatics—cutting you off, slamming into you around corners, or blocking your path at the worst possible times, almost as if it’s intentional. The police aren’t much better, driving aggressively and ramming your vehicle repeatedly until it ignites. They'll wreck themselves just to take you down. As your wanted level rises, things get worse—officers begin shooting at two stars, and armored vehicles start bulldozing into you at higher levels. This makes any mission involving police interference—which is most of them—feel more like a chore. Some of my favorite missions in GTA III bring in elements that are missing in later Rockstar titles: creative freedom and player agency. These missions don’t spell out exactly what to do—they give you the objective, but leave the *how* entirely up to you. One that stands out tasks you with destroying three trucks scattered across the map. You could simply blow them up—but the game doesn’t tell you that you can hijack them, crash them, drive them into the ocean, or ram them until they ignite. It’s up to you to experiment. It’s disappointing that Rockstar didn't give us more of this kind of mission, both here and in later titles. Don’t get me wrong—I love the cinematic design found in missions, and they can be a lot of fun. But there’s definitely room for a balance between directed missions and those that allow open-ended problem-solving. Grand Theft Auto has always thrived in its sandbox-style world; I just wish more missions embraced that sandbox spirit. What fascinates me most about GTA III is how it embodies so many of the qualities I came to love about Rockstar. This was a living, breathing open world—complete with weather effects and a day/night cycle—in 2001\. It feels almost impossible to believe something so ambitious existed decades ago. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/a67cd294bd5b65208032d4979834f996.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/2268e1ec55a4ed7831571b318a68e8d7.jpg) Something about GTA III’s open world was special for its time. Source: Press Kit. GTA III deserves to be both celebrated and critiqued as games continue to evolve. It feels vibrant even today, thanks to its arcade-like gameplay and satirical charm. Like it or not, Rockstar implanted their DNA into the industry with this game—and in some odd, tangential way, I find that beautiful. I adore GTA III, flaws and all. This game is the blueprint—the archetype—for so many others, the foundation of modern open-world design. It was the first game I ever played on the PlayStation 2, and even now, I’m certain it was one of the first that truly immersed me. It likely cemented my lifelong love of gaming. It achieved so much at that time, and even 24 years later, a mess like MindsEye can only dream of doing the same. Would I recommend it in 2025? Honestly, no. Even with the improvements in the remastered Grand Theft Auto Trilogy, it still demands a level of patience and mental fortitude that aren't easy to maintain. I love GTA III deeply, but I wouldn’t suggest playing it all the way through. Instead, I’d recommend this: boot it up, drive around a little, watch how the world reacts, how the systems interact, and how well-structured it all was for its time. Don’t play it—study it. Soak it in. I’m not asking you to revisit Grand Theft Auto III for my sake. I want you to remember it not just for the nostalgia or the love that I have, but for the place it has rightfully earned in the history of gaming. ### Sonic Racing CrossWorlds and Bringing Drama Back to the Mascot Racer URL: https://www.superjumpmagazine.com/sonic-racing-crossworlds-and-bringing-drama-back-to-the-mascot-racer/ Last updated: 2025-08-02T11:20:20.000Z **In a year where its direct competition is the flagship launch title on a brand-new Nintendo system, you’d think that Sonic Racing CrossWorlds’ sense of rivalry would start and end with a strong, Italian moustache buffeted by the wind rushing past at 150cc speeds.** Thing is, if you’ve experienced SEGA’s series of arcade “kart” racers in the past, you might hopefully recognise that Sonic and crew have always raced to the hum of their own engines, happy to leave their occasional Olympic opponents on the road more-travelled. It surprised me, then, to learn that rivalry is at the heart of the Sonic Racing CrossWorlds experience, just not in the way you’d expect. Much has been made of this upcoming entry’s titular new idea, the introduction of portals (or “Travel Rings”) that allow for races to take place seamlessly across two distinct courses, alternating between them with each new lap. This means the course you pick up front won’t be the only one you drive on, and the semi-random nature of the second location ensures you never really know where else you’ll go. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Sonic-Racing-Crossworlds-Preview-Dragon-Road.jpg) Sonic Racing CrossWorlds. Source: Press Kit. --- > Much has been made of this upcoming entry’s titular new idea, the introduction of portals (or “Travel Rings”) that allow for races to take place seamlessly across two distinct courses, alternating between them with each new lap. --- After getting my hands on a preview build of the game recently thanks to SEGA, I can vouch for how much more dynamic races become as a result of these Travel Rings. It recalls SEGA & Sonic All-Stars Racing Transformed’s shifting tracks, which meant no two laps were the same, only now the changes are far more drastic. At one point I found myself driving along the long neck of an enormous dinosaur, only to fly through a portal on its head and drop ceremoniously into a futuristic stadium full of cheering fans. Later on I sped past shopping mall storefronts to powerslide onto the icy roads of an aurora-soaked arctic shoreline, as ethereal whales danced in the frigid waters. It’s a vibe. But as cool as that all is, I want to go back to that idea of rivalry, and another new concept in CrossWorlds that I could argue is even more impactful to the moment-to-moment action than the game’s mid-race portals. ## Sonic rivals In an unexpected twist during my hands-on, jumping into any of the Grand Prix events would see the game assign a “Rival” to my driver of choice. This Rival would then become a constant fixture in the four races that make up the Grand Prix, acting as a particularly aggressive or skilled opponent with a single-minded goal to stand above me on the podium. The level to which this happens depends on the Rival’s rank, with the game sometimes offering the choice of an especially tough Rival for those brave enough, but even at the lower tanks they’re a persistent presence with a surprising breadth of situational voice work to remind you of your current nemesis. There are a number of reasons that this Rivals system feels almost revolutionary in Sonic Racing CrossWorlds. Firstly, it adds a ton of theatre to proceedings, flavouring the white-knuckle spectacle with the kind of character drama that makes something like Drive to Survive or just about any sports anime so compelling. It’s a reminder of how powerful storytelling can be in just about any context, even as incidental as it is here. Where other mascot racers treat their stars like virtual Funko Pops, non-verbal toys to throw around their worlds adapted as theme park rides, CrossWorlds’ competitors are active and enthusiastic participants that have their own reasons to burn rubber besides being avatars to a night of pizza and bevvies around the TV. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Sonic-Racing-Crossworlds-Preview-Coins.jpg) Sonic Racing CrossWorlds. Source: Press Kit. --- > There are a number of reasons that this Rivals system feels almost revolutionary in Sonic Racing CrossWorlds. --- This novel system also mitigates a common issue on the single-player side of arcade racers, where playing just slightly ahead of the difficulty curve can make for long stretches of uneventful first-place driving. Rivals fix that by lingering like bad chilli dog breath, constantly pressing your lead and taking advantage of their weapons and your mistakes. There was a moment during one of my races where I was rivalled by Shadow (I’m a boring Sonic main), who I’d cleared past fairly early but who managed to catch my slipstream and pull out ahead just as it came time for the first-place racer to pick between the two Travel Rings that determined the next lap. For the few seconds before, I’d been excited to cross over into the iconic Casino Zone, but because Shadow had passed me the choice became his and we ended up elsewhere. In game, Shadow slung some bespoke barb at Sonic as the Casino Travel Ring faded out of view. In the real world, in a small room at a PR agency office in Sydney, I yelled something unsavoury about Shadow’s daddy issues. This is what it’s all about. ## Everybody's here I’m not sure if it’s the intent, but I can also see a spark of genius in the way this system contextualises the extensive roster that exists here. I’ll only compare the two this once, but it’s fair to say that the Mario Kart games have reaped the benefit of a cast of evergreen, universally known characters, where Sonic has remained largely the realm of SEGA sickos. The recent Hollywood films have no doubt re-introduced a lot of the world to these anthropomorphic alien animal-likes, but the even the Sonic dabblers among us shouldn’t be expected to know who the fuck Jet the Hawk or Cream the Rabbit are. But when these underrepresented weirdos are actively engaging with you in the heat of a race, when you’re trading positions, targeting one another with power-ups and both characters are throwing out bespoke banter that suits their specific match-ups, suddenly they matter a whole lot more. You’d expect to have fun seeing Sonic and Shadow locked in feverish contention with each other, but giving added screen time to the folks on the fringes of the roster could go a long way to keeping them in the mix. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Sonic-Racing-Crossworlds-Preview-Vehicle-Customisation.jpg) Sonic Racing CrossWorlds. Source: Press Kit. --- > But when these underrepresented weirdos are actively engaging with you in the heat of a race, when you’re trading positions, targeting one another with power-ups and both characters are throwing out bespoke banter that suits their specific match-ups, suddenly they matter a whole lot more. --- After playing for just a couple of hours it’s clear that there’s so much more to Sonic Racing CrossWorlds than even its world-hopping gimmick and the Rivals system. There’s a whole lot of game here with hugely customisable vehicles, a plethora of slottable Gadgets that further augment the driving to your own playstyle, tons of unlockables and challenges, persistent player ranking and who knows what else. There are plenty of multiplayer options, naturally, but it’s looking just as good for solo players. It’s all stuff that I’m itching to dive into once I have the full game in my hands this September, but even without the rest of it, there are some key top-level ideas in Sonic Racing CrossWorlds that could quietly make it the most interesting arcade racer of the year. What was that old adage about SEGA doing what Nintendon’t? ### Street Fighter 6: Fighters Edition Launches Nintendo Switch 2 With Tradition URL: https://www.superjumpmagazine.com/street-fighter-6-fighters-edition-launches-nintendo-switch-2-with-tradition/ Last updated: 2025-06-28T15:00:33.000Z **Picking up Street Fighter 6: Fighters Edition for the Nintendo Switch 2 felt just right on launch day.** Fighting games are the penultimate pick-up-and-play experience when it comes to taking new hardware for a spin. More than that, we don't often see a Street Fighter title launch with a new system, which makes the Switch 2 feel all the more special and sentimental. Nintendo announced that the Switch 2 had sold over 3.5 million units worldwide within the first 4 days of launch. Almost a day later, Capcom announced that Street Fighter 6 had achieved lifetime sales (to date) of 5 million units worldwide across all platforms. The game initially launched back in 2023, and you wouldn't be wrong to think that the sudden boost in sales was thanks to Switch 2\. With cross-platform play enabled, it is no doubt one of the best ways to jump into the game and the competitive fighting subculture. Street Fighter and Nintendo have always been an integral part of each other's histories. In fact, the very inception of the versus fighting genre owes a great deal to Nintendo home consoles. If we look back in history, the depth of the connection is clear. ## Super Nintendo Entertainment System (SNES) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/1000001281-1.jpg) Source: The Fighters Generation Street Fighter II was a huge success in arcades all over the world, but there was a lot of money on the table in the home console market, and so the 16-bit SNES became a natural home for Capcom's flagship IP. The SNES release of Street Fighter II with the iconic Blanka artwork was an event, and subsequent editions like Turbo and Super Turbo fit like a glove on the versatile hardware. The versus fighting translated into countless hours of couch multiplayer, and the game pad with its shoulder buttons proved to be a comfortable fit. In fact, Nintendo's 16-bit technology was so far ahead of its competition that it even managed to run a shockingly competent port of Street Fighter Alpha 2\. If you were an SNES owner back in the day, then Super Mario World, Star Fox, Super Mario Kart, and Street Fighter were inevitably part of your library. ## Game Boy ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-37.png) Source: The Fighters Generation Initially, bringing the arcade fighter to the confines of a monochrome screen proved to be futile, with the port of Street Fighter II being a novelty at best. Things improved later with the Game Boy Color when UK-based developer Crawfish Interactive performed an absolute programming miracle by successfully porting an optimised de-make of Street Fighter Alpha. The game was minimalist yet retained all the artistic flair of the arcade game and made good use of the entire colour palette that the Game Boy Color offered. ## Game Boy Advance ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/1000001286.jpg) Source: The Fighters Generation The Game Boy Advance launched with Super Street Fighter II: Turbo Revival, which proved to be a fun remixed version of the classic with improved animations, new artwork, new stages, and even an exclusive secret character in Shin Akuma. Later in the handheld's run, Crawfish Interactive repeated another programming miracle when they successfully ported Street Fighter Alpha 3 Upper. Unlike their demake effort on the Game Boy Color, they were able to fully recreate the arcade experience on the Game Boy Advance. It looked and performed the part, but tragically, Crawfish Interactive would go bankrupt and close its doors shortly after. Even today, this port of Alpha 3 is highly sought after and playable. ## Nintendo 3DS ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/1000001283.jpg) Source: The Fighters Generation The Nintendo 3DS wasn't exactly built for fighting games, but Capcom made the most of it with the unique 3D Edition of Street Fighter IV. Special moves were relegated to touchscreen shortcuts, and in a way, the simplified hotkeys were a precursor to the modern control schemes of today's fighting games. The Street Pass feature was put to good use with Street Pass Battles, which also created an opportunity for bragging rights if you were so lucky to pass by Street Fighter's producer at the time, Yoshinori Ono. ## Nintendo Switch ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/1000001288.jpg) Source: The Fighters Generation If you've read [my work here on SuperJump](https://www.superjumpmagazine.com/author/virtuamuser/), you know that I can't get enough of Street Fighter II; it's a game and a subject I will always hold near and dear to my heart. Where most players were keen to get their hands on Darkstalkers and Red Earth in the new Capcom fighting collection (as they should), I was happy to have Hyper Street Fighter II on my Switch. Between this and the anniversary collection, Ultra Street Fighter II, literally every possible Street Fighter II game ever made is on Nintendo's hybrid platform. Whether it's using the HORI Mini or the HORI JoyCon, I feel like these are games I will return to time and time again for years. Hyper is a bit of an anomaly, as it's not quite a distinct version of Street Fighter II per se, it's more like a Frankenstein amalgamation of all the games released before Ultra. Point is, the Switch is the place to be to throw down some Hadoukens! ## Nintendo Switch 2 ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/1000001287.png) Source: The Fighters Generation Street Fighter 6: Fighters Edition is definitely a highlight in the Switch 2 launch lineup, and likely to get plenty of mileage from players for years to come. It feels fantastic in either docked or handheld mode, both running at a smooth 60 FPS. It also has cross-platform multiplayer, so this is the fighting game that will bring players from all gaming platforms together. The Switch 2 release comes loaded with all of the DLC released to date, including the return of fan favourite Elena. The new JoyCons and Pro Controller work really well with the fighting, but the best news is that all fighting sticks and pads for the previous Switch work just fine on Switch 2\. Street Fighter 6 marked a new era and introduced a fresh cast of fighters, and with it now available on more platforms and including more diverse modes of play, it will only help cement its legacy. --- Here's to a new generation of fighting fans on a new Nintendo platform! Special thanks to [The Fighters Generation](https://www.fightersgeneration.com/) for their impressive archives and galleries. ### No Longer Home - Queer Meandering Melancholy URL: https://www.superjumpmagazine.com/no-longer-home-has-a-queer-romance-and-kitty-mystery-drafting/ Last updated: 2025-06-27T10:18:57.000Z **I started playing No Longer Home a few years ago in an attempt to cover it for Pride Month.** I tried finishing it the following year, when a power outage killed the stream (both [Harel Cohen](https://www.superjumpmagazine.com/author/harelcohen/), who was watching the stream, and I screamed "NO!" from our separate corners of the world when that happened). It took me until this June to take up the game again, hoping that no external events would interrupt me this time. The first question I had was, "What is going on with the cats?" Because a cat in the apartment seemed to change colors. Playing the rest of the game solved that: the apartment had two cats, one being orange and aloof and the other being a sweet void. That solution did not explain the number of times that the apartment walls literally fell away or why two humanoids appear in seemingly empty rooms. A greater mystery lies beneath the domestic disquiet, but that one doesn't get solved. ### What Is Going On In South London? I'm actually not sure. Bo and Ao, friends who may have become romantic partners, have to part soon. Both have graduated from art school but can't find jobs, with immigration services forcing Ao to return to Japan. Ao mentions that their biracial family can find them a job easily in advertising, but they don't want to leave London. Bo hopes they can find a position that gives them money and a purpose, and they don't want Ao to leave. Most of the game covers conversations that Ao and Bo have with their friends. They talk about how South London has changed with gentrification, that college was not what they expected it to be, and how uncertain the future looks. Ao asserts to a doubting Bo that no matter what has happened in the past or how college has disappointed them, following their dreams in art was worth it because they met each other. Bo is more skeptical, wondering if they should have done something more stable and found certainty in their career choices. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-39.png) Source: Fellow Traveller. We don't get much gameplay, mainly dialogue. It is a pity because I would have wanted to steal our mop back from the neighbors. Bo comments that the mop has been outside the neighbors' apartment, ripe for taking. It would have also been nice to take out the rotting fruit that has gathered flies. From time to time, a strange pointed star shape appears in random places: the kitchen television, the bathroom, and other spots. Clicking on it causes the world to fall away. Ao has mentioned they were waiting for the star shape to go away, while Bo has to confirm if Ao saw it too. I noticed more objects appearing on the walls after clicking on the star shape. The characters act like the posters have always existed, covering the mold and other living hazards that the landlord never fixed. I was convinced that we were going to have some interdimensional shenanigans. Maybe the universe would interfere to send a sign about this time in the apartment ending, that there would be a way to change things. Alas, we don't get an explanation for the pointed star or the surrealism. It just happens. Melancholy colors the nightly atmosphere. Each part of the game shows our powerlessness; we can't even steal back our mop from the neighbors. Though Bo wants to find a solution to have Ao stay in London, Ao jokes that trying to overstay a visa is a good way to get arrested. Bo also can't move to Japan with them, though they will visit. Instead, this game is a long farewell for the two of them. It's time for a change that neither of them wants. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-42.png) Source: Fellow Traveller. ## Strength in Characters Ao carries the heart of the game. They will lose the most from the move, having come to love London while studying there. Staying for longer isn't an option; Ao jokes to Bo that the immigration authorities would arrest them if they dared risk an expired visa. (Gee, THAT sounds familiar on this side of the pond.) Despite this, Ao asserts to Bo that the disappointments, tribulations, and heartbreak were worth it. If Ao had stayed in Japan, they wouldn't know their options for life beyond working in commercial art like everyone else in their family. Traveling abroad expanded their horizons. Whether or not Ao and Bo maintain a long-distance relationship, they are together in the here and now. They both received their art degrees despite not even having access to a good-quality printer, and they both learned a lot. Meeting Bo made everything worth it. Ao wouldn't change that for the world. Things are scary right now. Many marginalized people like myself are angry with those that stabbed us in the back, wondering if it's even worth falling in love or pursuing your dreams when the world will screw you over. In the U.K., it's just as bad as it is in the States, with a certain children's fantasy author funding legalized transphobia. And yet, living and pursuing the life you want matters even if you don't achieve it. Because it means you're not haunted by the "what-ifs" or the people that you didn't meet. You have fewer regrets and a greater understanding of the universe. I had to sit for a bit after Ao tells Bo this while they're both lying in bed, unable to sleep. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-40.png) Source: Steam. ## The Weird Part As they both pack up the apartment, Ao and Bo can wander. Ao argues with a giant green furry creature named Gi, calling them a freeloader as Gi keeps watching television. Bo stares as another blue one called Lu mistakenly calls them Edith and apologizes for moving in "early". They both occupy the spare rooms. We do not get an explanation about either of the creatures. Ao and Bo had mentioned that there were four roommates in their shared apartment. They had implied the other two were human, however, given that the other two rooms were already packed up. Bo also can't get into Gi's room. Gi never leaves, and Ao can't see Lu. Meeting these creatures counts as one achievement each. We can miss them if we take a wrong turn around the apartment and miss a click. I was plain confused, and if the creators could clarify this part, it would be great. While the symbolism in other parts of the game made sense, like the forest from Bo's text game appearing while they and Ao go for one last neighborhood stroll when they can't sleep, I don't understand the creatures. They aren't furries, as Ao would have been able to see Lu otherwise. Gi has also said they follow Ao wherever Ao goes, implying that Gi is a manifestation of Ao's neurodivergence and undiagnosed ADHD, something they mention in passing with Bo. Ao and Bo also check on the cats when they stare at the cracks in the bathroom walls, hinting both of the creatures are monsters that the humans don't want in their reality. Sure, Bo's text game has the player character meeting a dragon-like creature named Aya who bickers with a friend. Still, Aya is nothing like Gi or Lu. The character design contrasts highly. So what is going on there? I like abstract animation, especially in such a gorgeous game, but a little clarification would be nice. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-41.png) Source: Steam. ### Is This Game Worth It? I think it's worth playing No Longer Home once. Authorial intent matters when the story isn't obvious on the surface. And if the creators can provide some answers, I may replay it to better understand the context. Even if I'm confused now, maybe I won't be in the future and can update this article. You should absolutely play No Longer Home if you have some time on your hands while feeling stuck or helpless. The game asserts that it is worth loving someone even if they can't stay in your life, and it is worth trying to pursue your dreams no matter how the world fails you. Straight or queer, those sentiments register regardless of sexuality. But for the angry queers feeling the world is unfair? No Longer Home provides comfort within its uncertainty. ### Lost In Cult Builds a “Little Art Gallery of Gaming” URL: https://www.superjumpmagazine.com/lost-in-cult-builds-a-little-art-gallery-of-gaming/ Last updated: 2025-06-26T08:54:37.000Z [**Lost In Cult**](https://www.lostincult.co.uk/) **is embarking on a journey to publish physical games.** [EDITIONS](https://www.lostincult.co.uk/editions) is billed as their “…preservation- and design-focused physical games label.” Lost In Cult promises to publish and make readily available “physical games designed with the care they deserve.” Come the end of the year, we shall see if EDITIONS delivers on this promise. Lost In Cult appears to be doing things differently with EDITIONS, positioning itself in a different lane than the current physical-game market leader, Limited Run Games. Instead of building the predatory collector’s market, EDITIONS, if successful, could become the preferred way for the video game cognoscenti to purchase games. All three of the first titles announced: Thank Goodness You’re Here!; Immortality; and The Excavation of Hob’s Barrow have received critical acclaim. In July, Lost In Cult will announce a fourth title, and more announcements are on the way. SUPERJUMP reached out to Ryan Brown, Lost In Cult’s Marketing Director and Head of its EDITIONS imprint, via email to talk about the upcoming project. What follows is that discussion, which has been lightly edited for clarity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-21.png) Immortality, one of the first EDITIONS games. Source: Steam. ### SUPERJUMP Congratulations on the announcement of EDITIONS. What was the impetus that led to the creation of this project? ### Ryan Brown (Lost In Cult) Applying what Lost In Cult is known for to physical video games… felt like the next obvious step; we had many people in our own community saying they'd love to see us make games over the years, and it's an idea we of course have been swirling around since before I even joined the team! With my personal background in physical games, it made sense to actually kick this into gear properly, and we've been working on it now since early 2024, or a little earlier in concept. The other part, of course, is seeing the current landscape of the industry. The concept of video game ownership is diminishing - many younger players have grown up with Netflix, Spotify, Game Pass, and simply never owned any of their art or entertainment, which is a little mortifying to me. Video game preservation is still an underappreciated issue, with topics like the Switch 2 Game-Key Cards making that a lot more prevalent. We also saw a way we could contribute to the physical game space that's a bit "different" than what others are doing right now, by making them extremely premium, very art and design focused releases, by ensuring all content is on the carts/discs with [DoesItPlay?](https://www.doesitplay.org/) testing them, and by creating better availability with mass retail standard releases of each of our EDITIONS titles. The idea is to give each title the prestige it deserves, but also not locking away these games forever with limited versions. ### SUPERJUMP Who is the target audience for the imprint? ### Ryan Brown I see EDITIONS as being targeted towards a few key groups! First and foremost, those who view video games as a serious medium of art, and not just a disposable, junk consumable. We pick the titles we include in our line-up very carefully, with each pushing the medium forward in some way, shape, or form, and being an excellent example of video games as an inarguable form of art. EDITIONS are designed with that in mind, with all-original artwork for its outer slipcase, poster, and other elements, and the involvement of the developers in telling the story behind their game as part of \[each\] essay booklet \[included with every release\]. That makes it ideal for specific fans of each title too, as well of course as for collectors. We designed EDITIONS to be a consistent collection across the board, so it's easy to jump in, collect, and display each volume on a shelf. Think of it as a little art gallery of gaming. Of course, I'm not blind that this isn't for everyone, and many collectors will just want the game itself in a box, and we've catered for that, too! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Retail-Standard-Editions.jpg) Source: Lost In Cult ### SUPERJUMP Can you tell us a bit more about how the titles are selected for EDITIONS? ### Ryan Brown The titles we have in store for the future are really quite special. Every game signed thus far is one we have specifically sought out directly. The ethos behind our EDITIONS and what we're trying to achieve means not every game we love is necessarily an ideal fit. Games in EDITIONS are all artful, be that through their design, visuals, \[or\] story. We choose to launch three games at once to give a bit of a taste for what we mean, because it’s admittedly a bit tricky to put into words, but I think the sorts of games that fit become more tangible when you look at our physical games line-up, or our Design Works book line-up. We're not restricted by genre, game length, visual style, or even strictly indies - while indie games happen to fit the mold more often, EDITIONS may include some non-indie games in the future! I should add, our launch titles aren't necessarily forefronting our "best" selection - our entire line-up is absolutely killer! We just so happened to sign those games first, so our first four titles encompass the literal first four games we signed, which is a quality bar we've maintained throughout \[the fourth game will be announced in July\]. I think people are going to be very pleased by the titles we have lined up over the next year. ### SUPERJUMP EDITIONS is being compared to the [Criterion Collection](https://www.criterion.com/?srsltid=AfmBOoo3VsR6vmNAIj05-IDD7s17gBA3A-K1zt1UeavDmsYAnpHRwlvz), which has had a troubled history (though this has improved somewhat in the past few years) regarding preserving and spotlighting films from outside the West and Japan. Will EDITIONS spotlight lesser-known but equally deserving games from non-Western or Japanese studios? ### Ryan Brown For sure. We're definitely not a like-for-like comparison, though I think the Criterion Collection comparison makes sense, generally speaking. We're not restricting ourselves to any specific region or type of games, and I think games are a little less region-restricted than the film industry seems to be. So far, we have developers and individuals from the United Kingdom, the United States, Japan, Brazil, Spain, Poland, Australia, Mexico, Italy, Germany, and more. It just so happens that creatives are from all over the world, unsurprisingly! Our releases do need to support the English language in some way, due to our ESRB ratings and Western retail releases, but many of our releases also support other language options. I think video games generally have a bit of a win over films in that area, though there's still a lot of work to do in supporting underrepresented areas for indies in general. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-22.png) The Excavation of Hob's Barrow. Source: Steam. ### SUPERJUMP The press release mentions that Lost In Cult will promise copies of EDITIONS selections to “multiple museums and archive groups.” How were these museums and groups selected? And can you name some of them? ### Ryan Brown This is something personally very important to me, and something Lost In Cult in general really cares about. We're very much aware that "preservation" can become a bit of a buzzword, and are keen to actually help any museum or archive group however we can; we receive a lot of in-development materials for each game we work on, largely for use in the EDITIONS booklets, as well as game builds and other interest\[ing\] bits. Where possible (we need developers' permission, naturally it’s not our decision to make), we provide those assets to appropriate groups for archival purposes, and send copies of our physical releases. We currently send these to the Strong Museum of Play, select titles as requested to the Netherlands Institute for Sound and Vision, and have also worked closely before with the Embracer Archive - and, of course, the DoesItPlay? team. The National Videogame Museum and The Computing History Museum in the UK are two I have worked closely with in the past. Any other museum or archive group we could potentially help need simply just reach out! ### SUPERJUMP What will be included in the 40-page booklets accompanying each game? How are the critics chosen to write the analytical essays that are part of the booklets? ### Ryan Brown These are perhaps the stand-out items for EDITIONS. We've collated concept art, character models, in-development assets, etc, from each developer. We literally ask them to give us anything and everything they have, which we sift through and spread out in pages within the booklets. Each booklet contains two essays; one is a more analytical, insightful piece on the game. The other is based on an interview with the game's developer to dive into the history, impact, and development story behind the game itself. Our Editorial Director, Chris Schilling, acts as editor for these booklets, and we have esteemed critics like Jen Simpkins, Miri Teixeira, and Lewis Packwood writing for our first three releases. We look at writers who may already have particular insights, thoughts, or a passion for a title. While it's not a requirement, writers chosen have usually already written about the game, and their pieces hooked us. ### SUPERJUMP Has Lost In Cult considered a subscription-like service for subscribers to receive a copy of each selection as they are released? ### Ryan Brown Good question! It's not yet in the cards, but our answer to this at the moment is our Switch and PlayStation tri-monthly bundles. There's one PS5 game and one Switch game released per month in our EDITIONS range, so whichever platform you decide to collect for, we have you covered. The few games in each bundle that don't exist in the other \[console\] are almost always down to that game simply not existing at all on that platform - like in the case of Immortality, which does not exist on the Switch, and vice-versa for Hob's Barrow. These bundles guarantee you a copy of every title in our collection, so you don't have to worry about missing out. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/DoesItPlay_-Collab.jpg) Source: Lost In Cult ### SUPERJUMP Given the current situation regarding tariffs, does Lost In Cult have a mitigation plan(s) in case of future supply-chain volatility or higher cost of production? I ask this in part due to Lost In Cults' plans to ship the games worldwide, and also considering that Nintendo Switch cards are manufactured in Japan. ### Ryan Brown To date, this should not impact us very much. All of our EDITIONS elements are printed in the UK, and we work with a US-based distribution partner to produce the games themselves. Without going into specifics about Nintendo Switch manufacturing processes, we don't expect to be impacted greatly by tariffs. But, that's an ever-changing, volatile situation where the unexpected could happen, which I suppose is why it's so chaotic, but at that point, I think every single company would be affected. We're comparatively pretty well-protected. ### SUPERJUMP Please talk a bit more about Lost In Cult’s collaboration with DoesItPlay? (Author's Note: DoesItPlay? helps the preservation of games and raises awareness on consumer rights by testing physical games “completely offline to inform about issues that can make them unplayable). ### Ryan Brown We wanted some way to signify that each \[product has\] the full game, with all of its content and patches, on the disc/cartridge, without the need for an internet connection. It was a core ethos we knew we wanted to implement very early on, even before deciding what went inside EDITIONS boxes. It's important to us that you own your video games, that you can take a game off the shelf in 30 years' time and play it as intended, from start to finish, without any issues when the servers one day go down. DoesItPlay? has been testing games and hardware to ensure they work into the future for years already, so it made sense for us to be the first company to officially partner up with them for full testing and a "DoesItPlay? Approved" badge. Every game is tested and approved before we go to print, and if it isn't approved, we delay going to print. As with our launch titles, we try to implement these before we've even announced the games for pre-order. We ask, ask, and ask again, close to the point of annoyance, to ensure no patches or content updates are planned, and that the build provided and tested is the most up-to-date, final version of the game. That's not to say a game may never be updated ever again - we don't have the right to demand that of a developer, and rightfully so - but every physical release is complete at time of testing and in most cases can be confidently called the final version of the game. We have a few games in our upcoming pipeline that are already patching their games, specifically for our physical release, due to our heavy preservation focus. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-23.png) Thank Goodness You’re Here! Source: Steam. ### SUPERJUMP How has the experience been so far working with the developers who created the games selected for EDITIONS? ### Ryan Brown Wonderful - it's been such an honour really, as we didn't have games in hand and these developers entrusted \[us with\] so much. Every partner we're working with so far, both our launched and unannounced titles, has been truly lovely to work with, and they fully understand and agree with what we're building here. Part of our offering is trying to make this a very easy process on the partner side; everything we need is supplied in one easy email, and their involvement beyond that is entirely optional, depending on their availability. While we typically commission original artwork for EDITIONS, the Thank Goodness You're Here! team wanted to create bespoke new artwork themselves in their own unique style, which has been really cool to see. \[The art will be revealed on June 20th\]. ### SUPERJUMP Is there anything else you would like to share? ### Ryan Brown Please support cool indie games and physical games! We have some incredible stuff in the pipeline, and I really hope people love what we're aiming for with EDITIONS as much as I do. --- EDITIONS titles are available for preorder. For more information go to . ### A Steam Next Fest Goodie Bag, Part 3 URL: https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-3/ Last updated: 2025-06-25T13:43:28.000Z **If you have a love for indies, Steam Next Fest is like Christmas come early.** It’s a time when many small developers and upcoming games will have more eyes on their games than ever. With the latest iteration of its week-long festival of demos just wrapped up, I'm bringing you the best of what I played! In Part 2 ([check it out here](https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-2/)), we covered the origami-based platformer Hirogami, city-builder After Inc: Revival, retro side-scroller Mina the Hollower, and the 2D return of a classic franchise with Ninja Gaiden: Ragebound. And [don't forget about Part 1](https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-1/) with three more amazing games profiled! Now we're back to wrap up our coverage with three more gems, I hope you enjoy them too! ## Rentlord ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_9b44829537449f3cdb713979f4161a7e7153f1d6.1920x1080.jpg) Make the big numbers go up while being a benevolent landlord! Source: Steam We’re starting to see the emergence of Balatro-like games on the scene in recent months after the success of the famed poker-based roguelike deck builder. I don’t really blame other indie devs for attempting their own spin on Balatro’s formula; it’s a fun and addictive formula that became popular for good reason, after all. There’s nothing wrong with iterating and making your own spin on what you, as a developer, enjoy in other games. To quote a [post from Obsidian’s Josh Sawyer](https://x.com/jesawyer/status/1762850170113524091) about this, “more games should just directly copy stuff that feels good from games they like and then riff from there.” I, for one, am happy to sacrifice even more hours of my life to these Balatro-like games. Of the Balatro-like games I’ve tried so far, I'll usually find some fun in them for a while, but I am more interested in seeing the formula used in creative ways. Please, if you’re making a Balatro-like, I’m begging you, don’t just blatantly slap the Balatro formula onto any board game or card game. Put some more thought into it. Flex your creativity and show people ways that the formula can work when they wouldn’t expect it to do so! For those reasons, I was quite taken with Rentlord. This game takes the now-famous formula and applies it to the concept of a property management game, resulting in a combination I absolutely never would have thought about. Such a blend of ideas was really intriguing to me, so I knew I had to try it while browsing the Next Fest listings. Rentlord’s tutorial is short and to the point. You’ll pick properties to purchase from a randomly generated map, which resets at the start of each in-game week. Each property has a base income along with a base multiplier, much like Balatro’s different card hands. You can buy slots for more properties beyond the initial two, but you’ll find that the cost for additional slots becomes increasingly more expensive. Your goal is to make the required amount of income at the end of each week by collecting rent daily. If you can’t reach the amount of income needed, you’ll lose the run. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-34.png) Rentlord. Source: Steam. Mind you, the income requirement must be based on what you’ve earned during that week specifically, not your overall account balance. You could have one million in the bank, but still fail the 600K weekly quota if you have a slow week. I learned that the hard way during my first run, but I still almost won the run by getting to Week 10 (I was unfortunately just 200K short of the goal). In order to hit this weekly goal, you’ll gain access to Plugins, which are essentially the equivalent of Balatro’s Jokers since they help net you more cash. Only 2 plugins appear in the shop each day, but you can pay a fee to reroll the available options if you don't like what's on order. I do hope there are more Plugins or an adjustment to their frequencies in the full game, because I found myself seeing the same ones over and over again by the time I had my fill of the demo. There’s not much more to Rentlord, for better or worse. While I admire the simplicity of the game, its current iteration lacks some of the depth that made Balatro so darned addicting. There are different card suits, card effects, over 100 different Jokers, vouchers for passive bonuses, tarot cards, etc. A plethora of content really makes Balatro replayable, and I’m worried Rentlord doesn’t have that at the moment. It would be great to see the full release rectify that situation, along with some UI tweaks, like having the option to turn off the CRT filter or adjusting the way the calendar pops up on the screen at the start of each day. These are very minor critiques, however, and I find Rentlord to be a splendidly creative idea. We won't have to wait long for the full release on June 23, it will likely be out by the time you read this. Rentlord is being developed by Verty and is being published by [Rogue Duck Interactive](https://store.steampowered.com/publisher/rogueduck). Side note: If you enjoy cozy deckbuilders, Rogue Duck Interactive is worth a look since it seems as if they’ve published quite a few. ## [Thysiastery](https://store.steampowered.com/app/3140180/THYSIASTERY/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_2326cf7df3fe5d4b813739927eb3d9938a27a642.1920x1080.jpg) Thysiastery has a chance to be really special. Source: Steam I shall now gush about what was my most pleasantly surprising find during Next Fest! Thysiastery is a retro-styled dungeon crawler combined with a turn-based RPG. Upon starting a run of this game, you’ll receive a randomly generated set of two party members to begin with, their classes chosen at random as well. You’ll then head forth through the Labyrinth with your new party, in hopes of finding a way out while encountering enemies and exploring the many areas. The demo doesn't allow you to pick or customize your starting party members in any way, but it seems like you’ll be able to in the full release, so that’s good to know. Combat is excellent; each class has its own set of passive skills and abilities, some of which can be taught to other party members if desired. This is a standout feature I’ve noticed from other RPGs, where you can copy abilities to other party members for them to receive upon leveling up. Going into the demo, I expected the combat to be more akin to a CRPG based on the retro aesthetic, but I was completely wrong; this is turn-based combat more akin to a retro JRPG. A turn order is present on the side of the screen while in combat, for instance. Each character has HP and MP that work as you’d expect. You can perform a basic attack or defend on each turn, there’s a front and back row… you get it; there aren’t any dice rolls involved here. To be quite frank, I prefer JRPG systems over CRPG systems anyway, so I find this game to be utterly genius for pulling it off while blending it with a classic dungeon crawler. What also excites me about Thysiastery is how punishing it intends to be. There’s permadeath in this game, so anyone in the party will be gone for good if they perish in combat. Party members have a chance to avoid death when they hit 1 HP, but they acquire a Wound afterwards. Each Wound accumulated on a party member means they have a lower chance of surviving subsequent deaths, though Wounds will slowly heal over time. Exploring can yield items and equipment via your encounters, but you’re never guaranteed to find those, making progression increasingly difficult while also encouraging exploration. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-35.png) Thysiastery. Source: Steam. It’s unfortunate that character customization wasn’t included in this demo, as I would’ve really been hooked even more if I could customize my starting party members and toy with the different classes. The game would work really well with a character pool feature like XCOM, even, letting you encounter party members you created during your runs. Thysiastery’s art style is wonderfully retro as well; there are various color palette options to change the look of the game to your preference. The music and atmosphere are excellent, dark and liminal, forming a horror-like vibe as its aesthetic. I was expecting a jumpscare at some point to pop out, but none ever occurred. My first playthrough of Thysiastery ended in swift failure after both of my party members died to the Rot Golem boss. On my second playthrough, I had a Soldier and a Thug who did really well. At a campfire while resting, my party encountered a dog who actually joined the party after we fed him scraps. The dog even had his own ‘Hound’ class with its own set of abilities! They had a great passive where they followed up allied attacks with a basic attack of their own. After finding another party member who we rescued from a cage he was trapped in, I was able to successfully beat the game (or at least hit the end of the demo). Physical attacks seem very strong in this game at the moment, but it does seem like difficulty settings will be a thing as well, so I’m eager to try them out when I inevitably get my hands on the full game. I think I’m already in love with Thysiastery; it’s a brilliant game concept and seems to be pulled off with aplomb. It almost feels like it was made for me with how much it appeals to my interests both aesthetically and in terms of gameplay. If you’re into old-school dungeon crawlers and/or turn-based RPGs, you *need* to put Thysiastery on your radar. ## The Trolley Solution ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_e6e1f45a72ba0155ca5076b8e1e84e156c3a9c11.1920x1080.jpg) This particularly Trolley minigame has you avoiding running over people on the tracks by quickly switching levers to guide the trolley. Source: Steam This is going to be very brief, namely because this game is very short and to the point. That said, I think it’s worth ending with something more light-hearted that will likely be a fun experience. The Trolley Solution is a game based on the well-known “Trolley Problem” thought experiment originally proposed by Philippa Foot. The game has individual levels, each with one of these thought experiments to solve. One track has ‘X’, but if you divert the trolley to save ‘X’, then ‘Y’ will happen - what do you do? That’s the gist of the Trolley Problem thought experiment, and the game provides a plethora of these scenarios to explore. It’s a great idea for a game, and I hope the full version will have some kind of online tracker or counter so we can see what players choose most for each of these scenarios, since I’d find the data to be very interesting. What appealed to me most about The Trolley Solution, however, is how it is presented, in a very tongue-in-cheek way that doesn’t take itself too seriously. It’s written with an excellent blend of dark, crude humor and satire in a format that feels very intuitive and well thought-out. The Trolley Solution’s various levels are interspersed with levels based around point-and-click minigames. These minigames are a large part of the game's appeal, along with the novelty of the scenarios and the cartoony, comedic style. The minigames aren’t too easy, but I’d also refrain from calling them difficult either. They’re more so stressful, getting quite intense towards the end of the minigame. That feels fairly intentional to me, and even if it isn’t, I find it to be a good thing. Minigames should become more intense as they progress, after all. The Trolley Solution seems like it’ll be a cute and funny little experience with a nice set of levels and minigames. II don't think it will be a very long game either, but it should be a fun time regardless. You can check this one out in Q4 2025 if you’re into more comedic indies or if you are interested in the concept of The Trolley Problem. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-36.png) The Trolley Solution. Source: Steam. ## Final Thoughts Steam Next Fest is a wonderful way to showcase games to the average gamer, who could love these titles but might have never found them without the aid of this festival. I didn’t even know Thysiastery existed, for example, and now it’s one of my most anticipated games. I definitely added many of the games mentioned here to my own wishlist, and I hope you were convinced enough to do the same yourself for at least a few of them. I also want to thank Steam for adding the AI Disclosure section as a requirement for games on their platform. It definitely helps you avoid games that will be an absolute waste of your time. There was one AI game I ran into that was unfortunately a waste of a great concept. It will go unnamed here, but it was a retro JRPG in the style of Final Fantasy I with the aesthetic and theming of Dark Souls. Brilliant idea! The problem? It felt like 90% of the game was AI-generated, even down to the really mind-bogglingly oddly out-of-place rock music for the battle theme. The player character in the overworld was just a square, by the way, and didn’t have a sprite. It felt so unfinished and cheap that I wondered why it even had a demo available. I point this out only as a warning. The disclosure is a requirement, so don’t be afraid to do your due diligence about any games you may be skeptical about. I ran into several during the week of the festival. I bring it up because there are just so many games out there worth your time compared to these cheap AI-generated cash grabs. They can’t even have the decency to be halfway playable either. If you suspect something is AI-generated on Steam or if you’re even a person who is somewhere in the middle, where you don’t like the assets but are okay with AI coding, just take a few seconds of your time to look at the Steam page of what you’re about to play. It’ll be better for your conscience. Regardless, people will always gravitate toward games that are meant to be good. Fear is with all of us, and always will be, but we need not fear AI when developers like the ones above are holding the torch. We should not predict doomsday over the industry when indies remain vibrant and bursting with creativity, as they are now more than ever. With indies like some of the ones seen in the Steam Next Fest, I think we’ll all be in wonderful hands - and as someone who truly loves gaming as a medium, it genuinely warms my heart to know. --- Thank you for checking out all the demos I loved during the latest iteration of Steam Next Fest! Jump into the comments and let us know what you thought of these games, and if there are any gems we missed that you recommend we try out! ### A Steam Next Fest Goodie Bag, Part 2 URL: https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-2/ Last updated: 2025-06-24T17:58:00.000Z **If you have a love for indies, Steam Next Fest is like Christmas come early.** It’s a time when many small developers and upcoming games will have more eyes on their games than ever. With the latest iteration of its week-long festival of demos just wrapped up, I'm bringing you the best of what I played! In Part 1 ([check it out here](https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-1/)), we discussed the city-builder After Inc: Revival, the idle game Click and Conquer, and the gothic metroidvania Gravethorn. Now we're back with Part 2 of our look at my favorite stuff, I hope you enjoy it too! ## [Hirogami](https://store.steampowered.com/app/3135840/Hirogami/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_79c4f95af859a1891055fd3f604185c42212f95a.1920x1080.jpg) Hirogami's aesthetic being entirely origami is stunningly unique. Source: Steam I’m fully aware that Hirogami is being developed by one of Bandai Namco’s other development studios, Bandai Namco Singapore. It’s also being published by Kakehashi Games, who are well known for publishing many indie titles in Japan, such as Hollow Knight and Dead Cells. Some may not consider it an indie game due to its large-studio backing, but I'm making that choice seeing as how Bandai Namco Singapore hasn’t made a standalone title of itsown before, having only done support work for other titles. Regardless, I’m wishing the studio my best with Hirogami since this seems like a smaller title that could potentially fly under the radar for some people, when I don’t think it should. It really feels as if it might just be a sleeper hit. Hirogami is a 3D action platformer where every single thing in the world is origami. It’s a similar concept to Yoshi’s Woolly World or Kirby’s Epic Yarn in that sense, and it’s a phenomenal idea for a game’s aesthetic and art design. I’m almost surprised we haven’t seen something like this before as a fully realized game, especially since it’s pulled off so well here. It’s a beautiful art style to look at, but the concept of origami extends to the gameplay as well. The main protagonist, Hiro, has a mystical fan that they wave around to deal damage to enemies and perform other tasks, such as rebuilding objects in the world. Combat isn’t too complex, about what you’d expect from most 3D platformers, where you merely hit a button a few times to get rid of enemies. Hiro can also unfold himself, becoming a flat piece of paper to glide through the air or slide under tight spaces. In the demo, for instance, the player must go into this unfolded paper state and float over an air duct to reach a ledge on the other side of a gap. You'll collect paper as a currency to unlock new areas, and it seems as if you'll be required to have a certain amount of paper collected to progress to new areas. It’s nothing you haven’t seen before in terms of this genre, of course, but I think Hirogami’s novelty of being entirely origami lends a lot of potential to level design while also making it feel more fresh than you’d expect. Later in the demo, Hiro regains another foldable form, an Armadillo. It’s where we get some semblance of plot with mentions of “The Blight” and Hiro having lost many of the animal forms he could previously fold into. You’re also told that Hiro’s fan can only damage enemies that are “living beings”, giving the implication that many of the enemies you’ve fought thus far are unnatural in some way or merely dead. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-30.png) The Armadillo form. Source: Steam. The Armadillo form can deal with these enemies, though, by using a roll to bash its way through. The roll mechanic can break through crates and quickly tumble down inclines, or even allow Hiro to be shot out of cannons to reach new areas. From the point you unlock the Armadillo form, the rest of the demo level felt like it was built around this form, before the design shifted into making the player alternate between base Hiro and the Armadillo by the end of it. It seems like Hiro will unlock many more animal forms as the game goes on, each with their own set of abilities for traversal, combat, or puzzle-solving. I was really digging my time with the Hiogami demo, and I was actually genuinely disappointed that the demo was so short. I must admit that while I imagine many will adore Hirogami, I’m a tad worried about the game's level design in the full release. The visuals and music combine to evoke a stunning and delightful aesthetic, don’t get me wrong. However, I don’t quite get that same sense from the gameplay the demo has to offer. Everything here has been done before in one way or another, and while that’s fine, I’m hoping the full game can use the aesthetic and origami concept in some truly creative ways to create unique levels and experiences in the genre. I’d be a bit disappointed if Hirogami were merely a “3D platformer but with origami” when it has so much potential to be more than that. Despite that concern, I am positive that Hirogami will be a good game. Even if they don’t use the origami aesthetic in the design enough, it’ll at the very least grant the *illusion* of being fresh due to the art design. I just worry about the gameplay not being unique enough, especially in the wake of the genre-perfecting Astro Bot winning 2024’s Game of the Year award. I would absolutely recommend you keep Hirogami on your radar, though, if you enjoy 3D platformers. Hirogami will be released on September 3, 2025, for both PC and PlayStation 5\. Interestingly, it has Xbox controller support through Steam, but will not be released on Xbox consoles. ## [Mina the Hollower](https://store.steampowered.com/app/1875580/Mina%5Fthe%5FHollower/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_636e604435af8a62f88589f15c8ef24f38000e51.1920x1080.jpg) Yacht Club Games likely has another retro hit on their hands with Mina the Hollower. Source: Steam [Yacht Club Games](https://www.yachtclubgames.com/) has done it again after their success with [Shovel Knight](https://store.steampowered.com/app/250760/Shovel%5FKnight%5FTreasure%5FTrove/). My intuition kept telling me that this game was going to be worthy of praise when I first watched its announcement at Summer Games Fest, so it was very validating to confirm as much once I got my hands on the demo. These retro-inspired games are not usually my thing, but even I can see that Mina the Hollower has heaps of appeal and potential. From the moment you start this game up, it utterly oozes retro charm. The NES-style music is an absolute joy to hear, and that retro sound design extends to the game itself as well. I want to note something that really made me smile early on: the game has a manual! A digital manual is built into the menus, designed to appear like a set of pages. It’s a rather extensive manual at that, with detailed information about the game’s various mechanics. I hope that if Mina the Hollower ever gets a physical release that they can somehow find a way to make a physical version of this manual. It’s really unfortunate that we don’t get those thick instruction booklets in our physical game releases anymore, though I suppose it does save trees, so yay for that.) The game itself is fantastic. While Shovel Knight took many cues from retro 2D side-scrollers and platformers, Mina the Hollower takes plenty from the retro Legend of Zelda games. You’ll choose your weapon almost immediately into the game’s introduction, then after the brief opening sequence, you’re thrown straight into the fray of the game proper. Mina’s attack patterns depend on the weapon you choose, some being faster and close-up, with others providing more space between Mina and her targets. Mina can restore her health via Estus Flask-like potions that refill over time as you deal damage to your enemies. Mina also has a burrow hub area that acts as a tiny base for her, where the player can equip items or swap weapons while also refilling their potions. Mina also collects Bones as a currency, which she then uses to increase a stat of choice when she levels up, but she can lose these if she dies and can’t retrieve them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-31.png) Mina the Hollower: Source: Steam. I didn’t even mention how wonderful the retro pixel art is. Combined with the sound design seeming as if it came straight from the NES, Mina the Hollower feels like an authentic game from that era. This is not my usual type of game, but I’ve been playing games long enough now that I get a gut feeling about certain titles and how good they’ll be. You never *truly* know, but I have that feeling about Mina the Hollower; it will be special and a lot of people will love it. I also believe the game pretty much speaks for itself, even with just what is presented in the demo. I’m so glad to see Yacht Club Games doing something *other* than Shovel Knight, too; I felt they harped on that IP for a bit too long, and Mina the Hollower shows what else they’re capable of creating. If you love Shovel Knight, the retro games of The Legend of Zelda series, or retro titles in general, this one is something you should probably wishlist. Mina the Hollower is being developed and published by Yacht Club Games. It’ll be released on Halloween this year, on October 31, 2025, for every major platform available. ## [Ninja Gaiden: Ragebound](https://store.steampowered.com/app/2542120/NINJA%5FGAIDEN%5FRagebound/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_46ccaf69dc8658f4059266749153446ba7223ca4.1920x1080.jpg) Ninja Gaiden: Ragebound is a love letter to the 2D Ninja Gaiden games. Source: Steam Do you ever play a game demo or beta and go, “Yeah, this is going to be rad”? I felt that almost immediately from Ninja Gaiden: Ragebound. It’s been a long while since we’ve received a proper 2D side-scrolling Ninja Gaiden title, not to mention one with such beautiful sprite work. Who better to work on such a game than the developers of Blasphemous at The Game Kitchen? They’ve always done awesome work, and Ninja Gaiden: Ragebound is no different. The music is what you’d expect and want, so beautifully retro and flamingly vibrant in all the right ways. And although the demo is really difficult, it *should* be difficult, in my humble opinion. People who enjoy retro Ninja Gaiden will be in for a real treat here. The game does feature Ryu Hayabusa briefly within the tutorial sequence, but he is quickly written out of the story to make way for the actual protagonist. The game will actually feature two protagonists in the full version, Kenji and Kumori, who will play differently from one another. From what I’ve gathered, Kenji is a trainee under Ryu, while Kumori is a member of the Black Spider Clan who will end up joining forces with Kenji. I’m not sure if this game will be connected at all to Ninja Gaiden 4 or the original retro Ninja Gaiden titles, but I suppose we’ll see. For what it’s worth and for those interested in speculating, I will point out that Ryu wears his outfit from the 3D trilogy of games during the brief tutorial cameo. However, the Steam page description writes, “Ninja Gaiden: Ragebound successfully unites the classic lore and gameplay of the Tecmo-developed Ninja Gaiden series from the 8-bit era with the depth and intensity of the modern 3D entries.” So maybe this game will be the missing link to clear up the canon between the 2D and 3D games somehow? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-32.png) Ninja Gaiden: Ragebound. Source: Steam. Regardless, fans of retro Ninja Gaiden will find the gameplay of Ragebound to be very familiar. You’ll stick to walls to climb and progress, deliver quick slashes with your sword to deal with enemies, while avoiding really punishing and devastating hits that are thrown at you. Ragebound does have checkpoints, of course, but if the demo is any evidence, they’re not generous with them, so managing your health will be quite important throughout the various levels. I was particularly struck by how beautiful the pixel art is here, since many of Kenji’s actions flowed together in a very natural way despite being pixel art. So rejoice, retro gamers! I think you’ll have yet another game to look forward to with Ninja Gaiden: Ragebound. I’m not quite sure who else will exactly resonate with Ragebound in terms of an audience, as I don’t really buy the idea that 100% of Ninja Gaiden’s 3D trilogy fans will find themselves vibing with this. I think many will be caught off guard by the difficulty. If you played those old 2D Ninja Gaiden games, you’ll know what I mean. I don’t think it’ll be quite as difficult, but it’s very clear to me what The Game Kitchen is going for here. This is for the best, of course; difficult is what this game *should* be. I’m merely warning you, if you’re more of a casual retro or side-scroller fan, since Ragebound seems intent on capturing the spirit of the Ninja Gaiden games of old. From what I've seen, it does so to an excellent degree. Ninja Gaiden: Ragebound is being developed by The Game Kitchen, but will be published by Dotemu. The game launches on all platforms on July 31, 2025\. I’ll also mention that the game will be receiving a physical release via Silver Lining Interactive on September 12, 2025. --- We've got one more helping of Next Fest goodness coming your way, so JUMP back in tomorrow for Part 3, when we'll have our thoughts on three more games we loved. See you then! ### Mario Kart World Review URL: https://www.superjumpmagazine.com/mario-kart-world-review/ Last updated: 2025-06-24T02:27:27.000Z **Review code provided by Nintendo.* **My heart goes out to the Mario Kart World team: Kosuke Yabuki (*Producer*), Kenta Sato (*Programming Director*), Masaaki Ishikawa (*Art Director*), Shintaro Jikumaru (*Gameplay Design*), Atsuko Asahi (*Composer/Music Lead*) and their comrades.** Their task, after all, was unenviable: create a follow-up to the best-selling game on the Nintendo Switch. Here’s what I said about Mario Kart 8 Deluxe in my [original review](https://www.superjumpmagazine.com/mario-kart-8-deluxe-review/): > “My personal take is that *Mario Kart 8* was the best *Mario Kart* game in years — possibly the best in the series overall, despite its lacklustre Battle Mode. *Mario Kart 8 Deluxe* is therefore a further extension and refinement of the best *Mario Kart* game in years with the added bonus of being both a great experience on the TV *and* and full console experience on-the-go.” Upon release, Mario Kart 8 Deluxe improved on what I now view as the best Mario Kart game since the original Super Mario Kart. And in the years since its Switch debut, Nintendo continually refined and improved the experience thanks to multiple expansion packs. Mario Kart 8 Deluxe is one of the few Nintendo Switch games I have played almost continuously since launch right through to the present day. While my full review contains more detailed thoughts, let me just put a flag in the sand here to contextualise my thoughts: Mario Kart 8 Deluxe is a distillation of everything great about the Mario Kart series. It is mechanically sublime thanks to brilliantly sharp and satisfying controls, it is *still* \- in 2025 - visually stunning thanks to superb art direction and skilled technical execution, and its track design is almost universally praiseworthy thanks to a combination of thoughtful layouts and broad diversity. When Mario Kart World was first revealed, I found myself wondering only one thing: *How on earth can the developers clear such an incredibly high bar?* A conservative approach could be underwhelming no matter the quality, while a more ambitious change to design could represent the wildest of gambles given that Mario Kart 8 Deluxe is something close to the platonic ideal for the series. After spending many hours with Mario Kart World - both pre and post release - I now feel ready to at least approach this question. Let’s dive in. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_FreeRoam_SCRN_17.png) Mario Kart World promises a racing adventure larger in scope than ever before. Source: Nintendo. ## What is Mario Kart? Let me establish one important point at the outset: the core Mario Kart gameplay - what it feels like to control your vehicle and use items - remains fundamentally intact here. There are no wholesale changes to basic driving mechanics. This means that acceleration, steering, drifting, and item use feel much as they did in Mario Kart 8 Deluxe, which is a very good thing. Nintendo has spent years evolving and refining Mario Kart’s core DNA; Mario Kart World benefits from these refinements, making it the most mechanically precise and satisfying iteration of the series so far. The fact that the core mechanics haven’t changed (and don’t really need to change) could be one of the reasons why Mario Kart World leans into optional additives as a way of keeping the moment-to-moment experience fresh. It is now possible to jump up on certain environmental objects to ‘rail ride’ for brief periods of time. Grindable objects include everything from train tracks and fences to power lines and so much more. The advantage of grinding is, of course, that it provides an all-important temporary speed boost (which becomes even more powerful if you ‘hop’ off a grind rail; you’ll receive an additional speed boost when landing). I appreciate the fact that grinding is a totally optional mechanic for the most part. It’s entirely possible to win races without ever worrying about it, but its existence modestly boosts the game’s overall skill ceiling, which is great news for everyone from casual players to online sweats. It’s also now possible - with some careful timing and alignment - to launch yourself up into the air and briefly ‘wall ride’ (which, again, confers a temporary speed advantage as well as the possibility of avoiding certain incoming attacks if well-timed). Like grinding, it’s up to you whether you engage with this feature or not; you won’t be punished for not doing so, but here again you have another new technique to practice and eventually master should you so desire. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_Character_SCRN_33-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_Character_SCRN_39-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_Character_SCRN_50-1.png) Mario Kart World features a diverse roster of characters, including some very deep cuts from past Mario games. source: Nintendo. The other all-important chamber of Mario Kart’s beating heart is, of course, items. If racing and gaining a speed advantage is one side of the coin, combat against other players is the other. Mario Kart World adopts a similar philosophy for items as it does for racing mechanics. That is to say, most of the classic/favourite items are here and function as sharply as they always have: blue/green/red shells, banana peels, mushrooms, and all the other items you’d expect make an appearance. They are complemented by a suite of entirely new items that, in my experience so far, feel like great additions to the formula. The hammer (from the famed Hammer Bros.) is one awesome example: you throw a handful of hammers in an arc either in front or behind your vehicle. The hammers spread out in a single line as they embed themselves into the ground. Any kart unlucky enough to run into them immediately spins out. Then there’s the utterly bizarre ability to summon Kamek. Kamek is basically a chaos agent; when you summon him, you never know exactly what he’ll do. Sometimes he transforms all your opponents into different characters, for example. Better yet, he’ll occasionally introduce some genuinely hilarious environmental obstacles that amp up the mayhem in big ways. Speaking of mayhem, Mario Kart World now supports up to 24 players simultaneously. The huge increase in players combined with the new movement mechanics, items, and a far higher frequency of environmental obstacles makes for the most chaotic version of Mario Kart so far. It’s tough to quantify, but I also get the sense that some serious re-balancing of items has occurred here. I say that because Mario Kart World seems to place great emphasis on keeping all players together as much as possible. Players at the front of the grid are never able to pull too far away from the pack while players at the rear are afforded frequent and generous opportunities to blast their way up towards the front. What’s important here is that this feeling of deliberate clustering doesn’t appear to be a result of artificial ‘rubber banding’ (increasing or throttling player speed based on their grid position). Rather, Nintendo seems to have found just the right item balancing solution to ensure that races remain highly competitive right until the end. This can mean that success or failure sometimes feels a bit more like a coin toss than a question of genuine skill. However, I think it works well for the most part; tactics and strategy are still essential, especially because more advanced players can leverage the various new speed boost mechanics to establish an edge. The big upshot is that you never end up with a boring race; the grid is *never* too far apart and the close proximity of so many other players imbues the experience with a kind of frantic, kinetic energy that keeps you on the edge of your seat at all times. This is peak Mario Kart; Nintendo have figured out how to dial in the excitement factor to 11 and sustain it there through the duration of every race. It’s thrilling stuff. --- > Nintendo has spent years evolving and refining Mario Kart’s core DNA; Mario Kart World benefits from these refinements, making it the most mechanically precise and satisfying iteration of the series so far. --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_SCRN_KnockoutTour_03.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_SCRN_KnockoutTour_06.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_SCRN_KnockoutTour_02.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_SCRN_KnockoutTour_01.png) Knockout Tour brings all the ingredients together brilliantly. It’s my favourite mode by far. Source: Nintendo. ## Roads less travelled The most significant change in Mario Kart World - and the entire reason for the inclusion of “World” in the title - is the shift to an open world format. Courses no longer exist in isolation; they are, instead, embedded seamlessly within a much larger world. What this means in practice is that whenever you are racing on multiple courses - regardless of the mode you choose - you’ll need to physically drive between each course through the open world. The implications of this vary depending on the mode though. In Grand Prix mode, for example, each race begins with a rolling start as you arrive at each new course from the connected open world segments in between courses. This means that the open world segments do impact your game somewhat, although you aren’t awarded any points for improving your rank outside the courses themselves. In Knockout Tour, which is new for the series, you’ll participate in one long continuous race across multiple courses and open world segments, where you’ll periodically encounter gates that knock out the bottom four players. This elimination-style experience is the bag of popping candy Nintendo has added to Mario Kart World's finely-tuned soda formula. The result is a deliciously explosive surge of laughs, screams, and trash-talking, which is *precisely* what Mario Kart should be. The transition between courses is awesome and feels very natural, in the sense that courses feel like they have been built within a pre-existing connected world. As you seamlessly exit one course and hit the highway, you’ll physically see other courses on the horizon and you’ll experience the continuously shifting environment (from frozen peaks to grassy plains to rainforests to volcanic hills - just to name a single example). Not only this, but the time of day and the weather will change too, giving you a genuine sense of moving across a vast landscape dotted with all manner of interesting sights and diversions. The highway segments between courses are quite different from the courses themselves in ways that are both obvious and delightfully good fun. Most courses are circuits, whereas the highway segments are naturally linear in nature (although there are plenty of bendy bits to enjoy). The compensation for this linearity is the utter bedlam of the Mushroom Kingdom’s peak hour traffic. It’s all here, folks: Koopa commuters in cars and buses, trucks transporting Bob-Ombs, wild animals (and classic Mario enemies) jaywalking with reckless abandon, and so much more. When combined with the constant belting you’ll give and receive from items, the highways are just as hectic as the courses, if not more so. --- > This elimination-style experience is the bag of popping candy Nintendo has added to Mario Kart World's finely-tuned soda formula. The result is a deliciously explosive surge of laughs, screams, and trash-talking, which is *precisely* what Mario Kart should be. --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/NintendoSwitch2_MarioKartWorld_SCRN_FreeRun_01.png) In Free Roam, you and your friends can explore the world at your own pace - you might just discover some cool secrets along the way! Source: Nintendo. ## Undiscovered country I think it’s fair to say that all of the things I care about in a Mario Kart game are here in their best ever incarnations. These are the best courses the game has ever seen. The core mechanics are brilliantly sharp and satisfying. And the balancing, always dialled in to maximum chaos, is *just right*. But wait, there’s more! All those vistas you see flying past as you dash from course to course are actual places you can go. While you can’t really explore off the beaten path during a race (other than taking advantage of shortcuts here and there), it’s also possible to jump into Free Roam, a mode that gives you completely open access to the entire world. This is where things get weird. The thing is, I think the ability to drive between courses in Mario Kart World is really a genuine game-changer. It adds incredible variety to the game and the way it intersects with time of day, weather, and environmental obstacles gives Mario Kart World a sense of genuine novelty. But these additions also work in part because they are curated and guided; your path between courses during a race is pre-set (which makes sense, otherwise you’d have players getting distracted and completely abandoning races all over the place). In Free Roam, however, there are no such guardrails. You’ll explore a surprisingly detailed world - it turns out to be far more dense than I’d originally anticipated - in search of P-blocks, question mark pads, and other collectibles. The P-blocks are the most interesting part for me, because each one triggers a particular challenge. The challenges themselves are reasonably varied, although I personally find many of them thoroughly uninteresting; I’ve never cared about collecting a batch of blue coins before the timer runs out. Sorry. It’s boring. On the other hand, some P-block challenges involve cross-country races in areas you never directly visit during regular races in the other modes. I enjoyed these bits and wished I knew in advance what kind of challenge each P-block represents (in reality, you have to just find and hit them and see what you get). Generally speaking though, as much as exploring the open world can be an enjoyable diversion (and is a must for completionists), it’s not really for me. Free Roam is the mode I’ve spent the least time with. When it comes to Mario Kart - and racing games in general - I prefer a more curated, fast-paced experience. That’s why I’m here. Free Roam really doesn’t offer this at the moment. Although I can absolutely see how Nintendo could do a great deal through future DLC (for example, seasonal open world events, timed challenges, additional multiplayer experiences, and so on). But this is a review, so, I won’t speculate about what may or may not happen in future. For now I’ll just say that Mario Kart World could entirely do without Free Roam and the overall experience wouldn’t be greatly impacted. The fact that it exists is nice, perhaps, for gamers who are into this kind of thing. Nintendo have also wisely marketed the idea of Free Roam being an online social space, which puts Mario Kart World well within the gaming zeitgeist (I’m led to believe that younger folks are increasingly turning to online gaming spaces as social experiences that don’t necessarily need to include traditional competitive elements). --- > All those vistas you see flying past as you dash from course to course are actual places you can go. --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Switch2_Group01-3-1.jpg) Mario Kart always brings people together and this latest iteration is no different. Source: SUPERJUMP. Photo by Elizabeth Burns. ## Fun with friends Very few video games reliably summon a crowd around the TV like Mario Kart. Just a few weekends ago, on a chilly Melbourne evening, some close friends came over to cook a Nepalese feast for all of us. I thought a few rounds of Mario Kart World might work up our appetites, and so, we all congregated in the lounge room for a couple of races. It's worth pointing out that two of our guests had never played a video game before in their lives. After a quick tutorial, we dived into a Grand Prix. I think it's fair to say that friendships were tested that night (in the best possible way) as our home rumbled to life with a cacophony of belly laughs and excited shouting. Our individual experience with video games - and with Mario Kart itself - was really irrelevant. The point was that we were having fun together. All game modes can be played with up to four players locally. And two local players can go head-to-head with anyone in the world via online play. Interestingly - and I can only say this anecdotally - but the online experience in Mario Kart World is noticeably more reliable than in Mario Kart 8 Deluxe. I would occasionally get 'communication error' problems in Mario Kart 8 Deluxe, which forced me out of the online lobby and back to the title screen. I've played many - dozens, at least - of online sessions in Mario Kart World and never once experienced an issue. Not only that, but matchmaking appears to be super fast and smooth in general. The one experience I haven't tried yet is GameChat; I'm keen to give this a shot once a few friends pick up the Switch 2 Camera. It's fair to say, though, that Mario Kart World builds on an already solid base when it comes to the multiplayer experience. It's not just that the online connectivity is better, it's also that modes like Free Roam offer a unique new social experience that feels especially suited to an online context. The ability to pose for photos with friends and share your memories is the cherry on top. ## Final thoughts So, how does Mario Kart World fare both as a Mario Kart game and a follow up to the remarkable Mario Kart 8 Deluxe? It's a big question, to be sure, and one that I felt required some broader insight to approach. I am joined by two SUPERJUMP colleagues, [Jahanzeb Kahn](https://www.superjumpmagazine.com/author/virtuamuser/) and [Cat Webling](https://www.superjumpmagazine.com/author/catwebling/), to summarise our overall thoughts on the game from multiple perspectives. Thank you for reading. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/james.png) #### James Burns Mario Kart World walks a near-impossible tightrope: it preserves everything that made Mario Kart 8 Deluxe great while boldly pushing the series forward. It’s clear this game couldn’t have existed on the original Switch; I’m glad Nintendo waited for Switch 2. Ironically, the open world — its most recognisable feature — isn’t what impressed me. The seamless course transitions and the new Knockout Tour mode are the real standouts. Racing through dynamic environments with shifting time and weather feels fresh and exhilarating. And Knockout Tour? I can’t imagine a Mario Kart without it now. That’s the highest praise I can give. So, yes: Mario Kart World is, in my view, the best in the series. It’s a fantastic showcase for the Switch 2, and I can’t wait to see how it grows in the years ahead. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/jahan.png) #### Jahanzeb Khan Mario Kart World was the clear choice for a Switch 2 launch title, especially with much of the lineup consisting of excellent, if familiar, ports (notably Cyberpunk, Yakuza 0, and Sonic). Until the new Donkey Kong lands, this is the star of the show. It's hard to overhaul a winning formula, leading to a familiar experience. The new power-ups are safe, and the semi–open world track design takes adjustment. Some courses move you forward each “lap” instead of looping, often feeling like straight paths packed with obstacles. I’m not sold on the design. The open world mode is a sandbox of toys — it's only as fun as you and your friends make it. The art direction is bold, the gameplay remains tight, and the music stands out. But it’s unclear if Mario Kart World will match MK8 Deluxe’s multiplayer staying power. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/cat-1.png) #### Cat Webling Mario Kart World is a fun revamp of the classic formula, with added challenge longtime fans will appreciate. The learning curve is steep — even for those of us who’ve been playing since the Wii — and I imagine new players might get frustrated. But it’s worth the effort. The game is beautiful and full of life, whether you’re racing or Free Roaming. I’ve had a great time collecting outfits, exploring tracks, and (poorly) attempting P-button challenges. Races — especially in Knockout Tour — are thrilling, pushing you to find tricks and shortcuts. It encourages creative play and keeps the courses feeling fresh, even after multiple replays. So far, I’m really enjoying it and can’t wait to see what the community does with it. Speedruns of these tracks are going to be insane! ### A Steam Next Fest Goodie Bag, Part 1 URL: https://www.superjumpmagazine.com/a-steam-next-fest-goodie-bag-part-1/ Last updated: 2025-06-24T10:15:11.000Z **If you have a love for indies, Steam Next Fest is like Christmas come early.** It’s a time when many small developers and upcoming games will have more eyes on their games than ever. I’m sure it’s a ton of pressure for many of these developers, but I also personally find something beautiful in it as well. When you think about it, demos for smaller games like these have never been so readily available. It’s all promoted under the banner of Steam Next Fest, a grand showcase to the public. One must wonder what gaming history would look like if Steam Next Fest had always existed. What smaller titles fell under the radar in the past simply because not enough people knew about them? Could those games have been hits and/or popular? It’s a lot of ‘what if’, I know, but it is interesting to think about, isn’t it? And that’s the thing: it’s beautiful to me that no matter who you are as an Indie developer, you’ll have your chance in the spotlight here and now. With that in mind, I wanted to share the demos I played and experienced during Steam Next Fest. I played quite a lot, but I am determined to speak on every single one that left me with a positive reaction and effect. Any demos that left me with a negative reaction or weren’t for me were simply omitted and won’t be mentioned at all here. I may still nitpick here and there, of course, but know that I only do so out of love for what I played. You may have seen some of these games at Summer Games Fest as well, so they may indeed have a big publisher behind them. In those cases, I’ll make sure to specify. Steam Next Fest is an incremental time for developers, and it is far beyond my own good conscience to lambast a game from its demo alone. I've listed them in alphabetical order, not in order of preference. ## [After Inc: Revival](https://store.steampowered.com/app/3337140/After%5FInc%5FRevival/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_5d8147420bc14a9ac26acfd743eedebdc190000a.1920x1080.jpg) After Inc: Revival tries to blend a city builder with 4X and Survival elements. Source: Steam From developer [Ndemic Creations](https://www.ndemiccreations.com/), After Inc: Revival is a sequel to the virus-management game Plague Inc. That was a game you wouldn’t expect to receive a sequel at all, since it always seemed like it could be updated instead, much less the sequel being an entirely different genre. I admit I am not sure where Ndemic's other game, Rebel Inc: Escalation, factors in, if at all. After Inc: Revival dares to ask the question: What exactly happened to the planet after the player successfully brings down the apocalypse in Plague Inc: Evolved? After Inc. is a city builder set in the same universe, so players are tasked with rebuilding from the ruins after the plague that ravaged the planet caused not just widespread pestilence, but apparently zombies as well. Humanity has emerged from underground vaults and is now attempting to start anew. It’s a really novel concept and idea to me, and from the moment it was announced, I was eager to see what the game would offer. I was not disappointed whatsoever. It’s quite a fun time, really! After Inc: Revival really oozes with potential as a city builder. The games I’m reminded of most after playing the short demo are Ara: History Untold, believe it or not, as well as Frostpunk. While it isn’t particularly a 4X or Civilization clone like Ara, I’m reminded of it due to the large irregularly shaped splotches of territory you’ll find on the map in After Inc. Much like Ara, you’ll be claiming territory within these large swaths of land and then building improvements within them to extract resources. You’ll pick Leaders when starting your post-apocalyptic city, with each one having different passive abilities. I can see the vision and replayability this game will likely have with different leaders to choose from. Fittingly so, the developers use ‘mini 4X’ as one of their descriptors of the game on Steam. Thankfully, unlike Ara, the game is actually optimized very well, and I didn’t run into any issues with it performance-wise or on the technical front during the demo. Unlike many city builders, After Inc: Revival has victory conditions. To win a match, you’ll need to complete a set of 10 objectives while building your city, ranging from hitting a population goal to maintaining morale above a certain threshold. The game never felt like a prolonged experience or time sink during my time playing it. If you’re looking for a city builder to sit down and have prolonged hours with as you incrementally build a large city, this isn’t quite going to fill that itch. Instead, this has smaller levels with specific goals to complete before moving on to the next. After each level, you’ll unlock a card you can use to enhance your gameplay. These cards can be a passive bonus, a new Leader, or a number of other things. After Inc: Revival really spells out the goals you need to chase through building your city, and I kinda appreciate that. One thing that I particularly find myself critiquing about the city builder genre is that I often find myself aimlessly building stuff or overbuilding and derailing my playthrough as a result. It’s nice to have objectives to keep me in check, so to speak. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-28.png) After Inc: Revival. Source: Steam. It’s honestly quite refreshing to have a city builder that feels more snappy to play. It’s really something that feels like it’ll respect your time compared to others in the genre. This is why I feel like After Inc: Revival has a chance to really feel unique within the genre. Ndemic knows how to make these games that feel like they take strategy, but also feel like they aren’t going to rob you of too much time per playthrough. The time that gets robbed is when you inevitably get addicted to it, and I can absolutely see that happening with After Inc: Revival as well. I mentioned Frostpunk before, and while the core gameplay of managing your city feels similar to that frozen-world game, it’s not quite as micro-management heavy-feeling, which is a compliment in my eyes, working to the game’s benefit. You’ll manage morale and resources just like Frostpunk, though you need not worry about temperature in this one. The addition of random events (another Frostpunk trait) that can affect morale or loyalty is also fantastic, adding variance to the experience. It may seem like I’m critiquing Frostpunk, but I think it’s one of the more unique city builders out there, so I believe After Inc. does well to take cues from it. It even seems like there will be some form of narrative in the full release, which I’m eager to experience. Side note: Wouldn’t it be really cool if you could import a save from Plague Inc. and have the narrative refer to the virus you created in that game at some point? I do think being more simple is definitely to After Inc’s benefit as a city builder, but I feel like there’s a little room for just a tad more depth to the mechanics. I won’t harp on that, though, because it seems like zombie defense may play a role in the full game, so I suppose we’ll see. Nonetheless, I believe there’s high potential for the game to be just as fun as Plague Inc: Evolved, and I absolutely cannot wait to get my hands on it. It's already out via Steam’s Early Access program so you don't need to wait! ## [Click and Conquer](https://store.steampowered.com/app/3267900/Click%5Fand%5FConquer/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_74022846491a166c0f4ca7dafae1c2a2b2cb3542.1920x1080.jpg) This idle clicker involves conquering different areas while generating passive income. Source: Steam This was a wonderful little surprise of a game. Some people may roll their eyes at idle clicker games, but hear me out: Picture an idle clicker with a bit more interactivity than you’d expect of games in that genre. When you load up Click and Conquer, you’re met with absolutely no instructions at all. There’s no tutorial or tooltips to tell you what to do here. I don’t always love it when games go that route, but I think it really works in this instance. The player will begin to discover things about the game simply by trying them out, and it won't take long to pick up what Click and Conquer has to offer. One of the things you’ll notice early on is a “Conquer” button and a “Research” button. When you click the “Conquer” button and select an area, you’ll be placed into a gameplay sequence that is essentially Minesweeper, except you’re looking to bomb soldiers in a tile grid of snow. You’ll earn XP for each soldier you find and defeat, with the points going towards leveling up the area you selected. Each time an area levels up, you’ll earn a permanent incremental percentage boost to the money you earn each second. That cash-per-second can then be spent on purchasing upgrades on the “Research” tab. These upgrades have a wide variety of passive bonuses to improve your cash flow or effectiveness at the minigame. Some increase the cash you earn per second, while others make your bombs more effective. More upgrades will appear as you progress and unlock new areas, with each one unlocking a new branch of the upgrade tree when they’re purchased. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-27.png) Click and Conquer. Source: Steam. The key here is to earn or find… scripts? Papers? Research? It’s not quite clear what this icon of a paper with squiggly writing on it is supposed to depict, since it’s not named anywhere in the game. Any tooltips this icon appears in don’t name it either, and simply use the icon. Regardless of what they are, in exchange for sacrificing your progress, you’ll be able to purchase some powerful passive permanent upgrades by spending these pages. It all really feels synergetic as an idle clicker, folding and weaving within itself in a well-crafted loop. It doesn’t feel like an idle clicker in the usual sense because it does require some semblance of attention. You need to do these Minesweeper-like minigames enough to keep your cash flow steady, but it feels as if you'll eventually be able to leave the game idle. It feels polished, the UI is great, and it seems like a game that is ready to go already. Click and Conquer is made with Godot, I’ll also mention, and it’s really wonderful to see more games using that engine. Little did I know while playing it that Click and Conquer releases quite soon, on June 25th. It makes perfect sense now as to why it’s so polished. I was actually reluctant to stop playing this game, and it took me a fair bit to reach something in the demo that said “available in the full game”. Developer [Sockhouse Studios](https://sockhousestudios.itch.io/) has created an oddly relaxing game too, which seems quite intentional based on the Steam description. I’d highly recommend giving Click and Conquer a shot if you want an idle game that asks its players to be a little more proactive than usual. I suppose if you love Minesweeper, you’ll pop some champagne over this, too, for your early Windows days were not forgotten. ## [Gravethorn](https://store.steampowered.com/app/3567010/Gravethorn/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/ss_af0e51c0609e8d67df052a6204c069a73ec48077.1920x1080.jpg) Gravethorn aims to beautifully blend Blasphemous and Bloodborne. Source: Steam Public service announcement to the folks at Sony: while the incredibly popular Bloodborne IP remains frustratingly dormant, inevitably, you’ll start to see others attempt to make their own spins upon it. I for one absolutely adore the Gothic aesthetic, so I’m pretty easy when it comes to games that utilize it. I’ll really want to love your game if it is Gothic, but not quite horror either. In that vein, [indie developer Volviir](https://www.volviir.com/) brings us Gravethorn, an attempt to take much of Bloodborne’s energy and portray it in a side-scrolling format, much like Blasphemous does with Dark Souls. While labeling Gravethorn as merely being “Blasphemous x Bloodborne” may seem derivative or diminishing, it’s actually quite apt, and I mean it as a genuine compliment, since both of those are fantastically acclaimed titles. Gravethorn is honestly impressive at how well it captures Bloodborne’s energy in a classic side-scroller format, which us clear almost immediately upon firing up the game. You get an immediate thought bubble in your head that goes, “Yep, this is Bloodborne-inspired.” It drops you right in, showing you the ropes in a brief tutorial before tossing you immediately into a boss encounter. I find the implementation of the flintlock pistol and bullet mechanic to be very well done, adding a layer of variance to the gameplay that differentiates it from Blasphemous. It adds a reminder in the back of your head to ensure you conserve your bullets for when they’re truly needed. I’m surprised other action games don’t do this as often, but I suppose not many games have a flintlock pistol in the first place. Sure, firing a shot can help stun an enemy and feels satisfying to use, but you’ll need to manage your shots strategically due to their scarcity in Gravethorn. Can you tell I’m a big fan of flintlocks and I can’t help gushing over them? Gravethorn also mixes the Blasphemous gameplay and Bloodborne aesthetic with Metroidvania elements. As you explore the world, more areas will be added to your map. I appreciate the addition of notes to the map, which appear whenever you learn information in one of those areas. I don't hate getting lost in games but I will sometimes forgets certain specific things, so the note feature will definitely aid a person like me. Some players may prefer not to see those notes, however, so perhaps an option to turn them off would be nice. Nonetheless, it keeps the game’s vague tone in place without blatantly throwing a quest log at you. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-29.png) Gravethorn. Source: Steam. I do have a few nits to pick, however. I was quite put off by the voice acting throughout the demo. The NPCs in this game are very similar to those in FromSoft games, where everyone sounds riddled with despair (or discontent at best). I realize that's a personal choice that not everyone shares, but those characters aren't even portrayed well. I know critiquing the voice acting isn’t entirely fair, considering the budget of the typical indie game, but I cannot shake how noticeably subpar the voicework actually is, and it taints an otherwise stellar game with heaps of potential. I also had a minor control-related issue in my time with the demo. I played the demo with a PlayStation 5 controller, and due to the crouch button being assigned to down on the left stick, I was constantly crouching when I didn't mean to, sometimes frustratingly at inopportune times. There was no option for remapping the controls either, which I hope is included in the full release. While using the D-pad mitigated the issue, it was clear the game intended players to use the left stick for movement as the on-screen prompts shown during the tutorial indicate. These issues aside, I have a really great feeling about Gravethorn. It has a lot going for it in terms of gameplay appeal and visual style, which I believe will resonate with the many players who share my love for this aesthetic. It’s a game I’d recommend Bloodborne, Blasphemous, and Metroidvania fans keep an eye on. --- We're just getting started with our Steam Next Fest demo impressions, so JUMP back in tomorrow for Part 2, when we'll have our thoughts on three more games we loved. See you then! ### Synergy Invites Us To Question Our Assumptions About City Building Games URL: https://www.superjumpmagazine.com/synergy-invites-us-to-question-our-assumptions-about-city-building-games/ Last updated: 2025-08-20T11:32:18.000Z **From RPGs to action games, every genre carries its share of baggage.** The exploration, expansion, exploitation, and extermination necessary to progress in Civilization and other 4X games define success in rigidly specific form. To win the game, a player’s civilization must prove itself superior to the competition. Rivals must be crushed militarily and outstripped scientifically. Their competing religions must be consigned to history, and the player must develop a hegemonic global culture that envelops the traditions and practices of competitors. A thriving civilization does not coexist with its peers; it dominates them and reigns as suzerain (definition: a superior feudal lord to whom fealty is due). Similarly, it’s exceedingly difficult to construct a First Person Shooter that is not a power fantasy. Many excellent FPS titles like Spec Ops: The Line explore this idea and ask what is so enticing about the catharsis of simulated bullet-spraying mayhem. None of this is to say that players should feel ashamed for tossing out a frag grenade in Call of Duty or bringing the galaxy to heel during a grueling Stellaris campaign. Games are art, and they deserve to be engaged with critically. It’s important we dissect their themes both explicit and implicit, to better understand them and what draws us towards them. To do less is a disservice to the medium. This brings us to Synergy, a simulation game with an ecological focus and a lot to say about its genre and the typical conventions of other city builders. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/13_Farming_EN.png) Synergy. Source: Press Kit ### Synergy and Other City Builders So, let’s dissect simulation games. What presuppositions do they bring to the table? From SimCity to Cities: Skylines, any game about urban development necessitates constant unrestrained growth. Cities, both virtual and physical, are a microcosm of the capitalist system that gives rise to them. In simulation games, cities must expand ceaselessly. Starting with an uninhabited patch of land, the player will materialise row upon row of residential complexes, industrial hubs, and office buildings. This expansion is the purpose of the game and is self-justifying; you are expanding now, so that you may continue to facilitate more rapid and efficient expansion in the future. Synergy questions this assumption. It dubs itself an “Ecosystem City Builder”. Rather than a blank canvas of earth, waiting to be occupied by buildings, in Synergy players construct their city in a pre-existing ecosystem of plants, trees, and rock formations. While the player will develop a city during gameplay, they must learn to inhabit and coexist within the ecosystem, rather than tearing it down as the price of progress. Failing to sustainably expand your city, by taking from the world around you without giving back, results in key resources dwindling and eventually drying up. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/01_LargeCityUIon_EN.png) Synergy. Source: Press Kit --- > A successful city in Synergy cultivates the land it is built upon, rather than simply extracting from it. --- The ecosystems in Synergy are often, at least initially, harsh and unforgiving. The game’s world, while not completely arid, is dry and prone to heatwaves, droughts, and scorching summers. Securing enough water to keep your community nourished is a credible challenge, especially because water is necessary to operate forges and to brew medicine. The key is to develop infrastructure to ensure that water can be preserved during the hot months. Water can also be sent through canals, pumps, and other irrigation structures to make the land greener and more arable. A successful city in Synergy cultivates the land it is built upon, rather than simply extracting from it. Synergy does not feature any form of currency. Structures are constructed by expending the resources necessary to build them rather than by paying for them. Similarly, while your city will develop a complex economy, it’s one based upon the exchange of goods for other goods, rather than upon financial transactions. Tree bark can be processed into planks of lumber, which can be used to construct a plant nursery to grow vegetables, some of which can be composted to grow trees, whose bark can be taken to start the cycle over again. Since there is no currency, Synergy doesn’t use the player’s capacity to make money as a metric to determine their success. Instead, players are scored based on the “prosperity” of their city. This is calculated by evaluating the happiness of their citizens, and sharp penalties are applied to this score if adequate housing and healthcare aren’t provided. In this way, Synergy’s mechanics center on providing a positive quality of life. This encourages players to act with empathy and to construct a flourishing city, rather than a hyper-efficient revenue-generating engine. ### Conclusion Synergy is not the first simulation game that encourages players to question the foundations of the genre. The protagonist of Factorio crash-lands on an alien world and gradually decimates its ecology to set up a factory. The assembly lines of this factory eventually construct a rocket that enables Factorio’s protagonist to escape both the planet and the consequences of their actions. Factorio simultaneously revels in the satisfaction of building a planet-spanning production line, while condemning the pollution and environmental devastation this inherently causes. Synergy sets itself apart by offering an alternative vision, a simulation game where the player’s actions heal the world, rather than harming it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/05_Research_EN.png) Synergy. Source: Press Kit Synergy's mechanics reward players for developing sustainably and punish the squandering of resources and rampant unchecked growth. The game’s scoring system incentivises constructing a society that prioritises the needs of its populace, rather than the acquisition of profit. The title “Synergy” is apt. This is a game about building a community that exists symbiotically with the world around it, rather than one parasitically set apart from nature. Synergy presents an alternative framework for city-building games based on compassion both for others and for the world itself. The lessons here are just as applicable to future societies as they are to future city builders. A review code for this game was provided by the developer. ### Now Playing at SUPERJUMP, Issue 32 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-32/ Last updated: 2025-06-19T19:49:43.000Z **We're back with a brand new Now Playing!** We're smack in the middle of not-E3 season, with all the attendant gaming news and reveals. Our team is still finding time to actually play games along with everything else, so enjoy and let us know in the comments what you're playing and what news has you excited for the future! ## Ben Cantrell ### Bomb Rush Cyberfunk Right now I’m playing through Team Reptile’s Bomb Rush Cyberfunk, which to me feels like Tony Hawk’s Pro Skater 2 and GTA III had a slick, stylish baby and raised it in a futuristic mash-up of Tokyo and New York. It’s got this chaotic energy that pulled me in, and the traversal system is just plain fun. Grinding rails and pulling off trick chains feels super satisfying, and the whole thing runs silky-smooth in 4K. [Team Reptile](https://team-reptile.com/), who also made the fun cel-shaded fighting game Lethal League Blaze, clearly has a deep love for that early 2000s aesthetic and absolutely nailed the “Jet Set Radio Future unofficial reboot” assignment. I’ve loved everything this studio puts out. You start off rolling around on a skateboard, but later you'll unlock a BMX and classic inline skates too. The skateboard feels the best by far, with a satisfying thwack when you land a trick. I love the BMX bike too, although, in the earlier stages, you mainly play as the skateboarding protagonist. You can switch between riders at any time by heading to dance-off locations and summoning any of the three characters, which keeps things fresh when you’re exploring and chaining combos around the city. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Bomb-rush-cyberfunk.jpg) Bomb Rush Cyberfunk. Source: Author. I love how the trick system and graffiti mechanics go hand in hand; you’re not just skating around for the sake of it, you’re out there hunting down rival tags and spraying over them. After you’ve tagged enough, the rival gang shows up and challenges you to a trick battle. You’ve got to outscore them to win, and that’s when all the practice pays off. There’s no fighting or anything like that, just style and skill. Except when the police show up and you get a GTA-style wanted meter. Then things get chaotic, and yes there’s some fighting involved. But most of the time, it’s all about movement and rhythm. The soundtrack is amazing as well. Proper future funk, house, and 90s hip-hop vibes gave me flashbacks to that early 2000s French house era, and it fits the game perfectly. I must confess, though; I’ve muted the music a few times just to cruise around the city and practice tricks with SoundCloud beats in the background. It’s that kind of game. All up, Bomb Rush Cyberfunk is a blast. It’s not huge or super deep, but it knows exactly what it wants to be. It’s got a clear sense of style, solid mechanics, and enough goals to keep me coming back. It's the perfect mix of chilled-out skating and stylish challenges. I’ll definitely be finishing this one. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-11.png) Source: Nintendo. ## Alexander Joy ### **Game & Watch Gallery 2** My parents have taken an interest in *döstädning* (the practice better known to English speakers as "Swedish death cleaning"), and as a result, I've been rescuing – and revisiting – the old game cartridges that have surfaced from their basement's depths. The game I've played most this month, consequently, has been Game & Watch Gallery 2, a mainstay of my Game Boy Color era. It has been stranger to return to this title than I expected. I generally find that I've grown more skilled at the games of my youth with time, even after long stretches without playing them, as if my brain has been quietly working out techniques and strategies in the interim. Not so with Game & Watch Gallery 2\. I'm still terrible at Parachute and Vermin; still skilled at Chef, Helmet, and Donkey Kong. Lord knows why there's such a discrepancy since all the games fundamentally involve the same skill: triaging objects by the speed at which they move and positioning yourself to dodge or intercept them as the game's rules dictate. It's sad to say, but Game & Watch Gallery 2 doesn't feel as much fun as it once did. Now that I know some basic programming, the simplicity of the games causes their seams to show. But I find that, by the same token, I have a greater appreciation for the imagination behind their original LCD editions. Every Game & Watch title is a demonstration of how an elementally basic, unchanging formula can be repackaged in such a way as to produce appreciably different experiences. And it really does seem like a lot of love was put into each game's "Modern" version, with its bright, appealing graphics and earworm background tunes. In the meantime, this excursion into the past has awakened my inner collector and makes me wish Nintendo would release the entire Game & Watch catalog in a single package. It would be especially welcome as a mobile game. Wouldn't it be nice to have every iteration of Mr. Game & Watch in your pocket? It could even utilize the device's clock to provide the "watch" aspect of the experience. Oh well, a man can dream. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-13.png) Steins;Gate: Linear Bounded Phenogram. Source: Steam. ## C.S. Voll ### Steins;Gate: Linear Bounded Phenogram I feel conflicted after finishing Linear Bounded Phenogram. On the one hand, some of its stories really push overlooked characters into the spotlight; on the other hand, it puts certain characters in some situations that don't feel authentic to who they are as individuals. The tonal whiplash between each chapter might also distract some players, depending on the order they choose to play them. The little touches are where it shines, though. Each character has a different cellphone, for instance. They have different screensavers and ringtones on their phone too, which further highlights the personality of each character. Throughout its story, Linear Bounded Phenogram attempts to give us a better understanding of each character's inner world. We get to see sides of them that we didn't in the first mainline entry. Since timelines play a role in the series, they allow the stories to be as weird as the writers' imaginations can stretch — and they can stretch very far, I assure you. ### **Suzerain** After my time with Steins;Gate, I started another playthrough of Suzerain. I'm being far more cold-blooded this time around. It's fun playing as a Machiavellian leader who's unlike me in almost every way, but the game is smart enough to punish my ruthless choices as well. Will my character survive? Will the country descend into chaos? All of that I don't know yet. We'll have to grit our teeth and make some difficult choices again. The game received its vaunted 3.1 update a while ago. As far as I can tell, this mostly focused on the Rizia DLC game, which I'll check out again after playing the Sordland campaign. I'm excited to see what the developers changed in the DLC and what remained the same. Perhaps I'll actually be a good king when I take another crack at it! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-14.png) The Precinct. Source: Steam. ## CJ Wilson ### **The Precinct** I’m currently playing this top-down police procedural that feels similar to GTA where you drive around the map doing missions, but as a police officer. The story is fairly straightforward; you play a rookie cop whose father was a police chief who was killed under mysterious circumstances. You get to choose your daily shifts, responding in real-time to the crimes you want to pursue while performing assignments like on-foot patrol or checking parking violations. Many of the crimes will have you taking down criminal gang members through car chases or stopping street fights. Whenever you arrest someone, you need to make the right choices of which crimes they committed, as picking the right ones will earn you more experience points. Upgrades are available for helpful things, like the ability to regain your stamina with well-timed button presses. Sometimes your choices might seem right when you make an arrest, such as seeing someone litter the streets with trash, but the game thinks you made an unlawful arrest. So far I've only experienced one game-breaking bug where I fell through the ground, but otherwise, it plays well, especially on Steam Deck. What’s keeping me going is wanting to take down the criminal gangs that are present along with solving a string of murders that are happening in the open-world city. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-18.png) Deliver At All Costs. Source: Steam. ### **Deliver At All Costs** I’m also playing another game on my Steam Deck that is similar to The Precinct. called Deliver At All Costs. You play as Winston Green, a delivery driver for a company called We Deliver set in a 1950s Americana setting where you perform deliveries in wacky situations. Most of the missions will have you dropping off items, but things quickly go in a zany direction. You'll be giving balloons to customers while all that helium is lifting your truck off the ground, or having to take photos of UFOs within a time limit before it’s done abducting cows. Missions like these give the game an off-kilter vibe that reminds me of the Destroy All Humans games, with similar character performances and story progression. Much of the story focuses on Winston utilizing his genius intellect to good effect, allowing you to slowly uncover his shady past as a former scientist. There are side activities and collectibles to find, such as money crates that allow you to buy resources and blueprints to upgrade your truck. While the handling on your vehicle seems floaty at first, you get used to the game physics as you try to complete each delivery to move the story forward, and the aforementioned upgrades help as well. Part of me is wondering when I will have time to do some free roaming since I feel like I’m just only able to continue the story along with no breaks in between. But then maybe I’m just not letting myself explore the world. I imagine there is free roaming once you beat the main story, but I’m just interested in seeing what else this game has to offer in terms of creative and wacky situations while the story plays out. ## Cat Webling ### **Projected Dreams: Nostalgic Puzzling** I've been playing Projected Dreams, an absolutely adorable puzzle game from Flawberry Studio. The calm, cozy, nostalgic feel of this game, where you piece together the shadows of various childhood toys to tell a lovely story about growing up, gives me vibes reminiscent of Unpacking. I love it dearly; it's a great way to relax and sink into a fun little world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-15.png) Lies of P. Source: Press Kit. ## Lawrence Adkins Right now, I'm bouncing between Lies of P and Stellar Blade. Despite both games employing a handful of Soulslike genre conventions, their unique aesthetics translate these gameplay ideas into a new light. Stellar Blade's world is one full of people struggling to survive, and as a result has become more militarized due to the ongoing conflict of humans and Naytibas. 'Bonfires' in this game are old military camps that need to be reactivated and are stocked full of supplies for Eve to buy before heading out to battle. NPCs have donned abandoned military gear and are almost all equipped with some sort of technological body modification. Eve even heals through small bullet shaped capsules instead of drinking out of an estus flask. Stellar Blade's combat is much more action-oriented, utilizing a wide range of attack combos and skill trees, with quick time events to make the game lean more into cinematic action. Perfect parries and dodges also make an appearance, providing unique follow-ups for certain attacks. Everything is quick, color-coded, and packs a punch. While it deviates a good bit from the formula, I consider Stellar Blade to be an "accessible Soulslike," having its skeleton built around the genre but made to be more digestible for audiences who might be a bit wary of diving into FromSoft's catalogue. Lies of P on the other hand has a more traditional approach to the genre. The aesthetics are much more grim and visibly dark, giving the impression of a sick world rather than one that's gone through war. Stargazers, the bonfire equivalent of this game, are small objects that are essentially energy magnets. While they still function similarly, they don't offer the same level of comfort that bonfires or Sites of Grace do. They look like delicate, fragile contraptions made of steel and porcelain that need to be carefully assembled. The approach to combat here is more rooted in the trappings of Bloodborne's well-regarded mechanics, focusing on parries (Perfect Guards) as the main defensive mechanic to gain the upper hand in combat. Weapons can also be mixed and matched, and what interests me the most is how parts scale with different stats. I play a very balanced build in most games and am very early in my playthrough (only 4 hours at the moment), but I'm super excited to experiment with this more! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-16.png) Mario Kart World. Source: Press Kit. ## Jahanzeb Khan They say life is like a box of chocolates, and you can tell a lot about a person from the shoes they wear.... and from the Switch 2 games they picked up at launch. We have a new Nintendo console. I participated in my first midnight launch in many, many years. As I was lining up I paid attention to what titles people were picking up as their first. My Switch 2 starter pack, like many, includes Mario Kart World. It would have been amazing to see Donkey Kong Bananza ready for launch, but a new Mario Kart makes sense to get as many people as possible to play together, not to mention taking advantage of the console's new chat and communication features. Many first-day buyers likely opted for this particular Switch 2 bundle, owing to Mario Kart's massive popularity. I don't 'love' the series but it is a fun one to jump into and it's likely going to get plenty of playtime with friends. I regularly play Mario Kart 8 Deluxe even to this day, so I'm looking to my gaming group to upgrade their Switch systems in due course. We may not have a new Donkey Kong or Mario platformer ready for launch, but Sonic sped his way into the Switch 2 launch lineup. Indeed, Sonic was one of four SEGA titles ready for day one, a reality no one could have fathomed during the great console war of 1995\. Sonic x Shadow Generations feels amazing to play on handheld as the framerate is just unbelievable. It also features bonus content starring the Keanu Reeves version of Shadow the Hedgehog from the movie. So not only do we have four SEGA titles, but two of the console's launch titles star Keanu Reeves (Cyberpunk 2077 being the other). 2025 is pretty wild that way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-17.png) Street Fighter 6\. Source: Nintendo. Having a fighting game at launch is a time-honoured tradition, and Street Fighter 6 lands the perfect KO. Playing the next-gen Street Fighter in handheld mode feels pretty spectacular, like a homecoming in many ways. And finally, the classics: three GameCube titles including SoulCalibur 2 (with the coolest guest fighter ever: Nintendo's own Link from The Legend of Zelda). I also picked up Ridge Racer because... you know... it's Riddggeee Racccceerrr. I even paid for the interactive instruction manual. Welcome Tour absolutely should have been free software, but to be fair it does have some fun mini-games and is a much better introduction to the system than 1-2 Switch was for the preceding system. The asking price for Welcome Tour is measly, but on principle, it's still a bummer. I like it for what it is if I'm being honest. I'd love to see what Switch 2 games my fellow SJ writers picked up at launch. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-24.png) Baby Steps. Source: Steam. ## Ignas Vieversys Not a game, but I was contemplating whether to buy Nightreign last week as a person who loved every single minute of Elden Ring and its DLC (minus the Promised Consort Radahn fight) but has no friends to play with (consensus on Reddit/Steam was a mixed bag). I decided against it. and will just enjoy videos of people getting wrecked by that Libra dude boss for now. Anyhoo, I was plagued with the void of having finished The Last of Us Part 2 Remastered (what a game, what an experience... My God! I knew it was gonna be good, but this exceeded my expectations), so the only game worth mentioning is Baby Steps, which just got a demo out on Steam. If you're familiar with Bennett Foddy's anxiety-inducing catalogue, including QWOP and Getting Over It with Bennett Foddy, you know how this goes. You hold the controller's trigger to raise one leg, use the left analogue to move the leg into place where you want it to land, unclench the trigger, and do the same with the other leg (yes, another trigger). Fairly simple stuff. It's like QWOP but in 3D and as a 35-year-old manchild with an awfully dirty onesie to remind you how much you suck at walking. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-25.png) Baby Steps. Source: Steam. And boy, you will spend a good chunk of time facedown in the mud. It might not seem punishing at first - flashbacks of Getting Over It now incoming - but once you hit a proper challenge that sees you sliding down the hill, undoing most of your progress. That's when I was reminded why I haven't finished Getting Over It or Death Stranding, which was a big point of inspiration for Baby Steps' devs, and it tracks. The soundtrack is a bunch of weird, kinda enjoyable noises that I can't put my finger on. There's this mountain, guide-person that jumps out of nowhere and makes our manchild onesie uncomfortable (all characters in the game are voiced by devs themselves, which I think is absolute bats but brilliant nonetheless). It's supposedly an open-world game, so you can choose which direction you want to wander off, and seeing mountaintops that you can reach gives the same thrill that Journey did - although just the idea of rolling facedown from one of them, losing 20 minutes of progress, gives me PTSD. I'm definitely buying Baby Steps when it comes out, but in the meantime, I probably have to start looking for mates to play Big Walk, which is another walking game on my radar. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments and check back next month for more of what our team is getting into. ### Gravity Rush and What Handheld Gaming Has Lost URL: https://www.superjumpmagazine.com/gravity-rush-and-what-handheld-gaming-has-lost/ Last updated: 2025-06-19T01:15:52.000Z **Portable gaming has reached unprecedented levels of popularity in the last decade, quite possibly at an all-time high.** Frankly, gamers who want to take their virtual experiences on the go are spoiled for choice. With the Nintendo Switch series, you can take the biggest and most fleshed-out version of Super Smash Brothers with you anywhere, with no compromises or concessions. Purchasing a Steam Deck or other comparable portable computer allows you access to thousands of actual PC games – including massive award-winning games like Baldur's Gate 3 – in their entirety, whether from the comfort of your couch or the top of a mountain. This doesn't even touch on the incredibly robust mobile game market, which includes and contributes to some of the biggest video games the world has ever seen. Whether you want to drop in for a few rounds of Fortnite or build a castle in Minecraft, the ability to do so with surprisingly few limitations lives on the same device you carry with you every day. We are finally living in a future many of us could only dream of as children – console-grade experiences, whenever and wherever we want. Yet, as we stand on the precipice of limitless portability, a play-through of Japan Studio's excellent Gravity Rush on native PlayStationVita hardware presented me with a question: in our quest for ever more expansive, console-quality experiences on the go, have we lost the very essence of what made handheld gaming special? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-7.png) Source: IGDB Press Kit. The tale of the Vita is old as time: Sony released an excellent piece of technology with little marketing and explanation, balked at the fact that it was received extremely well but sold poorly, refused to support it in any financially risky capacity, and allowed it to die a long, slow death as it gasped for breath, languishing in a sea of obscure and mediocre titles. Is that a bit dramatic? Yes, but the Vita really is a special little machine that was never given the chance to achieve its full potential. The Vita's hardware placed it squarely between the PS2 and the PS3 in terms of power, which allowed the handheld to have some truly groundbreaking and excellent experiences, including Gravity Rush. Released on June 12th, 2012 and despite the Vita's small install base, Gravity Rush was [extremely well-received](https://www.metacritic.com/game/gravity-rush/) and quickly captured the hearts of those lucky enough to play it. While the game itself is truly fantastic – it has a unique concept, intriguing characters, a gorgeous game world, and movement mechanics so fun it rivals Marvel's Spider-Man – that's not really what kept passing through my mind as I shifted my way through Hekseville. Instead, my thoughts swirled with the idea that Gravity Rush feels so perfectly tailor-made for a handheld environment, and that concept is sorely missing from our modern console offerings. Pinpointing exactly what makes this phenomenon occur can be difficult, but I narrowed it down to two key factors that define the true handheld experience. First, many handheld games were tailored to let us enjoy their experiences in short bursts, not just typical home console binging for hours at a time. Gravity Rush has the uncanny ability to feel expansive and more than the sum of its parts, despite Hekseville itself being relatively small, thanks to the verticality of its design; there's an astronomical amount of explorable space both on top of the buildings and below the city. Thanks to the city's layout, playing for 30 minutes is just as satisfying as playing for 3 hours. The game's numerous challenges are short and to the point, while remaining challenging, re-playable, and engaging. A player can sink as much or as little time into Gravity Rush with each session as they see fit and still make meaningful progress. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-8.png) Source: IGDB Press Kit. --- > When a handheld game jumps to our television screens, there's almost always something lost in translation --- Secondly, the game has to operate within the confines of the handheld's limitations and features. For Gravity Rush, this means taking full advantage of Vita's gyroscopic motion tracking, touchscreen capabilities, and impressive hardware (for the time). The best handheld games – Gravity Rush included – don't try to create an amazing experience in spite of handheld limitations; instead, they lean heavily into them to craft an experience that can only be felt on that specific handheld. The Legend of Zelda: A Link Between Worlds, a 3DS darling, is a perfect example of this idea in action. It isn't just a good Zelda game, filled with dungeons and puzzles. It's a good *handheld experience*, utilizing the 3D effects and touchscreen of the 3DS to craft an adventure you couldn't have anywhere else. The opposite rings true as well. When a handheld game jumps to our television screens, there's almost always something lost in translation. Whether it's one of the numerous PSP games that were ported to PS2 or even the Gravity Rush Remaster for the PS4, something always feels off while you play. With Gravity Rush Remaster, it's the scope of Hekesville itself. With a Vita in hand, Hekesville feels like this massive world inhabited by tons of people, complete with distinct neighborhoods and unique transit systems to visit all of them. After these areas are unlocked, the transit system can be forgone completely, instead opting to allow Kat to zip around to the different neighborhoods. This allows you to really feel the transition between spaces and gives a genuine sense of awe that this huge world could fit on this tiny Vita. When played on a console that saw massive open-world games like The Witcher 3 and Ghost of Tsushima, however, the whole experience becomes much more quaint. It creates a significantly emptier experience; moments of astonishment are replaced with a general sense of lackluster indifference. That feeling goes to show that these games are designed around and best experienced on the hardware for which they were originally created. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-9.png) Source: IGDB Press Kit. Today, we have the hardware that dreams are made of with the Nintendo Switch series and the Steam Deck. That said, there is a strange feeling of loss when one returns to the handheld games of yore. You don't know what you have until it's gone, and while the ability to take these huge console experiences on the go is a better experience overall, there's something to be said for the beautiful simplicity and innovative creativity that accompanies purely handheld experiences. While some of this certainly is nostalgia – go back and play some of the more obscure games on a handheld like the Game Boy Advance and you'll quickly find they haven't aged particularly well – the sentiment has become "this works very well in handheld" and not "this *is made* for handheld." That sort of specialty being lost to the annals of time is a shame; it forces a homogeneity between on-the-go gaming and home gaming that causes the former to lose a bit of what made it so special in the first place. The future of handheld gaming may look brighter than ever, but some of that sheen was bought with the identity of the glorious past. ### Indie Game Club Issue 3: How Fish Is Made URL: https://www.superjumpmagazine.com/indie-game-club-issue-3-how-fish-is-made/ Last updated: 2025-06-18T09:39:45.000Z **It's here! This is the third meeting of the SUPERJUMP Indie Game Club, where we invite YOU to play along with our contributors!** This month we played the grotesque and thought-provoking How Fish is Made by Wrong Organ. If you want to catch up, you can play this game for [FREE on Steam](https://store.steampowered.com/app/1854430/How%5FFish%5FIs%5FMade/). As always, our mission is to highlight independent developers that don't ask for a single cent in return. Next month won't be any different as we explore 2020 Epic Mega Jam submission No More Papers Please by [Panchinerino](https://panchinerino.itch.io/), [Urbancat](https://urbancat.itch.io/), [NotFrancis](https://notfrancis.itch.io/), and [Flammyth](https://flammyth.itch.io/). You can play along by downloading the game for [free on itch.io](https://panchinerino.itch.io/no-more-papers-please) and coming back next month to SUPERJUMP. Following are the accounts of our fish this month, enjoy! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/20250530154124_1.jpg) Source: Author. ### Nathan Kelly “All thoughts wail simultaneously, the merged knowledge of insignificant brains.” I approached How Fish Is Made expecting a horror commentary about the gruesome realities of fish farming. I received exactly this in the realization of your average flesh walls (thank you Silent Hill) and musical numbers (thank you Alan Wake). This short horror experience is more an abstract thought-piece than a mechanical game, so let’s discuss interpretation, specifically mine. The viewpoint of the fish is realized expertly in cryptic dialogues that remind you “not to talk to the machine, it can’t hear you” and offer you the grand illusion of “UP or DOWN” (or was it LEFT or RIGHT?). The game's visuals keep you on edge as featureless rooms reveal themselves. This religious pilgrimage the fish must make keeps the conviction that at least one part of its life is under its control. A journey while deciding if metal corridors confine it or if a beast has actually swallowed it. Graphic imagery makes the player uncertain as the belly of the beast nears until the most chilling reality is revealed: “did it matter?” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/20250530153303_1.jpg) Source: Author. A smart talking fish asks you about your trek through the machine. Did you decide? Were you filled with conviction? Were you honest about your choice when speaking to others? These questions are rhetorical because, like the rest of the decisions, it is ultimately inconsequential; your fate is the same whether you go up or down in the end. You don’t need to replay and see both endings to come to that conclusion. I can’t pretend to know the exact intent of the piece, but How Fish Is Made left a deeply abstract impression on me, seeming to say that our individual decisions and convictions make us more human than the outcome of those decisions. How Fish Is Made also says that the collection of these human experiences becomes cosmic noise in the collective subconscious. Nothing can be accomplished because no consensus can be reached. “As one, you are a swelling god of no purpose, no direction, no self.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/20250530153530_1.jpg) Source: Author. ### Alexander B. Joy How Fish Is Made amounts to a walking simulator, one with a brilliantly bad game feel. Case in point: I *hate* how your character moves. There’s something viscerally unpleasant about watching a fish writhe and flop on its side to maneuver, undulating like a perpendicular snake. Fish don’t operate that way (unless beached and under duress), making it uncanny and distressing to behold. Yet this discomfort serves a purpose. The biomechanics of movement are often invisible in walking simulators, such that[ Bitsy](https://www.bitsy.org/) – the walking simulator engine *par excellence* – forgoes walking animations entirely. How Fish Is Made, by contrast, makes the mechanisms of your locomotion impossible to ignore. In this way, the game turns an otherwise pedestrian (sorry) genre into an experience that feels nothing like its bones. You *notice* that you’re squirming. You *sense* every bit of the slimy, oily, awkward business of being alive. All this discomfort is marshaled in service of a nihilist narrative suffused with black humor. Your quest – such as it is – involves determining whether to travel UP or DOWN. Nothing else is explained, but it’s clear that no explanation would carry any weight. The game takes pains to remind you that nothing matters, and any meanings ascribed to anything appear ridiculous from the right (or wrong) vantage. How Fish Is Made milks this for some top-tier dark comedy, such as when you stumble across an “anointed” fish lying asphyxiated inside a used condom. Also, the line “We can only POETRY them!” is certain to rattle around in my brain forevermore. Your actions are thus at once frivolous and weighty. Will you crush others within the mechanisms of machinery you barely understand to reach goals that are no clearer to you? Will you stay your course, or change your mind? Who cares? Certainly not this game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/20250530153753_1.jpg) Source: Author. The issue with stories about nihilism is that they’re all fundamentally the same. Nothing matters, choices are meaningless and illusory, all is vanity, etc. It’s interesting to plumb the first time around, like when you discover Beckett in your late teens or early twenties. But there are only so many ways this story can be told, with few new insights to wring from such a worn concept. To the game’s credit, though, if it doesn’t lead you to *think* anything new, it definitely makes you *feel* – squishy and greasy and grossly embodied in a way nihilist narratives often overlook in favor of disconnected abstraction. How Fish Is Made is less about philosophically reckoning with the universe’s apathy than exploring the material reality of wallowing in it. Don’t like it? Good. Here’s to holding grudges. ### Wallace Truesdale When I first played How Fish is Made in July 2024, most of my attention was focused on the unnerving excursion’s conversations around decision-making. Despite every fish’s preoccupation with going up or down, the interesting part of this game is how each fish validates their choice. You watch each fish explaining, at varying levels of sanity, why they’re right, why someone else is wrong, and why your choice ultimately means nothing. Going up or down indeed has no significant consequence when you roll credits. That doesn’t mean I walked away without a heightened awareness of howI was making decisions and what I was telling myself afterward. However, on this second playthrough, a different question bothered me more: why fish? From visual novels to janky open worlds, the act of making decisions is not new to games, nor is the discussion of their consequences. Not even talking about how those decisions are made is exceedingly rare, but I don’t do it as a fish too often! When I sat with this thought, I left with a deeper appreciation for the game than after my first playthrough. The ugliness of your fish’s movement, best described as floundering around, looks uncannily like how I feel when making choices at times. The grandness that each fish gives an ultimately false choice can reflect the outsized attention we give to small decisions or choices whose entire purpose is to distract from predetermined outcomes. The ease with which some of the other fish got trapped in gears and plastic wrapping reminded me of how even the path to a decision can have consequences. It shouldn’t be lost that each fish is making their choice out of water, that this is fundamentally an odd place to see a creature with gills and no legs, and that decision-making is often quite like trying to chart unexplored territory. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/20250530154417_1.jpg) Source: Author. To broaden the scope a bit, fish also make me think about my senses more acutely than other creatures. Holding, smelling, and even seeing a fish can be visceral. They are slimy and often hard to hold. They smell and taste almost exclusively like themselves, no matter how you dress them up. Their mechanical make-up is so different from humans that logically explaining what it must feel like to be a fish feels doomed, outside of maybe the dependence on water. A person can look at a fish, see its lack of limbs and ability to stay underwater, and immediately understand they are nothing like this creature. But that same person can still walk away and tell you all the things they felt about a fish. Oddly, fish are great tools for practicing how to discuss feelings. While How Fish Is Madeisn’t treading new ground, its method of traversing it is unique and makes it worth recommending. By adding you to the school of fish who are in for a harsh lesson, surrounded by machinery and guts meant to make you queasy, it creates an experience that gets you to feel the good, bad, and really ugly of the decision-making process. ### For Those Who Come After URL: https://www.superjumpmagazine.com/for-those-who-come-after/ Last updated: 2025-06-14T19:49:29.000Z ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/Spoilers_Ahead.png) Major spoilers for Clair Obscur: Expedition 33 ahead. **In Clair Obscur, at the end of Act 2, virtually everyone dies.** The events leading up to this began long before the game. More than 60 Expeditions fail before the launch of Expedition 33, where more than half of Gustave's brigade is expeditiously executed by the seethingly dark Renoir. After great trials, including Gustave's death and sacrifice, their company fells several Axons, climbs the Monolith, and defeats the Paintress. They fly back to Lumière on the back of their Totoro-like immortal friend Esquie, celebrating the first true victory ever experienced by an Expedition. In a nuclear wave of flower petals and swirling energies, a Gommage hits. This time, the numbers scribed on the mammoth monolith do not matter. This Gommage is an eradicator of lifetimes, a push to rid Lumière of all remaining sentience. Lune, Sciel, and even Maelle are scrubbed from the rotted painting, leaving Verso behind. And we are faced with the truth that all of this is a mere fabrication. ## Tomorrow Comes One of the few responsibilities of fiction is to present meaning in artifice. Not one of us is immune to the emotional manipulations that occur on page and screen. Tears fall even when we know this world before us isn't real; one of the more valuable aspects of human consciousness is that of empathizing with the created. Video games are a profound medium. Their art form beautifully combines existing, layered creations—music, concept art, digital art, game mechanics, storytelling—into an unusually cohesive product. The fact that any video game exists at all is short of a miracle. After the credits roll for Clair Obscur: Expedition 33, perusing social media channels produces a fairly binary takeaway: the painted world matters, or it doesn't. Years before Clair Obscur, one of its influences, Dark Souls, also presented us with the concept of a painted world. It's not novel to hide a world within a world, especially in a fantasy setting. Dark Souls never defines what a "painted world" is. While the player cannot escape until they run through the snow-crusted ruins and bypass (or kill) Crossbreed Priscilla, there is nothing mechanically or visually distinct about this supposedly false biome. We enter the painting, we leave the painting. A world inside a world, but which is fictitious? Act 2 clarifies that our beloved Lumière and its continent of erratic biomes is fictitious, or at the very least some kind of conjured reality. A painting not created by the Paintress but by her more powerful son, one member of the Dessendre family. Verso—the *real* Verso—paints and paints endlessly, trapping glammories of himself and his sister inside a slowly disintegrating dreamscape, a desperate hope of cohesion created in the wake of tragedy. Clair Obscur is an unabashed tragedy, one that weighs the sins of creators against the desperate efforts of the created. It asks, repeatedly, what exists: the soul, God, sentience, free will. Pain, it seems, is the ultimate reasoner, its desperation borne out of singular suffering enough to damn thousands, an aesthetic opiate formulated without consideration of choice or conscience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/904943fa-8341-4538-9d9d-cd23dd705ee8.png) Source: Author. --- > Video games are a profound medium. Their art form beautifully combines existing, layered creations—music, concept art, digital art, game mechanics, storytelling—into an unusually cohesive product. The fact that any video game exists at all is short of a miracle. --- ## No Choice But Free Will The world in Clair Obscur is filled with entities of arguable sentience. From the Gestrals to the Nevrons, there are "lesser" beings whose tribalism or aggression have both the player and the party questioning their place in the world. It is a brave choice for a writer to establish that one series of characters is less real than another. In Simulacra and Simulation, French theorist Jean Baudrillard argues that society has replaced meaning with symbolism, hiding the relevance of their lives behind culture and media. The Precession of the Simulacra has taken precedence over real lives, blurring reality with representation. Akin to the Wachowski's Matrix films, once the grand revelation occurs, the audience no longer sees the "digital" selves as meaningful, as life is hiding behind the veil of a 1999 utopia, instead mired in Babels, arks, and unseasoned porridge. Baudrillard describes layers of reality that break down from faithful image to pure simulacrum. This final stage describes a hyperreal artificiality where sentiment carries the real, and the experiences of those who lack self-awareness have completely taken over. Human beings can both be bound by their sentimentality and made better by it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eadeb9de-25da-42e4-9be1-67abf89496df.png) Source: Author. As with the layers of a painting, the more the illusion takes on the elements of the real, the more it becomes believable. Here, too, is the power of storytelling, where the author's efforts to bring the unreal to life can be so meaningful that its symbols blur the line between necessity and analogy. In the Pilot episode of the television sitcom Community, Jeff Winger [uses a pencil](https://community-sitcom.fandom.com/wiki/Pilot) as a prop to demonstrate to his study group how quickly human beings form attachments to the unreal. He names the pencil "Steve," snaps it in half, and the mortified onlookers watch in silence as "a part of them dies." Arthur Schopenhauer described free will as ultimately peerless, that our physical freedom is not a description of absolute choice, the feeling that hindrance is our only occlusion toward the inspection of self-consciousness. Video games are a pointed interactive descriptor of this method. While we can blaze our paths through Clair Obscur in infinite ways, we all achieve the same end, and our finality is determined by a greater, pre-existing Will: that of the storyteller. Verso, unfortunately, saw this from the beginning. As both a member of the Dessendre family and Expedition Zero, who forged paths with dozens of other Expeditions, he knew the end from the genesis, and could only manipulate, robbing himself of humanity and authenticity. ## Purposeless Forays > “…art can be a Window, and art can be a Mirror. And great art. Great art is both. Son, you’ll never be a true artist if there is always a mask between you and the viewer, especially when the viewer is you…” > > **Renoir's Journal** Verso painted exactly one canvas: Lumière. As a child, he invested a piece of his soul into this unending masterpiece. Lumière became a place where his sister Clea would play, and a place his family both explored and exploited. Many of us live blissfully ignorant of singular, destructive truths. We use religion, alcohol, drugs, people, and entertainment as a way of coping with tragedy and misfortune. The truth can sometimes be so painful that we must bury our traumas and live despite them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/01fc889d-cc44-4134-87b2-76de4b448b9e.png) Source: Author. The Verso of the Canvas lived with family—his sisters Clea and Alicia, his father Renoir, his mother Aline—until the fracture separated Lumière from the rest of the continent. When his mother went missing, Verso and Renoir joined Expedition Zero to strike out against the Paintress and restore what was lost. The truth broke Verso and Renoir, albeit in different ways. When it was learned that their world was nothing but a mirror, a facsimile, their mental states brittled. As copies, Verso and Renoir of the Canvas dedicated themselves to putting their family back together: Renoir became a brutal, authoritarian protector of his wife, the Paintress, and Verso swore he would find another way. As a misbegotten adventurer, he led countless Expeditions toward their ultimate demise. Time in the canvas leads to the deterioration of the physical self. While Renoir and Clea did all they could to save Aline from this fate, their miracle of immortality made them outcasts in Lumière. The emulated Dessendre family, bound to the very canvas Verso created, was ostracized and forced to wander. And while Verso's companions, Monoco and Esquie, knew of the truth, they dedicated themselves to Verso's task, their dedication and friendship anchored to their creator. As Verso traveled with Expedition after Expedition, he was forced to face the truth: immortality was a curse, and the only way forward was the destruction of the Paintress, and the freedom of his grieving mother. The Dessendre family could only heal in oblivion. ## For Those Who Come After The free will and motivations of Expedition 33 are tested multiple times throughout the game. Verso's lies and manipulations ultimately lead Maelle, Lune, and Sciel toward their ultimate path, sacrificing Gustave in an attempt to stymy his painted sister. Gustave, like the rest of the Expedition members of Lumière, dedicated his life to the knowledge that he would likely die. As the years pass and the numbers tick down, salvation is heaved upon the shoulders of the young. Legacies are subject to the erosion of their purpose. There may not be a way to stop the Gommage. There may not be a way to kill the Paintress. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/df7f667e-89b5-4e97-af7c-b8a01f8a24c1.png) Source: Author. --- > Baudrillard describes layers of reality that break down from faithful image to pure simulacrum. This final stage describes a hyperreal artificiality where sentiment carries the real, and the experiences of those who lack self-awareness have completely taken over. Human beings can both be bound by their sentimentality and made better by it. --- Lune rejects the very concept of individualism by reminding Gustave, "We always said the future of Lumière is more important than any individual life. Do you still believe that?" As with many RPGs, the core conceit of Clair Obscur: Expedition 33 is of the created resisting the desires of their creators. While it might be absurd to consider that a writer or painter gives sentience to their creations, they do instill meaning to identities far beyond their control. In the hands of the reader and the viewer, meaning can transform expeditiously. Are the curtains blue, or is there subtext beyond such minor choices? Are the people in the painted Lumière people, or puppets? Clair Obscur attempts to force creative control on the player, consigning the ultimate choice to a binary that's split between tragic perspectives. As Maelle, the painting is forced to continue on, and the reincarnation of Alicia uses her powers to bring Gustave, Sophie, and the rest of the dead back to life. Verso, like a fettered minstrel, is forced to entertain the party, bereft of purpose at the hands of his painted subjects. As Verso, Maelle leaves the painting through her Gommage, and the others slowly disintegrate. While a third ending might be desired, Clair Obscur forces upon the player a somewhat trivialized split between salvation and destruction, though outside of Verso and Maelle, agency is thwarted. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/a19fd2e9-1dc3-4a63-92ae-48cdf9d71260.png) Source: Author. ## Folie à Deux > "There is but one truly serious philosophical problem, and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest — whether or not the world has three dimensions, whether the mind has nine or twelve categories — comes afterwards. These are games; one must first answer." > > **Albert Camus, *The Myth of Sisyphus*** Lumière's absurdity is given context through the eyes of a child. As a place to escape the tragedy and intense melancholy of their real lives, Verso and Clea lost themselves in the abstract, pushing together biomes inspired by places only seen in storybooks. Aline duplicated her life, crafting emulations of her family. Clea, in her pain, created the Nevrons. Alicia created the citizens. Verso, ever the child, crafted the Gestrals, Monoco, and Esquie. The family did not work together, but instead abused the power of Verso's canvas to revivify the desires destroyed by the fire. Clair Obscur is not the first video game to take the route of meta commentary. Video games are, of course, an act of creation, and it takes real lives and lived hours to put together a masterpiece like this one. The external conflict of Writers versus Painters in the game can be taken in any number of ways, but I chose to see it as an internal conflict, a story about entities constantly at war with their natures. The game's central storyline fashionably obscures the greater worldbuilding at play, and in a style reminiscent of From Software's best, allows only bite-sized chunks of background information that pertain specifically to the plot. The conflict between the Writers and the Painters was intense enough that one attempted to kill the other, which is not necessarily a sign of moral good versus moral evil, but instead a contest of wills. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/328f4cf2-26a6-4ea8-acda-384d35905ca3.png) Source: Author. In the television show Severance, there is a moment where Helly's "outie" tells her "innie" that '*I am a person, you are not.'* As with Clair Obscurs layers of the Real World and the Canvas, Severance splits its realities and characters subjugate themselves to hide away from the pain, frustration, and vulnerability that comes with living an unwanted life. Even though the innies are still people, and still an aspect of their higher format selves, they are denigrated as nothing more than appendages that can be coerced. We want to believe that we have control over our lives. We want to believe in our decisions, that the choices we do or don't make have valuable outcomes. What would it do for the human psyche to realize that none of this is real, that we are all stuck within a Matrix-style machine that trivializes everything we've ever done? At the end of the story, the painted Verso implores Maelle to end the illusion. Even if it means the destruction of everything within the Canvas, the only true answer to their cycle of pain is erasure. Verso utilizes his free will to make the only choice that matters: oblivion. ## When One Falls, We Continue Clair Obscur: Expedition 33 wants us to face the inevitability of death. Human beings have dedicated themselves to the refusal of the inevitable, through religion, philosophy, entertainment, and more meaningless pursuits. It is tough for anyone to contend with the fact that each of us has an expiration date, and not only is that date completely unknown, but it is oftentimes unfair. Some die of old age, while others barely make it out of infancy, or not at all. RPGs very traditionally make commentary on death. Clair Obscur has been repeatedly compared to Final Fantasy X, not just because of their respective narratives and complex turn-based battle systems, but because they centralize the inevitability of our courses. When Tidus first learns that Yuna is bound by sacrifice, he is outraged. He cannot believe that her supposed friends and guardians could simply lead her to the slaughter. But in their world, they've been born into death, and will do anything it takes for even a fragment of happiness. As the clock ticks down on the Paintress' monolith in Clair Obscur, that becomes increasingly real. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/26f490eb-3ad6-45c1-a420-5778e0468095.png) Source: Author. --- > We want to believe that we have control over our lives. We want to believe in our decisions, that the choices we do or don't make have valuable outcomes. --- At number 33, you learn that the totality of life has changed. Couples have children as soon as they can in an attempt to grant as much life as possible to those who come after. They no longer concern themselves with the philosophical or moral implications of childbearing: they *must* continue one. In the first season of True Detective, Rust Cohle says, "I think the honorable thing for our species to do is to deny our programming. Stop reproducing, walk hand in hand into extinction - one last midnight, brothers and sisters opting out of a raw deal." While his antinatalist point of view seems cynical and alarming, his perspective is that death is the *only* outcome of being alive, that everything we experience is caught up in a cycle of misery, pain, and cruelty, with one defined end. The members of each Expedition decide to reject that the ultimate philosophical answer is misery. While the game ultimately reduces itself to a binary of Verso and Maelle, their moment of contention is due to all those who came before. The journal displays Expedition after Expedition that sacrificed themselves for the good of all. There is an Expedition whose grandiose attempt resulted in an actual confrontation with the Paintress, and an Expedition that laid out all the handholds that Expedition 33 uses to scale impossible cliffs. Clair Obscur reinforces, both mechanically and narratively, that no action is too small when it benefits the greater good. ## Joie De Vivre Clair Obscur: Expedition 33 has felt like a breath of fresh air for newcomers and RPG enthusiasts alike. Though heavily inspired by the likes of Persona and Final Fantasy, it somehow elevates itself above its inspirations, bringing us a rich and dynamic narrative and addictive gameplay that's been missing from more recent titles. There's a reason that so many players are comparing it to older Final Fantasy titles, not recent ones. The plot feels enriching because it does not pull its punches. While death can often be an uncomfortable topic, and we have no end of cruelties in today's world, fiction that faces these issues head-on will always feel more valuable than those that cannot commit. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/940d5fbf-d889-4db8-9071-69445ad386fb.png) Source: Author. The joy of living is now, as it has forever been, a personal responsibility. Joy, for many, feels unreachable. It is not the fleeting feeling of happiness but a deeper exuberance that must often be measured by choice. Life is full of challenges, setbacks, and pain. It takes immense personal effort to showcase any optimism, especially if your life has been more difficult than most. After everything that Expedition 33 went through, it might make sense for them to walk hand in hand into the darkness. As a player, it's tough for me to find either Verso's or Maelle's ending to be completely compelling, as both characters could not bring themselves to ever step away from their perspectives for the greater good. Clair Obscur: Expedition 33 is a tragedy. And like all great tragedies, there is no happy ending and no singular choice that answers every pain. We want to believe in quietly appealing fallacies, such as objective fairness or that hard work pays off. "Don't do this," Maelle begs. "Don't leave me again." She fades into Verso's arms as he promises her that she's going to be okay, that her power supersedes suffering. As he hugs Monoco and Esquie, it doesn't matter that they are all creations of a Painter. Their pain, their sadness, is real. One by one, the players exit the stage, and Verso must contend with the fact that there is no correct answer. In the real world, the Dessendre family gathers over Verso's grave. In his death, he was somehow the only one to make the tough choice that the others could not. Behind his grave, the party waves one by one, slowly vanishing into the ether as Alicia looks on. If they had known their fates from the beginning, would they have tried so hard? Or would the pain of knowledge have caused them to acquiesce to the dream? The strength of games like Clair Obscur: Expedition 33 does not rest in the provision of easy answers. They want us to reason through the worth of continuing. ### WordPlayer: The Hundred Line Subverts – but Also Respects – the Auteur URL: https://www.superjumpmagazine.com/wordplayer-the-hundred-line-subverts-but-also-respects-the-auteur/ Last updated: 2025-06-12T22:24:46.000Z **The Hundred Line: Last Defense Academy - the latest (and most interesting) game from Japanese developer Too Kyo Games - knows that there's a good chance you're playing it because of the names attached to it.** The game is directed by Kazutaka Kodaka and Kotaro Uchikoshi, two men best known for cult classic narrative-focused series. Kodaka wrote and created the tremendously strange, bleak, and exciting Danganronpa series, in which children are forced into killing games whereby they must kill to survive. Uchikoshi is the director of the Zero Escape series, mechanically twisty games about groups of strangers solving escape rooms while making choices that branch the story in different directions. These are reductive descriptions of two complicated and beloved series, both of which are known for their shocking moments, wild twists, and increasingly obtuse narrative "rules" that are used to justify some thrilling moments. Both series are heavy on text, feature very strange characters who slowly reveal hidden depth beyond their most outwardly defining characteristic, debuted on handheld systems, and have built up cult fanbases. When Too Kyo formed in 2017, those fanbases - which already overlapped heavily - were united in anticipation, waiting to see what two directors known for their offbeat, twisty, and frequently intense games would do next. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-37.png) Source: Steam --- > To say that The Hundred Line contains references and sly winks to Danganronpa would be an understatement. --- The Hundred Line: Last Defense Academy is more-or-less exactly what I was hoping for from Too Kyo Games - which is to say, it's a game for freaks. It's full of strange plot twists and reveals, loaded up with hyper-specific character quirks, silly mechanics, and a "gifting" system that encourages you to get to know the other characters better. There's something strangely cozy and comforting about it, despite the game featuring a sinister narrative about the world's destruction. I'm a big fan of the Danganronpa series, and I think part of that fandom is the strange appeal of being locked into an evolving space that is failing to perform its primary function. Danganronpa and The Hundred Line both put you in a school that's out of operation. It's a very specific sensation, being able to roam around an inherently familiar space that feels like it should be off-limits; that sense of being "trapped" but also wanting to explore. The Hundred Line works on this familiarity, this sense of returning to a situation that players of the previous series have already been in. To say that The Hundred Line contains references and sly winks to Danganronpa would be an understatement. If you've played Danganronpa and heard that this game, too, is about a bunch of young people being locked in a school, you're likely to come into it with specific expectations. The Hundred Line's script doesn't just understand this, it directly addresses it. One character, Darumi Amemiya, constantly calls out her desire for everything to descend into a "killing game", and there are several gameplay progression systems lifted wholesale from Kodaka's earlier series. There's an understanding that you might expect the game to operate like Danganronpa - and this feeling isn't simply going to go away when you realise this isn't the same thing. Without spoiling it, I was impressed by The Hundred Line's commitment to the bit, its willingness to keep reminding you that its premise is very similar to Kodaka's earlier work and that any fondness you have for that project may explain why you picked this one up. In the early stages, especially, The Hundred Line revels in playing with your expectations. There's a character who is presented as the game's equivalent of Monokuma, the giant cuddly-looking bear who drives all the violence in the Danganronpa series, and expectations are set around the role they're going to serve - but then the game does something truly surprising with that character. It's soon revealed, too, that not only will you not be killing the other kids, but in fact they are all *unkillable*. This reveal is made with a wink and a nod. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-38.png) Source: Steam The Hundred Line is built on a much bigger twist - one that isn't uncovered until you're very far into the game, and one that feels lifted right out of Uchikoshi's Zero Escape playbook. There's something about the tenor of The Hundred Line, a prevailing sense of unease that the game knows you're anticipating a big central upheaval on the horizon. Your progression through the story is just a little too smooth, and some of the systems are too straightforward. The game lets you feel the undulations below the surface without pointing them out explicitly. There's a trust in the player to pick up on this unease, to feel the pull of the big change fans of Zero Escape will be expecting. Part of the fun of The Hundred Line is that the team has the confidence to know a large portion of the audience came in with specific expectations that the game then simultaneously plays to and subverts. The team at Too Kyo has crafted a game that does not necessitate previous knowledge of their other works but assumes you've come in with at least some sense of what those games were and why people took to them. Now and then it comes out and tells the player that it's not going to do the thing they might anticipate - but because of who made the game, it's difficult to let go of the notion that every assurance the characters aren't all about to kill one another might be a misdirect. I have not managed to finish The Hundred Line - players who have seen everything report that it takes about 150 hours - but I'm proceeding through it with the understanding that the game could twist itself into any number of shapes, as is typical for these directors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-39.png) Source: Steam The Hundred Line treats its directors as proper auteurs - artists with distinctive styles, whose games are clearly identifiable as being made by them and which feel of a piece with the rest of their body of work. This is, you have to suspect, part of the reason why Too Kyo Games was formed - to combine the fandoms of these two directors, and to make games that would appeal to that base. There's something intrinsically thrilling about playing a game like this and seeing these directors fully embracing their storytelling reputation. More to the point, they embrace the notion that they're big and successful enough now that they can bank on their reputations, even play around with it, winking at an audience that knows to wink back. A [recent trailer for Death Stranding 2](https://www.youtube.com/watch?v=eT%5FA2gPhTIw), the upcoming game directed by Hideo Kojima, had me thinking about this as well. If you have even a passing familiarity with Metal Gear Solid, it's impossible to watch without seeing Solid Snake - the protagonist of Kojima's Metal Gear Solid series - in Luca Marinelli's new character, Neil. Based on what we've seen so far, this goes far beyond a simple visual homage: this is a straight-up metatextual link, even if the character is, technically, legally distinct from Kojima's earlier creation (owned by Konami). I'm always pleased to see distinct voices rising up in games, especially when they have interesting, strange, unique stories to tell. --- The Hundred Line leverages our expectations of its directors to create a game that is both familiar and surprising, one that subverts their previous work while also feeling of a piece with it. It's the kind of bold design that takes real confidence in the audience to pick up what you're putting down. As much as a new Danganronpa or Zero Escape would make me happy, creating something totally new that scratches the same itches is far more exciting. ### How to Cut Gaming Videos Without Losing Quality for YouTube URL: https://www.superjumpmagazine.com/how-to-cut-gaming-videos-without-losing-quality-for-youtube/ Last updated: 2025-07-18T01:03:59.000Z **Gaming content is one of the most popular genres on YouTube.** There are millions of creators uploading walkthroughs, highlights, tutorials, and funny moments. Are you one of them? Are you serious about [growing a gaming channel](https://gyre.pro/blog/youtube-gaming-channel-ways-to-increase-the-number-of-subscribers-in-)? Then, simply recording gameplay is not enough. You need to polish your videos so that they are entertaining, engaging, and high quality. Cutting a gaming video properly can make the difference between a casual viewer clicking away and subscribing to your channel. Let’s dig deeper into this topic so that you can create content that performs at 100%. ## Why cut gaming videos at all? Raw gameplay footage is often long and filled with dull or repetitive moments. You definitely need to fix that. Cutting your video allows you to: ● Keep only the most entertaining parts ● Remove unnecessary pauses or loading screens ● Add commentary, sound effects, or memes ● Make your content more dynamic and watchable PewDiePie, Jacksepticeye, Markiplier, and other big YouTubers have built massive audiences largely because their videos are tightly edited, funny, fast-paced, and always engaging. ## What gaming videos perform best on YouTube? If you are planning to start or grow a gaming channel, it helps to know which video formats tend to do well. And these are just some of them: ● **Funny moments** — Fast-paced edits of humorous in-game events. ● **Walkthroughs and tutorials** — Especially helpful for new releases or difficult games. ● **Let’s plays with commentary** — Fans love personality; talk to the camera! ● **Game reviews or tier lists** — Give your thoughts and rankings on characters, weapons, or strategies. ● **Challenge runs** — Unusual ways to play a game (e.g., “Can You Beat Elden Ring Without Dying?”) can go viral. What makes these videos successful is how they’re cut. Do quick edits, highlights-only, and a focus on keeping the viewer entertained. ## Best tools to cut gaming videos When cutting your video, the goal is to maintain resolution, framerate, and audio clarity. The good news is that you can achieve all that. And here are some of the top tools that can help you accomplish the mission. ### 1\. Movavi Video Editor Movavi’s [free video cutter](https://www.movavi.com/learning-portal/free-video-cutter.html) is great for beginners who want to trim videos fast without quality loss. The tool supports high-resolution formats and offers lossless export. Thud, your final video will look as sharp as your original gameplay. ● Easy drag-and-drop interface ● Supports 4K and HD output ● Great for quick cuts and highlight reels ● Available on Windows and Mac Movavi also offers a full-featured editor if you want to go beyond basic cutting with transitions, titles, and effects. ### 2\. Shotcut Shotcut is a free, [open-source video editor](https://shotcut.org/features/) that doesn’t compress your footage unless you choose to. It is perfect for creators who want full control over their export settings. ● Supports almost all video formats ● Native timeline editing ● Export in original quality or customized resolution/framerate It takes a little getting used to, but it’s ideal if you’re on a budget and still want pro-level control. ### 3\. Lightworks Lightworks has been used in Hollywood (seriously), but it also has a free version perfect for YouTubers. ● High-performance [trimming tools](https://lwks.com/#features%5Fsection) ● Great for complex edits and effects ● Allows up to 720p export in the free version If you are looking to upgrade your editing style while maintaining video quality, Lightworks is worth checking out. ### 4\. OpenShot OpenShot is one of the most [user-friendly free editors](https://www.openshot.org/) available. ● Drag-and-drop cutting ● Preserves video quality in exports ● Available on Windows, Mac, and Linux While it doesn’t have the advanced features of Lightworks, it’s ideal for cutting and rearranging gameplay clips quickly. ## Tips to cut gaming videos like a pro Here are a few practical tips to ensure your videos stay crisp and compelling: 1. **Record at high resolution (1080p or 4K)** to ensure clarity during editing. 2. **Avoid excessive re-rendering**. Export in the same format and resolution as your original file to prevent compression artifacts. 3. **Use lossless export options** where possible (MOV, ProRes, or high-bitrate MP4). 4. **Cut out long loading screens, pauses, and menus.** Only keep content that adds value. 5. **Add transitions and zoom-ins** to emphasize funny or dramatic moments. 6. **Include subtitles or captions** to improve engagement and accessibility. ## Final thoughts Cutting your gaming videos the right way is one of the fastest ways to grow your YouTube channel. Whether you are posting epic wins, walkthroughs, or hilarious fails, the edit is what keeps people watching. Luckily, dedicated tools make it easier than ever to cut videos without losing quality. So don’t just upload raw gameplay — trim it, polish it, and let your personality and skills shine. Your future subscribers are waiting. **This story contains links from one or more partners.* ### Indie Monthly: May 2025 URL: https://www.superjumpmagazine.com/indie-monthly-may-2025/ Last updated: 2025-06-11T02:57:36.000Z **Lately, it seems like we've been stuck in a dollars and cents conversation.** At the top of the industry, it looks like AAA games - which have cost more or less the same for decades - are about to get a significant price boost. Combine this with the stagnation among live service games, and some are seeing an opportunity for small developers to make a big play. Unfortunately, those developers will have to make those plays with less money of their own, as publishers continue to draw down the amount of money they're putting into new titles while they focus on a smaller number of popular games. It's not a great state of affairs, but even in rough times, there will always be people making the games. Today's selections include some NES throwback titles and the eagerly awaited second game in the Duck Detective series, but we'll start with yet another interesting entry into the quick strategy school of design. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/9KingsA.jpg) Source: Author. ## [9 Kings](https://store.steampowered.com/app/2784470/9%5FKings/) 9 Kings is a minimalistic turn-based strategy game. In the role of one of the titular kings, the player must repel attacks from the other eight as well as uprisings from his own people. The player begins each run with three cards which are some combination of armies, static defenses, support buildings, and one-off upgrades, all drawn from a pool thematically linked to the player's ruler. With each turn, the player has time to play a single card before receiving an attack from one of his rivals. Combat is mainly automatic - the player has some means of directly influencing the fight based on the chosen ruler, but the impact of player attacks tends to be very limited. After a successful battle, the player has a chance to select a random card from the attacker's card pool. Cards in each pool share a few common mechanics, such as King of Blood cards powering up by sacrificing armies and buildings or King of Greed cards having different effects based on outstanding resources. More powerful builds are usually based on carefully mixing cards from different pools to maximize their effects. Setting up these combos is essential given the limited space available. The player starts with just nine available tiles, one of which is always occupied by a command building. There are a few opportunities to expand and add new usable tiles, but for the most part, what you see is what you'll have for the entire run. Victory means taking advantage of adjacency bonuses, powering up buildings and armies, and taking opportunities to destroy unneeded buildings to open up avenues for expansion. Compared to some similar games, 9 Kings is pretty easy to jump into. The core mechanics aren't overly complicated and the cards are self-explanatory. It might take some time to figure out the more powerful combos, but the basic flow of the game is something that even a casual strategy fan will understand. As a result, it's a suitable game for beginners despite the complications caused by the roguelike elements. Overall, 9 Kings is a solid addition to the trend of minimalistic strategy that should appeal to anyone wanting a shorter strategy experience. [9 Kings](https://www.sadsocket.com/9-kings) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/GlampingA.png) Source: Author. ## [Duck Detective: The Ghost of Glamping](https://store.steampowered.com/app/2714620/Duck%5FDetective%5FThe%5FGhost%5Fof%5FGlamping/) Duck Detective: The Ghost of Glamping is a short adventure game that is a standalone follow-up to last year's Duck Detective game. It features the same gameplay and humor as the first game but with an extra layer of polish. Eugene McQuacklin is the somewhat-less-than-famous Duck Detective, down and out after a bad divorce and a worse stale bread habit. After his last case failed to make his career, he's been forced to take a roommate - an obsessed fan currently using McQuacklin's delinquency to pressure him into a trip to a famously haunted campsite. But mystery seems to follow the Duck Detective everywhere he goes, and within minutes of arriving, he's on the case of a furniture thief. Is the thief after more than camping chairs? And could the thief be one of those notorious ghosts? The Ghost of Glamping follows closely in the footsteps of its predecessor, The Secret Salami. The player progresses through the story by solving "deducktions," Mad Libs-style riddles filled in with keywords unlocked through gameplay. Unlocking those keywords in turn requires finding clues by studying suspects and the environment, interrogating suspects, and solving mini-puzzles. There are a few new additions since The Secret Salami, but if you've played that game, you'll know what to do here. While the core gameplay is the same, there have been design improvements over the first game. The Ghost of Glamping is still a short game - around two hours, roughly the same length as The Secret Salami - but there's more going on, with more locations and more puzzles to solve. That it's about the same length is due to some small but appreciated improvements in the game's layout that make the experience much smoother the second time around. Put simply, you'll see a lot less blundering about in this game than in the first one. If you liked the first Duck Detective game, then this is a no-brainer. If you're new to the series, this is a good place to jump in as the story stands by itself and is a better experience overall. [Duck Detective: The Ghost of Glamping](https://www.happybroccoligames.com/) is available for PC via Steam, on PlayStation consoles, Xbox and Nintendo Switch. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/FloraFangA.png) Source: Author. ## [Flora & Fang: Guardians of the Vampire Garden](https://store.steampowered.com/app/2751060/Flora%5F%5FFang%5FGuardians%5Fof%5Fthe%5Fvampire%5Fgarden/) Flora & Fang is a platformer heavily inspired by Bubble Bobble and other games of that ilk. It's a nostalgic title that's balanced enough to be suitable for a wide variety of players. The game is divided into a series of stages, each taking a few minutes to complete. The objective is to protect a number of pumpkins from swarms of monstrous insects bent on carrying them away or otherwise destroying them. To fend off the insects, the protagonist comes equipped with a poison sprayer and - eventually - a set of traps. As with any throwback puzzle platformer, the core gameplay is simple but new elements are added at a steady pace, forcing changes in strategy. Most insects can be contained and destroyed with the spray, but some are only stunned by it and remain a threat. The player can pick up and move the pumpkins, so an effective early strategy is to put them on top of each other to reduce the amount of screen one needs to protect. However, some enemies have gimmicks - such as a special attack that can hit several pumpkins at once - that make this risky. And there are bosses that really confound the ordinary flow of play. While it's by no means an easy game, Flora & Fang is definitely a smoother ride than some of its inspirations. The difficulty curve is pretty forgiving, and the brevity of the levels makes it a good choice for an inexperienced player, even if some of the later levels will demand more in terms of skill and game sense. Overall, Flora & Fang is an obvious pick for fans of NES-era puzzle platformers, and also not a bad choice as a palate cleanser after a particularly hardcore title. Flora & Fang: Guardians of the Vampire Garden is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/AccretionA.jpg) Source: Author. ## [Accretion](https://store.steampowered.com/app/3614100/Accretion/) Accretion is an action game built around astrophysics and the life cycle of stars. It makes use of well-tested mechanics with a few design twists. The player takes control of a celestial body with the goal of ascending through the stages of celestial evolution - first acquiring a solid form, then becoming a main sequence star, blue supergiant, and finally a black hole. Achieving this requires absorbing the mass from other, smaller celestial bodies while avoiding collisions and dodging more massive objects. Along the way, the player may encounter other strange space-time phenomena that bend the rules of reality in various ways. The core gameplay of Accretion is very similar to a class of games in which the player grows by eating smaller things while avoiding larger ones. In the case of Accretion, the player exerts a gravitational lens that steals mass from any other object with a smaller mass than the player. It's a slow process, one that's often interrupted by larger objects that relentlessly pursue the player around open space. One thing that distinguishes Accretion from similar games is the special abilities that celestial bodies acquire as they grow. Each new phase of existence adds a skill, such as the ability to avoid collisions by phasing into different dimensional space or pulling small planets into orbit. Most of these abilities are not all that intuitive to use, and it can take some time to figure out the timing or the physical rules that define them. The game's physics is a big selling point. The developers present the game as being derived primarily from Newtonian physics, with the rules defining planetary actions based on actual formulae. This extends to the visuals, which - while simple - do a good job of depicting rare astronomical phenomena. Realistic or not, many players are bound to struggle with some of the quirks in the way that objects interact, especially when there are a lot of them onscreen at once. Overall, Accretion has some interesting ideas, but the relatively slow gameplay and the idiosyncrasies in the system hold it back. Accretion is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/CauldronB.png) Source: Author. ## [Cauldron](https://store.steampowered.com/app/2619650/Cauldron/) Cauldron is an incremental game built around minigames. This offers a fair amount of variety, with particular appeal for anyone interested in a more easygoing experience. Cauldron's gameplay centers primarily around a simple RPG. The long-term goal is to push back layers of darkness covering the map, with each square protected by monsters. The combat system is turn-based with staggered turns, as with most modern JRPGs. There's a heavy emphasis on status conditions, making it necessary to stack bad statuses to finish some harder fights. Clearing darkness will eventually unlock new party members, of which the player can take as many as eight into combat. Each party member is built around a narrow gimmick - such as single-target damage, area effect damage, specific status conditions, or defense - with a special attack and super attack that are themed to it. Each character has a unique set of upgrades with just enough variety to allow for multiple builds but the overall design is very simple, allowing characters to be swapped in and out based on the demands of specific enemy combinations. Between fights, the player can gather resources - three initially, with two more showing up later in the game. There are minigames to collect these resources, which range from item drops to mining to autoshooters. Gathered resources are used primarily to level up the party, but there's also an upgrade tree for each minigame that helps get higher scores while also boosting the rate at which resources are passively gathered. Almost the entire game can be idled. The player auto-harvests resources at regular intervals, with the amounts increasing based on performance in the minigames and the proportion of the game cleared. Combat can also be run on full auto. Each character has their own adjustable AI, though the autocombat system is rudimentary and even some relatively easy fights can be too technical for the computer to manage. Overall, Cauldron definitely has more gameplay depth than your typical incremental game or idler, but don't expect a full RPG experience out of it. Cauldron is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at all the indie games that caught our attention in May. Be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Doom Through The Dark Ages URL: https://www.superjumpmagazine.com/doom-through-the-dark-ages/ Last updated: 2025-06-10T03:28:55.000Z **Doom is a franchise of esteem and acclaim, but even a pioneering IP and brand such as this can't go through history without a few dark periods... or dark ages if you will.** Doom: The Dark Ages, that is. Yes, there's a new Doom game, the third one in the last decade. The timing of the release is interesting, being so close to the launch of a new Nintendo system. Imagine if they somehow pulled it off as a launch title for the Switch 2\. It's not impossible, in fact; most if not all prior Doom entries can be played on the original Switch. The Dark Ages being part of the Switch 2 launch lineup would have been amazing, but I'm certain a port is still possible somewhere down the line. Most Doom games are designed to be port-able (and yes, even portable) after all. If you were from that era, Doom was one of those games you just inevitably played. Whether it was on a friend's shiny new PC running cutting-edge DOS, the school computer, or the many, many, *many* home console ports of it. Doom was a game where if you were determined to play it, there was an accessible option, even if it meant pretending to work in the school computer lab for extra credit. Doom kickstarted the FPS golden age, but it was also a dark age right out of the gate. You see, at the time of its initial release not everyone owned, or felt the need to own, a personal computer. Home PCs were quite expensive too, which meant playing Doom required befriending that one rich kid who had the personality of glue or being really sneaky about accessing the school computer. Consoles were the primary mode of gaming for most, and so Doom was ported to as many of those systems as technically possible, all to reach the legions of hungry console gamers. It was nice to find a version of the game for your console, be it the original PlayStation or even the SNES, but the downside was that most of these ports were just not up to the task. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-1.png) Doom 64\. Source: Steam. And so, all these messy console versions unintentionally created a dark age for the franchise. Imagine if your first impression of the PC masterpiece was the horrifically clunky SEGA Saturn port. That would just leave sour memories until you got around to playing the real thing. Things did get better over time, as some ports managed to optimise things really well, with Doom 64 (for the Nintendo 64, duh) still regarded as an absolute series highlight among fans. Now, having so many versions also started an ongoing tradition to port to Doom to well... anything really. Everything from dentistry imaging equipment to a calculator. Yes, there is a port for the Atari 2600, too. The tradition echoes the idea of how this is a game you simply have to play by any means necessary. The second game did more of the same but turned up to 11, and was then followed by an ultimate final chapter expansion, all arriving in short order. Doom swiftly achieved everything it set out to do and its creators, id Software, moved on to challenge themselves with other projects. The problem was, though, that other game developers were not ready to move on, and so another dark age clouded the gaming landscape: the age of endless Doom clones. Hexen, Blood, Alien Trilogy, Shadow Warrior, Dark Forces, Marathon, Rise of the Triad, Killing Time, Exhumed, Alien Breed, Zero Tolerance, Congo, and... these are just what I could drum up off the top of my head. It's a minor miracle that the sheer number of studios creating Doom clones didn't trigger another market crash. To be fair, some of these were actually quite decent. Personally, I've got a soft spot for Exhumed on the SEGA Saturn. Quake was born out of Doom, and for the longest time, it was id's main IP. This eventually led to the single greatest FPS multiplayer deathmatch experience in Quake III: Arena. Then Quake 4 happened, a release so poor and so panned that it immediately plummeted the IP into a dark age from which it has yet to escape. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-2.png) Doom 3\. Source: Steam. There may be bad Doom ports, but there has never been a bad Doom game. At worst, there was a divisive Doom game - the third mainline installment, appropriately titled Doom 3 - though it was not a bad game by any stretch of the imagination. Instead of the relentless heavy metal energy of its predecessors, the third entry was an atmospheric and gripping survival horror experience. Importantly, it put story and narrative at the forefront to enhance immersion and presentation, without hurting the flow of gameplay progression. The graphics were on the absolute cutting edge of technology for their time, and still hold up remarkably well today. In fact, the port on the original Xbox was nothing short of a miracle, a feat the PlayStation 2 and GameCube simply could not fathom. So, Doom 3 wasn't a dark age, but it was a bit like Capcom's own Street Fighter III, in that it didn't draw in hoards of players consistently over the years (despite a successful launch). It was underappreciated by most gamers even when critics raved about the graphics, but it's clear today how this is a game most fans appreciate more in hindsight. It may not be the best entry point for the franchise, but it is an FPS for the thinking gamer. There was supposed to be a Doom 4, but it never materialised and this is likely for the best. id Software knew better than to have another repeat of the Quake 4 fiasco. Still, development hell meant a new Doom title was dormant, even though the franchise itself was far from being inactive, as prior games continued to see ports on every new platform. Everything can and should run Doom, after all. Yet, the absence of a new Doom game for an entire hardware generation did create a dark age for the FPS genre as a whole. Production budgets had ballooned to the point of excess; the graphics got better, multiplayer became the primary focus, and while single-player experiences presented jaw-dropping set pieces and cinematic flair, the actual level design was practically non-existent. Some releases even delegated the single player to serve as a glorified tutorial. To fill the void, a new sub-genre emerged in indie gaming: Boomer Shooters. The Boomer Shooter is essentially a continuation of the Doom-clone trend. Honestly, most of these can be quite middling at best, but I wouldn't necessarily call it a dark age, it's just one of those over-saturated indie trends that, for better or worse, creates a wealth of affordable retro options for enthusiasts. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-5.png) Doom 2016\. Source: Steam. Moreover, something big needed to happen. 1993 needed to happen all over again. And it did. In 2016, Doom was born anew, a reboot and reimagining rolled into one major rebirth for the franchise and the FPS genre as a whole. The genre itself needed a wake-up call and a good ass-kicking, and in 2016 the brand-new Doom did all this and more. More than anything, it showed developers how single-player can and should be done. The intricate and thought-out levels felt like a godsend, and the visceral combat system mixed firearms with brutal melee attacks like no other game before it. Its follow-up, Doom Eternal, turned things all the way to 11\. For its next step, Doom needed to take a step back, travel back in its rich yet mysterious lore; a return to its own dark ages to rediscover its own novelty. Doom: The Dark Ages isn't just about taking a step back in a timeline, although learning the origins of Doom Slayer (I still prefer 'Doom Guy', personally) as the ultimate weapon provides a context to his perpetual bad mood. Nor is it about re-inventing the wheel, but rather it's about what Doom has always been about: never getting comfortable and daring to try new things. The 2016 template could have been recycled, but that would have been too easy, and so The Dark Ages makes a bold statement by allowing the core combat mechanics to mature and evolve, and not being afraid to adopt modern-day trends into its level design. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-3.png) Doom: The Dark Ages. Source: Press Kit. The most jarring thing about The Dark Ages isn't the medieval backdrop, but rather its stark emphasis on defensive play. Doom games were always about bull-headed offensives, but here the relentless offensive assault is balanced out nicely with some defensive tactics. The Slayer carries a shield, and yet it does more than just sponge damage; the shield can be used to parry enemy projectiles. In true Doom fashion, however, the shield can also be used to absolutely maul enemies by brutally ramming them and parries can lead to some brutal counterattacks. The combat, when studied and practised properly, can create an effortless and rhythmic flow of unhinged violence. Once you get grips with the melee combos and parries, you generate health and ammo on the fly, no longer needing to search for pickups. Reaching this level of combat proficiency can feel incredibly rewarding. The level design feels like a stark departure from its immediate predecessors. Certainly, there is some exploration and secrets to discover, but the progression is largely arena combat-based featuring some truly epic set-pieces. It's still very much Doom in its design philosophy, but it isn't shy about embracing some of the good parts of modern FPS design. There are certain sequences so epic and larger-than-life that you almost feel like you're in a dramatic end sequence of a Halo game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/06/image-6.png) Doom: The Dark Ages. Source: Press Kit. It's probably a bit crass to declare whether Doom: The Dark Ages is the best game in the series; in the context of this rich and daring franchise it's quite irrelevant to debate which game is 'best'. Instead, it's better to celebrate what The Dark Ages represents: a franchise that not only pioneered and set the benchmark but also wasn't afraid to experiment and rewrite its own rules. Doom: The Dark Ages is a damn fine FPS game. Meanwhile, I'm still going to try to manifest the inevitable Switch 2 port. Yes, I do believe it can run Doom, too. ### The Unusual Rise of Fantasy RPGs in Japan URL: https://www.superjumpmagazine.com/fantasy-rpgs-unusual-rise-to-popularity-in-japan/ Last updated: 2025-06-07T15:02:45.000Z **Dark Souls, Dragon Quest, Final Fantasy: so many popular fantasy RPGs have come from Japan.** Now, we think of fantasy RPGs as being embedded in the Japanese media landscape, but this wasn’t always the case. Fantasy was a niche interest there until the 1980s. When it was ready for the big stage, Japanese developers ignored some of the well-established tropes of the fantasy genre to create something distinctive. ### **Quest Outside** the W**alls** Post-war Japan embraced technology to find hope. It’s no surprise, then, that science fiction stories, including franchises like Astro Boy and Space Battleship Yamato, were extremely popular following the war. Fantasy, though? That was not really on people’s radars, except perhaps for the bookworms who would read popular fantasy stories from abroad. In the West, it was a different story. The works of C. S. Lewis, Mervyn Peake, and J.R.R. Tolkien kick-started a fantasy boom in that part of the world. Terry Pratchett [once said](https://www.academia.edu/23452014/Glossopoeia%5Fand%5FWorld%5FBuilding%5FExploring%5FJ%5FR%5FR%5FTolkiens%5FFour%5FKey%5FCharacteristics%5Ffor%5FArt%5FLanguages%5Fby%5FOther%5FPractioners%5Fof%5Fthe%5FSecret%5FVice) of Tolkien’s influence in the Western fantasy genre: > Tolkien appears in the fantasy universe in the same way that Mount Fuji appeared in old Japanese prints. Sometimes small, in the distance, and sometimes big and close-to, and sometimes not there at all, and that’s because the artist is standing on Mount Fuji. Still, the first Japanese translation of The Lord of the Rings did not appear until the 1970s. Epic fantasy — with its round tables, bearded wizards, and elves — was not a genre that most people consumed from a young age in Japan, though. It would have been like expecting a kid from post-war Lommel or Duluth to know about Kami and yokai. Some inquisitive people might have some familiarity, but we’re more exposed to the stories that are closer to home unless we seek out stories from other places. ![Two women in costumes smile for the camera.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Comiket-8-cosplay.jpg) People cosplaying at Comiket 8 (1978).Comiket was (and is) where people shared their ideas with each other in Tokyo. By Labyrinth78 from [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:Comiket8%5Fcosplay.jpg) ([CC0 1.0 Universal](https://creativecommons.org/publicdomain/zero/1.0/deed.en)). A new wave of small, passionate groups started to enjoy Western fantasy in Japan, too. In 1979, Kaoru Kurimoto’s pulp-inspired fantasy novel series Guin Saga arrived on Japanese shelves, for example. Fan magazines published articles that introduced readers to the worlds of Tolkien and Dungeons and Dragons. Small groups, with the knowledge in hand, also played tabletop RPGs, even though the first official Japanese translations of these physical games wouldn't arrive until 1984\. ### Character Sheets with a Difference Another source of influence was video games. Wizardry and Ultima, both of which were also influenced by Dungeons and Dragons, grew popular among Japanese enthusiasts. Makoto Goto, a Japanese game developer, [talks about](https://www.timeextension.com/features/talking-point-why-do-so-many-japanese-rpgs-take-place-in-european-fantasy-settings) his interactions with these early Western RPGs: > When I was a child, I felt a big impact when I played Ultima and Wizardry. It was fun when I talked with friends about these games.\[…\] I think that game worlds are filled with such dreams, and the worldview of Medieval Europe is better matched to that. Fantasy was thus a free-fire zone for people’s imaginations. Enthusiasts were its lifeblood, and they were also often the ones with personal computers. Japanese computers were capable of higher resolutions than their Western counterparts at the time because they had to display all the details of the complicated symbols of Kanji, one of Japan’s three writing systems. Early developers harnessed the ability of Japanese computers to display detailed still images in games, making visual novels a popular genre. It was a time of pet projects, small teams, and limited prints, so it’s difficult to identify who was the very first Japanese developer to design a fantasy RPG in this maelstrom of creativity. Certain text adventures might have a shout. ![A manticore; a creature with the head and body of a lion, tail of a scorpion, and dragon wings.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Manticore.jpg) Mariana Ruiz Villarreal's illustration of a Manticore, one of the Dungeons and Dragons creatures already present in early forms of the game. By LadyofHats from [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:DnD%5FManticore.png) ([CC0 1.0 Universal](https://creativecommons.org/publicdomain/zero/1.0/deed.en)). One serious contender is Dungeon (1983), by the company Koei. Stat values play a role in the game — often a prerequisite for a game to be considered an RPG — and items and dungeons feature in it as well. As [Felipe Pepe noted](https://www.gamedeveloper.com/audio/1982-1987---the-birth-of-japanese-rpgs-re-told-in-15-games), the creature sprites seem to have come straight out of that time’s Dungeons and Dragons rulebook, too. The developers were clearly still finding their feet in an unfamiliar genre. ### Strands of a Song Early the next year, in 1984, Henk Rogers (who was based in Japan at the time) released his own fantasy RPG, called Black Onyx, to capitalize on the lack of competitors in the market. Sales were slow at first, but through persistent PR, it turned into the first locally produced RPG hit. More Japanese consumers sat up and took notice. Other developers soon released their own fantasy titles: Courageous Perseus, Dragon Buster, Dragon Slayer, Hydlide, and The Tower of Druaga, among others. Many of these titles combined action elements with certain fantasy RPG elements, creating variations of the action RPG genre. Several games of the period between 1984 and the end of 1985 were successful in their own right. Hydlide, for one, would sell around a million copies. ![An old-fashioned pixel game; a knight quests near a castle guarded by a dragon.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Hydlide-Screenshot.jpg) Hydlide MSX screenshot. Source: [Nintendo Store](https://www.nintendo.com/en-gb/Games/Nintendo-Switch-download-software/EGGCONSOLE-HYDLIDE-MSX-2628657.html#Gallery). Workers at the development studio Enix felt that some factors still held fantasy RPGs back from attaining widespread success. For one, many of the games, including the popular The Tower of Druaga, were too difficult or too intricate for some younger or casual gamers. The second factor was that the computer was the primary platform of the genre — a problem because relatively few people owned one at the time. They chose Famicom as the platform for their RPG project (what would become Dragon Quest) to increase its potential reach. Yuji Horii and the other Enix developers were fans of Wizardry and Ultima, but they had to translate fantasy into an experience that appealed to another section of Japan as well. Akira Toriyama, who was hugely popular because of his Dr. Slump and Dragon Ball work, translated the visual language of fantasy into a more manga-esque style. The story was also important, and Horii [stated in an](https://www.waseda.jp/inst/weekly/feature-en/2017/05/16/25797/?lng=en) interview about that time: > Pushing along a scenario with text alone that is easy-to-read, entertaining, and as short as possible is essentially the same way manga artists use speech bubbles. Learning how to develop each conversation without dragging down the overall experience is something I learned from manga. In contrast to then-contemporary Western RPGs, which often sought to simulate an experience through a focus on statistics and attributes, the developers of Dragon Quest sought to use the story as a guiding light. Dragon Quest would also highlight another aspect that would play a large part in the designs of future Japanese RPGs: combining various ideas into one product. ![Princess Gwaelin asks the hero to escort her home to the palace.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Dragon-Quest-Screenshot.jpg) Dragon Quest screenshot. Source: [Nintendo Store](https://www.nintendo.com/us/store/products/dragon-quest-switch/?srsltid=AfmBOoqkkK9JPyQ8mgeYBRb7d2H9WmnCiLS0lHfpTGmbZSNz%5FTyBmSfT). The scholar Daichi Nakagawa [calls this](https://books.google.co.za/books?hl=en&lr=&id=EUdpEAAAQBAJ) approach “a bricolage of the various sub-genres of classic videogame expression”. The Japanese developers could knit together influences from various sources because they were only beholden to a story, not genre conventions. ### A Sanctuary in a Line of Code Dragon Quest became a Japanese phenomenon in the late 1980s. It would sell millions of copies and launch fantasy into the mainstream. To catch the wave, other competitors scrambled to create a reply or copy its specific formula. Within a short time, Japanese developers stopped looking for inspiration from Western RPGs. That Japan’s RPGs would mostly appear on consoles going forward — while Western RPGs still chose computers as their preferred platform — solidified the divide between the two schools of thought until the 2000s. Dungeons and Dragons also faded in importance as a source of inspiration for many Japanese developers. Other TTRPGs, such as Sword World, had secured wider distribution rights and undercut it in price as well. As a result, the sales of Dungeons and Dragons dwindled in Japan. Despite its drop in popularity, some Dungeons and Dragons fans would continue to leave their mark on the Japanese gaming industry. Hidetaka Miyazaki, one of the minds behind Dark Souls, is a [prominent example](https://www.ign.com/articles/2015/02/05/inside-the-mind-of-bloodborne-and-dark-souls-creator-ign-first). Fantasy has now rooted itself into the Japanese entertainment landscape, birthing stories that refract the genre through a kaleidoscope of early Western video games, manga, tabletop RPGs, and JRPGs. ### Hidden Gems of Game Design Vol 36 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-36/ Last updated: 2025-06-06T21:44:58.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### Shadow Hearts Series ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-24.png) Source: Shadow Hearts wiki. With Clair Obscur being the new big name in town for RPG fans, I want to touch on a very underrated series that I would love to see more eyes on. Shadow Hearts by Sacnoth was released during the PS2 era, and while it did not get the same attention as Final Fantasy or Dragon Quest, it quickly went in its own weird direction. The first game was the most straightforward of the trilogy, but it did introduce the series’ use of action commands via the “judgment ring”. With it, players could add more attacks to their turn and do more damage, with the rarest ring granting the player infinite attacks, provided they kept hitting its sweet spot. The second game, subtitled Covenant, is when the series took off to make its own original mark on the genre. The game followed the main character from the first game during World War 1\. Attacked and stripped of his powers, he must team up with a wacky assortment of JRPG characters to save the world from an evil organization. The judgment ring makes a return, embellished to provide more ways of using it. You can now select and modify different ring types to customize the action commands. An easier ring removes all timings, but disables critical hits; another ring is all critical hits but requires specific timing to make it work. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-41.png) Source: Thebacklog. Combat was also more involved with the option to set up combos by directing the direction of the attack. Knocking the enemy in the air and then slamming them down would do more damage; coupled with the judgment ring, this attack could lead to massive damage. In interviews, the designer of Clair Obscur mentioned being inspired by Shadow Hearts, and if you’ve played this game you can see why. From a character standpoint, each party member is completely different in terms of powers and progression. One party member is a wolf who grows in power by competing in a worldwide “dog fight club,” while another is a vampire obsessed with wrestling who finds inanimate objects in the world that he then uses as his new weapon. With all the different subsystems, progression, and combat depth, Shadow Hearts was not an easy series to jump right into. The third game tried to streamline things with a new story and new characters, but I did not get a chance to play it. There are so many incredible RPGs currently lost to time, from the PS1/PS2 era, that I hope we get to see brought to PC for everyone to enjoy. If you're looking for an RPG series with a lot of charm and action, be sure to check it out. ## Ben Cantrell ### Guntastic ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Guntastic-1.jpg) Source: Author. Indie arena brawlers are easy to come by these days, but Guntastic stood out to me, for good reason. Available on Steam and Xbox, it’s a fast-paced, one-shot-kill pixel-art party game from Ludicrous Games, a small Italian dev team. It might not reach the same heights as some of the genre’s heavyweights, but it carves out its own space with charm and energy. It’s one of those titles that tends to get buried in the depths of the store, but it absolutely deserves a moment in the spotlight. What pulled me in at first was my undying love for TowerFall. I’ve poured hundreds of hours into that game over the years in couch multiplayer. I was hunting for something in a similar vein with tight maps, quick rounds, and unpredictable chaos. While Guntastic doesn’t offer quite the same level of strategy or depth as TowerFall, it’s got a scrappy charm all its own. Standard rounds in Guntastic last 25 seconds on default settings, although I find removing the time limit increases the tension and fun factor greatly. When rounds start, you spawn in, dash for a random weapon, and try not to get obliterated. It’s twitchy, messy, and surprisingly satisfying - when you win of course. Where TowerFall encourages careful aim and positioning, Guntastic goes all in on speed and mayhem. One second you’re dominating the scoreboard, the next you’re walking into a shotgun blast and it's all over before you can blink. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Guntastic-2.jpg) Source: Author. What surprised me most was how decent the bot support is, which is something TowerFall lacks. You can play one-on-one, or four-player free-for-all, entirely offline with bots. Four-player bot matches can get utterly chaotic, but two-player matches with bots hit the sweet spot for me. The AI is sharp enough to keep you on your toes, especially on medium or hard difficulty. Learning each map’s layout, figuring out which weapons suit which situations, and reading your opponent’s next move gives it huge replayability, especially if this genre is your thing. The arsenal is part of the appeal: each weapon feels totally distinct, from bouncing rockets to wall-piercing drills. Since your loadout changes constantly, adapting on the fly becomes essential. You’ll be mixing offense, defense, and good old button-mashing panic in every round. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Guntastic-3.jpg) Source: Author. Of course, it's not a perfect game and there's a lot of stuff I wish they added. A 3-player bot mode would’ve been ideal. Some alternate modes like team Deathmatch or Capture the Flag wouldn’t have gone astray either and would have added tonnes of replayability. Even just adding different abilities for each of the characters would create a lot of depth. It kind of feels like the devs pushed out the game with a solid core experience, then never came back with updates or DLC. It's a real shame because there’s so much potential here. I'd pay a few bucks for a half-dozen new modes and maps if the devs are listening! Still, Guntastic is snappy, fun, and good-looking. The pixel art is vibrant, load times are near-instant, and once you turn off the annoying announcer voice, the game becomes infinitely more enjoyable. Guntastic is my hidden gem for the month and is worth a look if you love couch brawlers or twitchy fighting games. ## Antony Terence ### Miscrits ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-42.png) Source: Steam. In 2009, the Pokémon HeartGold and SoulSilver remakes were released on the Nintendo DS and sold over 12 million copies. Social gaming was on the rise with Facebook popularizing worldwide lobbies, check-ins for daily rewards, and free-to-play titles that maximized engagement. Spotting a Pokémon-shaped hole in Facebook’s library, Broken Bulb Games launched Miscrits, a creature collector about fighting human Magicites. Miscrits didn’t stray far from its Pokémon clone ambitions, but it did lower the barrier of entry. Roaming across zones to capture creatures known as Miscrits, taking down opponents in turn-based combat, and using elemental weaknesses and status effects, were never going to break new ground. While your avatar suffered from stiff animations, the battles looked great, with a strong visual identity and Miscrit names whose puns were a nod to Pokémon. Looking for new variants, leveling up Miscrits across four evolutions, and optimizing your team composition to beat the next Magicite boss made for a simple but engrossing time sink. The game even sidestepped RPG tradition by letting you use every move a Miscrit learned in its lifetime. Miscrits gained new moves every 3 levels and evolved at every 10 levels, making the grind a bit too predictable. But that didn’t dim the excitement of adding rare Miscrits to your collection or seeing a new evolution. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-27.png) Source: Miscrits Wiki. The latest additions, expansions, and hard-to-get Miscrits quickly became conversation starters and fostered a dedicated community. Coverage from YouTubers like JeaHSaren helped spread the word. While Miscrits shut down in 2017, a team led by developer gk started working with Broken Bulb’s founder Robert Nelson in 2024 to secure the IP and most of its assets. [Miscrits: World of Creatures is now playable on Steam](https://store.steampowered.com/app/3628960/Miscrits%5FWorld%5Fof%5FCreatures/) with new animations, balance fixes, and Miscrit spawn changes. I was chuffed to see Dark variants pop up more often. If you collected Miscrits back in 2011-2017, you owe it to yourself to check it out. **Thanks for reading! Come back next month for another entry and more great hidden gems to check out.* [**You can find all previous Hidden Gems stories here*](https://www.superjumpmagazine.com/tag/hidden-gems/)**.* ### A Beautiful Game URL: https://www.superjumpmagazine.com/a-beautiful-game/ Last updated: 2025-06-04T23:40:10.000Z **To say I’ve always been surrounded by football feels almost redundant as a British male.** But to those unfamiliar with life in the UK, or, indeed, in much of the world outside the United States, it’s difficult to convey just how deeply the sport permeates daily life. Football isn’t just a pastime or a weekend distraction; it is cultural oxygen. It informs social rituals, friendships, and identities. It is, quite simply, the backdrop to everything. The overwhelming socio-political power of football has long been noted across the globe. As David Goldblatt writes in The Ball is Round,football is “the global game,” one capable of helping explain the last 150 years of world history. It’s a force that transcends class, race, and geography, binding people together not just in their triumphs, but in shared frustrations, myths, and dreams. In my own life, football has been a constant: from muddy Sunday league pitches to tense lunchtimes in school corridors, where transfer rumours sparked heated debates with the same gravity we might later assign to politics or career decisions. Between the ages of 11 and 18, every week was measured out in matches played, matches watched, and conversations about football - at school, on the walk home, and late into the night through Xbox Live parties and endless sessions of FIFA. That game, in particular, has been its own kind of obsession. It's no exaggeration to say I’ve spent tens of thousands of hours playing FIFA, across sleepovers, tournaments with friends, and countless solitary evenings sunk into Ultimate Team. It has frustrated me, thrilled me, and, like so many, enticed me with its shiny digital packs, drawing me into a reward system that mimics gambling far more than sport. Football, both in its physical and digital form, has been my longest-standing companion. It is not just a game. It is memory, community, and identity. To understand football, you have to understand how thoroughly it embeds itself into the lives of people like me, not as a sport, but as an environment we never really leave. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/ss_bbe8507b799511b9008af67ac5c32115a9765abf.1920x1080.jpg) Rematch. Source: Steam. --- > “All that I know most surely about morality and obligations I owe to football.” - Albert Camus --- On October 16th, 1957, Albert Camus was midway through lunch at a restaurant in Paris’s Latin Quarter when a young representative from his publisher’s office approached his table. Interrupting the waiter, the man delivered unexpected news just announced over the radio: Camus had been awarded the Nobel Prize in Literature. A week later, the newly crowned laureate was interviewed on French television, but not in a plush studio or grand library, as one might expect. Instead, he was seated in the stands at Parc des Princes stadium, surrounded by a crowd of 35,000, watching Racing Club de Paris take on Monaco. At one point, the Racing goalkeeper mishandles a deflected cross, allowing the ball to roll in at the near post. The camera cuts to Camus as he’s asked for his reaction. Ever compassionate, he cautions viewers against blaming the keeper too harshly. Camus’ love of football is often reduced to a single, widely misquoted line: “All that I know most surely about morality and obligations I owe to football.” But his connection to the game ran far deeper than nostalgia or a clever turn of phrase. In 1959, less than a year before his death, Camus said in an interview that, aside from theatre, football had been his only real “university.” For one of the most significant French writers of the 20th century, the football pitch wasn’t just a field of play, it was a place where the essential truths of existence revealed themselves. In its physicality and its drama, Camus saw a mirror of life’s beauty, its cruelty, and its quiet grace. Translating this feeling, importance, and transcendence into a video game can be hard. There have been multiple attempts throughout the medium’s history. The earliest example, NASL Soccer, was the first such effort to digitise the world’s most popular sport. Released in 1980 for the Intellivision, it was far from realistic by today’s standards, but it marked a crucial starting point. The game featured a vertical pitch and a scrolling screen, innovative for the time. Each team had only three outfield players and a goalkeeper, controlled from a top-down perspective, and the ball stuck to the player’s feet like a magnet until passed or shot. There were no kits, stadiums, or licensed clubs, just red and blue figures darting across a green background. Yet it was recognisably football; you could dribble, shoot, and score. It was clunky, sure, but it captured the essence of the sport: movement, rhythm, and competition. For many kids in the early '80s, it was the first time football could be played on a screen. But, despite its ambitions, it wasn't really football. Even the recently retitled EA Sports FC, has struggled to capture the ineffable essence of football. The game purports to be a simulation, and perhaps there could be no more fitting title. Unlike the earliest examples of digital recreations, the game has every player, team, organisation, coach, and stadium that a fan could want. I can decide to play the Merseyside derby and hear ‘You’ll Never Walk Alone’ being chanted across the stadium which has been recorded as accurately as modern audio files allow, and yet it feels like only a simulation. Something that mimics the sport I love but missing some essential quality, essence, perhaps even its soul. It was for this reason that my time in Rematch’s open beta weekend was revelatory. It was a feeling I didn’t think I would ever experience without studs digging into the ground beneath my feet, the magnetic pull of the ball filling my chest with a burning desire to chase after it. When I stepped onto Rematch’s digital five-aside pitch for the first time, that exhilarating feeling wasn’t just simulated; it felt like nothing a game had ever provided me before. It feltlike the beautiful game, with all its follies and frustrations, but also its triumphs and joys. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/ss_e9f7636e4fffbac35bd0c201cf44c4ec8270f4bb.1920x1080.jpg) Rematch. Source: Steam. --- > Every match is a new challenge, and every minute is a chance for heroism, villainy, redemption, and tragedy. --- One of the key differences between Rematch and FIFA lies in both its perspective and team composition. Unlike FIFA, which typically offers a broadcast-style view of the pitch, Rematch uses an over-the-shoulder perspective, much like the one seen in Sloclap’s previous title Sifu. This shift in perspective gives the game a more personal and immersive feel, focusing on the player’s experience from their point of view. In terms of team composition, Rematch also deviates from the norm. Rather than controlling an entire team, you play as an individual on a team of others. These changes set Rematch apart, capturing the individual responsibility and dynamism of football in a way never done before. I have always felt that the essence of different sports lies in the dynamic between individual performance and team cohesion. In sports like tennis, the focus is clearly on the individual, where each point is determined by personal skill and decision-making. In contrast, team sports like rugby place a much greater emphasis on collective effort. Success in rugby is defined primarily by the cohesion and trust between teammates. While individual performances, such as a crucial run or a key tackle, are important, it is the team’s unity and strategic coordination that truly define the outcome of the game. Cricket, however, is a more individualistic sport in spite of its team structure. While the team works together, it is always the individual performances of batters and bowlers that ultimately determine success. The overall team dynamic of cricket plays a secondary role to the personal achievements of the players. This dynamic is what makes football so unique. There is no defined expectation of success. A game can be shaped by an individual if they are simply that good. Yet, in another match, team effort may be the most important contributor to success; no single player could make the difference, so tactical understanding or even basic effort and fitness take precedence. A fresh football pitch offers something unique: endless opportunity. There are Infinite ways to make your mark on the game, to define your role in a ninety-minute story. This is what Rematch captures in its essential game flow - opportunities. Every match is a new challenge, and every minute is a chance for heroism, villainy, redemption, and tragedy. The outcome of my performance depends on one thing - me. The outcome of the match depends on one thing – us. It achieves this through the incredible control you have over the ball. In every football game I know, when a ball is passed to you, the player you control automatically takes possession. The ball sticks to their feet, almost like a magnet, much like it did in the early days of NASL Soccer. But that’s not the case in Rematch. The ball is not glued to your feet. Instead, every kick is deliberate. When someone passes it to you, you must press a button to move the ball away from your feet and run onto it. This input is even contextual. If someone is sprinting toward you as you receive the pass, you have the flexibility to control the ball away from their impending tackle or flick it into the air if you anticipate a slide tackle correctly. All of this paired with the kinesthetic thrill of watching a beautifully orchestrated animation from a perspective more similar to that of an action game. Increasing your speed, turning a sharp ankle-breaking turn, or crunching the legs of an unsuspecting player all land with the same exhilaration of a punch and a kick in Sifu. When I got my hands on this beta and began to master the intricate and masterful game design of Rematch I couldn’t help but think, “Is this the beautiful game?” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/ss_93686da4efcc73e3df85e74a1b4998be5bf21f43.1920x1080.jpg) Rematch. Source: Steam. For those unaware of the FIFA-playing community’s frustrations with the series' recent direction, let me explain. FIFA is a game dominated by statistics. Every shot, tackle, header, and pass is largely predictable; you’ve seen a player’s body shift and contract the same way a hundred times, and once you’re good enough, you know exactly what’s about to happen. This makes the game highly tactical and, like modern football, focused on precise setups that minimise risk and capitalise on mistakes. It isn’t a game of spirit and joy, it’s a game of numbers. If my team sits in a low block and yours doesn’t, you’ll get fewer chances than me, and I’ll probably win. Rematch doesn’t care about any of that. With each player controlling an individual on the field in teams of four or five, human psychology comes into play. Sure, your team *could* act like a hivemind, executing precise man-to-man marking and Mourinho-esque counter-attacks, and yes, that might even be effective. But, of course, that might also mean someone doesn’t get the ball as much as they’d like… and we can’t be having that, can we? Jonathan Wilson begins Inverting the Pyramid, his landmark study of football tactics, with a striking Latin phrase: *"Felix qui potuit rerum cognoscere causas"* \- “Happy is he who can understand the causes of things.” The quote taken from Book II of Virgil’s Georgics, is more than just a poetic flourish; it signals Wilson’s intent to dig beneath the surface of the game, to trace not just what happened, but *why*. Its inclusion at the outset of a book about football is deliberate, elevating the study of tactics to something akin to philosophy or science; a field governed not by superstition or sentiment, but by logic, causality, and evolution. Virgil’s Georgics is itself an unusual but revealing source. Ostensibly a work about agriculture, it carries deep philosophical undertones. Virgil was influenced by Epicureanism, a worldview that, while acknowledging the gods, places little emphasis on divine intervention. Instead, it values human reason, agency, and the pursuit of understanding as the foundations of a fulfilled life. That same spirit animates Wilson’s work. Inverting the Pyramid is about uncovering the systems and structures that shape football, moving beyond the myth of individual genius to reveal the deeper patterns that govern the sport. Just as Virgil encouraged a clear-eyed view of the natural world, Wilson urges us to look closely at the beautiful game, to question assumptions, and appreciate the tactical intelligence that underpins its evolution. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/ss_c9fb7a8edb33440b80d4f98866e95da4c0afb819.1920x1080.jpg) Rematch. Source: Steam. --- > I’m so happy Rematch lets me pull off an expertly timed rainbow flick into a screaming volley that flies into the top corner of the goal... --- This may be brilliant, profound, and an essential part of the modern game of football. From Johan Cruyff’s 3-4-3 formation, more than just a set of positions but a dynamic, fluid system rooted in his deeply held belief in Total Football; to Pep Guardiola’s tiki-taka and the intricate, rigid positional structure applied across all eleven players; to Jürgen Klopp’s electrifying, high-speed emergence of gegenpressing, with his front three launching into the defensive line with the reckless abandon of especially brave kamikaze pilots. But I’m so happy Rematch lets me pull off an expertly timed rainbow flick into a screaming volley that flies into the top corner of the goal - something that would have Jonathan Wilson in tears, overwhelmed by the reality that my individual brilliance simply cannot be contained by my opponents’ tactical nous. Tactics be damned when a player on my team is weaving through tackles, refusing to pass, and yet I can’t blame him, because he has the tidy feet of Messi and the flair of Ronaldinho. This is the part of football that FIFA and Jonathan Wison fail to capture, obscured by details and technicality - the heart, the passion, the drive… the soul. In this way, Rematch truly represents the greatest translation of football to date, even if it doesn’t resemble the modern professional game as closely as its contemporaries. My memories of football are from playing in the park with friends: getting frustrated when someone didn’t pass and instead skied a 25-yarder because he rated himself too highly; being physically outmuscled by someone and spending the rest of the match obsessively chasing that same player down, even at the expense of my own team’s fortunes; and trusting myself to take the shot when a better pass is on, and that trust paying off as the net ripples. My teammates and I want to be heroes - and if we are good enough, Rematch lets us. Narratives emerge around us as voice chat shifts from hatred to admiration when someone glides past a sliding tackle and calmly chips the ball over a hopelessly naïve keeper, then wheels away to celebrate into Rematch’s fake broadcast cameras. That is the spirit of football, the same spirit that Rematchcaptures. It may not replace EA Sports FC as the most popular football game, but no matter, because it is abeautiful game. ### The Rise of the Great Indie Franchise URL: https://www.superjumpmagazine.com/the-rise-of-the-great-indie-franchise/ Last updated: 2025-06-04T00:42:48.000Z **Financial documents and investor presentations aren't exactly scintillating, but there can be some interesting tidbits hidden in them if you're willing to go deep.** Such is the case with a [recent Devolver Digital presentation](https://investors.devolverdigital.com/files/downloads-and-publications/DEVO-FY24-Investor-Presentation.pdf) (courtesy of [GameDiscoverCo](https://newsletter.gamediscover.co/p/what-discovery-trends-can-we-learn)). Devolver is one of the oldest and largest of what are now known as "indie publishers" - and after the high profile collapse of several publishers last year, they're one of the few remaining in their weight class. While the competition may have been dying off, 2024 was a good year for Devolver. That their profits were up is not what's interesting, though; it's what was driving those profits. The money came overwhelmingly from Devolver's sizable back catalog, with 7/8ths of its revenue coming from games released prior to 2024. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/DevMix.png) Source: [Devolver Digital](https://investors.devolverdigital.com/files/downloads-and-publications/DEVO-FY24-Investor-Presentation.pdf). There are a few factors driving this, including ports, localization, and expansion into new territories, but there's one big one that carries a lot of weight: DLC. Devolver has a lot of arrows in its quiver, but just two games have driven much of their recent success. First is Cult of the Lamb, the 2022 phenomenon that represents their biggest game to date, and second is Astroneer, a 2023 acquisition that's proven nearly as profitable. Both games had significant expansions and updates in 2024, and it's this (as well as updates to a few other popular games) that has driven most of their success. The lesson Devolver is taking from this is a simple one. Since people are spending more time with their existing IPs, it makes sense to focus on them. Thus, in the future, they plan on investing more heavily in expansions, rereleases, and definitive editions and less in new IPs. I suspect we'll see a nice, steady release of brand-new third-party games, but the lucky few who get that Devolver blessing will be getting less money as Devolver reduces investment in the new in favor of updating the old. What's happening here is hardly unique to Devolver. Many people in video games - from industry insiders all the way down to bedroom developers - have discovered that the current economic and media environment favors releasing fewer games and then supporting them for longer periods of time. You might call this the "live service lite" model, and it's been a bit underexplored. Where a true live service game is supported by a regular content release schedule, the lightweight version receives semi-regular updates consisting of a mix of premium DLC and free updates. It's an approach that many developers are starting to favor, particularly smaller ones that couldn't possibly manage the labor-intensive upkeep of a live service game but still find it easier to build onto an existing game than to start from scratch. The term I'm dancing around here is "franchise." It's a funny term to use to describe a single game, but as video games have turned into ongoing projects that are never truly "finished," some of the bigger titles have become franchises unto themselves. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-40.png) Source: Devolver Digital. Franchises are, of course, a big deal right now, but so is the service model for entertainment. The return of the miniseries and the serial novel, the rise of episodic podcasting, and the development of what's been called the "endless single" model for music all reflect a change in how people experience art and media. We've grown to expect to be entertained all the time, so entertainment transformed from an event to a steady drip. What's interesting is how independent artists have had to keep pace with this. Musicians are usually a little bit ahead of the curve in this regard. Look at the YouTube channel for any major artist and you'll see how far they've taken the endless single approach, to the point where they can get seven or eight videos out of the release of a single song. Upstart artists are having to follow suit, doing anything they can to maximize releases in between music videos and album launches. It's simply how the game is played in an environment where quantity counts at least as much as quality. For small game developers, this has become a fact of life. When you see a brand new developer put out a road map for their first game, it might seem like they have ideas above their station, but really they're just playing the cards they've been dealt. Indies need to build momentum, so it's even more important for the upstarts to keep those updates rolling in than it is for larger, more established studios. These days, any developer trying to make this into a career needs to think of their game as the start of a franchise and build from there. But what does that do for the games themselves? As of right now, the number of games being produced is continuing to grow out of control. If things keep up, we could see more than 20,000 new titles hit Steam in 2025, a number exceeding all of the official releases on the first five generations of consoles. And with less investment money to go around, it's harder to get noticed. Anyone lucky enough to enjoy any success in this environment is likely to stick with it rather than move on to the next project. Whether this is good or bad is a matter of perspective. People are playing fewer games overall, and many people would rather see more content for games they like than take a risk on something new. But if fewer people are willing to take those risks, it could mean fewer new ideas entering the pipeline. With the indie space being one of the last real incubators for new ideas, that would be a devastating loss. ### Echoes of Wisdom and the Resonance of Power URL: https://www.superjumpmagazine.com/echoes-of-wisdom-and-the-resonance-of-power/ Last updated: 2025-06-03T00:59:13.000Z **A dark aura plunges the world into crisis.** Leaders sow uncertainty and shake their people's resolve, instead of representing peace and stability in a time of chaos. Yet their nations still stand against the encroaching malevolent tide. The realm becomes more dangerous by the day; territories and resources are divided and devoured by an indescribable hunger. Yet large pockets of land remain vibrant and verdant. Feuds form between people once close; their minds clouded with fear and doubt, they isolate to protect themselves and their kin. Even so, life goes on. Children play, and merchants sell tasty fruit smoothies. What is this dark dystopia drenched with intrigue, corruption, and juxtaposition? Welcome to the land of Hyrule, in the age of The Legend of Zelda: Echoes of Wisdom (EoW). ### Cover vs. Content Bright vibes and dark themes; that is how I think of Echoes of Wisdom, a wonderfully cute game steeped in stark contrasts. EoW boasts the same charming art style as the Link’s Awakening remake, making it a joy to experience visually. You can *finally* jump without needing a special item which is just delightful. Of course, it must be mentioned that this is the first mainline game in which Princess Zelda is actually the protagonist! Hell yeah, Princess power!!! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-sleep.jpg) And as the protagonist I will nap on this beautiful little island as long as I want. Source: Author With Zelda finally at the helm in her own old-school, top-down, mainline entry and the Nintendo Switch widely considered the most family-and-kids-friendly game console, these pieces click together to make EoW an extremely palatable game that can appeal to any age and identity. This is especially exciting to those who always wanted to save the day and dispel darkness as the Princess, not as some random boy who emerged from the woods. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Spoilers_Ahead-1.png) Spoilers for The Legend of Zelda: Echoes of Wisdom and The Legend of Zelda: Link’s Awakening ahead. The Legend of Zelda series is no stranger to introducing [dark and complex themes](https://www.youtube.com/watch?v=O2tXLsEUpaQ) to young audiences. Becoming the young hero that overcomes evil is in the series’ DNA. It’s just that here in EoW I couldn’t help but notice how shiny the candy coating looked in the darkness. Link’s Awakening shares the same cute aesthetic, but I’d argue that the stakes in EoW feel considerably higher since the events are happening to our homeland of Hyrule rather than a dream island that may or may not exist. Nintendo uses this contrast between cute aesthetics and dark matters to create a family-friendly primer on how the corrupt use of power can influence a realm, and what we can learn from it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-imposter-king.jpg) Thanks....dad? So are red contact lenses now required or... Source: Author ## Mass Hysteria A sinister presence lurks within the realm of Hyrule. It opens otherworldly rifts of darkness, swallowing swaths of land and any unfortunate residents within, trapping them in a realm of absolute stillness until they disintegrate in time. Rift after rift it hungers for more – *needs* more – it must constantly grow and consume. Unlike some classic examples of all-consuming evil, it is not blinded by its hunger, rather, it’s quite clever in its approach. The darkness spreads its influence not only by taking over land but by psychologically influencing *the people.* This corruption seeps into every power structure in Hyrule, and in doing so taints the population’s perceptions, health, and spiritual wellness. Yes, dark rifts are consuming the land and spawning monsters, but did you hear that the King of Hyrule and his top advisors claim that Princess Zelda is the cause of it all, and she has thus been labeled a *traitor*?! The king’s own daughter!! She was always so kind and helpful… I guess you can never truly know a person. I hope the guards find her soon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-guard-gossip.jpg) Less chatting, more guarding! Source: Author Meanwhile, the Gerudo tribe is locked in a military stalemate against monsters emerging from an immense rift in their desert. They’re unable to make any headway and unable to rest their soldiers well enough between assaults. “It’s only a matter of time before the rift monsters stop coming,” says Gerudo head advisor Facette to Chief Seera. The Chief’s daughter Dohna, Captain of the Guard, rallies for alternative action but her pleas fall on deaf ears. Facette has never given Seera reason to be doubted before, so why start now? Even if there is zero evidence to back Facette’s claims, and the flow of monsters remains relentless. And now the renowned Lord Jabu-Jabu – the peaceful deity of the aquatic Zora tribes – rampages throughout their domain, unable to be calmed by tried-and-true methods. The heads of the two Zora tribes blame one another for their god’s unprecedented behavior. In doing so they deeply insult one another as only good friends can, forming a metaphorical rift between the once-close River and Sea Zora. Homes are destroyed in tandem with the collective faith of the people. The idea of collaboration seems unfathomable. The only strong bond remaining is resentment as their land sinks further into chaos. Somewhere within the dark rifts of the “Still World” amongst gargantuan chunks of land and frozen citizens is the heroic forest boy named Link. To prevent Princess Zelda from being swallowed by a rift, he saved her and sacrificed himself. Yet Link isalive in there somewhere. *He’s* the damsel in distress now. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-intro-link-2.jpg) It's about time that Link knew what it felt like to be trapped in a purple crystal for an entire game. Source: Author You are the princess of Hyrule, and you have a responsibility to all its people. The land may benefit from another mute boy emerging from the forest to save the day, but right now it needs a known leader to inspire its people. Someone who has the wisdom to act when needed, *in the right way*, to provide a virtuous example of power in defiance of the corruption that plagues the land. A positive leader whose altruistic actions resonate with others and heal rifts both physical and metaphorical, not one who would manipulate political threads to force an agenda of division and personal gain. And so Princess Zelda begins her quest to restore physical, mental, and spiritual balance across her land of Hyrule. ## Applied Wisdom Throughout Zelda’s adventure, there is a heavy emphasis placed on learning. Your otherworldly companion “Tri” grants you the “Tri Rod”, which allows you to learn “echoes” of objects and enemies. You deploy these echoes at your disposal, enabling you to traverse landscapes more efficiently or engage in conflicts where enemies will focus on your creations as you navigate around the battlefield. You overcome obstacles not through sheer courage or might, but through wise use of what you’ve learned. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-echo-traversal-1.jpg) "Wise use" is open to interpretation. Yes that is a bed on a wind turbine on a tree. Is it practical? Probably not. Did it work? YES. Source: Author And oh goddesses are there obstacles aplenty, since Hyrule Castle’s three main authorities, the King, Minister Lefte, and General Wright, have been corrupted by the dark presence. Your first main quest is to restore these people to their former selves. Exactly how to heal them is unknown, but it stands to reason that banishing the dark rifts across the realm will help people, at the very least, and may teach you how to complete your objective. Plus, doing so should help dispel the slanderous propaganda tarnishing your reputation; quite the positive ripple effect. Perhaps through the acts of learning and helping others, we can help ourselves. > “It is important to draw wisdom from many different places. If we take it from only one place, it becomes rigid and stale. Understanding others, the other elements, and the other nations, will help you become whole.” > > **Uncle Iroh, Avatar: The Last Airbender** ## A Sandstorm of Fear and Deceit No longer welcome in her home of Hyrule Castle Town, Zelda sets off to help the Gerudo people and quickly befriends Gerudo guard captain Dohna by demonstrating her ability to close dark rifts. Dohna introduces Zelda to her mother Chief Seera, to whom Zelda offers assistance. Seera’s top advisor Facette sows doubt via xenophobic rhetoric, questioning why an outsider would risk their life for the well-being of the Gerudo, thereby tainting Zelda’s noble offer. Even after Zelda establishes her positive intent and magical ability to literally solve all of their problems, Chief Seera listens to Facette’s advice over Dohna’s endorsement of Zelda. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-light-rift.jpg) Don't mind me, I'll just be over here summoning columns of light out of the darkness. Source: Author Fear makes action and rational thinking difficult, and Seera is afraid for her people and her land. She no doubt loves her daughter and values her opinion, but Facette may have been an infallible advisor for years, making their advice all the more difficult to disregard – even if the evidence is stacked against them. Whether in a time of chaos or peace, fear is one of the greatest tools used to control others. Repeating the same action over and over while expecting a different result can be a sign of insanity, but consistency can feel like a comfort in the face of uncertainty. So the Gerudo continue to fight. Zelda and Dohna don’t argue or battle with Seera and Facette. They simply continue with their plan to help people by dispelling rifts throughout the Gerudo Desert, the Chief’s sanction be damned. In doing so, they eventually reveal that a corrupt duplicate has quite literally replaced Facette. A dastardly doppelganger! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-gerudo-seera.jpg) Darn right! Source: Author Chief Seera deals with the dark duplicate herself and takes full responsibility for their poor treatment of Zelda. The Chief humbly accepts that she was at fault, admitting that even she harbored doubts about Facette’s advice and intentions. Seera does not make excuses for her actions; she owns her mistakes and gives praise for helping her see the error of her ways, especially to her daughter. Dohna’s ability to see the right path and take it, regardless of disagreements from those closest to her, is a great display of courage and wisdom. Seera apologizes to Dohna, and claims she will make a great Chief someday soon. Making mistakes is a part of life, yet when you lead a group of people it can be more difficult to admit fault. Worry creeps in, the devil on your shoulder saying you will appear weak and unfit if you confirm your mistakes. The worry is a lie, a misguided attempt at salvaging your status, ego, or pride. Being honest, sincere, and accountable for your actions, and committing yourself to do better than before, will prove you to be a competent leader, one that people will want to follow. Seera maintains the title of Chief, with no complaint from her people. Between Dohna’s resolve to do what is objectively good regardless of what others above her station say, and Seera’s humility and grace in the face of great error, the player and the Princess witness examples of fine leadership. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-gerudo-dohna.jpg) Source: Author ## A Riptide of Faith and Friendship Not long ago the Zora tribes of the River and Sea were very close, their wildly different cultures meshing together effortlessly. The River Zora and their Chief Dradd are rustic casual folk, happy to lend you the clothes off their fins. The Sea Zora and their Chief Kushara are sophisticated, poised people who enjoy delicate aesthetics and refined conversation. One is green, the other blue. Saltwater and freshwater. These two tribes brought out the best in one another forming a well-rounded and harmonious community. They share a religion, a faith in a singular aquatic deity – Lord Jabu-Jabu, a peaceful and enormous whale-like being who now rampages through the collective Zora domain. Historically Dradd and Kushara soothed Jabu-Jabu through a musical duet, which no longer has the same calming effect. Rather than working together to troubleshoot a solution, their frustrations burst forth, causing Dradd and Kushara to blame the other's performance for angering their god. Now their differences, once complementary, are unacceptable and infuriating. Charming quirks of personality became glaring character flaws, their own schools of music now grating to one another’s ears. Harsh words are exchanged, followed by cold distance. Few can cut so deeply as those who know you best. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-zora1.jpg) Source: Author The two Zora tribes cease interacting, following their leaders’ examples of keeping distance. And so Zelda arrives in a region rife with tribal tension and religious strife. Off the bat you can see Zelda’s objective; restore harmony between the tribal leaders, therefore creating a cascade effect that restores the relationship between the Zora tribes and their god. While helping the Zora tribes and eradicating rifts, Zelda inadvertently places the two chiefs in multiple situations where they’re forced to interact with one another. And funnily enough, they must help out the other’s tribe through the very thing that split them apart – music. Sea Zora music calms the frantic thoughts of frightened River Zora, while the pure oomph of River Zora music helps rev up stunned Sea Zora into fighting shape. All of a sudden the differences become complementary once again. A fractured relationship on the edge of hate readjusts into one of positive partnership and respect. Dradd and Kushara agree that squabbles will happen between them, but they can put aside any qualms to simply help one another out now and again, as individuals and as tribes. They’re much better together than they are alone. The Zora chiefs finally play their music together in a beautifully harmonious duet that opens Jabu-Jabu’s sealed lair, and the dark rift hiding within. A simple act of creative collaboration allows Zelda to finish cleansing the darkness from Jabu-Jabu, and their relationship. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-zora-performance.jpg) Is it time for Karaoke? Source: Author Anger can make you blind to the harm that words can afflict. Not only do enemies fight, but friends and allies do too. Heated heads and hurt hearts can make working or even existing together feel impossible. Metaphorical wounds deepen as the pain forces you to ruminate over time. Such negativity can consume a relationship, and its disastrous effects are further magnified when the scale is broadened to a relationship between two tribes – not just two individuals. Healing a relationship can't be done overnight; it takes time and a progression of small actions. A kind word here, some empathy there, perhaps a reminder of commonality or a shared cause. It’s hard to be the one to initiate any such action when you’re one of the hurt parties, but the world has a way of throwing in unknown variables to spur your own growth and nudge you along a path of healing. Sometimes that variable comes from within – a thought, a feeling, an urge – and sometimes it’s entirely external. Zelda is that variable to the Zora chiefs. Zelda witnesses two leaders put aside their pride, and help one another even though they were feuding. Anger or emotional turmoil should not prevent positive collaboration. This maxim holds even more true for those who lead, as their people will follow the example they set. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-zora-performance2.jpg) Party time! Excellent!! Source: Author ## The Flow of Perception There’s a concept here in the U.S. known as “trickle-down economics” which essentially claims that if people at the top of society have more money and they spend it, the rest of the country will be infused with greater wealth and spur growth for everyone. Think of it like a human pyramid, where at the tip of the pyramid stands a person whose pockets are overflowing with money, and that sweet sweet cash flows down to everybody else over time. In reality, it’s a very poorly kept secret that *it doesn’t work* – as the rest of the world can easily see. I’d like to borrow this concept and apply it in a way unrelated to economics that *does* seem to work. In EoW, the corrupted beings or duplicates aren’t normal civilians. There aren’t malicious shopkeepers charging you a pound of flesh for accessories, nor evil stablemasters leading a stampede of horses to crush the common folk and their farmland. The darkness is intelligent and knows of an easier way to control more with less effort. It corrupts the advisor, general, deity, and king – singular beings that already hold great influence. Why expend great effort to take over hundreds or thousands of people, when a few can have essentially the same effect? Even evil likes to work smarter, not harder. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-frozen-kings.jpg) It'd be cool if the evil darkness would let them be frozen in a more comfortable position. Source: Author With their immense sway, these titled beings can subtly mold their population’s thoughts over time. There’s an element of physicality to making money trickle down since it requires an expenditure of time; you have to work most days to make money. But information, perceptions, beliefs, and ideas are intangible and can spread as fast as wildfire. All it takes is a moment to emotionally connect to something you see or hear. Let’s look at the real world for a minute. The United States is in the midst of a renaissance of disrespect. Just a decade ago the highest office in the land was one of the highest integrity, where its holder would be held to the utmost standard and intense scrutiny in all regards: Tactful and respectful communication to all – even to those with differing views; extreme accountability for their actions and policies of their administration; honoring partnerships, friendships, law and tradition; actively working in the best interest of all people in their country. Whether you like the Trump administration or not, you cannot argue that these factors which were definitive of a presidency a decade ago are no longer in consistent practice. Everyone has the right to say whatever they’d like; it’s an enshrined privilege in the United States. But the president and those in power are role models to their people, not only to children in schools but to *everyone* in the country. If the president calls a group of people losers or deems a specific demographic to be dangerous, then it gives implied permission for your neighbor to do the same. If the most powerful person in the land makes a claim, many will immediately believe it and act upon it. Barely a day had passed before the residents of Hyrule Castle Town believed that their beloved Princess Zelda was responsible for the calamity plaguing the land. Citizens were afraid, and castle guards patrolled the streets in search of the royal fugitive. These are fictional folk, but it accurately illustrates the power of information coming from “a trusted source”. People are social creatures by nature, and in the real world, we are always plugged in, always within reach of a new decree proclaimed by a being of influence. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-disguise-1.jpg) Sometimes you just gotta go off the grid to clear the mind. Source: Author ## The Law of Conservation of Energy From economics to science - are we in school? Kind of; now, welcome class! According to the law of conservation of energy, within a closed system, the total amount of energy can only change through energy entering or leaving this system. Now replace “energy” with “corruption” and you know where I’m going with this. After eradicating the rifts from the Gerudo Desert and Zora Waters, all is well and Hyrule is saved! Ha, just kidding! A new mega-rift opens over Hyrule Castle, which you – Zelda – swiftly do away with to save your father, the King. He thanks you for rescuing him and his advisors, expressing regret that you’ve had to put yourself at great risk to do so much for the realm. But the land is still not saved, for *multiple new rifts* have now emerged across the land once more. Gahhhh! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-more-work.jpg) Your turn, right? I saved literally everybody here. Source: Author We thought we did away with all this darkness, but now it’s like nothing changed!! The energy has not left the system. Eldin Volcano, Faron Wetlands, and Holy Mount Lanayru are now under siege and require your assistance. But this time the leaders or gods of each region are not corrupted like before. Remember that the darkness is intelligent, for it tries new tactics. Within the Faron Wetlands, the innocent and childlike Deku Scrubs live a rambunctiously fun lifestyle, playing and gorging themselves on delicious fruit smoothies. One day a new irresistible treat appears – “cotton candy” made from the webs of spider monsters that are continuously emerging from new rifts. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-spiderwebs1.jpg) There's candy EVERYWHERE!! Jackpot!!! Source: Author It sounds gross, but hooooo baby these webs are beyond tasty, and also highly addictive! No Scrub even *thinks* about fruit smoothies anymore, or anything else for that matter. They clamor to get access to more cotton candy, even growing envious of fellow Scrubs whose homes and lands are consumed by darkness, since they get to be *so close* to the candy-spouting rifts. Luckyyy!! Even loved ones who are consumed by the rifts are reduced to trivial annoyances. Eldin Volcano, home of the Goron race, also falls victim to new rifts. And isn’t the timing just awful – the Gorons *just* appointed a new chief, Darston, who has taken up the mantle after the passing of his father. Darston is still very much finding his footing as a leader and doesn’t yet have the confidence to handle a massive crisis like this. Darston tries to guide himself using a rock slate covered in his late father’s mottos, but he feels severely out of his league in the face of such a calamity and doubts whether he can truly take care of his people. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-darston1.jpg) Source: Author Holy Mount Lanayru is a peaceful mountain blanketed in snow, mostly uninhabited except for a friendly yeti named Conde. The rifts peppering this place don’t threaten the subtle takeover of society or issue a critical challenge to undermine new leadership; more simply it is the occupation of a place of spiritual power. Any location with “Holy” in the title bears significance to someone. It is a place to be respected, a place of reverence, and perhaps one for pilgrimage. Now, Holy Mount Lanayru is a formerly serene symbol standing vigil above the land that now casts a shadow of fear. Conde has tended to the mountain for ages, as his brother and father did before him. He tries to heal the mountain by clearing the relentless torrents of snow, but the rifts and snowdrifts only get worse. Nonetheless, he continues to try, unrelenting in his faith that he will fix the mountain. While the task may be futile, Zelda and Tri choose not to dispel Conde’s conviction. I’m not going to dive into extreme detail on how Zelda overthrows each iteration of darkness, as you already know the answer – she puts herself on the line by taking action and helping others. I will simply state what wisdom I thought could be gleaned from each example’s outcome. Do not be a slave to the things that bring you pleasure. Recognize the cost it incurs, and conquer the fool inside that tells you to consume more. Find balance within yourself and within your community. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-scrubs.jpg) Source: Author History and knowledge can only take you so far; action and experience will take you the rest of the way. Think about what you’ve learned from others and then carve your own path. It’s natural to second-guess or doubt your ability when attempting something new, but confidence comes from overcoming your self-doubt. Prove your negative thinking wrong through consistent positive actions and soon you won’t rely on an idea or past example of greatness, but your own ability and discipline. You may think a particular action is fruitless, yet the same action may bear great significance to another. If you have knowledge that will do great harm to one’s faith or mind without any positive outcome or necessity to share, then perhaps it’s best to keep it to yourself – to do otherwise will only cause harm. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-darston-confident-2.jpg) Source: Author ## Separation of Powers The darkness plaguing Hyrule, known as the primordial entity Null, eventually gains access to the land of the gods through duplicitous means and thus obtains the “Prime Energy", more famously known as the Triforce. Supposedly the bearer of the Triforce can do *anything*; make wishes become reality, reshape the land, or even consume all life. I wonder which option Null – the umbral being that is slowly disintegrating everything – would choose? But the Hylian gods foresaw how flawed it is to potentially leave all their power in the hands of one individual, so they built a failsafe into the Triforce. When Null tries to use it, it fractures into three pieces that fly into living beings whose values most accurately represent each piece. The piece of Power flies into Null, Courage to Link, and Wisdom to Zelda. Without all three, Null cannot bring their plan to fruition. They intend to obtain the piece given to Link first, who remains trapped somewhere in their Still World. The separation of powers inherently built into the Triforce prevented ultimate authority from being seized and abused, just as governments in our reality create separate branches of authority to prevent one from overpowering the others. Look at that - a system of checks & balances just saved the world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-meat-pond-1.jpg) But they can't save this village from me gifting trampolines to children and turning the local pond into meat soup. Source: Author Now Zelda comes upon her final test; confront and remove Null entirely from Hyrule to save Link and all of Hyrule. Zelda fights her way through the Still World and defeats Null’s avatar, freeing Link and the Triforce of Courage. Weakened by battle, Null retreats further to the core of their body – an enormous building-sized mass composed of Null-tinted labyrinthine passages. The final confrontation of Power vs. Wisdom & Courage is set up. Zelda and Link venture into the void together to remove the root of corruption. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-zelda-link-void.jpg) You first? Source: Author Here within the darkness, EoW does something very very cool. Zelda and Link must split up but still work together to progress further. Via map design the screen is now split in half; you control Zelda on one side while Link is on the other. Link battles an onslaught of enemies, while you influence the battlefield through smart use of your echoes and Tri Rod. Together you overcome each obstacle within Null’s palace of power. Together Zelda and Link find Null’s true form, and together they fight it. You’re not alone in your quest anymore, no longer the one person who bears the weight of the world on their shoulders; you’re now part of a team. This team illustrates how wisdom and courage combined will always overcome raw power, and how people working together will overcome the lone ruler. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-null3.jpg) Source: Author Null’s power cannot withstand the united front of Zelda and Link, and they are destroyed. Not defeated and thrown into magical prison, or exiled, but utterly removed from the closed system. In a video game, an ending like this is neatly tied up. The evil is eradicated, hip hip hooray!! But in reality, you can’t just destroy a being of corruption. That would be murder my dude, and that’s always very much off the table. Instead, some rules and systems can be enforced to ensure people cannot continue within a system they were discovered to have abused. For example, corrupt lawyers can be disbarred so they can no longer practice law. The Fourteenth Amendment of the U.S. Constitution provides a system as well, known as the “Disqualification Clause”. The problem with such systems? They’re made by people, and therefore must be enforced by people. And as we’ve seen in life and over the course of this game, people's minds and beliefs can be influenced. We do not have a divine system of checks & balances. ## Constant Vigilance Any time I hear this phrase I see a flash of Mad-Eye Moody from the fourth Harry Potter film. An eccentric auror – or dark wizard hunter – Moody uses this catchphrase to remind his students what they must all do if they are to notice and stop the darkness from encroaching further. Remain constantly vigilant, so that you can act right away when needed. We don’t live in a world of wizards and magic (as far as I know, unfortunately) yet his mantra stands true in reality. There is darkness in our own world, just as there is at Hogwarts or in Hyrule. If left unchallenged, it will take everything it can, and it tries. Constantly. Everywhere. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-null-2.jpg) Source: Author I truly believe that wisdom can be obtained from every kind of media, and every experience in life. A fantasy book series can inspire and teach me how to combat depression more effectively. Song lyrics can remind and motivate me to embrace both the highs and lows of life. A video game can reinforce lessons on how to help and lead others during a crisis, and also educate how the corrupt use of power can swiftly devastate communities. It is up to the people to do what they can to make their world, their future children's world, everyone’s world, a little bit better. Those actions will be different each day, hour, or minute. Maybe it takes the form of volunteering your time, or simply not having an attitude towards a stranger when you’re having a bad day. Positive actions have a ripple effect in the world. Negative actions can also cause ripples. Capitalist media outlets and certain people in power thrive on negativity; transmitting messages of fear or hate that resonate with millions every day, influencing their thoughts, emotions, and actions. You have the power to choose how it will affect you, and what to learn from it. Will you respond to negativity with further negativity, allowing your ripple effect to complement and fuel the wave of darkness and pain? Or will you learn and respond with your own act of positivity, rebelliously cancelling the wave of darkness with your own well of light? When the crest of a ripple in water meets the trough of another ripple, both are cancelled out through an event of “destructive interference”, resulting in a calm surface. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-guard-gossip2.jpg) Source: Author I don’t know about you, but I like the idea of considering good actions as “destructive interference” against the evils of the world. Zelda saved the land of Hyrule by helping people, making consistent positive actions, and destructively interfering with the waves of darkness that swept over her land. In doing so, she (and we) slowly lifted the veil that had covered the population’s eyes and learned what it looks like to be a wise and benevolent leader. Be like Zelda. Destructively interfere with the corrupt resonance of power by applying your wisdom in positive ways. Your actions will echo into the future, making you a sort of “Hero of Time”. > *“You have light and peace inside of you. If you let it out, you can change the world around you.”* > > **Uncle Iroh, The Legend of Korra** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/eow-intro-landscape-1.jpg) Source: Author ### Emerge Shows the Fragility (and Power) of Memory URL: https://www.superjumpmagazine.com/emerge-shows-the-fragility-and-power-of-memory/ Last updated: 2025-05-31T15:14:28.000Z **I've previously played two games from developer Krish Shrikumar; in fact, I still use Playne for meditation.** Emerge takes a different approach, looking backward instead of forward. That's not a bad thing when we are questioning what a life is worth. Shrikumar's team also decides to up the ante on the graphics so that we have more to do than sit with ourselves, take a deep breath, and let the world wash over us for a few minutes. I approve of this change since Playne and Inward have already set the bar for meditation games. ### Emerge Maya thinks she's heading home from work to celebrate her fortieth birthday. A talking black cat named Luna hops towards her and tells Maya that it's her eightieth birthday actually, and she is a grandmother (speaking of grandmothers and birthdays, Emerge reminded me to email my maternal grandmother for her special day). Maya can't believe it; this house doesn't feel like her home, and she doesn't feel eighty. None of the memories are there. The black cat has a solution: Maya can assemble jigsaw puzzles of her memories, rendered in sepia photographs. Each puzzle has roughly forty to fifty pieces, and their alignment may be off; some pieces come with hints about how to align and rotate them properly, while in other cases you have to engage with trial and error. If you can merge at least two pieces within a time limit, you gain more memory shards. These memory shards comprise Maya's memories. You can also use them to pay for cheats or other features of her home. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-34.png) Source: Steam. ### Mechanics of Memory Jigsaw puzzles are not my forte. I'm decent in real life if the puzzle has a guide, but if there are more than 100 pieces, forget about it. There's a reason that only the board games remained as we cleaned out bits of the house. They don't come together for me, literally. Despite that little obstacle, the game doesn't penalize you for not knowing how pieces fit together. At worst, you get an ERROR message or a reminder if you have already filled that slot. One benefit is that all the pieces are square-shaped, so you don't have to figure out how they fit together (thank goodness). The features that help you figure out alignment or placement do work if you can figure them out. I haven't paid for the shortcuts that would make the game easier yet. Why? Because I want to know how many shards a player can procure within one session. Knowing the amount means that I can allocate the shards accordingly and find out how many are needed to reach the end of the story. Speaking of which, the game offers quite an emotional narrative. Maya comes from a mixed-generation family; we don't learn where her maternal grandparents are from, but her father hails from Poland. Her mother's family disowned her their daughter for marrying Maya's father and said there would be consequences. I am guessing the consequences are more than societal shame from the upper-class Chennai circles. Maya's disbelief is quite poignant; she can't believe she forgot her entire life, including that she's eighty years old. Her mind betrayed her, and she must confront it to find the truth. A magical cat named Luna activates all my nostalgic vibes, especially with how Luna comes at night with eyes glowing in the dark. I don't know why Maya has a cat named Luna, but I definitely won't complain. My family hates cats so we wouldn't have had a Luna at any point. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-35.png) Source: Steam. ### What Happens After You Remember? That is the big question. Maya has no family with her now, even though she's turning eighty. Where are her kids and grandkids on such a special occasion? Why is she alone in her house? And why does it feel unfamiliar? It could simply be dementia or Alzheimer's, but that doesn't explain Luna. Few magical cats work with memory in Hindu mythology. The mystery looms over the narrative. So far I've only learned about how Maya's parents met and the complications that ensued when she was born. Each puzzle reveals a page, but not a chapter. Emerge shows a lot of promise, especially for Asian-American players. We understand the mixed feelings that come from an immigrant inheritance, trauma included among them. Second and third-generation Americans don't want it, but we own what we inherit. Remembering is how we accept and process. ### Beyond the Gold Bars: The Hidden Brilliance of Fallout New Vegas: Dead Money URL: https://www.superjumpmagazine.com/beyond-the-gold-bars-the-hidden-brilliance-of-fallout-new-vegas-dead-money/ Last updated: 2025-05-30T21:48:22.000Z **Released in October 2010, Fallout: New Vegas marked the second entry in the storied franchise after the IP was purchased by Bethesda Softworks in 2007.** The game takes place in 2281, 204 years after a nuclear apocalypse referred to as the Great War. Players assume the role of Courier Six immediately following an ill-fated delivery mission where the Courier is shot in the head, robbed of the strange platinum poker chip they were to deliver, and left for dead. The Courier makes a full recovery after being brought to a local doctor and sets out on a quest to find the person who robbed them and recover the missing platinum chip. While on their quest for answers and vengeance, the Courier picks up a broadcast on their wrist-worn computer/radio inviting them to “Leave their troubles behind” and “begin again” at the grand opening of the Sierra Madre Casino. It is clear from listening to this broadcast the message has been on repeat since the atomic bombs fell in 2077\. Lured by either curiosity or greed, this signal leads the player to a radio in an abandoned bunker, at which point the Courier is rendered unconscious, kidnapped, and brought to the Sierra Madre Casino, marking the start to Fallout: New Vegas’ most polarizing add-on. For those who are already a part of the Fallout fandom, you are likely well aware of the divisive reputation Dead Money has earned. The DLC turns 15 this year, and the debate continues: is this the game's best add-on, or should it be avoided completely? Having played it shortly after it was released in December 2010 and then finishing it recently in 2025, I have experienced both ends of this spectrum first-hand, from detesting it the first time to thoroughly enjoying it today. This change has left me with a greater appreciation and motivation for replaying challenging or otherwise disappointing games with an open mind. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-31.png) Source: Steam. ## The Frustrations of Dead Money The first gripe I had with Dead Money was the same one that irritated me in the add-ons for Fallout 3; you're immediately stripped of all your belongings. I always found this mechanic irritating in Fallout 3 because it broke any continuity between the main game and the add-ons. Every time you started a new add-on was like being thrown into a New Game+ scenario where the only thing you get to keep is your levels and perks. Beginning the experience in this way immediately left me with a bad impression. If it wasn’t frustrating enough for me to get stripped of all my gear, the inversion of the core gameplay elements left Past Me longing for the Dead Money experience to just be over already. While Fallout New Vegas' base game implemented some survival mechanics not present in Fallout 3, these elements were largely overshadowed by the RPG elements and gunplay, both of which are a staple of the series. Dead Money, however, does a complete 180 in terms of game mechanics, instead requiring the player to navigate elements much more at home in a survival horror game, such as sneaking around enemies and crafting weapons. Focusing more on survival mechanics is not the only inversion Dead Money perpetrates. A much bigger change to the core mechanics lies in how the Sierra Madre and surrounding Villa are organized. Most notably, large portions of the area are inaccessible until certain quests are completed. Compared to the base game, where nearly the entire map is accessible the moment you step out of Doc Mitchell’s house, this is a big change and can be a particularly difficult pill to swallow for players expecting a more open-world experience. Stripped of their gear and now having to implement gathering, crafting, and stealth to survive, the player is further required to lean on their non-combat skills to navigate difficult skill checks, some more difficult than those present at the end of the game’s main quest line. Combat is already more difficult without your gear, this element feels like it exists to stoke the player’s frustration by seemingly punishing them for relying on their combat skills. When considering any of the DLC's “good” endings (ones where all of your companions survive), each requires significant prior investment into a multitude of non-combat skills such as repair, bartering, medicine, and speech. Thus, getting the player’s desired outcome might feel all but impossible without prior preparation. After navigating all these changes and difficulties, the player is brought to the ultimate moment of truth: breaking into the Sierra Madre vault. If there was any motivation for the frustrated player in this add-on, it is the hope that the take from the vault would be more than worth all of the trouble. The game tells the player, in no uncertain terms, that the payoff for robbing this 200-year-old casino will be legendary, so they should feel some sense of accomplishment when they find themselves liberating the fortune in the Sierra Madre vault, right? Therein lies one of the most infamous game design choices in the Fallout universe. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/Dead-Money-Ghost-1.jpg) Source: Steam. The vault does contain unimaginable riches for the player in the form of thirty-seven solid gold bars. With the right bartering skills and perks, this haul would net the player somewhere in the ballpark of 300,000 caps (caps being the form of currency in Fallout). There is, however, one slight problem: each gold bar weighs thirty-five pounds. While the player can snag all of these bars, they will become over-encumbered and lose the ability to run and jump. As the player needs to do both of these things to escape from the vault, it becomes strikingly clear that without using exploits, most of the gold will need to be left behind, leaving the player with only a small fraction of what they could have earned. Even if the player does manage to snag a significant portion of the gold bars, most of the merchants in the game lack the caps to even buy them from you. It's a poor reward for all the blood, sweat and tears needed to get to the vault. ## A Decade of Change: One Player’s Journey All of these elements combined to make Past Me absolutely abhor Dead Money; I threw it down and didn't touch it again until this year. Needless to say, a lot has changed in the fifteen years since I first played the DLC, both in my personal life as well as in the world around me. I was barely in high school the last time I played this add-on, and now I am twenty-eight. When I think back to the person I was in 2010, it was no wonder it completely went over my head. I had a lot of growing up and maturing to do before I could realize the significance of the DLC's narrative elements. Themes of greed, obsession, letting go, and redemption were too weighty for thirteen-year-old me to recognize and relate. I have now seen greed first-hand in a way I never did when I was just thirteen. At that age, I had no framework or real-world experience for what obsession looked like either. Sure, I had interests, but I could not relate to the varying obsessions of each character in Dead Money, nor could I likely even recognize them as obsessions. Playing through this again as an adult has made me realize the various expressions of obsession and allowed me to relate to these characters in a different way. This is to say nothing of my experience with loss and letting go. At that point, the most I'd had to let go was in mourning the loss of family pets. Since then, I have endured the loss of three grandparents, have seen the beginning and end of plenty of friendships, transitioned between multiple jobs, and have even had to let go of my own obsessions. With all of this in mind, it is truly no wonder the themes of this add-on were lost on me. Besides real-life challenges, I've simply played so many more games in the intervening years between my playthroughs. The mindset I took into playing video games when I first fired up Dead Money was an absolute focus on loot and gear. Those were the tangible expressions of achievement, and the fact Dead Money gives so little of either equated to a waste of my time. This likely stemmed from the fact I wasn’t too interested in reading and found exposition boring, and there are plenty of both in this DLC. My shift from loot focus to narrative focus is something else that happened as I've grown older. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-32.png) Source: Steam. ## Dead Money Revisited: Finding the Hidden Brilliance Years later, I can now recognize and appreciate the mechanics of Dead Money and the challenges they present. I originally felt that stripping the player of their gear was a lazy way to introduce difficulty and make the add-on feel balanced. Now I see it is an important set piece that helps to establish the overall tone of the DLC. By taking everything away, Dead Money is intentionally making the player feel like they are in a vulnerable position. The environment of the Sierra Madre, its inhabitants, and the overall plot are designed to make players feel as helpless as the character they are playing. The difficulty of the skill checks aims to further intensify that helpless feeling. Each of the companions the player encounters has their own motivations for why they will or won’t help the player. Navigating these motivations, determining who to trust, and leveraging your non-combat skills makes the game feel much more like chess than the RPG/FPS it is up to that point. While failing the skill checks can be frustrating, it also serves as an important reminder that violence can usually settle issues pretty quickly in the Fallout universe, but it isn’t the only tool available. Even the fact the player receives next to nothing due to their inability to grab all the gold in the vault serves a narrative purpose. By making the vault impossible to completely loot, the player is taught the same lesson about letting go that their character encounters throughout the story. What better way is there to demonstrate the necessity of letting go in the face of obsession than forcing the player to let go of the very riches motivating all their actions? The frustration I felt in my original playthrough shows how easy it is for the player to relate to and understand the motivations behind their character and the companions they encounter. There is also much to be said about the character arcs and redemption stories of your companions. Similarly to the Courier, they have been kidnapped and forced against their will by a man named Elijah to break into the Sierra Madre’s vault. These companions are a pre-war entertainer turned ghoul named Dean, a super mutant named Dog (and his alter ego, God), and a human named Christine who has been rendered unable to speak. Whether or not they survive, and whether or not they help the Courier, is completely dependent on the player's actions. While I either killed them directly or inadvertently led to their deaths the first time I played through this add-on, in this most recent playthrough I managed to save all three of them, leading to a much more well-rounded and complete story. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/Dead-Money-Security.jpg) Source: Steam. Experiencing these narrative elements helped to change how I viewed this add-on. Likewise, taking the time to actually soak in the game's excellent sense of atmosphere helped me to catch new narrative elements I had originally missed. While it's easy to see Elijah’s obsession with breaking into the Sierra Madre vault and the power it will provide him, there is also an interesting subplot regarding Fredrick Sinclair, the creator of the Sierra Madre. Similar to Elijah’s obsession with money and power, Sinclair was obsessed with a Hollywood starlet by the name of Vera Keyes. Sinclair was deeply in love with Keyes and it is hinted the Sierra Madre was created to impress her. The reality is Sinclair, foreseeing the impending nuclear war, created the Sierra Madre so Keyes could use the vault as her own personal fallout shelter. The casino itself and the surrounding villa mattered little to Sinclair, as noted throughout the logs the player can find which constantly hint at the shoddy workmanship and hasty construction. What really mattered to Sinclair, above all, was ensuring Keyes was at the Sierra Madre when the bombs fell and could easily access the vault for shelter, protecting her from the radiation and hellfire which would follow. To that extent, the vault could only be opened by Keyes uttering a passphrase. Sinclair’s obsession with Vera, however, intersects with Dean’s obsession with money. Dean, who was present at the Sierra Madre and turned into a ghoul as a result of the bombs, therefore causing him not to age, was hellbent on breaking into the Sierra Madre vault himself during its grand opening. Knowing Sinclair had a weak spot for Keyes, Dean planned to blackmail Keyes into opening the vault, unaware that it was designed to trap her inside to protect her from the impending armageddon. Keyes, feeling an overwhelming sense of guilt for using Sinclair’s obsession with her against him, eventually comes clean before Dean is able to gain access to the vault. Keyes’ confession helps Sinclair realize his obsession with her was completely one-sided. While she cares deeply for Sinclair, he recognizes they were never meant to be together and chooses to end his obsession with Keyes. Fully absorbing this subplot shed new light on this polarizing DLC and helped me realize just how special it is. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-33.png) Source: Steam. ## Learning to Let Go and Begin Again All of this is to say that if I hadn’t given it another chance, I would have robbed myself of a fantastic and enlightening experience. Replaying Dead Money not only gave me a chance to have a deeper appreciation of the Fallout universe and that the theme of letting go and beginning again is also applicable to gaming. When you revisit a game, particularly after having taken a break from it for a considerable amount of time, you have the opportunity to experience it through a fresh set of eyes. Taking another look at a game allows the player to examine it through the context of other games they have played since their initial playthrough, allowing them to make connections with past experiences and helping to draw comparisons, giving them a deeper appreciation for the game they are replaying. Replaying also provides a great opportunity for players to examine a game through a new lens as they take their lived experiences with them, helping draw new personal connections to the game they are replaying in a way they might not have been able to during their first playthrough. Video games, like other forms of consumable media, offer an opportunity for re-evaluation becausetheir content stays constant while the experiences of the player are subject to change. There is nothing fundamentally different about the content of Dead Money right now compared to when I first played it, but because of the experiences I've had, I can engage with it in a completely new way. For this reason, Dead Money feels like a completely new game to me, regardless of the fact it's the exact same game it was a decade ago. The caveat to being able to experience a game anew, however, is that the player needs to allow themselves to let go of their past experiences with the game and just begin again. Having an open mind is a necessity for replaying games that were not enjoyed the first time around. By letting go of past disappointments and expectations with a title, you can move forward and let your personal growth and new experiences color your impressions. Sure, you still may not enjoy the game, but the opposite is also true and you might walk away with a new favorite game. In the same way, you might gain a better understanding of how your experiences have changed you as an individual. ### On Designing for Inclusion With Xbox Adaptive Controller Co-Inventor, Bryce Johnson URL: https://www.superjumpmagazine.com/on-designing-for-inclusion-with-xbox-adaptive-controller-co-inventor-bryce-johnson/ Last updated: 2025-05-29T21:10:28.000Z **In March 2025, Microsoft partnered with Nintendo, EA, Google, and Ubisoft to launch the “Accessible Games Initiative,” promising clear accessibility labels on digital storefronts.** These include auditory features, input remapping, and visual options like text size and chat speech-to-text. It’s the latest step in a medium that continues to chip away at barriers for players with disabilities. At IGDC ‘24, we sat down with Bryce Johnson, the co-inventor of Microsoft’s excellent Xbox Adaptive Controller, to understand how game studios design for inclusion. During his talk at the conference, Bryce played a video of [Mike the Quad](https://www.youtube.com/watch?v=mjbKQ05JLks), a quadriplegic Twitch streamer with no finger function, playing rapid input-heavy shooter Apex Legends with an Xbox Adaptive Controller. Bryce’s bold claim of “I don’t believe in empathy, I believe in compassion” meant he knew he couldn’t fit into everyone’s shoes. But that didn’t stop him from advocating for a hardware ecosystem that enriches the lives of players with disabilities. --- > “I don’t believe in empathy, I believe in compassion.” --- “We had to recognize that our \[standard\] gaming controller, the only way to interact with the console, couldn’t be used by everyone,” noted Bryce. “So we needed to create an alternative and we worked with a number of organizations, including Warfighter Engaged, AbleGamers, SpecialEffect, Cerebral Palsy Foundation, and Craig Hospital. We worked with all those organizations to develop the Xbox Adaptive Controller, a modular controller that people can use to build a controller that fits their movement.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/microsoft-adaptive-controller.jpg) The Xbox Adaptive Controller can be attached to a variety of peripherals. Source: Microsoft. Working with multiple communities helped the team narrow their scope and build the Xbox Adaptive Controller in 2018\. It was a peripheral that could be used by a massive community of modders who were already tweaking standard controllers in the pursuit of inclusion. In an interview with [The Verge](https://www.theverge.com/23424294/microsoft-xbox-adaptive-controller-interview), Microsoft’s corporate vice president of Windows and devices Robin Seiler pointed out that Microsoft was close to canceling its Adaptive Controller project. But their employees rebelled and made it happen at a price point of $100\. When asked about what features didn’t make the cut, Bryce likened it to choices over sacrifices. “People come up to me all the time and tell me ways in which it could be better, which is great. I like to do that,” admitted Bryce. “But I think what people don't realize is that when you head in one direction towards enabling a certain group of people, you are heading away from another direction. So they don't really know and it's understandable why they don’t. They don't really understand the balance that we were trying to strike.” --- > “It’s hard to have those solutions that you create for people with very significant needs, branch out, and help more people.” --- On what’s next in the field of inclusive design, Bryce agrees that “... it’s a tricky balance. Because you can certainly find people with significant needs and create solutions for them. But sometimes, it’s hard to have those solutions that you create for people with very significant needs, branch out, and help more people. And that’s what we're always trying to do, we’re trying to create these things that don't just help a very specific group of users. We call it, in our user design methodology, solve for one, extend to many.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/byowave-controller.jpg) The Proteus Controller is made of modular cubes. Source: Byowave. He quickly pointed out that “It doesn't mean that specific solutions aren’t important or valuable. It's just not basically a place where I think we feel like we should be fine. I work with Windows, and 1.5 billion people in the world use Windows. So you know, reach is important, but that doesn't mean that I don't love talking to people who make very specific devices.” That’s where third-party manufacturers like Byowave’s Proteus controller with customisable cubes come in. “We had a partner at Xbox called 8BitDo that released a controller for us, for folks with minimal mobility and it tackles a subset, a very specific subset of users. I really appreciate that they did that and I love that they get that.” “Solve for one, extend to many” continues to be applied across Microsoft’s inclusive efforts. “We have lots of people at Microsoft working on accessibility full-time,” notes Bryce. “We have people at Microsoft who work on all kinds of diversity full-time. Xbox itself has a program called Gaming for Everyone, which looks at how people are marginalized across many facets of gaming. It's important that the staff and the people who work at Microsoft really value this type of work.” Grant Stoner’s list of [2024’s best accessible games](https://www.ign.com/articles/the-best-accessible-games-of-2024) for IGN featured both AAA studios and indie teams, indicating that inclusive design continues to grow in prominence. --- > “It's important that the staff and the people who work at Microsoft really value this type of work.” --- Prince of Persia: The Lost Crown (2024) from Ubisoft’s disbanded Montpellier-based development team, was lauded for its accessibility features, especially its Guided Mode and [Memory Shards](https://www.ubisoft.com/en-us/help/prince-of-persia-the-lost-crown/gameplay/article/using-memory-shards-in-prince-of-persia-the-lost-crown/000106473). The latter reminded you to return to once-locked areas after gaining new abilities. While the decision to turn this accessibility feature into a consumable earned from optional challenges was baffling, it’s still a step in the right direction. SUPERJUMP author Josh Bycer’s article on [approachability vs accessibility](https://www.superjumpmagazine.com/prince-of-persias-accessibility-is-inaccessible-to-some/) dives deeper into this dilemma. On that note, Bryce’s landmark moment in accessibility was Naughty Dog’s The Last of Us Part II (2020). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/sony-accessibility-last-of-us-2.jpg) The Last of Us Part II featured an incredible degree of accessibility. Source: PlayStation. Preset options for fine motor and hearing, and additional features for low-vision players led to accessibility consultant Steve Saylor telling [PlayStation](https://sonyinteractive.com/en/news/blog/naughty-dog-blazes-the-trail-for-accessible-storytelling/) that the game “removed barriers I’ve always had in games and I can now enjoy the game as it was meant to be played.” Bryce was also impressed. “I think that \[The Last of Us Part II\] is, it's really important to kind of recognize that,” he said. That year, The Game Awards introduced an Innovation in Accessibility category. “For me, there are a bunch of little things that stand out. Like Celeste had a fun story. In our portfolio, the folks at Rare who work on Sea of Thieves have been unwavering in their commitment to shipping accessibility features every release. So that's certainly incredible and the folks at Turn 10 have done some amazing work as well with Forza.” Bryce’s mention of Sea of Thieves reminded me of streamer [Sightless Kombat](https://www.twitch.tv/SightlessKombat) following the sounds of his crewmates to help steer a ship and fight skeletons. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/bryce-johnson-with-author.jpg) Source: Image captured by the author. --- > “We’re starting to gain a bit more maturity, where it's not these one-off things, it’s an ecosystem of products.” --- If you’re looking for advice on designing for a wider audience, Bryce points to existing frameworks like the [Game Accessibility Guidelines](https://gameaccessibilityguidelines.com/) to get started. “There are lots of people having these conversations. So I think you can pick up stuff from that.” On the hardware front, Bryce also noted that “we’re starting to gain a bit more maturity, where it's not these one-off things, it’s an ecosystem of products. So I appreciate that maturity and I’m hopeful that in the future we can do more to converge on that.” In an interactive medium perfectly suited to tackle social isolation and create memorable experiences as a community, it’s reassuring to see that accessibility is no longer an afterthought. Communities with thousands of hours working with people with disabilities are helping shape the next generation of video games. Despite the [abuse allegations](https://me.ign.com/en/pc/230246/news/former-employees-community-members-allege-ablegamers-founder-fostered-abuse-behind-closed-doors), AbleGamers raised millions across charity events and helped Activision Blizzard implement accessibility features in Diablo 4, netting it a nomination for 2024’s Innovation in Accessibility award. A quote on the Game Accessibility Guidelines page perfectly encapsulates the need for inclusive gaming: “We exist and we want to buy your games". ### Deltarune Chapter Three and Four's Release is Nigh URL: https://www.superjumpmagazine.com/deltarune-chapter-three-and-fours-release-is-nigh/ Last updated: 2025-05-26T15:00:28.000Z **We're a little late to the party with this announcement, but we have a Deltarune update!** Toby Fox finally has a release date for interested fans of Deltarune: June 5, 2025, will see the release of Chapters 3 and 4\. I'll probably be at the Nebula conference then, but everyone else can start playing and finding all the secrets! Per Fox's newsletter, which is [also available on his official site](https://toby.fangamer.com/newsletters/release-date/), the game will have versions for both Nintendo Switch consoles, PlayStation 4 and 5, PC, and Mac. He's priced all four chapters at $24.99, and players will not have to purchase the remaining chapters when they are released. ## I'm With You in the Dark Deltarune is a spinoff of Fox's game Undertale, with some characters overlapping even though the universe is different. The player character, an agender child named Kris, ends up in a world of toy and computer-based NPCs whom they either have to fight or spare. Another monster named Susie tags along with Kris, and they meet a sorcerer named Ralsei. The three of them have to navigate different worlds and seal them off to prevent an apocalypse. Kris also has a mysterious secret; we don't know what they are or what their agenda is, and they aren't revealing anything to the player. This mystery is only deepened by the lovely Laura Shigihara soundtrack theme with the lyrics "Don't forget; I'm with you in the dark." ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-28.png) Source: Screencap from Trailer. Many Undertale players have been wondering what connects that game to Deltarune. Some dead NPCs are alive in this game but offscreen, and personalities are entirely reversed in some cases. Susie also is shocked to see that Ralsei looks exactly like Kris's brother Asriel, and even references it in the second chapter. Some things are the same, however; goat parents Toriel and Asgore have tension between them, and Sans the skeleton hints that he knows why we take an interest in him. Fox has also posted extra lore during special occasions like the Spamton Sweepstakes, with some anecdotes as silly as a creepypasta recreation or as sad as missing a sister. Deltarune has unique lore as well. We learn that a mysterious Knight opening Fountains is why these tiny worlds are created. No one has seen the Knight's face, only them opening a Fountain. I've theorized that Kris is the Knight, given some pretty sketchy things we see. New NPCs, like Kris's friend Noelle, also come with questions and secrets. ## Differences Between the Platform Versions Each version of the game will have a "SPECIAL ROOM" with the same content but different control schemes based on the device. The PlayStation version required trophies, but Fox admits that he isn't proud of those achievements PS4/5 players can unlock: "Honestly, it may be one of the worst ideas I've ever had." The first Switch version did have "trophies" that you could acquire by giving money to the Dog Shrine (or Dog Box if you were locked out of the Dog Shrine on the No Mercy/Genocide Route). You weren't rewarded for trying multiple endings or trying to find secrets. The big question is, of course, can players import their save files? The PlayStation and Switch versions will allow it, but the PC and Mac don't seem to have that option. So if you played Deltarune on a computer like I did, you'll likely have to play Chapters One and Two again to make progress. Chapter Two of Deltarune did create a generic save file in the case that players couldn't retrieve theirs after a four-year wait, but it's not confirmed if Chapter Three will do that. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-29.png) Source: Screencap from Trailer. A generic save file would help those who don't have their Chapter Two save file on their PC. If you have to play through Chapters One and Two again to get to Chapter Three, that would be a problem. Chapter One has a really hard final boss in Spade King, whom I tried to beat for several hours before winning due to luck. While Chapter Two wasn't as hard, it would be tedious to do all the same story beats to catch up to Chapter Three. If a player could find a workaround by importing the save files on the PC, it would probably improve the overall experience. --- It's nice to know we only have a few short weeks to wait for Chapters Three and Four. It's been nearly four years since Chapter Two was released - many of the delays were due to engine updates and Fox developing carpal tunnel syndrome - but we can hope that having Nintendo's financial backing will lead to smaller gaps between future Chapters. We're with Kris, Susie, and Ralsei in the dark. The question is who will be with us next when we load that SAVE file? ### Nintendo Switch 2 Hands-On Preview Part 3: Drag x Drive, Cyberpunk 2077, and More URL: https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-3-drag-x-drive-cyberpunk-2077-and-more/ Last updated: 2025-05-28T00:29:01.000Z **Welcome to the third and final part of SUPERJUMP's Nintendo Switch 2 hands-on preview coverage.** In the [previous update](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-2-donkey-kong-and-metroid/), we undertook a deep dive into Donkey Kong Bananza and Metroid Prime 4: Beyond. Today I'm going to touch on Drag x Drive, Cyberpunk 2077, Nintendo Switch 2 Welcome Tour, and a few other tidbits. Here we go! ## Drag x Drive Despite the numerous heavy hitting franchises on display at the Nintendo Switch 2 Experience event, I must admit that I was most intrigued by Drag x Drive (pronounced *Drag and Drive*). This game is essentially wheelchair basketball, which is both an interesting premise for a game as well as being awesome from a representation standpoint. It's also a fascinating demonstration of the Joy-Con 2's capabilities. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/WheelchairBasketball_13sec-3.jpg) Drag x Drive. Source: SUPERJUMP. I first played a brief tutorial that introduced the control scheme. Each Joy-Con controls one of the player character's arms. When you place the Joy-Con flat in mouse mode, you roll backwards and forwards to move the wheels independently. Rapidly glide forward to accelerate and glide in opposite directions to turn. You can also raise the Joy-Con to lift your arms, which is how you catch the ball and shoot goals. While it takes a little getting used to, you'll quickly find yourself rolling around like a pro. Drag x Drive is also a nice demonstration of the enhanced force feedback in the Joy-Con 2 controllers; as you roll the wheels you can feel the different surface textures as you move over them. --- > This game is essentially wheelchair basketball, which is both an interesting premise for a game as well as being awesome from a representation standpoint. It's also a fascinating demonstration of the Joy-Con 2's capabilities. --- After the tutorial I played a regular versus match involving two teams of three. From memory there was a time limit and whichever team scored the most goals within that limit won the match. Multiplayer is, as you might expect, pretty chaotic, owing largely to the deliberately imprecise controls. I would say that Drag x Drive feels like a souped up party game from the Mario Party series; from what I played, the mechanics aren't particularly deep and opportunities for strategic play are pretty limited. The fun here is really in the hectic nature of the experience, where players are yelling and laughing because they overshoot their mark, run into teammates by accident, or pull off unlikely goals. This might sound like a criticism, but it really isn't; Drag x Drive very much delivers on the chaotic party game vibe. It's one of those games that seems to exist to demonstrate what the Joy-Con 2 controllers can do, and I think you'll get the most out of it if you play with friends in the same room (or using the in-built GameChat functionality). ## Cyberpunk 2077 I was really curious to check out Cyberpunk 2077, largely because it's been something of a performance benchmark for video game graphics since release. There's something special about seeing the game running on handheld devices in particular, even if it's naturally something of a stripped-down experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Cyberpunk_1min8sec.jpg) Cyberpunk 2077\. Source: SUPERJUMP. The playable demo on Nintendo Switch 2 drops players into the Dogtown neighbourhood, which is the centrepiece of the Phantom Liberty DLC. I only played the demo in TV mode; as far as I know, there was no option to play in handheld mode. I must admit that I'd be more interested to see how the game runs in handheld mode thanks to the resolution and power constraints required by handheld play. I must admit: I don't have too much to say about this demo. My time with it was very brief and I came away feeling that it must be quite an old build; the experience was stuttery, blurry, and I detected a fair amount of input lag. Given CD Projekt Red's incredible work on the first-generation Switch, I have no doubt they are capable of delivering an impressive Switch 2 port of Cyberpunk 2077\. The demo at least indicates there's a playable build up and running, but it seemed far from finished to me. ## Nintendo Switch 2 Welcome Tour Ahh, Nintendo Switch 2 Welcome Tour. This game has received a fair amount of attention primarily for its price tag (A$15 here in Australia), with many folks believing it should be a free pack-in experience. I'm going to say at the outset that I'm not really in a position to weigh in on this debate because I haven't explored the full experience. But the demo certainly gave me a good sense of what it's all about. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Switch2WelcomeTour_1sec.jpg) Nintendo Switch 2 Welcome Tour. Source: SUPERJUMP. The first thing to say is that I'm not really sure I'd describe Nintendo Switch 2 Welcome Tour as a *game* per se. It's more like a very elaborate interactive educational experience; a digital exhibit that you can explore at your leisure. There are multiple "levels" to this experience, each corresponding to different aspects of the hardware and technology. You control a tiny avatar that runs around on top of a massive Switch 2 console, which itself is set up with information kiosks and interactive demos that showcase specific concepts. One example involved manipulating a pair of on-screen maracas using the Joy-Con 2's motion controls; the maracas were filled with sand and demonstrated the more nuanced haptic feedback in the new controllers. Another example was a multi-step quiz that would display an animation at different frame rates and have you guess the appropriate frame rate. Thinking about it now, Nintendo Switch 2 Welcome Tour feels like something you'd expect to see at the newly-opened Nintendo Museum in Kyoto. I'm not sure how broad or deep the overall experience really is, but if it's mostly similar to the parts I played, then it's definitely focused on information and education rather than actual gameplay. It's certainly an immersive approach to a product showcase and I'm definitely curious to check out the final version. ## And the rest... I played a couple of other demos during my time at the Nintendo Switch 2 Experience. These included the Switch 2 Editions of The Legend of Zelda: Tears of the Kingdom, which I was able to play in glorious 4K in TV mode as well as a Switch 2 port of Yakuza 0\. Yakuza played smoothly and seemed roughly equivalent to what you might see on Xbox Series S. And Tears of the Kingdom looked fantastic; the difference here isn't enough for me to re-play the entire game, but I'm slightly jealous of Switch 2 owners whose first experience with the game will be in its enhanced form. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_Yakuza_0_Director_s_Cut_Screenshot-4.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_Yakuza_0_Director_s_Cut_Screenshot-2.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_ZeldaToTKNintendoSwitch2Edition_SCRN_15.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_ZeldaToTKNintendoSwitch2Edition_SCRN_17.png) Yakuza 0 and The Legend of Zelda: Tears of the Kingdom Nintendo Switch 2 Edition. Source: Nintendo. ## Conclusion I've been thinking about how best to sum up my thoughts after spending a few hours with the Nintendo Switch 2\. The hardware is certainly impressive; I was pleasantly surprised by the pretty huge improvement in build quality across the board and I really like the new Joy-Con. Mouse mode works seamlessly and the slightly larger and sturdier Joy-Con feel so much better in general. The LCD screen is vivid and sharp, and even though these are just the first batch of games for the new console, it's clear that the extra headroom is already being put to use. Mario Kart World is definitely the stand-out game for me, but Donkey Kong Bananza looks extremely promising. Nintendo are going into this generation with extremely strong third-party support, including some awesome exclusives like The Duskbloods (that's a game I can't wait to get my hands on). In just a couple of weeks, you'll be able to see for yourself just how impressive the Nintendo Switch 2 really is. I think you'll be pleased. And I can't wait to see what other surprises Nintendo have in store for this new generation. ***More hands on impressions:** [Part 1: The Hardware and Mario Kart World](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-1-the-hardware-and-mario-kart-world/) [Part 2: Donkey Kong Bananza and Metroid Prime 4: Beyond](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-2-donkey-kong-and-metroid/) 📷 Thanks to Elizabeth Burns for all photography in the series ### Oddsparks - An Automation Adventure URL: https://www.superjumpmagazine.com/oddsparks-an-automation-adventure/ Last updated: 2025-05-25T21:20:16.000Z **When I first heard about** [**Oddsparks and checked out its Steam page**](https://store.steampowered.com/app/1817800/Oddsparks%5FAn%5FAutomation%5FAdventure/)**, I saw this comment**: “Oddsparks is a casual yet intricate automation game that combines the serene exploration of Stardew Valley with the logistical challenges of Factorio”. Since these are two of my all-time favorite games, I was immediately intrigued. Even though Oddsparks is a 3D game, the stylized art style reminds me of Stardew Valley. It’s warm and cozy, and the Sparks are very cute. You start the game in a quaint little village, reminiscent of the town in Stardew Valley. It’s inhabited by a few NPCs, who, unlike their Stardew Valley counterparts, stay in front of their shops and don’t move around. As you explore beyond the borders of the village, you get to the procedurally generated main part of the game world. This is where you will discover Sparks, which will help automate complex production chains to progress through the game. I played the already impressive early access version, and [Oddsparks will be officially released on May 27th, 2025](https://store.steampowered.com/news/app/1817800/view/526467189812756656), with even more features. ## **Sparks** The namesake and main feature of the game are Sparks. They are very cute little creatures that help the player with all tasks in the game. While the player can harvest basic resources like small trees, stones, and bushes, everything else can only be collected with Sparks. Your first Sparks aren’t very impressive, but as the game progresses, you will discover and unlock more specialized Sparks. They can haul more items, are faster workers, better fighters, and offer other more specialized skills like regrowing the natural vegetation or scouting the environment. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/spark_wide.png) A Stumpy Spark. Source: [Press Kit](https://massiveminiteam.notion.site/Oddsparks-Presskit-e7fa56b6033f45248218f3ad00ce61b9). ## **Quests** Progression is handled through quests. The village NPCs will give you quests that unlock additional Sparks, buildings, recipes, and more. Most of the quests require larger numbers of items, which incentivizes setting up automated production chains. In addition to the quests, the village also has a monument that unlocks additional skills and features, similar to the community center in Stardew Valley. The monument tasks only ever require one instance of an item to unlock, so you don’t have to build any specialized production chains. You mostly acquire the necessary items while playing the game normally, but some items can be a bit harder to get, like drops from some of the stronger enemies in the game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Screenshot_15_-_Talking_with_the_Divine_Researcher_-1920x1080-.webp) You can get quests from the NPCs in the village. Source: [Press Kit](https://massiveminiteam.notion.site/Oddsparks-Presskit-e7fa56b6033f45248218f3ad00ce61b9). ## Automation Setting up automation is essential to progressing through the game. Luckily, the process of automating basic items is very straightforward. All production buildings have to be manned by Sparks, with some being faster workers than others. Basic resources like wood and stone can be collected with special logging or mining buildings. However, these can only be placed on predefined resource nodes, so you may want to look for good locations to set up your base. Most other production buildings can be placed anywhere on the map, with some exceptions like the Spark Workbench, which is only buildable on ancient foundations. I wasn’t a big fan of this because it artificially limits how you can design your production chains, and you have to scout the map to find good areas with resource nodes and ancient foundations nearby. While I never struggled with normal items, the quests that required greater numbers of Sparks were a bit grindy because the lack of foundations meant I couldn’t easily expand my Spark production. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/4.png) The map view of my playthrough. Screenshot by author. ## Logistics The logistics system in the game makes great use of the Spark mechanics. You build paths and assign Sparks to them, which will carry the items. You can also unlock useful path additions like splitters, crossings, filters, and more. I was able to design and build any path layout that I wanted, although admittedly, I haven’t designed any super compact and maximally efficient production chains yet. Trains! Do I have to say more? At the beginning of the game, I was wondering how I could transport items over longer distances. Building a long and slow dirt path would be even worse than a long conveyor belt or pipe in Factorio, but luckily, the game also includes the many-wheeled wonders, which, of course, must be driven by a Spark. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/8.png) A remote train station outpost in my playthrough. Screenshot by author. Oddsparks also has a very sophisticated and in-depth logic system with a whole bunch of different sensors, logic gates, displays, and more, similar and probably equally as powerful as the circuits in Factorio. This is one part of the game that I haven’t explored in detail yet, it seems like you can design very advanced systems. The wireless senders and receivers, especially, seem very useful (just imagine how often wireless redstone would be handy in Minecraft). ## Combat You can only fight enemies with Sparks. The player character cannot fight at all, which makes a lot of sense in the overall context of the game. However, I didn’t enjoy fighting enemies in the game, as the combat requires a lot of micromanaging. Stronger monsters all need special tactics to be defeated. A common pattern is to command your Sparks to attack an enemy, and they will hit it once or twice each. Then the enemy stuns them, and you have to recall them to keep them alive. Repeat that a few times until the monster is dead. At the same time, combat is necessary to progress. Many quests require drops from stronger enemies, although generally not that many. One of the last mobs I had to fight was too much of a challenge for me. After multiple attempts and many lost Sparks, I had to look at a guide, and even with that knowledge, it took multiple minutes to defeat each. While the rest of the game is very relaxing, the combat can get stressful at times. Because of the limited number of Sparks you can have active at once, you cannot overwhelm any enemies with pure numbers. Thankfully, the enemies near the areas where you will likely set up your first production chains aren’t aggressive, so you don’t have to worry about constantly defending your base. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/combat.webp) Fighting a Beelephant, a stronger enemy in the starting biome. Source: [Press Kit](https://massiveminiteam.notion.site/Oddsparks-Presskit-e7fa56b6033f45248218f3ad00ce61b9). ## Customization Oddsparks also has a plethora of customization options. Not only can you customize your character, you can also get a bunch of decorative buildings and items in the game. You can even repaint your buildings with a special Spark and paint, so your production lines can be efficient and good-looking. ## Steam Deck Support Since my GPU is slowly dying and getting a new one in the current GPU market would require me to win the lottery, I mostly played Oddsparks on my Steam Deck. The game is Steam Deck verified and runs great at around 50 FPS with native resolution and high settings. Even though I’m normally a mouse and keyboard player, I had no problems controlling the game with the controller. I also played a bit on my laptop, but the performance wasn’t as good, which is to be expected without a dedicated graphics card. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-30.png) Sparks transporting and producing various items in Oddsparks. Source: [Press Kit](https://massiveminiteam.notion.site/Oddsparks-Presskit-e7fa56b6033f45248218f3ad00ce61b9).S Overall, I had a good time with Oddsparks. It’s a cozy and cute automation game that’s very relaxing to play after work. Micromanaging the Sparks when fighting stronger enemies was the only stressful part, and I would like to see fewer placement restrictions on the Spark production buildings. Sadly, the full release will break my save game, but I will probably return after its official release; maybe I'll even find some friends to play the game in multiplayer. Is Oddsparks as good as Stardew Valley or Factorio? No, not quite, at least not yet, but even the early release version I played was very polished and had a lot of content. Oddsparks' official release adds even more features, including a whole new biome, and the developers have teased in their release announcement that they will continue to work on the game. **Thanks to* [**Massive Miniteam*](https://www.massiveminiteam.com/) *and* [**HandyGames*](https://www.handy-games.com/de/) *for the game key.* ### Sugar Sling Showdown’s Demo Shows the Promising Power of Food, Caring, and Tongue Muscles URL: https://www.superjumpmagazine.com/sugar-sling-showdowns-demo-shows-the-promising-power-of-food-caring-and-tongue-muscles/ Last updated: 2025-05-25T21:20:21.000Z **When I got wind of The Super Sling Showdown's demo release, I was expecting a difficult game.** Developer Eaz Games, having seen my request for Asian and Asian-American developers with upcoming releases, sent me a link to the Steam page and the trailers on YouTube. Trailer footage hinted at a difficulty spike. The demo warns that a controller would work best, instead of a keyboard, but my controller is buried somewhere unknown. So I went forward with the keyboard, as I tend to do. AAPI Heritage Month is halfway over, and I haven't played the games with new indie developers; time's a-wasting! Thankfully, Sugar Sling Showdown doesn't have a hard learning curve for the game mechanics. There are some bits where the objectives aren't clear and I was wandering in the sewers for a bit while looking for something to do, but I generally enjoyed myself. My keyboard didn't slow me down at all, and not just because I have owned the title of being a keyboard warrior gamer who is very uncomfortable with controllers. I feel that other players will enjoy themselves too, with a keyboard or controller, when the full game is released. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-22.png) Building businesses for the children. Source: Steam. ## Everyone Deserves a Meal, a Home, and a Job You play as a strange figure that can use a powerful tongue to lob round balls at enemies, move gates, open ovens, and navigate sewers. Just as well you have those powers, since random monsters appear and make an immediate beeline for you. You have to aim and get the angle right too, since it's easy to miss if you're facing the wrong direction. These monsters keep children trapped in the sewers. You need to go down and rescue the kids, collect coins, and keep your health from getting too low. The coins help you build houses and farms that the kids need, providing them with shelter and food. They will also need jobs when they grow up, so you create businesses for them using those same coins, which also come from defeating the monsters. You do all this and more, with the power of your very long tongue. ## Maslow’s Hierarchy of Needs Is in Full Force You can tell that compassion drives this game. You aren't killing monsters to rob the dead but to help vulnerable children who can't defend themselves. These children then need care and nurturing, which you provide by cooking their meals and building nurseries where they can stay, recover from their trauma, and grow up. "What about the jobs?", you may ask. Contrary to what one-percenters and CEOs may think, most people like working. They just need fair wages and fallbacks when life causes medical emergencies or natural disasters strike without warning. This game world doesn't have a universal basic income option when monsters drop the coins, so we go for the next best thing. Maybe a Golden Ending will have UBI as an option once we make a sustainable town. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-23.png) Fighting off the monsters. Source: Steam. The level of compassion shown here comforts me. Plenty of games make you kill monsters in self-defense or because it's the only way to progress forward. Goodness knows that plenty of real people have shown an unhealthy cocktail of cruelty and apathy. But here, you are showing that you care about your actions. Sure, the local mayor is a bit sketchy in that they're not filling the ovens with food or feeding the kids, but NPCs have an excuse. They exist to provide just enough info to send you on a quest, keep the story going, and entertain. You don't need a complex villain when the real problem is not enough infrastructure to protect the vulnerable. Building the infrastructure with constant support will help those kids in the long term and build a community out of sprites and pixels. --- I'm looking forward to Sugar Sling Showdown's full release. This demo has made me emotionally invested and restored some of my faith in humanity. We can still care about others and do good, whether in the real world or a fictional one. **The game's developer reached out to notify me as soon as the demo was available for playing. My impressions are from the publicly available demo, not from a key code.* ### Suzerain Does the Most Terrifying Thing: Elects You the Leader URL: https://www.superjumpmagazine.com/suzerain-does-the-most-terrifying-thing-elects-you-the-leader/ Last updated: 2025-05-24T19:31:00.000Z **Politics seeps into every facet of our lives, whether we like it or not.** Video games are often an escape from the real world for many gamers, so you wouldn’t expect politics to feature in this form of entertainment, but it has been important in simulation games for a long time. In 1985, when the Cold War still spread its icy grip around the world, the game Balance of Power became a big hit because it replicated the American and Soviet nuclear standoff. These cerebral political simulation games decreased in popularity by the late 1990s, though. Only a couple of years ago, the Berlin-based studio Torpor Games bucked the trend when they released their political simulation game, Suzerain. So, dust off those brain cells, because Suzerain wants to challenge us to think again about our political world. ## A Seat at The Table > It can not be repeated too often that nothing is more fertile in prodigies than the art of being free; but there is nothing more arduous than the apprenticeship of liberty. [Alexis de Tocqueville](https://www.google.co.za/books/edition/Democracy%5Fin%5FAmerica/r-oJAAAAIAAJ) Those words of the French philosopher who had visited America in the early 19th century circulated in my mind while I peered at the devastated world of Suzerain. Sordland, the country you control in the game, had been pummeled by civil war and corruption, which only ended when a military officer, Tarquin Soll, took power after he had defeated his opponents. Suppression of freedom then crystallized into the price for a semblance of stability. After decades at the helm, Soll stepped back from political life. A new crop of Sordish politicians looked to make a mark. International superpowers saw the country as a battlefield for their ideas, though, at a potentially devastating price for its citizens. Everything is on a knife's edge. ![Customization screen showing a balding dark-haired older man named "Anton Rayne: 4th President of Sordland."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Switch-Screenshot-Customization.jpg) The customization of Anton Rayne in the Switch version. Source: Press Kit. We see the events through the eyes of Anton Rayne, a man whose background we shape in the game’s prologue. There’s also a fair bit of aesthetic customization we can do to change Rayne’s look. From the outset, it becomes clear that this isn’t a typical strategy or simulation game, wherein players are faceless movers of pieces on a board; rather, this is a world full of people. ## Laws That Drip from a Pen > Propaganda is to a democracy what the bludgeon is to a totalitarian state. [Noam Chomsky](https://www.google.co.za/books/edition/Media%5FControl/IQR3X9KwR44C) The prologue ends when Rayne wins the 1953 elections. Your feelings of joy are short-lived because Sordland has been battling an economic recession for a couple of years already, and people look to you to save the country from the brink. It can’t be too challenging, right? ![A strategy world map showing the countries of Suzerain, marked with coins.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Suzerain-Screenshot-Map-1.jpg) Sordland (top, purple) and its southern neighbors. Source: Press Kit. Sometimes, a strategy game can feel like a second job, because all the units or people you command transform into a vast ocean of numbers on a screen. Suzerain seeks to remedy this problem by marrying the political simulation aspect with the narrative strengths of visual novels. Each decision thus becomes more of a dilemma because you’ve interacted with the characters and know their names, backgrounds, and sometimes even their deepest fears. You only have to [delve into the codex](https://codex.torporgames.com/) to see how much ink the writers spilled making Suzerain’s alternate universe a vast, breathing place. Newspapers with different political leanings also react to all your decisions during each turn. The agonizing decisions you encounter make the public scrutiny feel even more brutal. ![A newspaper article in The Radical details an election hijacking that potentially influenced Rayne's rise to power.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Suzerain-Screenshot-Newspapers.jpg) The Radical is one of the Sordish newspapers that monitors your actions. Source: Press Kit. There’s no time to cower, though, because the people elected you to give Sordland a prosperous future. What that future looks like depends on you; the game gives you a variety of ways to approach a problem, each with its own negatives and positives, but you will have to live with the consequences. Each member of your cabinet also has different agendas and political biases, so you burn bridges with some and mend fences with others. ## A Hesitant Stride > It depends on the habit of attending to and looking into public transactions, and on the degree of information and solid judgment respecting them that exists in the community, whether the conduct of the nation as a nation, both within itself and towards others, shall be selfish, corrupt, and tyrannical, or rational and enlightened, just and noble. - [John Stuart Mill](https://en.wikisource.org/wiki/Inaugural%5Faddress%5Fdelivered%5Fto%5Fthe%5FUniversity%5Fof%5FSt.%5FAndrews,%5FFeb.%5F1st%5F1867) Playing Suzerain sapped my emotions like few other experiences - in a good way, I think. For all the agonizing about my decisions, my Anton Rayne met a ghastly end. There was no way for me to redo my mistakes either because you only unlock the manual save function after you have finished the campaign once. There are apparently 9 different main endings, with various permutations creating various experiences, like where your choices land you on the political compass. ![A conversation between political leaders discussing infrastructre projects. The player has three response options.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Suzerain-Screenshot-Conversation.jpg) Your dialogue responses often shapes your country's future. Source: Press Kit. My decisions told me a lot about myself. The game is, in a sense, also a political personality test. Like a parent returning home after a long vacation, only to find their home trashed after several parties, you confront the choices of your predecessors, even though you didn’t make those decisions. The game puts you in a vise, giving you only a limited amount of funds, so you need to choose your battles with care. I focused on the issues that really mattered to me, which guided my policies. Suzerain isn’t as granular as many other simulation games. This means you’re less likely to juggle different spreadsheets to choose an outcome, but it also means that it becomes difficult to track your resources. For example, you might want to fund an expensive dam project, but you're uncertain about what other projects might crop up in the future or whether your income will increase or decrease. This is less of an issue during a replay, though, when you have the benefit of hindsight. ## Decisions on a Scale > Beware then, my friends, of suffering the heart to be moved by every trivial incident; the reed is shaken by a breeze, and annually dies, but the oak stands firm, and for ages braves the storm - [Mary Wollstonecraft](https://www.google.co.za/books/edition/A%5FVindication%5Fof%5Fthe%5FRights%5Fof%5FWoman/K1ZYAAAAcAAJ) An enthusiastic fan community has gathered around Suzerain over the last few years, and the game's [subreddit](https://www.reddit.com/r/suzerain/) is still vibrant. Torpor Games regularly interacts with its community and has worked hard to support the game with significant updates, as the recent 3.1 update further refines the player experience. The developers released a DLC game, Suzerain: Kingdom of Rizia, in 2024, which is an expansion with enough content to warrant its own article. Torpor Games is also working on an [RPG set in the Suzerain universe](https://www.theconformistgame.com/), called The Conformist. Because the games take place in a rich fictional universe, the writers can explore topics that might have been touchy in other settings. Players can also project their own experiences onto the fictional events that draw from various influences. One of the developer’s greatest achievements is having created so many characters that are complex, dastardly, and believable. Just like in real-life politics, chasing power in Suzerain can bring out the worst or best in all of us. ### Nintendo Switch 2 Hands-On Preview Part 2: Donkey Kong and Metroid URL: https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-2-donkey-kong-and-metroid/ Last updated: 2025-05-26T05:55:36.000Z **Welcome to the second part of SUPERJUMP's Nintendo Switch 2 hands-on preview coverage.** In the [previous update](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-1-the-hardware-and-mario-kart-world/), we took a close look at the Switch 2 hardware, controllers, and Mario Kart World. Today I'm going to delve into Donkey Kong Bananza and Metroid Prime 4: Beyond. ## Donkey Kong Bananza Can you believe it's been more than a decade since the last Donkey Kong game? Donkey Kong: Tropical Freeze for the Wii U was, in my not-so-humble opinion, a masterpiece. It's exciting to see Nintendo's original mascot return with all the triple-A glitz and glamour he so deserves. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/DonkeyKongBonanza_3min54sec-1.jpg) Donkey Kong Bananza. Source: SUPERJUMP. One of the things I love most about Nintendo is that they aren't afraid to explore bold new territory with their most treasured characters. This is often the goal, in fact. Familiar, beloved characters represent friendly, trusted faces beckoning players to explore the unknown. Mario took us to gravity-defying spherical worlds in space, Zelda dropped us into an open-world chemistry and physics experiment, while humble Luigi beckoned us to probe a ghostly labyrinth with only a flashlight and trusty vacuum cleaner in tow. These characters reassuringly hold our hands as we take the plunge into frontiers of the imagination. I'm waxing poetic here because Donkey Kong Bananza is one of these experiences; or at least, that's its clear and bold mission statement. The moment you arrive on Donkey Kong Island - specifically, Ingot Isle - you're encouraged to *act a complete fool*. You'll immediately realise that this new iteration of everyone's favourite ape can smash up the surrounding environment using only his bare fists. See that boulder in your way? Punch it to smithereens! Can't find a path forward? Smash your palms into the ground and dig your way to victory! Is that pesky flying enemy bothering you? No sweat! Just tear a chunk of rock out of the ground by your feet and fling it at your target. Easy. When I say that *almost everything* in Donkey Kong Bananza is completely destructible, I'm actually at risk of understating the degree of freedom on offer here. It's as though the environments are made of clay and the player is a kind of sculptor. There's something obviously cathartic - dare I say, *stress relieving* \- about running around and smashing up the place. But you might be wondering, as I was, if the wanton destruction comes at the expense of an underlying gameplay structure. I could see the novelty of smashing-and-grabbing wearing off after a couple of play sessions, leaving me with the question *and then what?* Well, the good news here is twofold. Firstly, the malleable nature of the world isn't just a visceral gimmick; it quickly becomes apparent that there's quite a bit of nuance to these mechanics. And secondly, all this mayhem occurs within a broader cohesive level design that incorporates many other platforming concepts (including some wonderful Donkey Kong staples, like Barrel Cannons, mine carts, and underwater exploration). Let's *dig a little deeper* on some of these ideas (sorry). ### Creative destruction Although I was playing a limited vertical slice of the game - and likely an older build - the demo clarified some of my questions and concerns about the destructible environment. One of my biggest questions was whether or not the player would get lost. It's possible to stand almost anywhere in a level and simply dig your way down. From there, you can dig in virtually any direction. Donkey Kong Bananza has a few tricks up its sleeve to keep you orientated. The most important of these is the camera perspective: while you're digging around underground, it's possible to move the camera through the surrounding terrain. This enables you to see Donkey Kong from any point of view as well as any nearby caverns or secret areas. It's important to emphasise that many of the game's secrets are hidden underground, including some surprisingly large explorable areas. So, digging and tunnelling is highly encouraged, and the game does a good job of sign-posting points of interest as you explore. Also, if you're *really* lost, you can also pull up a handy world map. But don't let me leave you with the impression that all the shenanigans are going on exclusively underground. Donkey Kong Bananza is impressive in part due to the scope and scale of its environments. When you're on the surface of a world, the experience feels much like any great Nintendo 3D platformer thanks to tight controls and a multitude of platforming and combat challenges. But where Donkey Kong Bananza departs from, say, Super Mario Odyssey, is that Donkey Kong can climb just like Link in Breath of the Wild/Tears of the Kingdom. Better yet, there's no stamina meter keeping you in check; you're free to climb *and* dig to your heart's content. As a result, you'll want to ensure you're reaching for the sky just as often as you plumb the depths; the game's primary collectible McMuffin - Golden Bananas - are hidden all over the place, after all. Let me return for a moment to the game's destructible environment mechanics, because there's a lot more to say. Yes, you and dig and tunnel your way through the earth, but that's just the tip of the iceberg. Not all materials in Donkey Kong Bananza are made equal; while most of the world can be shattered at the touch of a button, some rocks require extra effort to break apart - these stronger materials are, in turn, useful for defeating highly-armoured enemies. You'll encounter explosive materials, too. And Donkey Kong's enormous hands aren't simply useful for smashing stuff; sometimes you can grab an enemy's projectile and throw it back at them, for example. You can even grab a large piece of earth and surf your way downhill if you so desire. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_DonkeyKongBananza_SCRN_02.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_DonkeyKongBananza_SCRN_05.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_DonkeyKongBananza_SCRN_17.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_DonkeyKongBananza_SCRN_14.png) Donkey Kong Bananza. Source: Nintendo. --- > When I say that *almost everything* in Donkey Kong Bananza is completely destructible, I'm actually at risk of understating the degree of freedom on offer here. --- ### Return of the King? Any game demo is inherently just a taste of the full experience. But it's fair to say that I came away from Donkey Kong Bananza with a keen potassium craving; I'm eager to play more, and that's definitely a very good thing. I think my only concern at this stage is the game's performance. These huge 3D spaces with *almost* limitlessly-deformable terrain (there are actually limits - each environment is undergirded by a kind of bedrock that can't be destroyed) is obviously taxing from a hardware point of view. The demo I played showed noticeable signs of slowdown here and there, which was really the only blemish on an otherwise highly-polished experience. This wasn't a show-stopper for me, but I'm hopeful Nintendo can achieve further optimisation prior to launch. Overall, though, Donkey Kong Bananza feels like a triumphant return for the franchise. It pulls no punches - pun *definitely* intended - in its pursuit of a bold, innovative approach that contains all the hints of Nintendo's unique brand of game design brilliance. ## Metroid Prime 4: Beyond The Metroid series has faced some challenges in recent years. Metroid Prime 4 was first announced way back in 2017 and was rumoured to be in development at Bandai Namco Studios across Japan and Singapore. In 2019, Nintendo announced its decision to restart the project under Retro Studios, noting that the project simply wasn't meeting Nintendo's standards. While this news may have disappointed some fans at the time - it would mean an even longer wait for the next game - I'm sure that Nintendo didn't make the decision lightly. And, given Nintendo's track record and the importance the place on quality, I felt it was better to wait for a game that would truly live up to the company's vision even if that meant delayed gratification on my part. Well, here we are in 2025: a shiny new Nintendo console awaits as does a shiny new Metroid game, crafted by the beloved developers who established the Metroid Prime series in the first place. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/MetroidPrimeBeyond_3sec.jpg) Metroid Prime 4: Beyond. Source: SUPERJUMP. The Metroid Prime 4 demo doesn't muck around; after an initial briefing (you're tasked with repelling an in-progress attack on a Federation Research Facility on Planet Tanamaar), the action kicks off. It's worth noting that Metroid Prime 4 is releasing on both the Switch and Switch 2; I was playing the Nintendo Switch 2 Edition (in glorious 4K at 60 frames per second). It's very clear right off the bat that Retro Studios are going for something completely different with Metroid Prime 4\. You arrive on Tanamaar in the midst of a rolling and desperate battle between the IGF and the Space Pirates. Ominous rolling storm clouds blanket a sky populated by invading spacecraft. Gaping fissures in the planet's surface belch glowing violet gas into the atmosphere. Buildings are engulfed in flame, ladders of anti-aircraft fire sway back-and-forth across the horizon, and exhausted IGF troopers frantically chatter over the radio, expressing relief that Samus has finally arrived. This first impression bears no relationship whatsoever to the muted isolation of past Metroid games; Samus is here to chew bubblegum and kick ass, and she's all outta bubblegum. Does this description sound surprising? It should, at least if you're familiar with previous Metroid games. The demo presents an experience that feels much like a traditional first-person shooter with Metroid trappings. I played through a condensed experience that ends with a boss fight (although you might miss the boss fight if you don't reach the encounter before the pre-set demo timer ends). It's clear that this demo focuses on two key aspects of the game: its epic cinematic quality and its slick control scheme. Past Metroid games have made overtures toward cinematic elements, but none have gone remotely as far as Metroid Prime 4\. You're dropped into a large-scale battle that continuously rages in the background as you make your way through the research facility. Every time you look out a window, you'll see some new and exciting set piece involving dozens of IGF troopers taking on waves of Space Pirates. Spacecraft zoom overhead, gunfire fills the air, and the action is occasionally paused for brief cut scenes that contextualise Samus' evolving mission objectives. I noticed a great deal of both subtle and overt environmental storytelling here; as you make your way through the facility, you'll sometimes move through rooms full of exhausted IGF troopers who might be laying down or doubled over as they take a breather between gunfights. You'll also come upon fierce, active battles where your decisive arrival proves a great relief for the beleaguered IGF. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_MetroidPrime4BeyondNintendoSwitchEdition_SCRN_04.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Switch_MetroidPrime4Beyond-scrn-16.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Switch_MetroidPrime4Beyond_SCRN_Scene_03.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Switch_MetroidPrime4Beyond_SCRN_Explore_01.png) Metroid Prime 4: Beyond. Source: Nintendo. --- > It's very clear right off the bat that Retro Studios are going for something completely different with Metroid Prime 4. --- It's an explosive, action-packed experience. But is it *Metroid*? Well, there are certainly many familiar Metroid elements here. You're equipped with your trusty arm cannon (which can fire regular shots as well as charged shots), you'll need to scan certain doors to open them, and navigating your way through the collapsing research facility sometimes requires shifty morph-ball-through-air-vent shenanigans. But there's no question that the demo, as presented, didn't showcase any of the core elements that really form Metroid's DNA (puzzle-solving, environmental exploration, or upgrades granting access to previously-inaccessible areas). I *assume* that the final game will include these elements, but I am not in a position to judge what I haven't seen. I can only tell you that the demo included none of these things. It very much felt like a slick action-packed first-person shooter with a Metroid skin. I don't mean that as a criticism, either; I thoroughly enjoyed what I played. The art design on display here is absolutely stunning and very much feels like it adheres to the best traditions of the Metroid Prime games. And the cinematic elements were thoughtfully and impressively executed, providing *just enough* context without stalling the action. It's certainly true that Metroid Prime 4 is a glorious demonstration of the Switch 2's capabilities, in that it looks and sounds every bit like the high-end spectacle you'd expect from a next-generation Retro Studios game. The other major focus for this demo was the control scheme, which is absolutely a critical aspect of the experience here. You can play the game with regular twin-stick controls or you can turn the Joy-Con on its side and use it as a mouse. What's super impressive here is that the Switch 2 instantaneously oscillates in and out of mouse mode depending on how you hold the controllers. There's no need to dive through menus or change settings; it all happens on the fly. It's so seamless, in fact, that it feels almost like a magic trick. It helps, too, that mouse mode works beautifully here. I found it to be just as precise and accurate as I'd expect if I were using PC mouse controls. And if you bump up the mouse sensitivity, you can definitely achieve ultra-fast twitchy mouse movement. It's glorious. Better still, you don't necessarily need to use a table or mouse pad; you can use your thigh as a surface if you like. Believe me, it's a whole lot more intuitive than it sounds in practice. The ability to effortlessly switch to mouse mode - and to be able to do so while sitting on the couch in front of a TV - is an experience that is difficult to overstate in terms of how significant it really feels. I'm excited about Metroid Prime 4, but I'm equally excited to see what both Nintendo and third-party developers will do with this capability in the future. I had two gripes with the mouse mode, though: for one thing, I couldn't invert the mouse controls in the demo (yes, I'm one of *those* people). This meant that my analogue stick look controls were inverted but my mouse controls weren't, which made for a pretty jarring experience. I'm hopeful that the option to invert both will make it into the final release. My other gripe is tricky to explain. When you hold the Joy-Con on its side to use it as a mouse, you're sort of holding it in your fingers rather than comfortably in your palm. This is because the Joy-Con is so thin compared to the wider, rounded shape of a mouse. After a few minutes of play, I found this somewhat uncomfortable. It might just be a question of getting used to the experience, but it might also require a third-party accessory. Some accessory makers are already promoting mouse-shaped 'cradles' for the Switch 2 Joy-Con. This is a great idea, but it does arguably make rapid switching between controller modes more cumbersome. I came away thoroughly impressed by Metroid Prime 4\. I think the demo really sold the two major aspects of the experience that I outlined above: the impressive cinematic quality and the remarkable controls. It looks, sounds, and feels great. But I do wonder if the entire game will place such emphasis on action at the expense of a more traditional Metroid experience. I'm truly hopeful we'll see both the fast-paced action *and* the haunting solo exploration and puzzle-solving in the final release. If so, I suspect this will be a must-own game for the Switch 2. ***More hands on impressions:** [Part 1: The Hardware and Mario Kart World](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-1-the-hardware-and-mario-kart-world/) [Part 3: Drag x Drive, Cyberpunk 2077, and More](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-3-drag-x-drive-cyberpunk-2077-and-more/) 📷 Thanks to Elizabeth Burns for all photography in the series ### Merchant 64: Wholesome Capitalism URL: https://www.superjumpmagazine.com/merchant-64-wholesome-capitalism/ Last updated: 2025-05-20T15:00:54.000Z **2025 isn't even halfway done and we've already seen a ton of big releases.** There's a whole lot more coming out for the rest of the year, not to mention new hardware. Even with bigger studios that can afford staff to pump out game after game, it's worth championing the smaller developers too. Merchant 64 (a ***"***teeny tiny adventure" as it's subtitled) is a solo effort from developer SuitNTie. It's a wholesome game from a wholesome developer, but it happens to be about money... you know, all that icky commerce and capitalism. Still, Merchant 64 makes inflation and the cost of living crisis feel like a whimsical phase, akin to rainbows and sunny days. The game puts you in the shoes of a traveling merchant, who starts as a humble street peddler with a few dollars in his knapsack and some junk items he picked up on the road. Our hero begins his career as the town's serial recycler, turning junk into cash flow. It's a bit like that one episode from The Simpsons where Mr. Burns uses spare change from recycling bottles to rebuild his wealth. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-16.png) Source: Press Kit. Peddling junk can only get you so far, and fairly soon you'll want to make some smart upgrades, like a backpack that can carry better quality stuff, and eventually, some real goods that actually have enduring market value. In the meantime, nothing is free; travelling to a new town will cost money, and you'll need some coin to find a place to lodge for the night too. You could just sleep on the street for free but expect a few goods and dollars missing in the morning. Yes, cost of living, unemployment, and theft are bitter realities in this seemingly wholesome game world. The early parts of the game can get a little grindy, and you'll definitely want to farm for junk in the wilderness early on and collect enough to get an inn pass and travel to the next town. From there, you'll want to acquire that new backpack to make your trading prospects more lucrative. Meanwhile, prices are fluctuating, and the various townsfolk are dealing with their own financial woes, whether it's getting rid of their possessions or looking for a good deal on the streets. This may be a teeny tiny adventure built around a simple buy and sell gameplay objective, but there is a lot of substance here. The gameplay progression can be non-linear if you are smart about how you make money, and there are multiple endings to encourage multiple playthroughs. A run can take as few as four hours to complete, but honestly, you can take your time with it. Even early on, the grind to build that initial wealth can feel cathartic and almost meditative. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-17.png) Source: Press Kit. As the "64" in the title suggests, the presentation and aesthetics are straight out of the Nintendo 64 era. It looks clean and crisp, and you'll definitely want to turn on the scanline filters to get this best visual vibe. It's a charming game where the colors really pop, and the character models look cute. It might seem simple and minimalist, but there's some attention to detail here. Whether it's the pre-rendered overworld map or NPCs getting up to some antics in the foreground, this feels like a game from an era gone by, and it probably would have been a popular game back in 1996 too. It shares many visual and artistic similarities with the infamous N64 launch title, Quest 64, which has now become a cult classic in its own right for all the wrong reasons. The experience is a fun little solo developed effort, and it's priced accordingly too. It feels like a simple concept, but it's executed with a lot of heart, and it has some interesting things to discover. It may not measure up to the many cozy shop simulators out there, but Merchant 64 makes you work hard for the money. The best part is the asking price is among the lowest you'll find on Steam or any other DRM-free platform. Merchant 64 is a charming game that executes a simple and novel idea with charm. It achieves what it sets out to do and gives players a reason to sit back and relax, effectively delivering its charming N64-style presentation and cathartic gameplay loop. As far as solo-developed projects go, this one has legs and perhaps the potential to become a bigger adventure with a follow-up game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-18.png) Source: Press Kit. ### Nintendo Switch 2 Hands-On Preview Part 1: The Hardware and Mario Kart World URL: https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-1-the-hardware-and-mario-kart-world/ Last updated: 2025-05-26T05:55:25.000Z **In a mere few weeks - and some eight years after the original Nintendo Switch launched - players around the world will finally be able to wrap their mitts around its sensibly-named-successor, the Nintendo Switch 2.** Speculation about the new console heated up in the last few months in particular (although I personally [share James O'Connor's view](https://www.superjumpmagazine.com/the-nintendo-switch-is-not-outdated/) that the original Switch isn't "outdated" despite its age). At any rate, Nintendo put us all out of our misery in January with a [slick reveal trailer](https://www.youtube.com/watch?v=itpcsQQvgAQ). Since then, there's been quite a lot of coverage about the console and several of its launch games - including some fantastic Nintendo Treehouse streams - so if you're reading this, you're probably aware of most of the fundamentals. I've read and watched much of the coverage myself. Despite this, I was keen to get a better sense of how the console and games actually feel, and especially curious to see if my experience would differ from others. Fortunately, I've just had this very opportunity: last week I was invited to a Nintendo Switch 2 Experience event here in Melbourne, where I got to spend four hours with the console and numerous games. The generous access really made a difference, too. It's one thing to play a quick demo for a couple of minutes, but it's another thing to play a demo several times or to experiment with a game's different modes over an extended session. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Incidental03_6sec.jpg) Nintendo Switch 2 Experience. Source: SUPERJUMP. I did not end up playing every single game on offer; I tended to focus on the big heavy hitters or the games I was most curious about. I hope you enjoy these impressions. If you have any questions at all, please feel free to comment below; I'm more than happy to jump in and answer your questions if I can. ## The Hardware The Nintendo Switch 2 Experience felt like a mini-E3 of sorts (I mean, back when E3 used to be cool). Journalists, influencers, and retailers alike were grouped into separate four-hour sessions. As my group waited for our session to begin, we milled around an anteroom area dotted with display cases containing Nintendo Switch 2 hardware, accessories, and packaging. There were three plinths at one end with Switch 2 consoles just *begging* to be played. These machines were inactive, but they at least allowed me to get the console in my hands for the first time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Incidental04_03sec.jpg) Nintendo Switch 2 accessories. Source: SUPERJUMP. The Switch 2 hardware makes a strong impression right away. The overall footprint is larger than its predecessor (owing to its new 7.9-inch 1080p LCD screen - up from 6.2 inches on the non-OLED original). The Joy-Con 2 is also quite a bit larger than the first-gen controllers (more on that in a moment). What's notable here is that the height and width of the Switch 2 are significantly larger than both the original Switch and the OLED version yet the depth remains 13.9mm. This makes the Switch 2 feel rather svelte in a way that few other handhelds with similar specifications can claim. But it's not just about the dimensions. You might have read a number of stories referencing the *build quality* of the Switch 2\. I didn't quite grasp this until I actually held it in my hands for the first time. For context, I've owned both the Switch and Switch OLED model and I think you can see some clear build quality improvements between those two products. The original Switch was sturdy enough (if perhaps a little plasticky), and the OLED model (even without the new Joy-Con) felt like an evolution in terms of refinement. The Switch 2 is on an entirely different level; it feels weighty, incredibly solid, and its finely textured surfaces *almost* feel like they're made entirely of metal rather than plastic. There's no creaking going on here whatsoever. I was genuinely surprised to discover that the Switch 2 feels more like a high-end piece of electronic equipment than a typical game console. I would go as far as to say that Nintendo has never produced hardware at this level of physical craftsmanship in its entire history. It's really a pleasure to hold and interact with. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Incidental06_2sec.jpg) Up close with Nintendo Switch 2\. Source: SUPERJUMP. --- > The Joy-Con 2 are a surprisingly large improvement over the original controllers in terms of quality, comfort, and overall usability. --- Then there are the Joy-Con 2 themselves. The Joy-Con have always been such a crucial aspect of the Nintendo Switch experience, and this next-generation iteration feels like a dramatic improvement in so many respects. I have fairly small hands, but the larger Joy-Con 2 feel significantly more comfortable thanks to their bigger surface area. The face buttons are satisfyingly clicky and the shoulder buttons and triggers feel much more substantial this time around (I'm not certain about this, but the shoulder triggers seem to have a bit more travel in them - they *feel good*). The analogue sticks also appear to be a little larger and ever so slightly firmer in terms of movement. The end result is that they feel - for lack of a better word - "tighter", offering what feels like a bit more travel from the centre to the edge. Clicking them feels satisfying, too. The inner shoulder buttons (used when you turn the Joy-Con 2 on its side) are also larger and seem to have more travel as well. I'm not sure if Nintendo has addressed Joy-Con drift (which I actually never experienced despite owning many pairs of Joy-Con over the years), but in terms of overall proportions and tactility, I'd say the Joy-Con 2 are a surprisingly large improvement over the original controllers in terms of quality, comfort, and overall usability. I used the Joy-Con in several configurations, including mouse mode - but I'll save my thoughts on mouse mode for the Metroid Prime 4: Beyond and Drag x Drive impressions. I also took the new Pro Controller for a spin. There's not too much to report on this front; like the new Joy-Con 2, the Pro Controller feels like an upgrade in terms of overall quality. The new shoulder buttons feel significantly better, and the controller itself features a more grippy "rubberised" texture - it's super comfortable, which is notable given that the original Pro Controller was pretty decent too. It also features customisable GL and GR buttons on the rear, helping it live up to its "pro" moniker. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Incidental_01.jpg) Nintendo Switch 2 Pro Controller. Source: SUPERJUMP. What else can I say about the hardware? The new kickstand is far tougher and can easily be set to a much wider array of angles than ever before, which bodes well for playing in tabletop mode. Oh, and one final thing that only the most die-hard Nintendo enthusiasts will care about: when you look at the Switch 2 up close, its textured surface contains little reflective flecks through the paintwork. It's a tiny detail, but when combined with the overall build quality improvements, it speaks to this sense of the Switch 2 feeling like a high-end piece of electronics. Truly lovely. ## Mario Kart World There were many games available to play during the event, both from Nintendo and several third-parties. As I mentioned at the outset, I didn't play them all; I chose specific games I wanted to spend time with (including multiple sessions with Mario Kart World). Considering Mario Kart World occupied the majority of my session, let's start there. ### Is this really a next-gen Mario Kart? The first space we entered at the event was entirely dedicated to Mario Kart World (just in case you were in any doubt that this game is the jewel in the Switch 2's launch crown). Considering the monumental success of Mario Kart 8 Deluxe (which has sold nearly 70 million copies and is the highest-selling game on the original Switch), this shouldn't be too surprising. The big question, I think, is whether or not Mario Kart World represents a generational leap over its predecessor (especially given that it retails for A$109 here in Australia - which, might I remind you, is actually less than many 'digital deluxe' AAA games on competing platforms). My first hands-on with the game involved a simple versus match. I played against my sister (and videographer) in TV mode. and then played a solo match in handheld mode. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/NintendoSwitch2_MarioKartWorld_Character_SCRN_17.png) Mario Kart World. Source: Nintendo. The first match took place on an incredible new course - pictured above - which is based on the original Donkey Kong arcade game. The track consisted of sharply rising long straights (sitting atop the iconic red girders) connected by sharp hairpin bends. Bathed in atmospheric lighting and dripping with vivid colour, this night race felt like a wonderful showcase for the sheer creativity and attention to detail in Mario Kart World. Battling our way to the finish line didn't just mean out-racing 22 other opponents (yes, Mario Kart World supports twice as many players as previous editions); we also had to contend with environmental obstacles in the form of massive barrels rolling down from above. Mario Kart games have always included these kinds of obstacles but I'd say Mario Kart World takes this concept to a new level. Every course I played felt far more "alive" than in previous games, in the sense that there's always a lot going on beyond the direct opponents you're trying to beat. It's important to remember that the courses in Mario Kart World don't exist in completely isolated instances; they actually occupy physical space within a much larger open world. And so, when you're racing through a course, you'll actually see this world in the background. Importantly, the world isn't just some static backdrop; it's actually a living, breathing place where all sorts of interesting stuff is going on, completely unrelated to the race at hand. But I'll touch on that a little more when I talk about the Knockout Tour mode. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/MarioKartWorld_3min14sec.jpg) Worried about the LCD? Fear not! It's bright, vivid, and sharp. Source: SUPERJUMP. --- > Once you get your hands on the game yourself, you'll quickly realise that Mario Kart World is a pretty dramatic leap forward across a number of fronts. --- For now, I just want to re-emphasise that one of Mario Kart World's distinguishing features is its extraordinary attention to detail. A great example is the animation of the vehicles and riders, which is dramatically more sophisticated than anything we've seen in the series before. Riders actively look around and follow opponents with their heads/eyes, they gesticulate wildly in response to what's happening around them (or to them), and the vehicles are loaded with personality (wheels deform and bounce, frames stretch and creak, and the physical impact of collisions both looks and *feels* far more impactful thanks to dramatically improved animation combined with noticeably powerful force feedback). In addition, Mario Kart World introduces day/night cycles *and* dynamic weather, which are also major firsts for the franchise, and which contribute to the sense of a living, breathing world that exists independently of the player. Early video footage of Mario Kart World might have left you with the impression that it represents more of an iterative step forward. But I'm very pleased to say that once you get your hands on the game yourself, you'll quickly realise that Mario Kart World is a pretty dramatic leap forward across a number of fronts. I think the biggest drawcard is definitely Knockout Tour, but before I get to that, let me briefly discuss how the game feels in handheld mode. ### No OLED? No problem! This vibrancy translates well to the LCD screen in handheld mode, too. Some have expressed concern about the apparent downgrade from OLED to LCD technology. I must admit that I initially shared this concern; I've become so used to the Switch OLED's delicious inky blacks and sharp contrast. Thankfully, though, the new higher-resolution (720p) LCD screen on the Switch 2 more than does the job. The combined resolution bump and bigger display make quite a difference without sacrificing contrast, vivid colour, or smooth motion. I'm not an expert on the underlying technology, but I can assure you that there's no sense in which this screen feels like a backwards step from the existing OLED model. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/MarioKartWorld_4sec.jpg) Mario Kart World's new mode - Knockout Tour - is the big drawcard. Source: SUPERJUMP. ### I'm obsessed with Knockout Tour After playing a couple of individual matches, I dived into the mode I was most eager to try: Knockout Tour. This is really where Mario Kart World feels radically different from anything that came before. Much like other online modes, players are asked to vote for a particular tour, which is a little bit like voting for a tournament cup. Each tour consists of multiple courses played sequentially. What's different here is that the entire tour is essentially one long continuous race. As mentioned above, individual courses don't exist in silos; they are seamlessly embedded into a broader open world. This means that once you start a tour, there are no loading screens or pauses between courses. As you finish one course, you immediately drive out of that course into the open world and head to the next one. Players kick off each new course with a rolling start based on their order of arrival. The mode is called "Knockout Tour" because the entire tour - including all the open-world traversal - incorporates gates that players must pass through to remain in the game. Each gate sets a particular rank; players below this rank are knocked out of the race. So for example, early gates might say "18th or above" - if you're 19th or below, you're out. As you progress further, that minimum rank will steadily rise, meaning it's essential to keep up with the front of the pack to survive. Although this might sound punishing, it also provides a great opportunity for players who might have fallen behind in one course; there's always the possibility of clawing your way back to pole position in the open-world segments. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/MarioKartWorld_1min-1-1.jpg) Nintendo set up a huge multiplayer space to try Knockout Tour. Source: SUPERJUMP. Like previous entries in the series, Mario Kart World maintains a sense of frantic competitiveness by granting players at the back of the pack more powerful items, ensuring that ranks/positions don't become entrenched for the entire tour. Players at the front of the pack are constantly playing defence, while those at the rear are aggressively pushing forward. This dynamic works particularly well in Knockout Tour due to the tension between the end-to-end marathon and the gate-to-gate sprints. I'd be remiss if I didn't comment on the open world itself; you might be wondering if the open world is actually compelling on its own terms or if it's more like bland padding between courses. I'm pleased to say that the open world feels every bit as cohesive and thoughtfully designed as the individual courses. The open world is far more than just a few highways connecting courses; it very much feels like a living-breathing world with unique locales that differ greatly from one another in terms of theme and content. At one point I raced through an entire city full of traffic and pedestrians all going about their business (the city existed in the open world and not in a specific course). The city then gave way to rolling green hills rising high above the coastline, providing a more expansive view of the world and its many explorable locations. The delineation between a course and the open world is incredibly seamless from what I've seen; it's apparent that a great deal of care has been given to how these elements intertwine. In terms of moment-to-moment gameplay, I'd say that Mario Kart World doesn't feel radically different to Mario Kart 8 Deluxe. Movement feels just as tight and precise as ever. There are certainly some new tricks and goodies here, though, including the ability to grind on rails for a speed boost along with a bunch of brand-new items. Seasoned players will be able to jump in and feel right at home, which is great because I think Mario Kart 8 Deluxe really nailed the formula in terms of gameplay feel and mechanics. I'm reluctant to say anything too definitive about the game until we review the final version. But after spending some time with the demo across multiple modes, I came away impressed. Mario Kart World fuses the tight gameplay mechanics we've come to know and love with a truly bold re-imagining of the game's overall scope. I can see why Mario Kart World is the flagship launch game f or the Nintendo Switch 2\. I think players will be pleasantly surprised with the significant new bar Nintendo has set here when they get their hands on the final product. ***More hands on impressions:** [Part 2: Donkey Kong Bananza and Metroid Prime 4: Beyond](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-2-donkey-kong-and-metroid/) [Part 3: Drag x Drive, Cyberpunk 2077, and More](https://www.superjumpmagazine.com/nintendo-switch-2-hands-on-preview-part-3-drag-x-drive-cyberpunk-2077-and-more/) 📷 Thanks to Elizabeth Burns for all photography in the series ### The Friends of Ringo Ishikawa: F.R.E.E.'s Enigmatic Imprint URL: https://www.superjumpmagazine.com/the-friends-of-ringo-ishikawa-f-r-e-e-s-enigmatic-imprint/ Last updated: 2025-05-19T03:39:38.000Z **The Friends of Ringo Ishikawa is one of those hidden experimental efforts that makes the indie gaming scene such a treasure trove of daring ideas.** Granted, many indie efforts tend to be poor pretenders, but every once in a while, something unquestionably novel emerges. The game is described by its sole developer 'yeo' (based in Russia) as an "existential open world game about Japanese delinquents" and this moniker isn't just a premise; in a way, it also describes the unique genre this game has created for itself and its subsequent spiritual successors. Still, as innovative as this game may appear to be, it is very much inspired by two video games that are just as unique: River City Ransom and Shenmue. The River City Ransom comparison is perhaps the more apparent one, and it's almost easy to take for granted just how groundbreaking that game was when it was first released on the NES back in 1989\. It was a brawler about Japanese delinquents that took place in an impressive (for its time) interactive open world where players could visit shops and interact with - well, mostly punch - other characters. It was a brawling role-playing game which succeeded in giving players a sense of immersion and freedom, completely unlike anything that video games were offering during the 80s. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-14.png) River City Ransom. Source: [Game Grin](https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.gamegrin.com%2Farticles%2Fgame-over-river-city-ransom%2F&psig=AOvVaw1qfwWJljLUhQPL6AtOIprj&ust=1747080370551000&source=images&cd=vfe&opi=89978449&ved=0CBQQjRxqFwoTCOC22tmbnI0DFQAAAAAdAAAAABAJ). The Friends of Ringo Ishikawa retains most of the gameplay (brawling) elements and interactive game world mechanics and takes things further by infusing them with strong existential themes when it comes to game design, particularly in the narrative and pacing. In River City Ransom you're meant to take on the game world with fists swinging, but in The Friends of Ringo Ishikawa, you're meant to ponder the big questions between carefully approached brawls. --- When Shenmue first landed on the Dreamcast in 1999, it took the gaming world by surprise, describing itself with a uniquely coined genre term "Full Reactive Eyes Entertainment" (F.R.E.E). Shenmue pioneered many things we now take for granted in modern gaming, but what it also did was to make players go through a halted pace which often had no real rhyme or reason. The game launched with much hype, anticipation, and even some critical acclaim, but slow sales and the dip in the popularity of SEGA's console simply meant that most players at the time hadn't understood the game, which speaks largely to how far ahead of its own time the experience was. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-15.png) Shenmue. Source: sabukaru. At that point in history, Shenmue was the most expensive video game ever created and would have needed to sell at least three copies per Dreamcast console on the market just to break even. Needless to say, those sales goals were not met, and by the time Shenmue 2 was released the Dreamcast was already on its way out, with SEGA opting to port the title to Microsoft's Xbox to reach more players. Then in 2025, something remarkable occurred: the prestigious BAFTA Awards published a list of the ten most influential games in history, and out of all the other heavy hitters, Shenmue placed #1\. BAFTA has deemed Shenmue the most influential game ever created, outranking the likes of Doom and even The Legend of Zelda. The recognition is well deserved and long overdue; the sheer attention to detail and realism that Shenmue introduced via its cinematic storytelling gave us the production values we take for granted today. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-12.png) Source: Press Kit. Although Shenmue did have an overarching plot, the vast majority of the game was what happened between major story segments, the mundane and aimless grind of getting through a day of existence. This is precisely what The Friends of Ringo Ishikawa also achieves right from the outset, thrusting players into a pace and progression that can be as purposeful or purposeless as they wish. Unlike Ryo Hazuki however, there is no grand destiny or prophecy for Ringo Ishikawa to fulfill; his life as a delinquent in 1980s Japan is simply to float through the transitory period between youth and adulthood. That being said, a player could decide to have Ringo relinquish his Yakuza aspirations and instead have him excel in physics. In The Friends of Ringo Ishikawa, you could choose to work on fighting stats and pick fights with other youth gangs... but you're not really obligated to do so despite the game's apparent focus on combat development. You could instead approach the game as a life simulator by focusing on studies, making simple memories with friends, or even saving up for manga and that elusive video game console. This game is about carving your own routine and just immersing in the simple yet memorable town filled with little surprises hidden right under your nose. There is something unusually cathartic about taking a stroll at 1 a.m. for no real reason, and surprisingly it's the best time to not run into other youth gangs. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-13.png) Source: Press Kit. What brings all the different parts of the experience together as one cohesive game is its soundtrack. The music is an atmospheric, consistent jazz score which really fits with the aimless yet melodious flow of how things pan out. There is no real destination in this adventure, but much like the comforting jazz soundtrack, there are moments of brilliance hidden even in the most mundane moments. This is an existential open-world game unlike any other, and a rare instance of art imitating life in a video game. On social media, you can find insightful musings from yeo on the highs and lows of being an indie developer, especially with some of the red tape and other hurdles to navigate. The Friends of Ringo Ishikawa was not an immediate commercial success, but years after its initial launch it has been the biggest draw for the developer. The game was followed by Arrest of a Stone Buddha, which was the least successful in sales despite taking daring steps into more mature content and introducing firearms into the combat. The next title was Fading Afternoon, which brought together all of the ideas and concepts from the prior two games into an existentially aimless yet action-packed journey. Through the three games, you witness an evolution of an underlying game design spirit, uniquely crafted by its creator. These games may not be top sellers now, but perhaps like Shenmue, there's always the possibility of this unique trilogy becoming cult classics in their own right, generating a fanbase years after the fact. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-11.png) ### Indie Game Club Issue 2: Nightmare Kart URL: https://www.superjumpmagazine.com/indie-game-club-issue-2-nightmare-kart/ Last updated: 2025-05-19T00:03:02.000Z **Welcome to the second meeting of SUPERJUMP's Indie Game Club,** the monthly series where YOU can play along! This month we played LWMedia's [Nightmare Kart](https://store.steampowered.com/app/2930160/Nightmare%5FKart/), a racing game of eldritch horrors and breakneck speeds. If you want to catch up on the action you can play Nightmare Kart on [Steam for free](https://store.steampowered.com/app/2930160/Nightmare%5FKart/)! Our mission will always be to spotlight independent game developers who self-publish their work and we hope you'll join us in appreciating underground art. Next month, we will be playing How Fish is Made by Wrong Organ! The game is available for [free on Steam](https://store.steampowered.com/app/1854430/How%5FFish%5FIs%5FMade/) and you can stay tuned to SUPERJUMP to see what the team thought of the narrative horror experience in June! Anyways, welcome to the racer's dream, get ready to vanquish some prey. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/20250417155555_1-1.jpg) A New Hunt. Source: Author Screenshot. ### **Alexander B. Joy** Remember how, in the original Super Mario Kart on SNES, there was a mechanic wherein players had to collect coins scattered around the track to raise and maintain their top speed? Its superior sequel, Mario Kart 64, removed that feature, ostensibly because it wasn’t fun, and only introduced a layer of irritation that distracted from the thrill and strategy of racing. I think a similar principle informs why I ultimately bounced off Nightmare Kart. Instead of coins, your top speed in Nightmare Kart is dictated by a blood/stamina meter. Wielding weapons to harm enemies or opposing racers fills the meter, while sustaining damage from their attacks lowers it. In the abstract, this makes sense as a means of emphasizing combat and underscoring Nightmare Kart’s violent horror themes. But in practice, I found it clunky. The game’s auto-aiming feature removes any need for sharpshooting skills, and the frequent enemy attacks are hard to dodge. Between regularly taking damage and constantly needing to fire at targets I wasn’t even aiming for, Nightmare Kart’s combat felt frustrating and arbitrary. On top of this, the game demands players do tricks off of ramps to build up energy for turbo boots, so races often devolve into awkward, slalom-like slogs, undercutting the sense of speed and grace that the best racing games attain. Taken in tandem, these design choices feel like a confused and chaotic mass of features rather than a cohesive, unified whole. I should note that although its mechanics didn’t work for me, I nonetheless want to praise Nightmare Kart for attempting these experiments. They’re something new in a sea of formulaic gaming, after all, and they certainly set Nightmare Kart apart from other racing titles. Considering it nails the intended PSX/CRT aesthetic, and is generously offered for free on[ Steam](https://store.steampowered.com/app/2930160/Nightmare%5FKart/) and[ Itch](https://b0tster.itch.io/nmkart), I’d call it a worthwhile game despite not enjoying it much. The devs at LWMedia should be lauded for crafting a unique digital artifact that clearly reflects the great deal of love they put into it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/20250417160542_1.jpg) Don't Burn Out. Source: Author Screenshot. ### **Wallace Truesdale** Several thoughts raced through my mind as I survived the bloody tracks of Nightmare Kart. The gothic horror aesthetic and story drama are reminiscent of Bloodborne. The modes, sound, and general structure spark memories of Mario Kart throughout its multiple iterations. The fact that two such tonally different series both came to mind for this arcadey game, which was missing the polish and scale of either, made me laugh when I wasn’t focused on power breaking and doing 180 tricks off the ramps. But what made me know this game was clicking with me was when I thought of Scooby-Doo and the Reluctant Werewolf, a 1988 TV movie that saw Scooby, Shaggy, Scrappy, and Shaggy’s girlfriend Googie forced to participate in the annual Monster Road Rally. At the start, much like Scooby and racecar driver Shaggy, races in Nightmare Kart would jump from stupidly unfair to way in my favor, partially due to skill improvement but notably item luck as well. Similar to the incessantly hungry dog-man duo, I was spooked by the monsters and their sinister cutscenes but laughed as I watched them slam into gravestones or blow up when I shot them. I laughed my hardest when I saw one of the Matilda sisters riding a giant pig. The twists, turns, and monsters littering the track felt like exploring the grounds of Castle Dracula in Transylvania. The experience is bumpy, often literally for some race tracks, but also because its shooting mechanic is a bit awkward and its sharp turns demand a quick learning of its drift mechanics. But I was ultimately down for this game’s weird swings. In keeping with the analogy, it had a red shirt Shaggy movie vibe: similar DNA to the usual shenanigans the Mystery Inc. crew and racing games are generally now known for, but distinct in the detours it takes. Also, as much as I like the Scooby-Doo comparison, two quick asides require breaking from it: 1) Nightmare Kart has nothing as abruptly funny as the terrible relationship between the Hunchbunch brothers and Dracula in Scooby-Doo and the Reluctant Werewolf, and 2) I’m a fan of Nightmare Kart’s campaign one-on-one battles. The hunting of Nicholas especially stood out. Trapping him was a bit annoying, but I liked having to use my brain in a way I wasn’t expecting. Watching him forgo a kart and run after you on foot is hilarious, and the looping chase when he’s almost dead also felt like a shot of adrenaline. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/20250417161248_1.jpg) Ah, A Beast. Source: Author Screenshot. ### **Hazare Renne-Glover** After sacrificing a total of 105 minutes, I beat LWMedia’s latest title, Nightmare Kart. At least, I think I did. After lapping AI opponents, slicing and dicing mobs to increase my speed, and chasing down bosses through convoluted mazes, I am drained, but satisfied. In roughly two hours of trudging through the campaign, Nightmare Kart managed to take me on an emotional Souls-like rollercoaster. The game is frustratingly unbalanced, introduces too many mechanics too quickly, and the campaign pulls you through 3 different game modes without a breather. By the way, two of those game modes sport different rules with little indication, and one drops you into a 3 vs 1 balloon battle-style arena. The twist is that you can’t really fight back against your 3 attackers, who are relentless, and there is a random boar guarding the objective that you have to pick up and deliver. Did I mention there was an objective? That you have to deliver? Neither did Nightmare Kart. When all was said and done, and I finally put an end to Nicholas’ incessant howling in that annoyingly perplexing library, I was able to sum up my experience in one word: *Wow*. The developers at LWMedia gave life to a high-maintenance Bloodborne/Mario Kart lovechild that succeeded in far fewer places than it failed, and yet, I didn’t hate it. In fact, I enjoyed most of my time accelerating down the gothic-horror tracks and drifting in place to make impossible turns. Even the combat was fun in its own unholy, auto-locking sort of way. If you're looking for a refreshing respite from the unending wheel of AAA titles, Nintendo prices, and Bethesda's continuing refusal to develop Elder Scrolls 6, give Nightmare Kart a try. I can’t, no, I refuse to promise any amount of enjoyment and pride you may or may not receive. However, and I can’t stress that word enough; if you are brave, bold, or just downright bored, this game will have you running back to polished titles with glee or grief in no time. Besides, it’s free, so it ~~might~~ can’t hurt. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/20250423150415_1.jpg) Welp. Source: Author Screenshot. ### **Nathan Kelly** Nightmare Kart is a roller coaster of a game. The highs include heart-pounding high-speed combat while the lows include punishing mechanics that require painfully restarting the race. Each time the lights counted down, instead of determination and excitement, I felt dread that the odds would see me at the back of a dog pile. This game exists on its own as a reflection of two other, wildly different games and I really wished it had picked one direction and stuck with it. On one hand, it has the incredible and dynamic track design and item control of Mario Kart. On the other hand, it has the breakneck precision controls and speed of Twisted Metal. This adds up to a vehicular arena shooter with random weapon drops and a kart racer without the rails that allow cinematic jumps and slalom straightaways to flow comfortably. The game is an absolute riot regardless. I would still rather play Mario Kart or Twisted Metal Black than return to Nightmare Kart. But after establishing an identity between the two that works, I would return to Nightmare Kart. I’m willing to give a gothic horror bone to the developers in that the game is built off of the aesthetic and design of the From Software formula where the game is initially frustrating and takes a lot of time to master and understand. However the genre is limited, and Nightmare Kart in particular is too fresh and innovative to capture the minds of its most creative potential fans. Nightmare Kart could be a sensation if the onboarding experience showed its players that it is easy to learn but hard to master. The aesthetic is something that I really enjoyed about the experience. Even though the field of view was fairly limited, everything popped and I could easily navigate each track. The grotesque figures based on their Bloodborne counterparts had me amazed at the dedication to the art style and source material. The developers' passion really shines through in the level design and art direction, and LWMedia will be a name I watch out for in the future as I hope they pursue further projects. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-10.png) Source: Author Screenshot. ### More Than a Villain: Interviewing Martin Li Voice Actor Stephen Oyoung URL: https://www.superjumpmagazine.com/more-than-a-villain-interviewing-martin-li-voice-actor-stephen-oyoung/ Last updated: 2025-05-17T01:56:58.000Z **Stephen Oyoung played Mister Negative in the Insomniac Spider-Man video games and hopes to reprise him in the upcoming film Spider-Man: Brand New Day.** The internet agrees, given the positive response on social media. Oyoung's performance was a nuanced rendition of a tragic villain, seeking revenge on Norman Osborn for giving him deadly powers while taking away his family. In addition to voice-over work, Oyoung filmed motion-capped references for the 2018 and 2023 Spider-Man games respectively. Oyoung has also worked as a film actor, stunt coordinator, and fight coordinator. His most recent film will be Mission Impossible: The Final Reckoning. He dialed in from Bangkok, Thailand for this interview. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/28713024567_370785903b.JPG) Source: Stephen Oyoung. ### SUPERJUMP **So let's talk about Mister Negative, a character who debuted in 2007 and is now eighteen years old. Martin Li can heal with his touch or corrupt good people, depending on who meets him in civilian or hero guise; he's also an immigrant in the comics canon, meaning his role as a villain requires nuance. When you first voiced Mister Negative, what did you hope to bring to the role? What nuance did you want to introduce for a character with a wonderful gift and terrible curse?** ### Stephen Oyoung A sense of humanity. I wanted the audience to connect with him as a person, to empathize with his struggle. It's tempting to paint him as a two-dimensional character: he's good/ he's bad. But obviously, as actors, we always want to make the character as interesting as possible. What I tried to do is to not put too many frills on his behavior when he's being the philanthropist. I tried to bring a naturalism to it that would be realistic. After that, I felt like I could really lean into the bad side. There’s a temptation to really play him two-dimensionally; he’s either a hundred percent good, then he switches, and he’s a hundred percent bad. The creative director behind the studio \[Insomniac Games\], Bryan Intihar, had a great method to it. He said, “Just be yourself. Don’t put too many frills on it". We actors like doing that to catch the audience’s eye. But with Mister Negative, I think it was as important to play him as naturally as possible. Then we can lean into this meaty part. As a villain, it’s so much fun to chew the scenery as a bad guy. As Mister Negative, though, you get to be heroic and also the villain in the same show; that is very rare. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-21.png) Source: Stephen Oyoung. ### SUPERJUMP **In another world, he’d be the American dream and a success story.** ### Stephen Oyoung That was another thing to highlight, the immigrant story. I am a child of immigrant parents who came to America from Asia; it was almost a one-to-one story. In that regard, it was easy to play because it was me. Maybe Insomniac and Sony saw that, and that is why the character himself in the video game, it was modeled off of my face. They didn’t have to do that, which is why I’m very grateful to Sony and Insomniac for making that choice. That is one aspect of his storyline, that he is an immigrant. Obviously, that is an American story, and that is my story. You definitely want to portray that. ### SUPERJUMP **There are talks of Mister Negative appearing in the newest MCU Spider-Man movie, Brand New Day, which will premiere in 2026\. You've mentioned wanting to reprise the role. If you had total script control, how would you debut Mister Negative or any MCU character that you could play?** ### Stephen Oyoung I think it's just a matter of screen time. To let the character breathe. Maybe explore his backstory. Fill out his life for the audience. Selfishly, as an actor, you want to be onscreen as much as possible. It’s killing two birds with one stone; it’s good for the character, and a chance to explore backstory. There are also quiet moments where you see the humanity playing out. Once the audience gets to connect with the character as a human being, then the stakes become so much higher. ### SUPERJUMP **Anything specific from the games that you'd like to see?** ### Stephen Oyoung The train sequence (laughs)! The train fight. I think it was one of the first fights that I filmed for the video game. Spider-Man train fights are iconic, but I would love to film that. I’m excited to see what Brand New Day has in store for everyone. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/Spider-Man-2025.jpg) Source: Stephen Oyoung. ### SUPERJUMP **I hope that you get cast as Mister Negative.** ### Stephen Oyoung Thank you (laughs). I hope so too. This is the first time I’ve had this kind of support from people online. These kinds of rumors have been spreading since the video game came out. Every four years, six months, there’s another rumor, but this was the first time I feel like I have this much support from people on the Internet. It’s very popular, and I appreciate that. ### SUPERJUMP **You also have a prolific martial arts and media career, complete with Wushu training and fencing expertise. Out of curiosity, are there any Wushu styles that you prefer to practice?** ### Stephen Oyoung I trained in Changquan (Northern Style), so I'm a big fan of that. I love the look of Fanzi Quan, made famous by Jet Li. And another style I love is Xing Yi Quan. I guess I’m a sucker for anything Jet Li! ### SUPERJUMP **Can you tell us more about your time as a stunt performer and fight coordinator? How do the two careers compare to acting?** ### Stephen Oyoung I cut my teeth in this business through stunts. I will always have a soft spot for it. With stunts, you have to be absolutely skilled at what you do. It made me appreciate the talent involved behind the scenes. With that, it's also very humbling because they are the unsung heroes. Often times nameless and faceless. As opposed to acting, where it's front facing. And acting is very subjective, whereas with stunts, it's either you hit your mark or you didn't. Everything has it's own challenges but they are both very rewarding. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-19.png) Source: Stephen Oyoung. ### SUPERJUMP **Your acting debut was in 2012\. It's now 2025\. How do you feel Hollywood and film have changed since then?** ### Stephen Oyoung There's more representation and at the same time more globalization. So you're not just competing with the same pool of people, you're competing with the world. But the stories are richer, with many more interesting perspectives. Also, tech has taken over the business. So there are new challenges but also opportunities there. ### SUPERJUMP **It's a scary time to be Asian-American, especially in a creative field. Many artists and actors want to prove themselves against a biased crowd. Do you have words of advice or solidarity for this year's performers?** ### Stephen Oyoung You can only control yourself, so run your own race. That's all you can do. And you're not alone in experiencing challenges. We're all in the same boat. There should be some comfort there. --- Oyoung thanks fans who have asked for him to play Mister Negative again in Brand New Day. Casting is still up in the air, but it's touching how iconic his performance of Martin Li has become. Stay tuned to SUPERJUMP for more interviews with creators, developers, and so many other personalities in the gaming space! ### TTRPGs Can Help Build Positive Communities URL: https://www.superjumpmagazine.com/ttrpgs-can-help-build-positive-communities/ Last updated: 2025-05-16T13:52:06.000Z **Tabletop RPG characters are constantly thrust into dangerous situations.** Whether they’re vanquishing a dragon, navigating a dungeon, or dethroning a tyrant, the lives of the characters that we dream up are always fraught with risk. But that danger should always be restricted to the realms of our imagination, and everyone gathered around the table has the right to feel secure and comfortable while they play. Unfortunately, this isn’t always the case. The internet is rife with [horror stories](https://www.reddit.com/r/rpghorrorstories/) about RPGs gone wrong, from boundary-pushing players refusing to take no for an answer to game masters fueled by power fantasies enforcing their whims on an uncomfortable party. The truism “No D&D is better than bad D&D” is often used to illustrate how harmful TTRPG groups can be at their worst. At their best, though, RPG groups can be welcoming spaces that encourage players' creativity, build up their confidence, and allow them to grow alongside their characters. For this piece, SUPERJUMP interviewed several game masters to discuss how they ensure that they are creating safe spaces for their players, and how TTRPGs can be used to develop friendships, bring people together, and make a real material difference. ## Using RPGs to Create Safe Spaces for Women ![Several women smile and pose in a selfie taken around a table set up to play a TTRPG.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/Steph-Pic.jpg) Source: Stephanie Randlesome, used with permission. --- > “It can be frightening to walk into something completely new. I wanted a space for female and female-presenting people to come and be with other like-minded people and to feel a sense of security.” --- The county of Cornwall lies tucked away at the Southwestern edge of the UK. With the Celtic Sea to the northwest and the English Channel to the south, this windswept county of rolling fields and timeworn cliffs is exactly the sort of place where it feels like magic might happen. Those willing to search will find that Cornwall has a vibrant role-playing community lying in wait. Cornwall’s capital, Truro, is built at the confluence of the Kenwyn and Allen Rivers that flow out into the River Fal. In the shadow of the city’s cathedral, sandwiched between a chip shop and a store that sells a mixture of plants and vintage clothes, sits the [Happy Piranha Gaming Café](https://happypiranha.com/). Stephanie Randlesome is a game master and [influencer](https://www.tiktok.com/@littlegoblingirl) who runs monthly “Gals & Pals” tabletop gaming nights for femme-presenting players at the café. In an interview with SUPERJUMP, she discussed her experience. “When I started playing TTRPGS, they weren’t as mainstream as they are now. Going into a space that is very male-oriented and male-run can be really intimidating. To walk into a space and feel immediately on edge is never fun. Whether that’s intended or not.” She clarified that some of her bad experiences weren’t necessarily due to overt misogyny, but rather due to thoughtlessness: “It’s not always intentional; sometimes people just aren’t aware of other people’s experiences, and that’s something that I wanted to counter with Gals & Pals.” Talking further about why she set up Gals & Pals, she said, “It can be frightening to walk into something completely new. I wanted a space for female and female-presenting people to come and be with other like-minded people and to feel a sense of security.” When asked about her favourite memories with the group, she described a Christmas one-shot where her party “went feral.” Laughing, she recounted, “They didn’t do any of the dungeon, everyone just ended up flirting with each other. I could just sit back and watch these bonds form organically. It was beautiful. This group of complete strangers exchanged information, and now they’ve become a tight-knit friendship group. Seeing that happen was a magical moment.” On 24th May, the Happy Piranha Gaming Café will be running a fund-raising evening for [West Cornwall Women’s Aid](https://wcwaid.co.uk/). Discussing the event, Stephanie said: “I’m really excited about it. I’ve got a lovely community, and this will be a really good way of bringing them together while raising money for a good cause.” ## Ensuring Safety in Massive TTRPG Groups ![People gather around a table as a person runs a TTRPG before a painted backdrop.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/10032025_RPGTAVERNS_FLORA_LUNA_1028.jpeg) Source: RPG Taverns, used with permission. Now let’s move from one of the UK’s most remote regions to its bustling capital. London is plastered with pubs. They provide communal spaces to laugh and unwind in a city that can sometimes feel insular and cold. On weekday evenings and all through the weekend, [RPG Taverns](https://www.rpgtaverns.com/) on Harper Road offers more than just drinks. Patrons of this adventuring site in Southwark are collectively participating in a long-running Dungeons and Dragons campaign. This adventuring group features more than 40 Dungeon Masters and over 1000 Player Characters. With a player base of this size, the importance of ensuring that everyone is treated with dignity and respect is paramount. SUPERJUMP spoke with Sam Lawes, one of the founders of RPG Taverns, about what it takes to ensure that players in their sessions feel secure. Sam explained that it’s about creating an environment where players feel happy to express themselves. He said, “D&D is all about being able to feel comfortable. Being able to put on a voice and act in your character. We want to give everyone a creative space so they can have a good time, without worrying that others will be judging.” But making a judgment-free creative space is more than just a matter of having a positive mentality; it’s not something that happens without effort, commitment, and training. Sam laid out the additional safety measures his venue puts in place to ensure the comfort and security of patrons. RPG Taverns employs a [robust code of conduct](https://www.rpgtaverns.com/code-of-conduct), as well as a wide range of safety tools such as content warnings, and the ability to pause sessions that might veer into uncomfortable territory using the [X-card](https://en.wikipedia.org/wiki/X-Card). As a venue that distributes drinks to both staff and Dungeon Masters, it also attains [Good Night Out](https://www.goodnightoutcampaign.org/) certification, training them to handle gender-based violence. RPG Taverns celebrated its first anniversary on 26th April 2025\. Reflecting on the community that has built up during this time, Sam stated: “It’s such a nice atmosphere walking in. There’s always smiles, and it’s lovely seeing new faces become regulars.” ## Using TTRPGs for Therapy ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/Game-Therapy-UK-4-credit-Steve-Best.jpg) Picture provided by Game Therapy UK, used with permission. --- > “All humans play. Everyone plays games. Playing games is a fundamental part of our development." --- Therapy can take many forms, from psychodynamic therapy, where patients talk through their pasts to uncover the unconscious patterns guiding their actions, to cognitive behavioural therapy, where activities like worksheets, diaries, and mood boards are used to chart a path toward self-improvement. But can games serve as a form of therapy? To Gary Colman, a doctor who works with the homeless and a former medical officer with the British Military, the answer is unambiguously yes. In 2022, Doctor Colman began looking into using games to conduct therapy. He found several practitioners in the UK who had undertaken studies demonstrating that games were a “profoundly effective” therapeutic medium. Unfortunately, these studies were conducted independently, and their research was not coordinated. Doctor Colman set up [Game Therapy UK](https://www.game-therapy.co.uk/about-us) to provide an umbrella organisation that could link these scattered groups together. Game Therapy UK will be running its [annual stand-up fundraiser](https://www.monkeysbloodproductions.com/comedyclub) at the Comedy Store in Leicester Square on 13th May. They will also be present at the UK Games Expo, London Comic Con, and Dragon Meet. In an interview with SUPERJUMP, Doctor Colman discussed the research undertaken by the charity. Central to their efforts is the knowledge that “games are inherently therapeutic”. He explained, “All humans play. Everyone plays games. Playing games is a fundamental part of our development. You can make mistakes safely; if you make a mistake, you can just rewind and play it again. There are no real-world consequences when you’re playing a game.” Games, particularly character-driven RPGs like Dungeons and Dragons, offer players the chance to introspect, experiment, and share stories in a safe space. Game Therapy UK regularly runs RPG sessions for players at risk of social isolation. These games provide support for survivors of abuse, veterans, those experiencing homelessness, and people with special educational needs, among others. Since so many of these players have experienced trauma, it’s essential that careful thought is put into the narratives of these adventures. Doctor Colman’s primary advice to game masters who work with vulnerable players is to “play thoughtfully” and avoid employing tropes that might inadvertently reopen old wounds. Care should be used when handling story beats about addiction and violence. He says, “It’s very easy to inadvertently make a game toxic.” A careful DM can avoid these pitfalls by knowing their players: “The real skill is in the person sitting down and playing the game, having an understanding of the group that they are playing with”. Dr Colman shared stories about what gaming therapy had been able to bring out of the groups who undertook it. An abuse survivor found controlling a muscle-bound fighter empowering, and it made her feel more able to stand up for herself. A group who had endured modern slavery reckoned with the pain of their past by creating an idyllic fantasy farming community. A group of veterans was able to “instinctively” apply their military skills to sweep every challenge facing them aside, leaving them constantly encouraging their game master to raise the stakes further and further. Most of all, though, it’s the warmth and humanity his players feel towards one another that shows Doctor Colman that the games the charity runs are making a difference. “To see compassion being modelled by people in the group is great. Everyone is incredibly compassionate, and that is incredibly important.” ## Conclusion To return to the phrase cited in the introduction, while no D&D may be better than bad D&D, “good D&D” has so much potential to bring about positive change. Just as a toxic TTRPG group dynamic can destroy friendships, a healthy group can uplift its members and enable them to better themselves. Creating an environment conducive to this sort of personal growth requires careful thought, consideration, and preparation. Even the most well-intentioned game masters can inadvertently discomfort their players, and even the most good-natured groups can have rough sessions. By remaining thoughtful, compassionate, and willing to learn. it’s possible to make this hobby something truly special. ### Roblox: Chained Together (2-5 Players) Review URL: https://www.superjumpmagazine.com/roblox-chained-together-2-5-players-review/ Last updated: 2025-05-13T11:22:26.000Z **Chained Together is a paid game on Steam where up to 4 players can play the game and try to reach Heaven by going through different obstacles on the map.** Now, here’s where Roblox really stood out; the Roblox creators are just plain talented. They have developed games that are really similar to popular games like R.E.P.O., and even before that Roblox game was developed, Chained Together was there first. I played this game with two of my friends initially, over [satellite internet](https://satelliteforinternet.com/hughesnet-gen5-internet-plans/), and it was surprisingly good, given that we were also able to play the original Chained Together. That said, I have some thoughts to share regarding this game and why I think it deserves more recognition. I don’t know if there copyright is a problem when it comes to these games on Roblox, but this game was literally a carbon copy of Chained Together. There were some details that weren’t really similar, but the overall feel of the game was there. ## Game Objective For the game objective, it’s pretty easy. You go to a specific platform based on the number of players you’ll have (2-5). Then, when the specific number of players is reached, you will be automatically chained together and be teleported to the center part of the lobby. From there, you’ll be able to start climbing your way up to Heaven from Hell, of course. It took us more hours than we anticipated because we couldn’t play continuously, and we have a teammate who keeps disconnecting. Plus, we’ve encountered several bugs throughout the game, which made it a bit hard for us. However, there were also bugs that allowed us to pass through some levels much more easily. ## Playing with More Players The thing about Chained Together is, the saying “the more, the merrier” is really applicable, but in a different sense. It’s not like [TV streaming](https://godirectv.com/streaming-packages/) where you just sit and chill. With this game, it will be more challenging because you’re chained to more people. That means if one or two of you fall, your entire team can be dragged to the pits of hell once again. I’ve tried playing the game with one friend, then two friends, then tried again with three friends. I must say that the game is easiest when it’s just two players because there’s less room for error. The one where we’re four in the game, it was seriously chaotic. I couldn’t even count the times we fell before we actually reached the checkpoint. But I must say, it’s fun to play the game with more players. I’m looking forward to playing it with five players, but I’m still looking for another person to play with. ## Reaching Heaven To be honest, the latter part of the map, where you’ll reach heaven, felt kind of rushed. Like the developer just wanted to get it over with. That’s what my friends and I felt when we finished the game. It’s not that the game isn’t worth playing, but we do think that the path near heaven could’ve been made better to not make it look rushed. It was also extremely easy when you reach that certain point where you’re just a few obstacles from finishing the game. ## The Bottom Line Chained Together in Roblox is a great game to play with friends, especially if you’re all competitive and love obby games. There is still some room for improvement, but overall, it’s already a good game to grind with your friends. Just expect a lot of falling, trash talking, and a whole lot of laughter. Happy playing! ### Best Video Game Movie and TV Series Adaptations to Watch with Friends URL: https://www.superjumpmagazine.com/best-video-game-movie-and-tv-series-adaptations-to-watch-with-friends/ Last updated: 2025-07-18T01:03:49.000Z **As someone who has played video games all my life, I’ve always looked forward to movie and TV series adaptations.** This is simply because I want to see if they can deliver the same level of enjoyment that I got from playing those games, and also to see if they stayed true to their source material. Now, that’s where we always get disappointed because not all adaptations follow the game’s story. I’d be a hypocrite if I said it’s okay because for me, it’s not okay. However, there are some adaptations that literally exceeded my expectations. So if you’re ever looking for your next [**TV streaming**](https://godirectv.com/streaming-packages/) lineup, I have some pretty solid recommendations that you shouldn’t miss watching. Let’s start! ## Sonic the Hedgehog (2020) As someone who’s followed Sonic since the SEGA days, I was impressed by how well they made this adaptation. Ben Schwartz's voice was seriously the best choice, and of course, the ever-so-great Jim Carrey as Dr. Robotnik was something else. You'll also see Chaos Emeralds and Green Hill Zone in the movie. I think what I appreciated the most was the studio’s response to feedback by fixing Sonic’s initial design to match the iconic look fans expected. It received a mixed response from fans, but it was a good move for me. ## The Last of Us Alright, so some people might not agree, but The Last of Us is one of the TV series adaptations that I actually consider as one of the best video game adaptations out there. As a fan of the game, I was amazed at how faithfully it brings Joel and Ellie’s story to the screen, especially with the performance of Pedro Pascal and Bella Ramsey. It's totally a standout that both gamers and new viewers will really enjoy and appreciate. Right now, you can watch it on several [**streaming services**](https://golatinotv.com/), including HBO Max, Apple TV, and Amazon Prime. ## Mortal Kombat (1995) Nothing beats Mortal Kombat '95\. I wouldn't say it's a perfect movie, but it's something you'd want to watch with your friends over and over again. It's an iconic movie I wouldn't get tired of watching even after so many years. I included this movie because it brings one of my favorite video games to life in a way that's entertaining, true to the source, and not overly to the top. The music, '90s vibe, cast, and other aspects of the film really worked together beautifully. ## Silent Hill (2006) As a horror video game fan, I don't think there's something that can top the first Silent Hill movie in this genre. I used to be so scared playing Silent Hill, but after a while, it became my favorite horror game. The movie, on the other hand, is just literally chilling. The foggy, eerie, and entirely terrifying town was brought to the big screen, feeling like it was straight out of our PlayStation. Some plot points may confuse newcomers, but it's actually a great watch if you've already played the game. ## Prince of Persia: The Sands of Time (2010) I used to watch my dad and brother play this game, not knowing I would also play Prince of Persia years later. So when the movie came out, I had to see it. I remember thinking how cool it was to see the Dagger of Time and all the wall-running action. Sure, the story was a bit different from the game, but it still gave me that adventurous feel that I loved. If you played the game and expect that it'll be exactly the same, you'll be disappointed, but if you're after the fantasy-adventure genre in its entirety, you'll enjoy this movie. ## Wrapping Up I won’t lie, there are a lot of disappointing video game movie and TV series adaptations that were released in the past years. However, if you’re really looking for quality adaptations that will awaken your inner gamer self, you won’t be disappointed with these titles I’ve recommended. Do give them a try, and let me know what you think. Enjoy watching! **This story contains links from one or more partners.* ### Interview: Remaking Cartoon Cartoon Summer Resort URL: https://www.superjumpmagazine.com/interview-remaking-cartoon-cartoon-summer-resort/ Last updated: 2025-05-14T21:51:07.000Z **Web browser games are many people's first entry point into video games. Their ease of access, diverse options, and often straightforward controls have made them great for children and adults alike to dip their toes into digital play.** While sites like [Coolmath Games](https://www.coolmathgames.com) were and are highly frequented, big brand companies like [Cartoon Network](https://www.cartoonnetwork.co.uk/games) and [Nickelodeon](https://www.nick.com/games) also have child-friendly sites that hold sizable libraries of games based on their shows throughout the years. If you spent any time perusing Cartoon Network’s online games in the early 2000s, there’s a good chance Cartoon Cartoon Summer Resort ended up on your screen. More than two decades after its launch, [and despite the end of Shockwave and Flash support](https://helpx.adobe.com/enterprise/kb/eol-adobe-flash-shockwave-player.html), you might be surprised to find that playing the classic game is now easier than ever. Cartoon Cartoon Summer Resort is a 2D fetch-quest game where players solve the problems of popular characters from Cartoon Network, including humans and animals from Powerpuff Girls, Cow and Chicken, and Dexter’s Laboratory, on a summer resort. Despite its summer 2000 release, the game’s ridiculous dialogue, hypnotizing (and annoying) music, strange scenarios, and wall-bump-triggered bonk noises endeared it to many. One of those hearts belongs to Matt, a software engineer who remade the game after fixing a bug he found in the original. While it was already possible to play Cartoon Cartoon Summer Resort through the [Flashpoint Project](https://github.com/FlashpointProject/launcher/), the remake is notable for its quality of life improvements and ability to be played on web browsers again. I reached out to Matt to discuss why he remade the game for web browsers*,* the challenges involved, and what he thinks is the responsibility of a video game remake. *This interview was lightly edited for clarity and concision.* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/cartoon-cartoon.png) Source: Cartoon Cartoon Summer Resort, Episode 2. ### SUPERJUMP What got you into coding in the first place? ### MATT So I actually hated coding when I first started doing it. It was awful. I had to decide on something when I went to college. It was a community college and I chose computer programming without knowing anything about it. Just because, you know, everyone said you’re good with computers so I just picked the computer degree. My very first introduction to programming was this night class at this community college with this professor who was, like, 80 years old. And it was a two-hour long class, and I would show up and try not to fall asleep and it was — you know you’re learning Java so it’s public static void, main string args, and as a new programmer, you don’t know what any of that means. And it’s just the most uninteresting stuff in the world. Maybe like a year later, or two years later, I was on a gaming forum at the time and there was a chat application on the vBulletin forum that was like a separate application. And I wanted to make my version of that. What I was trying to do was create my own Discord in some sense, the same functionality, a chat app where you could login, you can have your username, you can send emojis or images, and you know, style your message. Like, make your message show up red, blue, yellow, or whatever. So I started working on this application and, when I had a reason to program, the programming was secondary. The main reason was to create something that I wanted to see in the world, that I wanted to understand and have control over, and to bring to light. I was up until like five in the morning, coding in PHP, and I remember hearing the birds chirping outside. And this thing was coming to life, and I remember if this, then that, and understanding how the logic was mapping to what the application was doing. That was when it really kind of ticked for me. It’s like wow, if you learn how to program, you can make something that’s actually really cool. You can bring your ideas to life. And that application was a disaster. But it was a good learning experience. I learned a lot from it. Then it got hacked. ### SUPERJUMP Oh god. ### MATT Yeah, it was a disaster, but you learn. And it was a really, really good learning experience. But yeah, that’s how I started programming. It wasn’t anything born out of some innate talent. I enjoy building stuff. I’ve been coding for, like 10 years, 12 years, or something like that. I finish one project. I would finish the chat application, and then it’s like well I like chess, so let’s make a chess engine. I would think of something that I like, and it would also give me an opportunity to improve my programming skills, building off of the last thing I learned. So that’s kind of what I’ve been doing for the last decade-plus, just working on things, trying to make my next project and push myself a bit more. Recently, in the last two years, I started working as a software engineer professionally. So, it paid off. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-21.png) Source: Cartoon Cartoon Summer Resort, Episode 2. ### SUPERJUMP Since you seem to have a desire to go back and use your coding skills on things that you like, this brings us back to Cartoon Cartoon Summer Resort. According to your blog, this remake journey started with you actually finding a bug in the game when you wanted to play it on Internet Explorer, right? ### MATT Yeah, exactly. ### SUPERJUMP Can you elaborate on what that bug was specifically, and then why you felt a need to fix it after finding it? ### MATT Yeah. So it was kind of a funny thing. You know, you’ll remember something from your childhood randomly or whatever now and then. And I just remembered this game. I looked it up and after thinking for a while, I remembered the name and I found videos of it on YouTube. At the time — this was like 2018 or something like that — Flash was still just barely hanging on by a thread. It was on life support. It wasn’t completely shoehorned out of browsers yet, but it was out of Chrome. It was out of Firefox, but Internet Explorer still supported Shockwave and Flash. So, I was able to actually find some website that was hosting this game because Cartoon Network stopped hosting it a long time ago at that point. I was able to find a website that was hosting this game and I ran it on Internet Explorer and it was working! This really shocked me. It was exciting to play something that you played like 20 years ago, 18 years ago, as a kid, especially something you weren’t expecting to be able to play. So I was running around in this virtual world or whatever and there got to a point where I was just exploring it, just walking around. There it was, in the very top right corner of the map. It’s like an ocean, right, with little island areas. I basically walked over one part of this map, cause it pans around, right? You start in one area and then as you move to the next, it pans the camera over. Well, I went to the top right-most area. I walked around and hit a message trigger and a message would show up on my screen saying, ‘You can’t buy any more boats’ or ‘There are no more boats left’—something like that. It was weird cause you would walk further, and you’d just keep hitting this trigger until you walked past it. I was like, there’s no reason it should be there. It made no logical sense. So I was curious about this, and it was enough curiosity to make me wonder how the game worked. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/CCSR-Crabs.png) Source: Cartoon Cartoon Summer Resort, Episode 4. ### MATT The game was completely in Shockwave. So I knew nothing about Shockwave or that technology because I was a kid, and I learned how to program way after that technology was relevant. So I went, ‘Okay, how does this actually work? Is this game something I can just open up?’ I investigated that, and it turns out it was a proprietary format and completely difficult to understand. If you open it up in any kind of editor, it will not give you anything meaningful. It’s just a blob of data. I almost gave up on it and then I thought, ‘Okay. Maybe I can search this game executable for nested zip files or something like that.’ I just tried extracting anything I could from the game and probing the executable to see if I could pull anything from it. If there was any tool, I could recognize to just extract some type of data. To my surprise, it actually pulled back some tech files and stuff. They were like compressed binary files that were formed to work with Shockwave. But, when I opened them up in a hex editor, you could see certain characters, and there were certain chunks of that file that were in text. When I extracted that text, it looked like a JSON—like Javascript object, hierarchical map data. You can make assumptions about how the game works based on the map data that it uses. I could find the actual area that I was wondering about and I was able to find that actual message. I basically just broke the map data in a way that the game engine wouldn’t have been able to recognize that message. Then, when I re-patched that into the game and walked over there, it didn’t show the message anymore. ### SUPERJUMP Nice. Did the full game feel like a natural extension? Because I understand that there was actually a pretty significant time jump between fixing that bug with the hotfix versus actually trying your hand at the whole game. Did it just feel like a natural extension after having spent time with it, or was there a bigger reason that you felt like you had to work on it again? ### MATT Yeah, it was kind of both. In 2018, there wasn’t any tooling available around. Even though I had found the map data buried in these files within the executable, I didn’t have any of the source code. All the byte code and all that was still compiled and there was no way to understand it. I only had the map data. I couldn’t actually make any modifications to the game back then, understand how the engine works, or how big it was or any of that. I follow a bunch of people on GitHub so I see what they star. I think I saw someone star some sort of repository about Shockwave decompilation. And there was this one project, it’s called [ProjectorRays](https://github.com/ProjectorRays/ProjectorRays), which basically is tooling to unpack those Shockwave files. A group of people researched how Shockwave files are structured. What was interesting is that when they decompile it through that program, the Shockwave files have enough metadata to save information about variable names and things like that in the scripts. So when you decompile a game, it gives you the code almost as if the developers have written it. When you decompile a lot of games, the compiler will delete the variable names because it’s irrelevant. But, in this little virtual machine for Shockwave, it saved that data—the compilation process. You can see basically everything as if you’re looking at the original source code. Like the variable name would be called boat, location x, or whatever, instead of just some unnamed variable. I started reading into this tool and went, ‘Okay, I have a very obvious game to try this on, this game that I could not fully crack back then.’ Then I ran it on that and to my surprise, it decompiled the entire game. I could look at the source code, which is written in a programming language called Lingo, which is the scripting language for Shockwave. I could see all the source code and verify that, even though I fixed the bug in a hacky way, how I did it and the assumptions I made still made sense; they lined up with how the game engine worked. It was really cool to see all that. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/CCSR-Chapter-3-Buttercup.png) Source: Cartoon Cartoon Summer Resort, Episode 3. Someone else had made a really trivial map viewer for the game in Python or something. It was a really, really crude map viewer. I was looking at the source code and I was looking at this map viewer and I was like, ‘I want to make a better map viewer or just see if I can render this game out fully.’ Then I started doing it in Javascript and rendering it out. Well, if I’m already rendering the entire world, how hard is it to just put the characters there *and* make them walk around the way they did in the original? When I got that idea, I was like, ‘Okay, well why not just remake the game?’ So I remade it, and it took longer than I expected, but it was a fun project that took a couple of months or so. Even being a small and unassuming game, there is a lot of stuff that you have to do. ### SUPERJUMP This brings up another question. When you started remaking this game, would you have considered the hardest part going through that entire trial of decompiling it once you found out about the Shockwave function from the Github repository, or was there a different part of it you would’ve considered the hardest challenge that added more time than you expected? ### MATT The hardest part was definitely not decompiling it. The decompiling is literally passing it to a program, and it decompiles everything in less than a second. What really takes all the time is porting it, looking at the old source code, and figuring out how to write this in a modern environment, which today is HTML5 and Javascript. So you’re thinking, ‘How can I render this game? How can I adapt this code to Javascript in a way that makes sense and maintains the functionality and the feeling of the original game?’ There are certain issues about rendering the game out, too. For example, I rendered the entire map at once, whereas the original game was rendering the map in that tiny view. I rendered the entire game world and just limited the player’s view to a certain map. The original, naïve way of rendering the game world was very taxing on performance, so I had to render the entire game world without ruining performance. Which I was able to do. ### SUPERJUMP I was wondering: why was it important for you that this game was accessible via web browser since it was technically already playable through the Flashpoint project? ### MATT For me, there was a lot that I saw I could improve with the game. For one, if you ever download Flashpoint, the user experience is not good — it’s good for what it is, but the user experience of playing the actual game is bad. That’s irrespective of Flashpoint; that’s not their problem. That’s the Shockwave, right? Because the game launches into a 400-pixel window which on today’s monitors is tiny. The user experience there is really, really bad. So why can’t we scale it to make it the size of the monitor? And I was just thinking about these things. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/Cartoon-Cartoon-Summer-Resort-Homepage-1.png) Matt's GitHub for Cartoon Resort & Scooby-Doo! games. Source: [Github](https://github.com/mattbruv). What matters most is who will download it. If you want to just play this game—like ‘Oh, I remember that game’—you Google search it. Who wants to spend an hour looking online going, ‘How do I play this game?’ Then going through forums—’Oh, I have to download Flashpoint.’ Especially if you’re not a computer-savvy person, right? A lot of these kids that played this probably grew up and they’re not like me. They don’t know how to do programming stuff; they don’t want to have to install a one to two-gigabyte program that they’re never going to use again just to play some game, go through that entire installation process, and *then* play it in this tiny window. The main thing to me was I believed I could remake this. I believed I could add features to it to make it even better. Plus, to make it in a way that you don’t have to go through any hoops. Anyone who searches for the game is just going to find this. They’re gonna click and then boom, playing it. In today’s day and age, everything is trying to get your attention, maintain your attention, and extract value from you. Like, you know, keep you locked in, serve you ads, and use you as some kind of tool. I think the software’s different because it’s just purely there to help you have fun. It asks nothing of you. Here’s your game, play it, have fun, don’t worry about anything. There’s not enough software in the world that does that. That’s what I like to do with these projects. Let’s just make someone’s life better and ask nothing of them. ### SUPERJUMP A question that I wanted to end with, what do you think is the purpose and responsibility of a remake? Do you think there even is a purpose behind remakes in general? ### MATT That’s an interesting question. I never really thought about it. Something that’s really interesting is like...certain things happen that never would’ve happened to the original developers because *I’m* developing it for a different platform, or for different hardware, right? ### SUPERJUMP Right. ### MATT For example, when I started expanding the view beyond the 420-by-whatever box, there were certain things that were problems suddenly. It makes me think of when they ported Grand Theft Auto San Andreas. One issue they ran into was that when they were modeling the original cutscenes, they were doing it within the resolution of the PlayStation 2\. What’s interesting is when you port these games to modern platforms, things outside of the PS2, the cutscenes are all of a sudden in 4K or 1080p or whatever. So, it’s a bigger viewport. Let’s say in the original game there’s some cutscene and they move a guy out of the cutscene. Then he’s just like T-posing. But, in the original tiny window on the PS2, you don’t see that cause he’s just outside of that frame. But then in the port, you know, in this 10K image, you just see the guy walk off and start T-posing. It kind of brings up this interesting question of what would the developers have done? Obviously, they wouldn’t have left the guy standing there T-posing, right? I definitely think there’s a purpose behind remakes. This story that I’m telling about San Andreas and all that is kind of the responsibility. The responsibility, I think, is to take the original intent and design of the original game and to stick to that as much as possible while making it as if that same development team was making it today. If you were making San Andreas today, you wouldn’t T-pose someone off on the side of a cutscene. You would move them fully out of the way. If you’re porting that game and you realize those types of errors, you would do your best to modify the cutscene to adhere to the new screen resolution. That’s just one example, but a thousand of these things pop up when you port something. I imagine even more in San Andreas but, even in this little dumb 2D cartoon game, it had plenty of things like that which I could get into. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/CCSR-Chapter-4-Disco.png) Source: Cartoon Cartoon Summer Resort, Episode 4. I think remakes have a purpose. They have a purpose because it’s a kind of video game preservation and archaeology. It’s preserving something. If they were to remake it today, I think the responsibility is to keep it authentic to what the original developers would have done. --- You can check out Matt's remake of [Cartoon Cartoon Summer Resort here](https://mattbruv.github.io/ccsr/). You can also find Matt's Github [here](https://github.com/mattbruv). ### Hidden Gems of Game Design Vol 35 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-35/ Last updated: 2025-05-12T17:02:16.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### Kya Dark Lineage (2003) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-8.png) Source: Mobyhames. My pick for this month is one of the most criminally underrated games I’ve talked about for this series. Kya Dark Lineage came out during the PlayStation 2 era, considered by many a golden age of amazing titles. The story involves Kya, a young woman living with her brother after their father mysteriously disappeared many years before. When a strange event opens a portal to another world, the two are transported to a land besieged by Brazul and his Wolfen. To save the day and her brother, Kya must explore the world, rescue creatures known as Nativs, and punch and kick a lot of Wolfen. While this is a 3D platformer, you will do far more than jump around. Kya features a fully fleshed-out action system with punches, kicks, counters, and more. For one of the first times in an action game, the enemies were designed to read and react to what the player was doing – if the player repeated the same attacks and combos, they would start to auto-block those patterns. As players upgraded Kya's abilities, she got new moves that could be integrated into combat to better avoid the auto-blocks. As a 3D platformer, the game followed most of the genre conventions of that era as you explored the world. The major progression is tied to saving Nativs who had been transformed into Wolfen. To save them, you need to beat them up and knock them out, then use a magic spell to rescue them. With enough Nativs, the home base gets upgraded and unlocks new items for progression and power, which are requirements to see the game through to the end. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-9.png) There were even stealth segments to add even more to the gameplay loops. Source: Eurogamer. I loved Kya Dark Lineage and I’m still chasing that high of a 3D platformer with a solid combat engine. For many of the platformers released at that time, their combat was either very basic like Crash Bandicoot or sacrificed exploration at the altar of combat, as in games like Mark of Kri and Devil May Cry. So why did Kya fall through the cracks back in 2003? I don’t think it’s a case of bad or confusing gameplay, but rather just being overlooked amidst a bevy of fantastic platformers released during that time. When you have so many great examples of the genre, and those with more brand awareness like Rachet and Clank and Sly Cooper, it’s easy for people to miss a smaller game like this one. Kya did everything expected from a 3D platformer from a design perspective, though there is a sense that if you played one 3D platformer during this era, you'd played them all. The unique combat was the main draw, but the game never approached the kind of challenging gameplay typically found in action games of the day. This left Kya inhabiting a weird middle ground as a game for platformer fans who wanted more action, or action game fans who also wanted to do a lot of platforming. I’ve seen YouTubers over the last decade discuss this one, and in an era where other PS1/PS2 platformers are being remastered or re-released, I desperately need a remastered version of this. Kya Dark Lineage's whole is greater than the sum of its parts and is a worthy platformer/action game for fans of the style. ## Antony Terence ### Crusaders of Space: Open Range (2006) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-6.png) Source: Mobygames. Shoot ‘em ups in space were a permanent fixture of arcades in the 80s and developers tried for decades to capitalize on the trend. Adept Studios’ Crusaders of Space was one such attempt in 2004, pitting a lone spaceship against an alien Main Brain and its minions. Two years later, the studio worked on Crusaders of Space: Open Range, a sequel whose minor flourishes didn’t impair its intense shootouts. Like most shmups (shoot ‘em ups), Open Range demands a careful balance of evading projectiles as you return fire, picking up weapon and armor upgrades along the way. Failing to memorize (and dodge) attack patterns weakens your weapons and takes you one step closer to failure. With higher difficulty levels buffing enemies' rate of fire and durability, every dodge mattered. What impressed me the most as a kid were Open Range’s bizarre enemy spaceship designs. In addition to hovering around the screen and peppering it with projectiles, the alien ships’ animation sequences were a mighty fine distraction. Featuring hulls that fused pulsing slime with metallic wings and spikes, I couldn’t help but admire how otherworldly they looked, even as their shuriken and pasta-shaped bullets spun toward my ship. “Move over, Bill Gates,” the pilot bellows as you grab coins dropped from destroyed ships. Grimy pilot cam footage, the occasional snarky remark, and a status bar help you track your ship’s power-ups during battles. Open Range’s unsettling spaceships and haunting trance soundtrack created a slow buildup of dread instead of relying strictly on flashy colors and jolts of adrenaline. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-28.png) Source: Myabandonware. Shoot ‘em ups may no longer dominate arcade cabinets, but that doesn’t mean their mechanics aren’t relevant. CYGNI: All Guns Blazing (2024) is a strong reminder of the genre’s capacity to stage cinematic battles. You’ll also find shmup DNA in roguelikes like Enter the Gungeon and Hades. Come over to Open Range for freaky spaceships, and stay for the bullet hell boss fights. **Thanks for reading! Come back next month for another entry and more great hidden gems to check out.* [**You can find all previous Hidden Gems stories here*](https://www.superjumpmagazine.com/tag/hidden-gems/)**.* ### Now Playing at SUPERJUMP, Issue 31 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-31/ Last updated: 2025-05-10T18:24:21.000Z **We're back with a brand new Now Playing!** So many people are enjoying spring gaming right now, with the usual eclectic tastes of our team keeping things lively, thus we've got a big boat of games for you to enjoy this issue! ## James Burns - Editor-in-Chief ### **Atomfall** I have been intrigued by this game ever since it was announced and I've now spent about 20 hours in it. It is always tempting to use short-hand to quickly convey something important about the experience; this short-hand usually involves comparison to other games/franchises. While it might be tempting to compare Atomfall to Fallout, I actually think the experience is far closer to Elden Ring. Atomfall is, more than anything else, a post-apocalyptic detective story. You're trapped in England's Cumberland region after some sort of nuclear disaster without any idea why or how you got there. You'll visit several different locales within the region during the game; each one is populated with a wide range of unique characters and stories that weave together in often unexpected ways. While there is an overarching story and a fundamental mystery to solve, you won't find yourself pursuing a linear quest chain. Instead, as you explore and speak to people, you'll uncover "leads", which are less like linear quest steps and more like nodes in a larger interconnected web. This means that the way each player progresses through the game will be completely different, and it means you have enormous agency around how and where you choose to focus your time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image.png) Atomfall. Source: Press Kit. There's an emphasis on survival and combat, although neither of these elements are especially deep. While combat encounters are often best avoided (it's easy to become quickly overwhelmed by very powerful enemies), it's also true that the stealth system is highly rudimentary, so you'll find yourself leaning into stealth largely to avoid combat (as opposed to choosing stealth because it involves engaging mechanics). There's also really nothing in the way of significant RPG mechanics here. Yes, you'll acquire new abilities, but you won't be leveling up a range of attributes on a character sheet. Where Atomfall surprised me was actually through its dialogue system. It's not that the system is particularly deep (there are no skill checks or anything of that nature), however, conversations themselves have a nice sense of give-and-take based on what you say and when you say it. What I mean is that you aren't simply selecting the obviously "correct" options just to reach a pre-determined conclusion. Rather, you actually have to pay attention to conversations with other characters - you might let slip *too much information* too early, for example, which results in a character freaking out and not trusting you. Or you might pry a little too much too soon, resulting in a character becoming annoyed. This system is enhanced greatly by the generally high standard of dialogue throughout the experience; these are characters who feel very grounded in the world and who are all notably distinct from each other, with different personalities, experiences, and motivations. I haven't yet finished Atomfall, but I'm really enjoying it so far. It's not the deepest experience out there, but it's not going for that. It's a game that has chosen to emphasise certain particular elements (characterisation especially) to great effect. It's a refreshingly different post-apocalypse and one I urge you to check out for yourself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-2.png) Steins;Gate: My Darling's Embrace. Source: Steam. ## C.S. Voll ### Steins;Gate: My Darling's Embrace This is one of the few games I've replayed to get all the achievements. Its story consists of various timelines, so you have to visit each one and change your choices to get different outcomes. Despite the repetition, it doesn't feel like a slog because you uncover little nuggets of information each time; when you steer a phone conversation in a different direction, you learn something new about one of the eccentric characters. As a result, this game feels like a beautiful gift, a story that explores more of the universe without taking away anything from the mainline series. None of the routes felt less important to me, either. My only complaint was that there was no Daru route! Maybe the next entry will address that oversight. ### Steins;Gate: Linear Bounded Phenogram Whereas My Darling's Embrace deals with love stories, Linear Bounded Phenogram deals with weird stories; I don't know what other word I can use other than "weird". You get to learn more about Alpacaman — a parody of the Dreamcast's Seaman video game — in the first story, for example. The vibes are similar to those of an experimental short story collection, wherein the contributing writers remove all their shackles and just let their mind transport them (and us) to the most outlandish concepts and storylines. When that works, it's a wild ride. Judging from my time with it thus far, it works in Linear Bounded Phenogram too, because the games have always been seeded with wacky references, and it doesn't feel unusual to explore that side of Steins;Gate. I can also say I had to pause the game a few times to laugh at the scenarios, and for that alone, I give it a thumbs up, because we all need some laughter in our lives, right? ## Jake Lang ### NHL 25 – Sticking With It I haven’t played as much NHL 25 this year as I have in the past—too much going on—but it’s still my go-to console game. Maybe it’s also because the Rangers haven’t been great, but they’re still fun to play with online, so I keep coming back. Even if I’m not sinking hours into franchise mode like I used to, it’s still the best way to get a quick hockey fix. ### Disney Speedstorm - TRON Pulled Me Back In I hadn’t played Disney Speedstorm in months, but with Season 12 adding TRON, I had to jump back in. I’m not grinding through it too hard, but if you’ve never played, there’s a lot of fun to be had. You just have to wade through some of the constant promotions and an upgrade system that feels a little more complex than it needs to be. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-3.png) Supermarket Together. Source: Steam. ## Alexander Joy ### Supermarket Together Every simulation game presents players with a single fundamental choice: whether to approach things sensibly and strive for success, or pursue the most ludicrous strategies imaginable and see how far it takes you. To my dismay, Supermarket Together could not be persuaded to let my friends and I sustain the latter. It turns out that selling only energy drinks – while also building shelves that conveniently obstruct all customer entrances and exits – will soon plunge you into bankruptcy. Alas! Luckily, for those of us who crave a hefty dose of nonsense with their simulations, Supermarket Together offers a decent serving. You can fight your customers – and other players – with brooms, sending them flailing and ragdolling each time you land a hit. There's a cat you can pet (albeit only a few times per day), and a Steam achievement for petting it an absurd number of times. Your heroic NPC employees will willingly endure 14.5-hour shifts. And the paychecks you issue all have weeping birds on them. Does the iconography suggest that I, the proprietor, am sad to pay my workers? Or that my loyal underlings are sadly underpaid...? Supermarket Together is odd. It's multiplayer. It's free. And it seems to hate work as much as you do. Give it a go! ## Leah Isobel I've been pretty busy lately so i've needed to play games out and about, in between tasks - meaning i've picked up my Nintendo 3DS again. I love this thing! Mostly I've been fitting sessions of Radiant Historia: Perfect Chronology into my days. This game has been on my backlog for ages, and I wanted to finally finish it. I think it gets talked up as a hidden masterpiece in a way that does the game a disservice; i've seen comparisons to Chrono Trigger because they're both time travel stories, but Radiant Historia isn't nearly as graceful. The dialogue and storytelling are frequently a little bit slack, and I think the battle system - while very cool and fun - can make regular encounters a bit of a chore, but I'm enjoying it! It really oozes charm, and has one of Yoko Shimomura's best soundtracks. i wouldn't say it's a particularly progressive game, but rather a big helping of JRPG comfort food. When I'm not in the mood for that, I've been playing Style Savvy: Styling Star. This is the last game in the series, but the first one i've played; it is... so addictive that I actually think this style of game design is a little bit evil. It feels like a mobile game and I love it! It's so cozy and sweet, like consumerist heaven. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-4.png) Barony. Source: Steam. ## Cat Webling ### Bloody Good Time in Barony My partner introduced me recently to Barony, a pixelated dungeon crawler that encourages teamwork and yelling at your computer because skeletons shouldn't be that powerful. It's so much fun! The game features explorable randomly-generated floors full of coins, loot, and monsters, operated by a mysterious voice that sometimes sends big baddies after you and your friends. I love the classic RPG classes available as well as the more unique species you can play as (my partner's go-to is an insectoid wizard). The loot identification system is also interesting, as it's time-based rather than requiring a special class feature (though some classes are better and faster at it than others). I'm absolutely terrible at the game and have died about five different times before we even made it to level three. Can't recommend it enough! ## PJ Walerysiak ### The Elder Scrolls IV: Oblivion Remastered I heard the rumors like everyone else in the gaming sphere, and I hoped beyond hope that they were true – that Bethesda was going to shadow drop a remaster of The Elder Scrolls IV: Oblivion. Through space and time I connected with my 16-year-old self who bought an Xbox 360 solely for the purpose of playing the original TES4: Oblivion, and together we hoped some more. I’m just so happy. It was true, and I imagined high-fiving teenage PJ as they gawked at the far-improved visuals of Oblivion Remastered. I’ll echo what I’ve seen others post about the graphics – it’s exactly as my younger self imagined it. The remastered visuals are eons better than the original, but it still captures that exact same vibe that I remember from almost 20 years ago. And yet the graphics, to me, are the least important part in this experience. I craved to jump back into a game that I thoroughly loved as a teenager. To rediscover all the people, places and things… nouns… that I once knew like the back of my hand. It has certainly been long enough that I no longer consider the game as “fresh” in my mind. I haven’t played Oblivion since high school, so it’s easily been at least 16 years since my last playthrough. There’s a lot of discussion and debate going on about Oblivion Remastered right now, and perhaps I’ll dive into it further through an article here one day, but for what I was hoping for – it’s perfect. I wanted to stealthily follow a target to their living quarters, only to see the target get stuck behind an open door that they can’t figure out how to get around, so I have to come back days later. I wanted to wait for 17 hours in the middle of the Imperial City street, and to see upon waking from my catatonia that 11 townsfolk all left their buildings at the exact same moment and initiated conversation with each other simultaneously. I wanted the absolute jank that Oblivion had, and it delivered! It’s simply a blast to experience again. I keep smiling as I see things that I had long forgotten. Playing Oblivion Remastered very much feels like hanging out with an old friend, someone that you considered a best friend once upon a time, and discovering that you’re still just as close after all this time. ## Nathaniel Kelly I went on a Steam Deck odyssey this last month. Discovering some ways to get good performance out of games that I had frankly given up on. All of these were 4X strategy games, admittedly, and playing almost every 4X in my Steam library gave me some insights to what I like and dislike about the genre. ### Endless Legend The sequel is closer than ever so it was time to revisit the game that got me into the genre. I knew this one would run flawlessly on Steam Deck and I played a game to discover that it's still royalty in the genre. I love this game to death and if it wasn't for its simple combat I'd still be playing it. In some minor ways it just shows its age compared to modern titles. If this was the only 4X game, I'd be happy. But bigger and better things exist. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/05/image-5.png) Humankind. Source: Steam. ### Humankind The most modern iteration of the Endless Legend game rules before the new game comes out. And, it just wasn't the same;' stripped of it's original setting and aesthetics it just lacks that certain something that makes this developer shine. It makes me so excited that they are returning to Auriga because the endless setting just does it for me, or maybe I'm just a fantasy nerd. Outside of this, the game rocks. A pretty historical 4X that I would still pick over Civilization any day with fun combat and intuitive management that you can't get from any other developer right now. ### Spellforce: Conquest of Eo I bought this on a sale a while back because it was cheap and I am impulsive and I really didn't expect a whole lot out of it. I don't really like regular Spellforce and I didn't expect a spin off to change that. But this game surprised me in every way possible. The high fantasy setting introduces really fun and interesting units that all have their unique functions. While on the outside this game presents as a 4X game, it's actually a role playing game with a huge dose of overlord style management. It's an incredibly fun twist on the regular formula and I'd be playing right now if it weren't for the last game I played. ### Age of Wonders 4 It just doesn't get better than this. A fun customizable setting that makes me feel like I am creating the lore of the game each time I play a round. Making heroes that fight to join your pantheon of gods; they could be anything from Evil Druid Moles to Religious Imperial Orcs. I found a way to make this game very PASSABLE on Steam Deck with FSR, dropping to 20 frames per second in combat. And it's STILL my first pick whenever I want to play a 4X game. This game has the best display of information and data sheets of any I've mentioned here and I feel like a genius tactician when I take 5 minutes to research my enemies weaknesses before attacking. I truly believe that's all I (and probably many others) want out of a strategy game after all of my soul searching; to be given 20 diverse warriors with their own stat blocks and abilities lined up on a field with terrain that also has stat blocks and abilities and be the genius that finds out how to win the day. ## Jahan Khan ### Venus Vacation Prism: Dead or Alive Xtreme I've been on vacation lately, a working holiday if you will, on Venus Island. It's not on Google Maps, but it is definitely a place. I somehow became the manager of the premier resort there, wearing many hats but mostly a social media manager and publicist for aspiring supermodels. Drawing the line between professional and friendship got a little tricky when managing my relationship with these budding starlets, as on most days I felt like I was living in a reality TV show, almost like Love Island and The Bachelor wrapped into one romantically-charged existential crisis. To make matters more complicated, I had mounting responsibilities. The story wasn't who I would give the rose to, but whether I would even have a job by the end of the season. I needed to build an audience for the organisation, and also help the models build their own niche and dedicated fan followings, all while preparing to put on a major production for a major festival at the end of the season. The job required daily tasks of report writing and lots of photography, all of which had to be of the highest standard. Meanwhile I was being micro-managed by the head office. It's been stressful, but I suppose stress is less stressful when you're in a sun-kissed paradise. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments and check back next month for more of what our team is getting into. ### Indie Monthly: April 2025 URL: https://www.superjumpmagazine.com/indie-monthly-april-2025/ Last updated: 2025-05-09T00:14:23.000Z The big video game news of the month was the long-awaited announcement of Nintendo's Switch successor system, a move formally kicking off the new hardware season. The announcement makes this a good time to reflect on the ever-shifting role the Switch played in the indie market. For a few years, it was seen as something of a promised land for small developers, a way to get around Steam's notoriously bloated marketplace. Some developers - mainly those in old-school genres long associated with Nintendo, such as platformers and action-adventure - reported exceptional results beyond their expectations. However, the perceived value of a Switch port seems to have diminished in recent years. Between the aging of the hardware, poor eShop design, and the rise of other portable systems, more small developers have been passing on Nintendo. In retrospect, it's hard to say how much the Switch helped overall, which in turn makes it hard to predict how the successor system will affect small games. But why fritter away our time talking about hardware when there are games to discuss? Spring brought a bumper crop, with a large array of very diverse games. Jumbled though they may be, a few interesting threads run through this month's games, with innovative hybrid platformers, positional mechanics, surreal humor, and game worlds with impermanent death. As always, you can check out the [Find the Fabulist YouTube channel](https://www.youtube.com/playlist?list=PLerWTn3E-2CkTvCMDJ873hYXBAzizQa4a) to see footage of the games in action. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/GameOverB.jpg) Game Over: A Musical RPG?? Source: Author. ## [Game Over - A Musical RPG??](https://store.steampowered.com/app/2021600/Game%5FOver%5F%5FA%5FMusical%5FRPG/) Game Over is a rhythm game set in a surrealistic, satire-infused world on the edge of a strange disaster. It's an interesting ride for anyone skilled enough to navigate the combat. You are the young hero returning triumphant from your extremely standard adventure. The evil dragon is dead, the princess is rescued, the lair is destroyed, and peace and prosperity have returned to the land. Life seems like it's going back to the mundane - that is until reality itself abruptly starts falling apart. Time, space, and sensibility are all bent out of joint, and the only way out is to go on another quest to put it all right. The core gameplay in Game Over is built around a rhythm game. Aside from the standard mechanics, many fights add additional elements, such as screen-obscuring effects or special button types that require the player to hit an additional key. All fights are preset and such gimmicks are a standard feature of the combat. The musical aspect is by no means limited to combat; most puzzles are built around music, sometimes just as theming, but others require the player to match pitch, tone, or rhythm. Music plays into the setting as well. Each region of the game world is themed to a type of instrument, with each character having an instrumental "voice" that changes tempo and volume based on context. Game Over is definitely a game meant for music buffs, but more specifically for veterans of rhythm games. While the first few battles are very forgiving, the challenge level ramps up in a hurry, with more notes, longer songs, and more complex gimmicks. Of course, if you're just interested in seeing how weird Game Over gets, there is a difficulty setting that makes it play itself. This *is* a weird game, by the way. Game Over revels in surrealism, absurdity, and parody. Almost everything in the game is making fun of something - music styles, film genres, video game franchises and tropes, cultural oddities, and anything else that lands in the developer's path. The bizarre nature of the plot is bound to be one of its main draws, even if it can be a little bit on the nose at times. Overall, Game Over is worth a try simply to experience the farce, but it's definitely worth testing your skills before jumping into the deep end. Game Over is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/SeafrogA.jpg) Seafrog. Source: Author. ## [Seafrog](https://store.steampowered.com/app/2107540/Seafrog/) Seafrog is a 2D platformer that plays like a hybrid of a fifth-generation collect-a-thon and a Tony Hawk's Pro Skater title. It's a familiar feeling game with some wild mechanics and tight controls that elevate it above other throwback platformers. The player explores a series of stranded ships, collecting the golden barnacles needed to power the player's ship. In true collect-a-thon fashion, that's only the start of it - there are plenty of other collectibles, including keys to open new levels, gears to fix machines and allow for greater navigation in the hubs, magical stones to reveal ghostly objects, and master gears needed to escape once and for all. Also scattered around are mod chips, which offer a simple yet robust adjacency-based system for upgrading and customizing the protagonist. Where Seafrog differs from its 90s predecessors is in the protagonist's mode of locomotion. Rather than moving on foot, the main character carries an oversized wrench that he can ride like a skateboard. Aside from making him faster than most platformer heroes, the wrench also features a limited boost that lets the player defy some mundane laws of physics, moving up vertical surfaces and even upside down for short periods. If you've ever played a skateboarding game, you're already going to be familiar with the control scheme. Seafrog features just about everything you'd find in one of those games - rail grinds, manuals, and even a simple system for performing aerial tricks. Linking up combos recharges the boost meter, filling it fast enough that a talented player will rarely be without speed. The controls and the physics system built around them are easy to figure out, and even novices will be zipping around levels in no time. The world of Seafrog is surprisingly large. While there are only a few ships to explore, each one features an extensive series of nested hubs holding collectibles and entrances to smaller levels that contain even more pickups. There are well over a hundred areas, including everything from standard platforming challenges to trick attacks, combat, timed levels, and bosses. Expect to spend a good 10 hours with the game, more if you're going for 100% completion. Overall, Seafrog is a fascinating blend of old-school design, aesthetics, and sensibilities with new ideas and some modern polish. It's a strong recommendation for anyone who's into platformers. [Seafrog](https://ohmyme.games/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/PepperedA.jpg) PEPPERED: an existential platformer. Source: Author. ## [PEPPERED: an existential platformer](https://store.steampowered.com/app/1883370/PEPPERED%5Fan%5Fexistential%5Fplatformer/) PEPPERED is a story-driven platformer following one unlikely hero's efforts to save the world while the world tries to stop him. It includes a heavy focus on choices and absurdist humor that distinguishes it from similar titles. One hundred years ago, a visitor from another world imprisoned the God of Death, banishing his influence forever. Since then, society has become a middle-aged paradise where no one ever stays dead. Keeping the God of Death at bay requires a ritual by that extraterrestrial visitor, but this time he didn't show up. The apocalypse is mere hours away - but for you, a new intern, that doesn't matter. You may be tempted to take matters into your own hands and save the world, but if you do that, then who will be left to make the coffee? The focus of PEPPERED is on the story, which doesn't mean that the developers skimped on the mechanics. After avoiding some early bad endings in the short introductory section, the player is launched into a typical 2D precision platformer with a few little quirks. Since the God of Death is, for the time being, still confined, death is not forever. The protagonist (who does canonically die a few times) always respawns with the game in the same state and thus has to live with the consequences of said death. In some cases, it can be necessary to tactically die in order to advance to the next screen. But let's return to the story because that is where PEPPERED really shines. As you might have guessed, this is a game driven by comedy, mostly surrealism and farce with a little light social commentary thrown in for effect. Most of the jokes are jabbing at the protagonist's overly rigid society, one that places absolute adherence to the rules over their own ongoing survival. It doesn't stray away from heavier topics, though, and PEPPERED also has a few choice things to say about the nature of death and free will. The story is enhanced by the game's aesthetic design. PEPPERED features some gorgeous sprite work, with large, highly-detailed character sprites even for characters who don't appear all that much. The music is also solid, avoiding the usual neo-retro cliches and instead going with more whimsical tunes that really complement the absurdity of the plot. PEPPERED sticks the landing with its jokes a lot better than most humor-driven games, and for that reason alone it's worth a look. Put simply, if you're a fan of humor but don't like the way it's done in most video games, this one is definitely worth checking out as it is head and shoulders above the typical comedy game. [PEPPERED](https://peppered.games/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/AlcyoneA.jpg) Alcyone: The Last City. Source: Author. ## [Alcyone: The Last City](https://store.steampowered.com/app/1074830/Alcyone%5FThe%5FLast%5FCity/) Alcyone: The Last City is a near-apocalyptic visual novel (VN) centered on the intrigue and secrets of a far-future settlement on the edge of oblivion. The outpost called "The City" is the last bastion of existence. Outside its secure barriers, a reality-unmaking phenomenon known as "Nihility" has consumed all of known space. Inside the City, life is strictly regimented, with a population kept stable through cloning and a system dominated by six quasi-noble Houses of skilled workers. You are the latest clone to emerge into the City, ready for a predictable life - until you are unwittingly drawn into a conspiracy that could transform or destroy the City forever. Reality itself now rests in your hands. The core mechanics in Alcyone will be familiar to fans of text-heavy RPGs and VNs. After a short character creation sequence, the protagonist is launched into the City to begin unraveling the story. The narrative isn't strictly linear - there are a few sidequests, and the protagonist may end up on a few different mainline paths depending on their background. The protagonist acquires equipment that changes their stats, which in turn can be used to complete sequences. Options are seldom locked off by stats (though they can be restricted based on background or previous choices), but there is an element of randomness wherein actions may be more or less likely to succeed based on stats. Failing a skill check or picking certain options can result in the player gaining maladies, a kind of negative skill. The widespread use of cloning in the City means that death is somewhat impermanent, but it is still possible to get a Game Over if the protagonist has a malady go too high. The story of Alcyone is largely focused on its setting, though player choice affects how the protagonist navigates the world and, ultimately, what their goal is. One with a more highborn background might choose to meddle in the internal politics of the Houses, while an outsider might reject that and instead seek a means of escaping the system. Overall, the story trends toward a more fantastic and far-future flavor of sci-fi and will appeal best to fans of similar literature. [Alcyone: The Last City](https://alcyonegame.com/) is available for PC via Steam and [Itch.io](https://mixvio.itch.io/alcyone-the-last-city), for Android via Itch.io, and for iOS/MacOS via the [App Store](https://apps.apple.com/us/app/alcyone-the-last-city/id6467854240). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/SacreBleuA.jpg) Sacre Bleu. Source: Author. ## [Sacre Bleu](https://store.steampowered.com/app/1081300/Sacre%5FBleu/) Sacre Bleu is a precision platformer casting the player as a 17th-century Musketeer of the Guard trying to escape from the Bastille after being falsely accused of treason. It's a silly, over-the-top game with a design built around the hero's ability to quickly change directions in midair. The protagonist has access to a variety of weapons and tools, but his signature device is his blunderbuss. This fires a spray of nonlethal shot that displaces anything it hits while also knocking the main character in the opposite direction. Firing this in the air allows the character to gain altitude or swiftly change trajectory in mid-air. Ammunition is infinite, with the lone restriction being that the player can only fire it three times before landing. The game helpfully goes into extreme slow motion when using the blunderbuss (or any other aimed weapon), which makes precise maneuvering much easier. The blunderbuss comes into play for both exploration and navigating the game's frequent platforming challenges. As with any modern precision platformer, these sections require very tight maneuvering and there's not a lot of room for error, but things are a little bit more forgiving than they usually are in games like this. It helps that these challenge sections are short, with generous save points and unlimited lives. Aside from the platforming, there are also some fairly technical combat sections. The protagonist has access to a sword, handgun, grenades, and the ability to toss enemies while still being able to use the blunderbuss to redirect projectiles and knock enemies into hazards. The bigger combat segments play into a combo system that rewards the player for speed, efficiency, and variety in dispatching enemies. Sacre Bleu is explicitly designed to be speedrun friendly, with the developers openly inviting people to break the game and seek out new exploits to push for ever shorter times. The game features a built-in timer and a leaderboard for each individual stage. One can certainly enjoy this game without getting lost in the technical side, but the brief and intense levels are definitely meant to be replayed and mastered. Overall, Sacre Bleu is exactly what one would want from a precision platformer, with speed, fluidity, and variety in the challenges. Sacre Bleu is available for PC via Steam and for [Nintendo Switch](https://www.nintendo.com/us/store/products/sacre-bleu-switch/). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/GnomesA.jpg) Gnomes. Source: Author. ## [Gnomes](https://store.steampowered.com/app/3133060/Gnomes/) Gnomes is an experimental tower defense (TD) game built around a novel twist: The enemy mobs don't have a single fixed path, but a highly flexible one that the player can manipulate. At the beginning of each day, goblin encampments appear in one or more locations around the player's base. The player's goal is to fend them off by hiring gnomes - this game's equivalent of towers, save that they can be freely repositioned. Goblins head for the base via the shortest possible route, but they will reroute if their initial path is blocked. This is the core of the game's strategy - by carefully placing gnomes and buildings, the player can force the goblins to take a long, perilous route through ambushes and obstacles. Because the enemy spawners appear in different locations on each day, it isn't always possible to create a single bottleneck, particularly toward the end of each run when there can be well over a dozen widely dispersed spawners per day. Flexibility is critical to success. Since the player's offense isn't locked to the spot as in most TDs, it's easy to change the defensive line in response to a new threat. Money is another novel point for Gnomes. Money is the core resource used to place buildings and gnomes and to purchase bonus-granting relics. However, unlike most TDs, the player does not gain money by killing enemies. Crops produce money passively between days and are the main source of income, adding some management elements to the formula. These crops must be protected, as goblins can trample and destroy them on their march toward the base. It's important to control their routes to avoid damaging anything that yields revenue. Given how much Gnomes deviates from the usual TD formula, it's remarkable how easy it is to pick up on strategies. Most runs don't rest on a single perfect strategy, but rather trend toward a "make the best of what you have" feel similar to many roguelike RPGs. It's challenging but generally fair enough that players can win even with subpar upgrades. Overall, it's a great addition to the TD field and worth trying even if you're not normally a fan. Gnomes is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/JinJanA.jpg) Jin & Jan. Source: Author. ## [Jin & Jan](https://store.steampowered.com/app/3024110/Jin%5F%5FJan/) Jin & Jan is a puzzle game that forces the player to guide multiple protagonists through trap-filled boards. It's a deceptively challenging title that can require some real multitasking skills. The central premise of Jin & Jan is straightforward enough; the two titular characters start at opposite sides of the screen, with the player controlling them simultaneously. The white spirit Jin follows the directional inputs exactly, while the black spirit Jan moves in the opposite direction. The goal in each level is to unite the two in a central area within a set number of moves, with the optional objective of tracking down pieces of a yin-yang symbol that unlock challenge stages. There are a range of hazards to make this more difficult. These include fixed traps that kill the spirits if they enter the tile, cycling traps that switch between deadly and harmless with each move, firing hazards that attack anything passing in front of them, and enemies that move around on fixed paths. Levels featuring both fixed and moving obstacles - such as spikes and enemies - can be more challenging than they appear, as the player needs to carefully chart out their route while also moving quickly and with precise timing. The overall presentation of Jin & Jan gives an impression of a casual or all-ages game, but it quickly becomes quite difficult. In isolation, none of the puzzles are too difficult. However, the need to solve them while dodging projectiles and keeping an eye on both spirits in different parts of the screen turns most levels into exercises in attention splitting. And while most levels are generous enough with their move counts that there are multiple - and relatively safe - solutions, getting the collectibles in each level requires tighter planning and usually some risky moves. Overall, Jin & Jan is a good fit for fans of casual puzzle games who've become experienced enough that they need something more challenging. Jin & Jan is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/DarkPactA.jpg) Dark Pact. Source: Author. ## [Dark Pact](https://www.superjumpmagazine.com/wordplayer-old-skies-and-the-story-of-wadjet-eye-games/) Dark Pact is a console-style TRPG with a heavy focus on character positioning. The displacement mechanics give it a distinctive puzzle game flavor, setting it apart from other throwback RPGs. The sorceress Liesel is the scion of a noble family long ago disgraced by its association with the dark arts. Forced to make a living as a soldier of fortune, she and her underlings receive an enticing offer: A nearby kingdom is threatened by a dragon, and the king is requesting Liesel's assistance in retrieving and delivering the treasure to be used as ransom. In exchange, she'll be restored to her old social position. But there's more to the situation than a simple adventure, and Liesel soon learns that dark forces are manipulating the situation for reasons unknown. The player controls a party of four characters, accompanied by a party of computer-controlled allies, including soldiers and noncombatants who lack even the survival instincts to move out of harm's way. Party members don't gain levels or experience, though they do unlock new skills at story-appropriate moments. In general, the goal in each stage is to survive for a set period without incurring any friendly deaths, though a handful of levels mix this up. The key combat mechanics are all built around positioning and displacement. Nearly every move usable by the party will push, pull, lure, or otherwise move one or more targets. This can be used to bait enemies into attacking each other a la Into the Breach, but the tight survival requirements mean that just as often you'll be using these skills to push vulnerable noncombatants out of harm's way. This leads to some tricky tactics, as you may occasionally have to intentionally attack and injure an ally to move them out of an enemy's line of attack. The defensive-oriented nature of Dark Pact's levels means that while the game may resemble something like Fire Emblem or Shining Force on the surface, it plays more like a hybrid of one of those titles with a puzzle game. Fortunately, the encounter design is loose enough that there are often many possible solutions, so you're not trying to guess what the developers want you to do. Dark Pact definitely has a different feel than your typical TRPG, but it should appeal to the same audience and is worth a try if you're comfortable with something out of the norm. [Dark Pact](https://crimsongaze.com/darkpact/presskit/) is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at all the indie games that caught our attention in April. Be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### WordPlayer: Old Skies and the Story of Wadjet Eye Games URL: https://www.superjumpmagazine.com/wordplayer-old-skies-and-the-story-of-wadjet-eye-games/ Last updated: 2025-05-07T01:13:42.000Z **Old Skies, the latest game from Wadjet Eye owner and operator Dave Gilbert, is a point-and-click adventure game about time travel.** Protagonist Fia Quinn is an agent for ChronoZen, a company that allows wealthy clients to travel back in time to meet their idols, lift their own status, or correct historical moments where things went wrong. The existence of such a company means that reality is in constant flux - but when the timeline shifts, only Fia and the other time agents around the world know about it. People, companies, and entire sections of history can disappear very suddenly. Across several cases and eras Fia changes history multiple times, with a level of personal detachment and aloofness that the job necessitates - until a series of interlinked discoveries leave her questioning the lifestyle she's long accepted. Old Skies is Gilbert's biggest and most ambitious game yet, and definitely among his best. As a long-time fan, it's difficult to play it without thinking about the whole history of Wadjet Eye Games - this is, after all, a game largely about how the past informs the present. In 2006, Gilbert released The Shivah, a short point-and-click adventure game about a rabbi thrown into a crisis of faith when a former synagogue member dies under mysterious circumstances. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/oldskies-winera.png) Source: Press Kit. A few months later, Gilbert released The Blackwell Legacy, the first in a five-game series about Rosangela Blackwell and Joey Mallone, a medium and ghost who would go on to solve numerous mysteries together across the series' run. In the years since, Wadjet Eye has released 17 additional games, a mix of games developed in-house and external adventure games that they have published. 2006 was right in the middle of the point-and-click adventure genre's supposed dead period. It was a particularly low ebb in the constant dialogue about whether the genre is dead, alive, or floating free in some kind of genre bardo, waiting to be reborn the next time an adventure game lands as an undeniable commercial hit. Of course, those who love these games know point-and-click adventure games were never truly dead and never *will* die. But this was certainly a period where it seemed like the genre had at least a weak pulse. I'm not going to say that Wadjet Eye Games has single-handedly propped the genre up because in truth the independent point-and-click development scene has been huge and exciting for as long as the term "indie game" has been around. But the developer has certainly been one of the most visible flag bearers for the genre across this time, publishing classics like Resonance, Technobabylon, Shardlight, and The Excavation of Hob's Barrow - unapologetically old-school adventure games that often feel like wonderful early-90s curios. Even the less-good ones are still catnip to genre fans like me. If time were to shift and Wadjet Eye ceased to exist, the point-and-click adventure genre would likely feel far more niche than it does now. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/OS-rewind.png) Source: Press Kit. --- > Old Skies does an excellent job of blending its mechanics with its narrative ambitions. --- Old Skies - developed by Gilbert, whose last game was 2018's excellent Unavowed - feels a little more "modern" than many of his past titles, at least visually. The gameplay, though, is pure point-and-click: you talk to everyone, combine items, and solve puzzles that are just the right mix of obscure and solvable. There are a few wrinkles specific to the game's setting; Fia can access a future archive to learn about the fates of the people she encounters, and thanks to a forgivably sweaty "rewind" mechanic you can replay any moment where Fia is killed over and over again, using new information each time to eventually find a way to survive. These are interesting mechanics, but, crucially, it never feels like Old Skies is trying to push adventure gaming in a new direction or figure out what the "next generation" of the genre might look like. There is nothing pretentious here - it's the exact sort of game that genre aficionados love, done well. There's a temptation to call Wadjet Eye Games' output a "love letter" to the point-and-click adventure, but I think that's selling them short. You're not really writing a "love letter" to something if, functionally, you are the best modern example of it. Perhaps it's more accurate to call this article a love letter to these games. Old Skies does an excellent job of blending its mechanics with its narrative ambitions. Like Unavowed before, the game slowly unpacks its world as both a rich setting and one finely tuned specifically for the needs of the adventure genre. It's driven by specific rules that can't be circumvented, character dynamics spoken out loud, and stakes that are simultaneously human and heightened. It's silly if you think about it too hard, with a few logic leaps required, but within the magic circle that the genre has drawn around your actions, nothing here feels impermissible. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/OS-witchcraft.png) Source: Press Kit. Fia Quinn is ideally attuned to being a point-and-click protagonist. Her disconnection from time makes her aloof and laser-focused on her job, personable but also distant at the game's opening - she's interested in the mechanics of solving puzzles more so than the unfolding narrative. Inevitably, she grows more invested in the increasingly personal story as the game continues - and so does the player as all of the game's moving pieces properly click into place, revealing a bigger picture that's both elegant and epic. In a game like this, you do not need to inhabit your character - you're guiding them through a story that is more theirs than yours, but it's hugely satisfying because of the level of careful craft evident in the storytelling. I remember playing The Shivah many years ago and being astonished - not just by the game itself, but by the idea that this genre I loved could be propped up by talented indie developers using the Adventure Game Studio engine to craft small, compelling games and selling them fairly cheap (or releasing them for free in this case - The Shivah only picked up a price tag years later when Gilbert remastered it). My Steam and Switch libraries are filled with similarly small, sharp adventure games from tiny teams, many from folks who were themselves, no doubt, inspired by Gilbert's work. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/OS-bar.png) Source: Press Kit. --- > Old Skies brings an old-school sensibility to its futuristic premise and uses the classic mechanics of the genre to tell a delightfully twisty, frequently surprising, and deeply emotional story. --- Modernised takes on the genre tend to be more fair, accessible, and scrutable than many of the classics, rather than radically reinventing how these games work. While you could argue that Telltale's model - which focused on shaping story and player choices over puzzles - was a departure, the fundamental truth of the genre is that the puzzles are always in service of the narrative, not the other way around. Old Skies is no different, as much as the puzzles are entertaining and smart. This game appeals so much because guiding Fia through the story, working through the obstacles that stand between her and the next plot revelation while meeting and talking to the whole cast, is thrilling. Point-and-click adventures are my comfort genre, and it has always meant a lot to me to have games where the quality of the writing and storytelling are the main determinants of whether the game works. Old Skies brings an old-school sensibility to its futuristic premise and uses the classic mechanics of the genre to tell a delightfully twisty, frequently surprising, and deeply emotional story. Wadjet Eye Games truly understands what makes games like this special, and seeing how Gilbert's style has evolved - but without ever losing track of what made those first few releases so interesting - is truly wonderful. ### Into the Emberlands: Find the Light When Darkness Is Everywhere URL: https://www.superjumpmagazine.com/into-the-emberlands-reminds-us-to-find-light-when-darkness-is-everywhere/ Last updated: 2025-05-04T23:10:47.000Z **Normally video games help me relax.** They allow me to dive into other worlds. I've been struggling with the whole relaxing part since the middle of January; it feels like what's going on in the real world cannot be mitigated with a fun gaming session. The real world infiltrates everything, even a mind looking for a distraction. But then Into the Emberlands showed an introduction where beings that did nothing wrong found their home wiped out and friends missing. Colorful Lightbearers and village residents held each other, shaking in the face of immense trauma. That image hit close to home. I was reminded why I like diving into other stories, both fluffy and dark. They allow us to feel the catharsis that real life and the human mind can deny. Games also provide smaller problems you can solve, putting the power in your hands. Into the Emberlands provides very solvable problems and reminds us that darkness does not last forever. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-15.png) Source: Steam. In a happy valley called the Emberlands, Lightbringers used magical lanterns to maintain hope in their villages. A strange force called Miasma invaded, however, stripping the land of its light, Lightbearers, and joy. Lightbearers got lost in the Miasma and couldn't find their way home. Their lanterns went out, leaving them to succumb to the dread and terror. Villages also succumbed to the darkness, needing to wait for an opportunity to rebuild and recruit new blood. You are the newest Lightbearer. With your lantern, you can find the lost ones outside the village and bring them home. Various tools can also help you collect wood and rocks for repairing buildings like toolsheds and houses, or you can trade for those resources after repairing various vending machines. The larger you make your village, the more Lightbearers you can save and re-home. There is a catch: thanks to the Miasma, the energy from your lantern keeps you alive, and the farther you go, the more energy is expended. If the energy runs out completely, the Miasma consumes you and anyone you're rescuing. Returning to the village revives your lantern, and there are various power-ups that can help it continue for longer, but you must manage your resources. The Miasma is ever-present, and so is the dread as you navigate an unknown map to find survivors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-17.png) Source: Steam. --- > Despite its fluffiness, Into the Emberlands also delivers a story acknowledging how cruel the world can be to people who don't deserve it. --- As someone who has only played the developer's Deponia trilogy and seen bits of Harvey & Edna, seeing a fluffy game from Daedalic is a surprise. I know about Night of the Rabbit during their founding days but haven't played it yet. Despite its fluffiness, Into the Emberlands also delivers a story acknowledging how cruel the world can be to people who don't deserve it. I found the game's straightforward challenges refreshing. You need to rebuild a town and rescue Lightbearers. To rebuild, you need wood and rocks. And to rescue, you need to navigate. There are no confusing, random puzzles thrown in to extend the game's playtime. The resource programming is very fair; axes can only be used once to cut wood and the same goes for pickaxes when breaking apart rocks. You can find both, however, in toolsheds and areas scattered throughout the woods. Meanwhile, you get indicators when you use too much energy; the lantern clicks every time you use an energy point. I have rescued a few Lightbearers and met trolls willing to bargain. Making your way is slow-going, though; rocks in the way do lead to longer paths but trees can be cut to reveal the way. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-16.png) Source: Steam. Lovely art direction shows the danger of the Miasma, a smothering purple, against the colorful NPCs. With minimal flashing to avoid photosensitivity issues, the design is easy on the eyes. I am so glad to see a 3D design that doesn't aim for hyperrealism. I can't wait to play more of Into the Emberlands. To rescue more Lightbearers, I think I have to unlock metro stations, whatever they are, or upgrade my lantern. But I feel brave enough to face the darkness, in this shared world at least. Into the Emberlands was reviewed with a code supplied by the developer. ### Games Like Project Tower Are Pushing the Industry Forward URL: https://www.superjumpmagazine.com/games-like-project-tower-are-pushing-the-industry-forward/ Last updated: 2025-05-03T10:43:54.000Z **Project Tower, a new an indie game from French developer** [**Yummy Games Studio**](https://yummy-games.com/studio-yummy-games/)**, defies simple genre classification.** At its core, it's a third-person shooter. Still, everything from the unique and purposefully vague narrative to the gameplay mechanics and setting make it difficult to pin it down to one category. More than anything, Project Tower feels like an amalgamation of so many different experiences, and the fact that it works as cohesively as it does is a testament to Yummy Games' abilities as a developer. Project Tower starts with an ambiguous monologue – likely from the game's protagonist – about how an extraterrestrial force invaded Earth and made humanity disappear. A human man is ripped from his home and abducted before waking up on a strange alien world, clad in a blue prisoner's jumpsuit and sporting a sleek new sci-fi helmet. You control that man while a disembodied voice urges you forward. Before long, you find yourself combating grotesque alien life forms and traversing surreal and oppressive environments. As the game continues, it's explained that your character is merely cannon fodder, being forced to fight their way up the titular Tower to test the tactical and combat efficiency of the levels inside. These tests will determine whether or not the levels are difficult enough to train the invading alien force's military. You are a prisoner, whittled down to little more than the alien script on your jumpsuit, which you cannot even read. This kind of intentional haziness in the story forces you to question every entity you cross paths with in the Tower. Most are hostile, some are not, but all are a mystery. While never directly explained, you are given a special power to morph into these creatures and experience the world as they would. It’s not a freeform mechanic—it appears only during specific set pieces—but it introduces clever shifts in gameplay, impacting traversal, platforming, and combat. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/Project-Tower-feat-image-2-1.jpg) Source: Press Kit. --- > The interesting morphing abilities mesh with the combat encounters to create an experience quite unlike most other games on the market now. --- And that’s where Project Tower really shines: the combat. Project Tower is a bullet-hell, so most of the enemies you face will have a projectile attack that launches large, glowing orbs at your character. Much like the modern Doom entries, movement is key as you circle arenas, dodging and dashing your way around the perilous spheres. Energy blasts come from all angles while you chip away at your opponents' health with a plethora of different firearms. Meanwhile, melee-based enemies will close the distance, attempting to stagger you so the surrounding projectiles will deal more damage. Project Tower can sometimes be damn hard, especially when the bosses rear their ugly heads, but none of the deaths ever feel cheap or unearned. Each time you die is a learning experience for the next attempt, and the ultimate reward is working your way up the Tower and solving the mystery of why you're stuck running these trials in the first place. The interesting morphing abilities mesh with the combat encounters to create an experience quite unlike most other games on the market right now. While simply progressing through the game may not seem like the most enticing of rewards, Project Tower's art direction more than makes up for any potential letdown. Everything in Project Tower is creatively alien, from the entities you fight to the weapons you use. Strange markings adorn the massive walls of these worlds, inhabited by creatures just familiar enough to be recognized as hostile but bizarre enough to hit the danger centers of your brain. The environments are fantastical and strange, from huge labyrinths deep in an alien desert to the dark depths of some otherworldly ocean, surrounded by incomprehensible horrors and dangerous ancient ruins. Between each floor is a grayscale liminal space, surrounded by an endless and empty void. While there is some semblance of life in these liminal spaces, they only add to the mysterious catastrophe of Project Tower's world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/Project-Tower-feat-image-4-1.jpg) Source: Press Kit. --- > You can *feel* the creativity in every new enemy, every mechanic, and every moment of eerie silence. --- This isn't a perfect experience; sometimes the hit boxes can be a little buggy, the platforming isn't always as intuitive as it could be, glitches occasionally require a restart, and the voice acting can leave much to be desired. Taking the game's scale and the size of its development studio, however, these issues fade into the background. Games like Project Tower are pushing the envelope, expanding the limits of what video games can be. It isn't necessarily the best game ever made, but the unique blend of third-person action and bullet-hell gameplay mixed with the astounding vistas, an imaginative story, and a genuinely awe-inspiring world combines to feel like something most modern big-budget companies would never dare to try. You can *feel* the creativity in every new enemy, every mechanic, and every moment of eerie silence. Project Tower makes you want to see it through to the end, if for no other reason than to see what new and interesting locale or monster waits around the corner. The unfettered and impressive creativity found within Project Tower is an excellent example of the boundary-pushing ethos represented by today's indie development scene, and we all need more of that. ### Roblox: Volleyball Legends Review URL: https://www.superjumpmagazine.com/roblox-volleyball-legends-review/ Last updated: 2025-07-18T01:03:34.000Z **Roblox: Volleyball Legends brings the excitement of competitive volleyball to the Roblox platform with impressive accessibility.** Players can enjoy fast-paced matches that combine satisfying gameplay mechanics with simple controls, making it appealing to both casual gamers and sports enthusiasts. The colorful arenas and customizable characters add visual appeal while maintaining the game's focus on skill-based competition. Looking for ways to enhance your gameplay experience? Using [volleyball legends codes](https://bo3.gg/games/articles/volleyball-legends-codes) can unlock special abilities, unique cosmetics, and limited-time rewards that give you an edge on the court. These codes are regularly updated by developers, ensuring fresh content for dedicated players who want to stand out from the competition. The game shines brightest in multiplayer mode, where teamwork and coordination become essential for victory. With regular updates adding new features and seasonal events, Volleyball Legends maintains a vibrant community of players who return to perfect their skills and climb the competitive rankings. What truly sets Volleyball Legends apart from other sports games on Roblox is its progression system. As players win matches and complete challenges, they earn experience points that unlock new moves, special attacks, and signature celebrations. This creates a satisfying development curve that keeps players engaged long after their first matches. The game's physics engine deserves special mention as it creates realistic ball movement and player interactions, making each spike, serve, and block feel impactful. Advanced players can master techniques like quick sets, feints, and perfect blocks to outplay opponents in increasingly competitive matches. The community aspect enhances the experience with tournaments and teams forming organically. Players can join established clubs or create their own, complete with custom uniforms and training sessions. This social dimension transforms Volleyball Legends from a simple game into a platform for lasting friendships and rivalries. Despite occasional server issues during peak hours, Volleyball Legends remains one of the most polished sports experiences on Roblox, delivering accessible fun with surprising competitive depth. The visual presentation strikes an excellent balance between stylization and functionality. Character models feature distinctive silhouettes that make identifying positions and roles easy during intense matches, while animations convey the athleticism of volleyball with surprising fluidity. Court designs range from standard gymnasium settings to fantastical arenas that take advantage of Roblox's creative freedom. Sound design complements the action perfectly, with satisfying impact effects for successful plays and ambient crowd noise that intensifies during crucial moments. The musical soundtrack remains unobtrusive yet energetic, maintaining the competitive atmosphere without becoming distracting. For newcomers to volleyball, the game offers comprehensive tutorials that introduce fundamentals in an engaging way. These training modules break down complex movements into manageable steps, allowing players to gradually build their skills before facing human opponents. The difficulty curve is well-calibrated, presenting challenges that feel demanding but never insurmountable. Economy-wise, Volleyball Legends implements a fair approach to monetization. While premium cosmetics and special effects are available for purchase, they remain purely aesthetic and don't affect gameplay balance. The core experience is completely accessible without spending any Robux, though supporters can enhance their visual presentation through optional purchases. Seasonal competitions add another layer of engagement, with limited-time rewards for top performers and special themed events that transform the standard gameplay in creative ways. Beach volleyball tournaments during summer months and snow volleyball during winter keep the experience fresh throughout the year. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-24.png) Source: Pro Game Guides. The developers demonstrate commendable commitment to community feedback, regularly implementing quality-of-life improvements and addressing balance concerns. This responsive approach has fostered goodwill among the player base and contributed to the game's longevity on the platform. Cross-platform functionality ensures seamless play between mobile, tablet, and desktop users, though mobile players may find some advanced techniques slightly more challenging due to touch controls. Nevertheless, the developers have implemented smart control schemes that make the game enjoyable regardless of device. For parents concerned about online interactions, Volleyball Legends maintains appropriate content standards and leverages Roblox's safety features effectively. The competitive nature of the game encourages sportsmanship rather than antagonism, with reporting tools available for cases where conduct falls below community standards. In conclusion, Roblox: Volleyball Legends successfully captures the strategic depth and physical excitement of volleyball within an accessible package. Its combination of approachable mechanics, satisfying progression, and strong community features makes it a standout sports title on the platform, deserving recognition for both its technical implementation and engaging gameplay loop. **This story contains links from one or more partners.* ### 11-11 Memories Retold: A Unique Perspective on War URL: https://www.superjumpmagazine.com/11-11-memories-retold-a-unique-perspective-on-war/ Last updated: 2025-04-26T22:04:44.000Z **It's never good idea to glorify or romanticise war, not even a little; and yet, the lives that are sacrificed for a cause where the entire future of the world is at stake is something anyone can admire and respect.** For better or worse, wars reshape lives and the entirety of human history, the proverbial turning point in the always unclear journey of human history. Some would argue the plethora of first-person shooters based on real wars do just that, turning war into nothing more horrible than a game. Many of these are set during World War II, given the fascinating historical context and the practicality of incorporating its warfare into a compelling video game mechanic. When done right (and tastefully), shooters set during World War II, whether historically or as a liberal fictional interpretation (Wolfenstein did the latter best!) can be incredibly powerful, compelling video game experiences. Medal of Honor was a novel franchise when it started on the original PlayStation, a system that was generally starved of FPS games. By the time the PlayStation 2 and its Emotion Engine rolled out, the possibilities for the genre to thrive on console became more apparent. One of my most awestruck memories in nearly 30 years of gaming was the opening sequence of Medal of Honor: Frontline on PS2. This sequence was entitled 'Your Finest Hour', and at the time it was certainly the most powerful and harrowing visual depiction of soldiers stepping into the proverbial belly of the beast that is the battlefield. Crammed together on a boat on a stormy day, the experience of traversing the waters and making it to shore whilst surrounded by men enveloped in fear and anxiety, was just an unprecedented experience in gaming at the time. Though most shooters set in World War II tended to be rather formulaic, every once in a while there would be an experience that was emotionally and meaningfully artistic. World War I hasn't been explored nearly as often in gaming, largely due to the impractical gameplay implications of that era of warfare. Many of those weapons just don't translate well into gameplay mechanics, especially in an FPS context which is the typical genre for a war-themed video game. Exceptions have emerged in recent years where developers have situated the dramatic experience of living through World War I in other genres; one of those was a story-driven adventure game 11-11 Memories Retold. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-22.png) Source: Steam. --- > Long before the days of fancy cameras which could zoom in from a drone, war correspondents and photographers had to step right into the thick of the chaos and madness just to get the story. --- 11-11 Memories Retold follows the story of two men at the opposite ends of the war: Harry Lambert from Canada (back when the red flag still adorned the Union Jack) and Kurt Waldner from Germany. Long before the days of fancy cameras that could zoom in from a drone, war correspondents and photographers had to step right into the thick of the chaos and madness just to get the story and photographs. Harry found himself signing up for the war in a vain and misguided attempt to impress his love interest. Kurt on the other hand joined the war simply to search for his son who had already gone on behalf of the household to serve Germany and had since been reported missing. As different as these two men appeared to be they both had one thing in common: an ulterior motive to join the war, neither caring about the conflict itself or what was at stake for their respective countries. As the tale progresses, this common thread of indifference to the greater cause in favour of their own selfish motives, ends up bringing Harry and Kurt together under the unlikeliest circumstances. Despite being worlds apart in culture and language, they form a genuine friendship as two men trying to survive the war by relying on each other. The friendship is simple, but the care is genuine especially considering the absence of a shared language. Later it is their respective pets, a stray cat and a freshly minted carrier pigeon, which play a big part in their connection. Still, being at the opposite ends of the conflict makes their relationship rather complicated and unstable, constantly finding themselves caught in situations where their loyalty to the friendship and their respective nation are at complete odds with one another. 11-11 Memories Retold does a remarkable job portraying the enduring nature of kinship between two people despite extraneous circumstances and ingrained segregation. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-23.png) Source: Steam. --- > It's all very insightful and yet harrowing how humanity tried to devise such inventive methods to harm one another despite technological limitations. --- What 11-11 Memories Retold does so well as an adventure game set in World War I is that it manages to place players in the thrill of combat without any semblance of a shooting mechanic. The grandeur presentation is remarkably effective as you make your way through the explosions, gunfire, and chaos on the battlefield, even experiencing the muddled mess of suffocating bunker bases. You appreciate the challenges and limitations of primitive killing machines, back when a bucket of water was needed to reload a machine gun. It's all very insightful and yet harrowing how humanity tried to devise such inventive methods to harm one another despite technological limitations. Even more remarkable is how the game handles a multi-path, multi-ending narrative differently than most other adventure games. Even the best games from the genre, such as Life is Strange, find themselves caught in kinetic or, at best, binary conclusions to their tale. What 11-11 Memories Retold does better than most games in the genre is to take a nuanced approach where every gesture and line uttered, as subtle or inconsequential as they may seem at the time, can dramatically lead to one of the seven possible conclusions of the tragically complex tale of love, war, betrayal, and reconciliation. 11-11 Memories Retold is an artistic expression of the horrors and tragedies of World War I. It poetically depicts the enduring nature of the inherent good in the human condition despite being enveloped in a depraved world. The artistic expression is complemented by the game's uniquely memorable oil painting graphical style, and its dramatically sweeping orchestral score. This experience will always stay with me, and I hope in the future, game designers continue to explore the subject of war in a non-FPS context. Those looking for something in a similar vein would do well to check out Valiant Hearts: The Great War. --- World War I, much like the inventive nature of warfare during that time, can inspire game designers to be inventive in creating non-violent gaming experiences set within the heart of battle. Such games can get a clear message across to their audience: lest we forget. ### Building Community in Promise Mascot Agency URL: https://www.superjumpmagazine.com/building-community-in-promise-mascot-agency/ Last updated: 2025-04-27T13:15:57.000Z **Cute critters have overrun Japan.** They've taken over the world, as a matter of fact. In the city where I live, a red bull trots down the stairs of a basketball stadium. I walk into my local grocery store, and a Navy captain sells me sugary cereal. When I visited Mexico City, a jolly and rotund doctor, donning a fashionable mustache, danced excitedly in front of his chain of pharmacies. A blushing black bear in the Kumamoto prefecture stares at me through my computer screen with an uncanny expression and empty eyes. A mascot is a human in a cute costume, an anthropomorphic creature, a cartoon, or a caricature, and they mark their appearance anywhere consumerism rears its ugly head. They are vessels by which you are sold stuff, for the most part, but said argument is somewhat superficial and ignores mascotry for the intricate cultural practice that it is. The interesting aspect mascots present is what they symbolize. We attach value systems and subjective qualities to these creatures, and these encompass the broad spectrum of what we as humans find charming or important. [Promise Mascot Agency](https://store.steampowered.com/app/2585830/Promise%5FMascot%5FAgency/), the newest game by the Paradise Killer developers, [Kaizen Game Works](https://kaizengameworks.com/), dares to ask: "What if mascots were real?" and with that cheeky question, blurs the lines of what it means to be a member of a multi-faceted community. The game exists on an absurd plane of existence where mascots are living, breathing entities that co-exist with humans, no questions asked. When I was chasing the dragon in Promise Mascot Agency, I often wondered: is the exploration of its themes as direct as the title suggests? Is this a game about upholding promises and absolving oneself of past sins? Is it about the importance of community-driven policies and materially improving the lives of others? Is it about fighting corruption in a small Japanese town that seems permanently stuck in the Showa era? Well, yes to all of the above, but more so, Promise Mascot Agency is all about the beauty and power of forming community as a bastion for material and political support. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/z_013.jpg) Source: Press Kit. Michizane Sugawara, or Michi, the playable character of Promise Mascot Agency, is a yakuza saint, as canonized by the church of his kyodai in the Like A Dragon series. Similarly to Kiryu Kazuma (with whom he shares a voice actor), he is a legend in the Japanese criminal underworld. He is blessed with his title: "The Janitor", as he is adept at sweeping away the messes that dirty up his family. He shares a similar moral outlook to his Sega peers. Strong as a bull - in one of his first scenes, he is seen easily brushing off multiple thugs with one sweep of his trusty broom - but he always tries to use his strength for good. He sees his crime syndicate as a family, the matriarch as his own Beata Maria, and he would gladly die defending those he loves. He refuses to use lethal violence, is solemn in his duties, and is always willing to lend an ear to strangers and even assist them with their issues in non-violent ways. From the get-go, he is not an individualistic man; he is empathetic, caring, and focused on helping others regardless of what he must sacrifice. He has already been a pillar of one community, albeit one based on criminality. After a rightful cock-up that resulted in billions of lost yen, Michi's family fakes his death and forces him to move to the sleepy cursed town of Kaso-Machi to run a mascot agency in a legitimate and law-abiding way. While gathering performers and customers, Michi is soon embroiled in the problems of the town – a corrupt mayor, an impoverished population, a mysterious curse that slowly kills all male Yakuza members that set foot into town, and a catastrophic mistake his own crime family tried to cover up. The comparison to RGG's Yakuza series is an apt one to make, and not just because Takaya Kuroda is in the game. While mechanically different games, Promise Mascot Agency shares the same ethos of combining melodramatic tones with serious crime plots alongside a dash of cartoonish humor and exuberance. Like A Dragon does a wonderful job at humanizing criminals, who in the world of video games are often relegated to the roles of unnamed thugs with little nuance, in the same way Promise Mascot Agency succeeds at characterizing its mascots. This is clear from the moment you meet Pinky☆ (and out of respect for her, you should type her name out with the star at the end). After Michizane cuts off his own pinky in penance, he meets a severed finger in return. Pinky☆ initially runs the Love Hotel that will quickly transform into a quality mascot agency under the gangster's guidance. She is initially brash, immature, and has an unhealthy obsession with murder and torture, which has to be, ironically, quelled by a former killer. It does not take long for her to reveal the depths of her character. Pinky☆ is your ride or die (literally, as she is always present in the bed of your indestructible pickup truck). From the get-go, she is a boon for the agency – knowledgeable, helpful, and secretly soft-hearted. A known ne'er-do-well in the town, her unique charm and no-bullshit approach are endearing qualities the local populace can't resist – she is somehow an expert at making amends and repairing her injured relationship with the townsfolk. She is still prone to anger in the endgame, but it's easy to empathize. Pinky☆ is a child of loneliness. Abandoned by her father, shunned by her peers, she still has the capacity for love and cares deeply about her hometown. It's clear she is a mascot who doesn't let her past shape her moral attitudes in the present. She becomes not just an invaluable ally in the race to overthrow the selfish mayor, but a good friend and confidant to Michi. As with all the mascots you will gather in your retinue, you will find complexity under the surface layer of their personality and looks. You will find humanity and community under the costume of mascotry. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/z_009.jpg) Source: Press Kit. My biggest fear going into Promise Mascot Agency was that, given the large cast, some characters would have less development than their peers. Luckily, even though some of the latter mascots do suffer from superficial characteristics, I was always pleasantly surprised by the unique motivations and flaws of each one. As you run your agency for profit and send your labor force of critters to promotional events, you interact with your employees after-hours in "Life Satisfaction" events. These are the emotionally exploratory segments of the game, which always offered candid moments that allowed me to learn more about the mascots, fomenting empathy with each line of dialogue. A permanently crying block of tofu wants to be seen as tough, a salary-cat decides corporate life just isn't for him, a delicious egg can't afford the mortgage of the inn he calls home, a ghost wants others to care about cemetery maintenance, and a yam-covered cat just wants to read hentai. All were relatable and, dare I say, "human" problems and feelings. One of my favorite aspects of Promise Mascot Agency is that, despite its cute and cuddly veneer, it does not shy away from talking about hardship and unsavory human emotions. All characters are reckoning with something – either an internal flaw they're trying to process, some tangible material struggle, a difficult past, or a promise that needs to be kept. None of them reach their goals or resolve their problems as individuals. Michi, Pinky☆, and the rest of the crew at the agency are ready to help, without sacrificing the self-determination of those they assist. The game showcases the community for what it is; not a clique, nor a group gathered out of shallow mutual interest. It is a group of people that aren't alike, might not even see eye-to-eye on all issues, but all support and assist each other however possible. They learn to forgive and understand the enemy isn't each other, but the man in the high chair. The community Michi and Pinky☆ form is a mascot-human alliance of sexual deviants and political agitators coming together into a chosen family, to improve the material conditions of a town haunted not by ghosts and curses, but by capitalism and government corruption. Michi and Pinky☆ repeat an adage throughout their journey – that they are here to help the townsfolk accomplish their dreams, big or mundane as they may be. The ethos bleeds into their business acumen, not just in the aforementioned care for their employees' wellbeing and job satisfaction, but in a permanent attempt to reach a compromise with the mascots and humans, and in a continuous and dedicated effort to bankroll literal infrastructural improvements for Kaso-Machi. This all happens with the goal of increasing the quality of life for all – accomplishing the task by knowing when to stick it to the man and rally together for the town's rights against corrupt government forces, and when to knock down signposts adorned with the mayor's smug, stupid grin. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/z_003.jpg) Source: Press Kit. As a child of culture theory, I pondered the "role" of a mascot in this strange society. "Mascots risk their life to delight and entertain", but mascots are not railroaded into the job role of advertising entities. A black crow tends to his shrine, a kappa just wants to collect and play video games – neither of them want any part in the entertainment industry. Mascots, like humans, have complex motivations and goals. I mentioned earlier that community is a continuous exercise of compromise – each individual's wants and needs must be analyzed and considered if the whole community wants to flourish. Michi and Pinky☆ welcome everyone with open arms and take everyone at face value – they enter into dialogue to allow them on the path of self-actualization through the help of peers, whether they want to join the agency or not. This continuous dialogue of compromise is mechanically represented – when first hiring any mascot, you can grant them an extra share of the profit, big buck bonuses, and the rare and holy (Un)Paid Time Off. But, in a more meta-structural way, the whole game is an exercise in building support networks with your neighbors, which necessitates, at a certain point, a compromise between parties. Note that this compromise is with each other as members of a community, not a compromise with the oppressors. We're not cutting a deal with the mascot-hating mayor. Speaking of: he's probably the only character that shows some form of bigotry towards the mascots. I thought the game would make some sort of social commentary with the explicit differentiation of the human and the mascots, but I found no such thing – the "othering" of the mascots as "non-human" is superficial, which in turn, adds to the surrealism of the situation. Mascots in Promise Agency are the go-to for the kind of gigs real-world mascots work, but, like us humans, a mascot can be whatever they want to be. They just exist in the world, and navigate through life the same way humans do, with the same personal or structural worries, the same thoughts, desires, and flaws. The lines between human and mascot are blurred. Some of the humans in Kaso-Machi are capable of quirkiness at levels that may even exceed those of the mascots. The friendly barkeep might as well be the mascot for sexual freedom as she's dressed head to toe in swanky latex. I see no difference between the Power-Rangers-looking Captain Sign and the rest of the mascots outside of the fact that he does not work to draw in customers to a business – his job is promoting road safety and being a "hero" for mascots. Perhaps therein lies the biggest differentiation: most humans do not partake in Mascot Events directly, but are relegated to your deck in the card-battler side of the game. This is how the it mechanically represents their integration with the agency and with the broader community – they are there to assist mascots with problems so banal they border on comical. Mascot stuck on a door? Clumsily knocked down a stack of boxes? Just call on the heroes to assist, call on your community to help out. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/ScreenShot_TrainStation_AllLang.png) Source: Press Kit. With the player's attempts at creating and fostering community, you can actively visualize the changes your actions produce in the town. Kaso-Machi is initially weary, shrouded in fog, and dirty. With each player action, light and joy are let into the town, allowing it to flourish into a colorful and beautiful place. The message the game left me with is ultimately life-affirming – that a collective of oddballs, losers, and degenerates can form a cohesive organization dedicated to the betterment of their community. This game is punk in attitude yet cozy and chill in its charm. Promise Mascot Agency is an unforgettable road trip. It's a captivating open world where everything you collect and upgrade feeds into its business simulator side. As a business sim game, it erodes the promise of profit and replaces it with the hope of community action and mutual aid. It's a necessary message to absorb, especially in the current age of political calamity that is continuously grifting loners and pushing them to the right of the political spectrum. It's a game in defiance against the idea of individual exceptionalism – that the only way we can pull ourselves up from our pits of personal or political despair is by helping each other. My advice to new players is to just enjoy the ride. You might learn something new about yourself and others. Maybe you'll ponder the importance of finding peers with common interests and political goals, which is an insane statement to make in an essay on a videogame about managing a silly mascot agency, and thank God for that! Thank God for Pinky☆, the mascots, and Kaizen Game Works, for reminding me not only of what's most important in this world, but that video games are actually a positive force in this world. ### Split Fiction: A Captivating Co-Op Spectacle URL: https://www.superjumpmagazine.com/split-fiction-a-captivating-co-op-spectacle/ Last updated: 2025-04-26T00:55:05.000Z **Hazelight Studios is one of the most unique video game developers in recent years.** After hitting it big with the release of A Way Out in 2018 through Electronic Arts’ gaming label EA Originals, they revolutionized the co-op genre with the emotionally delightful It Takes Two in 2021\. The game about a couple on the verge of a divorce became one of that year's biggest video game releases, winning numerous game-of-the-year awards from various gaming publications, including the Best Game of the Year award from the Game Awards. It has now become one of the fastest-selling titles of all time, with [over 20 million sales](https://www.vgchartz.com/article/464131/it-takes-two-sales-top-23-million-units-a-way-out-tops-11-million-units/) in its lifetime. Of course, everyone wondered what Hazelight was cooking up within their studio, and what they made may become their finest meal yet: Split Fiction. We wanted to do something a bit different with this "review", so instead of gushing about the graphics or the tech behind flashing through different worlds at warp speed (we still do a bit of that), we wanted to discuss how we related to and felt when embodying the two main characters. They are the heart of the game, Mio and Zoe, bringing life and emotion to the consistently great gameplay, making a wonderful game into an all-timer of an experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/Spoilers_Ahead.png) Spoilers ahead for Split Fiction. ## **CJ Wilson (Mio)** As someone generally more introverted, I relate to Mio's experiences as a character. Initially, I thought she would be your typical closeted rebel-type person who doesn’t like socializing with others but opens up once someone gets to know them better. This happened at the beginning of the game, but I soon realized that Mio is much more than those stereotypes or cliches you would see in popular media. I truly believe Mio has the most remarkable abilities/powers and sections in Split Fiction compared to Zoe, and I believe controlling her is the best way to play the game. At first, I understood the story would revolve around Mio as she discovers the corrupt CEO Rader wants to steal the various authors' ideas to create his successful book publishing company by siphoning storytelling memories like Mio’s. I liked her from the jump, as she quickly learned Rader’s plans by fighting back at him and finding glitches throughout the levels to destroy his machine. But after going through the 12-15 hour journey, I learned much more about Mio internally, especially as Bryan and I understood Mio and Zoe’s subconscious towards the latter half of the game. But what I saw from Mio’s perspective profoundly mirrored my own life. ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXfI7iwkOT7eset2HGFh8p49vMTAMZ5o1l8Zecz1vjTOBiYQdXdw4X3GRgNVQLIyYabpNa1g13p1kxzbTFRrgo0-jAuJNk9ac1E50DBVMbfCKw7f6Yt_cDxNn0o3L-p0PNqZdH9PBQ?key=kzJtHAphxGedpEWkZk4IR0Sz) Specific environments look stunning in Split Fiction that make you want to absorb in the atmosphere for a few minutes. Source: Author (CJ Wilson). Before I begin, I surely want to say that the performances and visuals are outstanding, and some of the key principles that make it Hazelight’s best game by far. The fact that it was created by a team with 80 people on board is astounding and makes it easily one of the most impressive games released in 2025\. The story deals with themes of grief, trauma, and friendship in clever and exceptional ways, making Split Fiction worth playing with a friend or family member at home or in an online co-op session. Sections of the game are split into two genres: science fiction and fantasy. I was someone who grew up reading, watching, and playing sci-fi content since I loved witnessing these grandiose, thought-provoking stories that seemed outlandish but could also happen in our everyday lives, especially as our society gets much closer to these visions of technology, like accelerated advancements in AI. I don’t mind a good fantasy story, except when there are too many characters to keep track of, like in Game of Thrones and Lord of the Rings. As the game progresses, I slowly see Mio's inner turmoil as she frantically shuts herself off from Zoe throughout the adventure. My dad was a middle-class working man who often worked in construction jobs like pouring concrete and building houses, similar to Mio’s dad, who worked on cars as a mechanic. My dad, unfortunately, became an alcoholic who would often drink after a long day at work, which became a debilitating problem within my family, especially with my mom. My parents soon got a divorce when I was a teenager, but luckily, my dad is still alive and is slowly moving away from his drinking habits with emotional support from my family. I can’t say the same for Mio, as I came to find out that her father had gotten sick from cancer, eventually losing his battle with the disease. That made her want to pursue the Rader publishing deal just so she could imagine her father being proud of the hard work she put in as a writer, even if he was no longer living. By the turning point of the story where Mio and Zoe each had to face their own subconscious, I connected very much to Mio’s inner trauma, wanting to shut yourself off from the outside world by moving on in life like a tired, droning worker who just goes to work and comes home in a humdrum life with no meaning whatsoever. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-19.png) Source: Press Kit. Seeing Mio and Zoe working together to defeat Mio’s robotic double representing the callous, cold, emotionless side of Mio made me think about myself on a deeper level that I don’t often share with others. As someone who has been recently diagnosed with Bipolar disorder, I know what it feels like to be resentful of the world, thinking that no one will understand you, but acting out in a harsh, furious fashion will make you feel better about yourself. You don’t understand the dangerous repercussions of your actions unless your family and friends tell you what you have done. Looking at what Mio had overcome made me feel a sense of joy inside. Knowing that no matter what you have been through, even if you have a mental health condition, you want to have a strong, encouraging system of people who will aid you in times of distress or heartache. Witnessing characters like Mio and Zoe overcome their grief is something I will never forget. ## Bryan Finck (Zoe) Though I tend to be a bit more antisocial like Mio, if I’m with someone who wants to talk and be social, I will morph into a Zoe-like character, chatting it up and trying to fill the empty spaces with conversation. Plus, I’m a sucker for a redhead with an accent, so picking Zoe as my character was practically pre-ordained. I could tell where Zoe’s story was going as soon as she saw the carving in the tree with her and her sister’s initials. I enjoyed the tale throughout the game's 15-some hours, as the dialogue was well written and the performances were outstanding. Yet it wasn’t until near the end, while exploring Zoe’s subconscious, that the full impact of the story and the weight of her pain was revealed, and it mirrored my own. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-20.png) Source: Press Kit. I lost my mother to cancer just over a year ago, and watching Zoe and her sister reunite was a powerful experience in the shadow of my own grief. I’d argue that anyone who has lost someone they love, tragically or otherwise, shares the same basic dream: to have one more chance, be it for an hour, a day, or even just a moment, to spend with those they’ve lost. A chance to say what had been left unsaid, to apologize and be absolved, to give forgiveness, or just express their feelings one more time. Seeing Zoe get to hug her sister, tell her that she was sorry, and be reassured that Ella’s death wasn’t her fault, left me aching for the same chance. When we had finished with the game, I took the time to do something I hadn’t been able to face since my mother’s passing: I wrote down the things I had done right in the weeks and months before the end, and what I wished I could go back and do over, things I could say that I never did. I hope, having done that, I can get it right when my father’s time comes, and not be left with the nagging regrets of things left unspoken. That experience, both the pain and the catharsis, is what will stay with me long after I’ve played Split Fiction for the last time. ## Final Thoughts After Bryan and I played through Split Fiction, we both had similar feelings about experiencing this emotional but thoughtful journey from Mio and Zoe. In many ways, the players working together in the same room/session will share a common bond that no other game will offer. Even if you and a friend/family member might not relate directly to the characters themselves, the themes mentioned earlier will surely affect you on an emotional and personal level that is universal to ourselves and everyone around us. If you want a lively and profound video game to play with your friend or partner, you should play Split Fiction as soon as possible. ### Wanderstop: Meditations From a Hidden Grove URL: https://www.superjumpmagazine.com/wanderstop-meditations-from-a-hidden-grove/ Last updated: 2025-05-05T02:15:42.000Z **I’m lying on the floor, rigid as a corpse.** My mind is racing, and now so is my heart. I am considering, in this moment, all of the ways I have failed to be who and what I have always wanted to be. *There is no book with your name on the spine. You live in the same small town where you were born. Everyone around you is growing so, so tired of you. You’re going to die. You’re going to die. Probably soon.* I had the worst panic attack of my life while playing Wanderstop. [Wanderstop is a cozy game](https://store.steampowered.com/app/1299460/Wanderstop/), that questions what it means to *be* a cozy game. It takes place at the titular tea shop, a place hidden within a sprawling forest somewhere in a wider fantasy world. Those who travel under the darkened boughs of that place end up being shown “what they need to see." The protagonist, Alta, a woman who has devoted her life to fighting for sport, has journeyed into the forest seeking a legendary master of the martial arts. Instead, she finds a portly bald man and his intricate tree house, both of which are welcoming her to stay and determine why it is that every time she ventures into those woods, she passes out. Alta has a significant problem here. Her entire life has been dedicated to her craft, which is to say, physical and mental prowess in combat. Until only recently, she was undefeated. Every challenge that came to her, she surmounted. Every opponent fell before her. Then, she lost, and lost *again*. That’s what did it. That’s what convinced her that she had to change *something, dramatically*. So off into the woods she went, seeking the storied Master Winters, refusing to emerge until she better understood what was happening to her and why. That desire is still at the forefront of her mind as she wakes up in Wanderstop, a place for travelers through the forest to take a break from their perilous quests and enjoy a cup of tea. Tea’s an interesting thing. I’m an American, so it has never been a core part of my culture. We’re more of a coffee kind of people. Something that has that extra kick, wakes us up, and gets us to productivity a little faster. Modern coffee is an industry built on speed. Coffee shops are more successful if they can serve more customers. Machines meant to brew the drink at home are now centered around producing singular cups as quickly as possible, foregoing the age-old tradition of leaving a pot on the broiler. But tea is different. Tea is a drink that *requires* time. The key to good tea, as I have been told by several Europeans who would know this sort of thing inherently, is in the steeping. Letting the drink sit, at its hottest, and allowing the flavor of whatever you’ve placed within to diffuse through the water. As Long John Baldry once sang, after the great Jack Buchanan, [everything stops for tea](https://www.youtube.com/watch?v=0imNb7ZkwaQ). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/wander6.jpg) Source: Author. Tea brewing is the perfect thing for Alta to have to learn, trapped as she is somewhere between the reality she knew and whatever force is keeping her from going straight back to it. Brewing a batch of tea in Wanderstop is a multi-step process, and there’s no speeding it up. One must pour the water, fan the bellows, release a stopper, add ingredients, release a second stopper, and finally pour a single cup. It’s tempting as a person who has played video games all of their life to consider how to do this most efficiently. Should I grab the cup before or after releasing the stopper? Should I organize ingredients along the closest shelf for easy access? And so on. Theoretically, Wanderstop *doesn’t* want you to do this. But it doesn’t punish the player for expediency either, outside of a little chastisement. Considering that I find creating my own little systems to be meditative, I’m grateful that Wanderstop did not take the opportunity to tell me I was “learning the lesson incorrectly.” “Meditative” is how the typical cozy game’s loop might be best described. It’s comforting to fulfill simple, repetitive tasks with clear, gratifying results. In its own way, this is a distillation of what we come to video games for. We want to be heroes. We long to feel important. We desire, inherently, to see the life we lead impacting the world around us. To know that we matter. Of course, you and I both know that stories in real life are rarely as cut and dry as the outcomes we seek in the media we choose to consume. Wanderstop takes time to zero in on this meditative aspect, telling the player that they're operating on the side of the road for other characters' journerys. The only story we’re really going to see in its totality is Alta’s. That’s why we’re here, after all. Wanderstop’s keeper, the aforementioned bald man Boro, guides Alta to a shrine to engage in literal meditation as each chapter of the game’s story closes. These scenes show Alta reckoning with both of the voices inside of her, how they conflict and what that means, and she ultimately passes out from the strain. She inevitably reawakens on a bench next to Boro, who trudges off into the underbrush to find her immobile form each time. Boro’s guidance throughout Wanderstop’s runtime is a pleasure. He is an active listener, asking questions to provoke thought in Alta without offering his own feelings too quickly. He’s a man who stands by his beliefs. His intentions are fairly clear to anyone reading between the lines, but it’s hard to hold that against him when what he’s trying to accomplish is admirable. He’s trying to help Alta, specifically, [find a little order in her life](https://www.youtube.com/watch?v=fk%5F5hBLHcXo). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/wander2.jpg) Source: Author. *You’ve wasted it. The time, the money, the opportunity. You could have been someone. You could have created the life you long for. You could be desired and active and out. You could be a different person. Wouldn’t it be better if you were someone else? Anyone else? Why would you want to live in this head, this voice asking you questions constantly? Were you ever free from it? Don’t you remember how many times you’ve made the wrong decision? Let’s count…* A panic attack is a difficult thing to describe. It is simultaneously like having adrenaline shot directly into your chest and falling ass-backwards into a vat of syrup. The world slows down, but everything inside of you speeds up. The word “attack” is not applied lightly. It is like one’s body is turning hostile to the mind piloting it. I’ve been told by various parties over the years that the solution to one of these attacks is simple: It’s loving touches, or a walk in the sunshine, a breathing exercise, or it’s a multi-thousand-dollar course on conquering your inner critic. Whatever. When you’re lying on the floor telling yourself that you’re going to die, all of that sounds like snake oil. I figured that everyone who experienced this had their own way through it. Maybe it just wasn’t universal. Maybe that’s looking for the best in people even when they should, frankly, mind their own business. But if everybody minded their own business, how could anyone ask for help? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/wander3.jpg) Source: Author. Alta spends quite a bit of time talking to herself. She goes through all the hits: *I’m an idiot. I’m not strong enough. I have no idea what I’m doing.* Sometimes when she ventures into the forest, these thoughts begin to conquer her. But a voice emerges from the dark. Illuminated, in perhaps more than one way, a different version of Alta comes to her in these moments of despair. This Other Alta always has a plan, always knows what to do, always has a suggestion. Alta has listened to this voice throughout her life, letting it decide what must be done. Sometimes this voice guides her through the mire of inadequacy. But sometimes she makes more rash decisions, harmful decisions. If not for Alta, then for others. Despite this, Alta has made it to where she is today *because* she has followed through with Other Alta’s plans. Only, if that road led to Wanderstop, were those plans not worth heeding? Did they threaten to direct her somewhere else, to turn her desire for strength and renown into violence? Or did they bring her precisely where she needed to be to learn, at this *specific* point in her life, that sometimes the Other Alta may not know what’s best? At what point does the metaphor fall apart? As I sit in quiet contemplation, as Alta does, considering all the rash decisions I have made while listening to my own inner voice? When do I put the controller down and consider, in these precious moments of quiet, where I need to wander next? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/wander4.jpg) Source: Author. When the game ends, Alta observes that she thought this experience would leave her somehow changed once she was on the other side of it. Like Wanderstop itself would reveal to her some mystic truth or guiding light that would make whatever comes next easier. The real truth, however, is that she is merely more prepared for that next phase of life, not “in control” of it. Her time at Wanderstop has made her stronger, in a way, but it has not bestowed upon her some power that was previously locked. Just like in our real life, every experience merely precedes another. “[Every new beginning comes from some other beginning's end](https://www.youtube.com/watch?v=xGytDsqkQY8).” There are lots of questions I have as I walk away from Wanderstop, but I realize that many of their answers are somewhere within *myself*. I don’t need a DLC telling me what happens to Alta next, though I care about her as a character and hope that she finds her feet. I'd like to think she'd see the similarities between us as well and wish the same. If the old adage holds true and there are indeed two wolves inside of us, then Wanderstop is a game about them finding a way to howl in harmony. It’s about moving away from hearing whatever voice within oneself is the “correct” one and listening to *all* the various parts of oneself. Wanderstop is about trying your best, observing your successes and failures, and realizing that every one of them is part of your entire story. Whether you’re an undefeated fighter or an under-performing writer. Wanderstop is a game about learning to trust yourself, even when you feel like your own worst enemy. I know the language is getting away from me. Part of the difficulty in saying you should play a video game is not ruining the things that, when they surprise you, make that experience more effective. I’m not going to spoiler alert Wanderstop because I think you should *go play Wanderstop*. If you’ve ever had a panic attack, you should play Wanderstop. If you’ve ever lain on the floor considering how unavoidable death is, you should play Wanderstop. If you’ve ever realized that somewhere along the way “burnout” went from something that happened to other people to something you experienced alongside that helpful friend we call denial, *you should play Wanderstop*. It takes a soft approach and time to see through. But the only story we’re really going to see in its totality is our own. That's why we're here, after all. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/wander5.jpg) Source: Author. ### How Algorithms Have Become a Venom URL: https://www.superjumpmagazine.com/how-algorithms-have-become-a-venom/ Last updated: 2025-04-22T14:20:17.000Z **Have you ever been surprised by social media’s accuracy in showing you what you want to see? One moment, you’re thinking of something, and the next, that same thing is at the top of your ‘Explore’ page.** The invisible hand of algorithms is at work here, getting more clairvoyant by the hour. But though at first glance they may seem helpful, they only serve corporations’ incremental profit. Machine learning algorithms have been the new technological fad for the last decade or so, driving ad revenue and Internet traffic through the roof. This is not a new observation. Yet, after playing a certain superhero game, I noticed a striking resemblance between this phenomenon and what fictional stories have warned us about for a while. ## The Spider-Man of it all In Marvel’s Spider-Man 2 by Insomniac Games, an alien goo is co-opted by a corporation to cure the founder’s son, Harry, of his debilitating illness. Coincidentally, Harry is also the titular Spider-Man’s best friend. As the story progresses, the goo’s true nature is revealed: not a healing agent, but a parasitic organism that controls its host, distorts their personality, and unleashes their worst impulses. Even the moral paragon Spider-Man isn’t immune to its influence, getting infected for a time after Harry passes it on to save his life. The black suit starts off by giving Harry superpowers and indestructible skin, making the once-frail man virtually invulnerable. It seemed like the answer to all of his problems at first—a miracle too good to be true. Harry talks to this alien in his head, and he hears a voice in return, a voice that sounds reassuring and strengthens his resolve. He wears it as a living suit; the alien feeds him dreams, warping them beyond recognition. The longer he wears it, the harder it is to take off. He becomes reliant on it, pushing away his friends, in pursuit of a good deed gone bad. As the unfairness of life wears Harry down, the suit—living off vitriol—heightens his hate. It is a Venom. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Screenshot--16480-.png) Source: Author. --- > As the story progresses, the goo’s true nature is revealed: not a healing agent, but a parasitic organism that controls its host, distorts their personality, and unleashes their worst impulses. --- It is no surprise that the [best-selling Spider-Man comic](https://www.cbr.com/best-selling-comics-2024-absolute-batman-ultimate-spider-man/) right now reinterprets the concept of this suit as Artificial Intelligence rather than an alien. Because what it does is shockingly similar to that of modern social media algorithms. It gives you instant, straightforward answers to your problems by taking away something you may never realize. Though their intelligence may be artificial, their effects on people are very real. Let me convince you. ## Algorithms according to research Almost everyone in the world uses the Internet, whether it is scrolling social media or scouring search engines. It has become a requirement of daily life, not only to communicate with one another but to survive, find jobs, and make a living. And algorithms have cornered every inch of the Internet, the web’s dominant inhabitant. This unseen force counsels every person to their destination. Algorithms have become our shepherd inside the net’s vast expanse of content. There has to be an unspoken trust there. Before you click a link or read a post, you must implicitly believe everything is working in your favor. But does it? [Research in artificial intelligence](https://link.springer.com/article/10.1007/s13347-024-00758-4) has discovered a close link between machine learning algorithms in social media and epistemic isolation. In short, epistemic isolation is when someone has limited access to particular information. With algorithms being biased toward the opinions of their users, what appears on your explore page will most likely be what reinforces your preexisting beliefs, which, in the worst-case scenario, could lead to political radicalization. Restricting people to content they already like or agree with makes their worldview self-centered, like a horse wearing blinders. What’s more, the multibillion-dollar companies that keep social media afloat profit from making their algorithms this way. By having post after post that agrees with each user’s opinions, everyone feels empowered in their little personal bubbles, encouraging them to be defensive against outside knowledge. When an aberrant post that does not conform to their worldview breaches their bunkers, they are ready to become keyboard warriors, coming out of the trenches to retaliate with machine gun hate speech and insult grenades. [Who profits](https://abcnews.go.com/Politics/social-media-companies-prioritizing-profit-harmful-content-senate/story?id=93360057) from the online culture war? None other than the ones who facilitate it, who run ads on the warzone, who get sponsors out of traffic and engagement. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Algorinom-fix-2-03.png) Source: In-game screenshot edited by the Author. --- > [Research in artificial intelligence](https://link.springer.com/article/10.1007/s13347-024-00758-4) has discovered a close link between machine learning algorithms in social media and epistemic isolation. --- It wasn’t always this way. As a point of reference, Twitter used to display posts chronologically, showing content from accounts you follow, which meant there would be an end to your scrolling once you caught up with your friends’ updates. Now, X prioritizes posts based on the number of likes, comments, and views. This means that the more contentious the post, the more it accumulates comments, which results in it getting pushed by the algorithm, getting even more comments—a self-congratulatory snake eating its own hit tweet. This is before considering the pay-to-play model of blue checkmarks and promotions being favorably featured on top, even when you intend to search for a fact or news story. Algorithms curate what you can and can’t see about the world. All this to say is that even if algorithms were first created to help wayward visitors traverse the web, their existence does not aid you, not anymore. Going beyond social media, search engines have also ceased to be a safe space for simple information gathering. Not when generative AI decides conclusions for you, summarizing research without you getting to choose what to take away. With it being a default option on Google search engines, the spread of misconceptions becomes a more common occurrence. It's getting easier and easier to *be wrong*, but *feel right*. ## What does this have to do with video games? Like the black suit that Spider-Man wears, which players can control in the game, algorithms make you feel powerful. They endow you with righteousness, backing up what you feel and think of the world. The catch is that it preys on intense emotion, thriving on conflict. They don’t reward passivity and compassion; they reward spur-of-the-moment grandstanding. A brief moment of Internet notoriety rewards every fire-filled activity. Just as the black suit remembers memories of its host, these algorithms may know you more than you know yourself. They profit from that information to categorize you into a target market. Not dissimilar to how the suit weaponizes its memories of Spider-Man once it separates and becomes Venom, the main antagonist that players have to overcome. As the obsidian tendrils of Venom spread across the city, indoctrinating the masses into mindless zombies, so too do algorithms parrot hoaxes by fear mongers like oil to a wildfire. Rumors replicate so fast that people start to doubt themselves, too affected by emotion to crosscheck sources. Conspiracies become convincing when it’s hard to distinguish information from opinion. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Screenshot--16001-.png) Source: Author. --- > It's getting easier and easier to *be wrong*, but *feel right*. --- When the top-rated comment is from a blue checkmark bot, copy-pasting rage bait, then you know it’s becoming more and more apocalyptic. The current state of the Internet is not too distinct from the city seen in Spider-Man 2’s last act, with its infrastructures pierced by coal-black coils—devoid of people. Radicalization and violence have overtaken even pop culture discourse. Inside the community of video game enjoyers, where fans should, in theory, have a civil conversation about what they like or don’t like in a game, hate speech runs rampant. We are living in an era where some consider inclusivity a negative quality that detracts from the experience of play. [In Spider-Man 2, controversies surrounded its release](https://gamerant.com/marvels-spider-man-2-silly-face-change-animation-controversy/) concerning the game’s choice of playable characters. A vocal minority was furious about Mary Jane’s continued inclusion in missions, even going as far as critiquing her face model. Others denounced the prevalence of Miles Morales as the second playable Spider-Man, feeling it takes away from the superhero power fantasy by pushing an “agenda.” With controversies being a gold mine for engagement, it’s no wonder that algorithms facilitate racism and bigotry; they attract people, both for and against these opinions, all unwilling donors to the parasitic program. The fringes don’t have to be popular to be successful. All they have to do is get attention, and the algorithm does the work for them, becoming megaphones for intolerant voices. But video games, as an art form, must not relent. Developers have the unenviable job of separating genuine criticism that they can improve upon and rage-bait that confuses passion with substance. Consumers will always clamor for something, but if video games are to be seen as more than commercial content, then their creators should let the games speak for themselves, with a human vision that surpasses algorithms. In that case, art is the natural anti-venom to algorithms. Ideas expressed through art defy calculation and established rules. Art evokes emotion not through provocative content but through its innately sincere storytelling. Art affects everyone differently. Unlike algorithms, art should not simply feed you what you think you want and agree with your every whim. Instead, it should shock, seduce, and present a perspective of the world you may have never imagined before. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Screenshot--16096-.png) Source: Author. --- > Unlike algorithms, art should not simply feed you what you think you want and agree with your every whim. Instead, it should shock, seduce, and present a perspective of the world you may have never imagined before. --- “Rather than ideas competing freely on their merits, algorithms amplify or suppress the reach of messages… introducing an unprecedented form of interference in the free exchange of ideas that is often overlooked,” [explained Professor Kai Riemer and Sandra Peter from the University of Sydney Business School.](https://www.bbc.com/news/articles/cp8e4p4z97eo) More than a decade ago, Facebook pioneered this recommendation algorithm, popularizing its usage to be copied by competitors. Now, Facebook dons a new suit and tie as Meta, and [its new rule is to roll back progress](https://www.hrc.org/news/metas-new-policies-how-they-endanger-lgbtq-communities-and-our-tips-for-staying-safe-online), dismantling their hateful conduct policy, allowing the LGBTQ+ community to be vulnerable to abuse. Guess what the combination of a controversy-fueling algorithm + no oversight results in? ## The anti-venom against algorithms The modern digital ecosystem benefits from venomous algorithms. They are not regulated responsibly for our betterment; instead lab-grown to be corporate profit-making machines. And in the end, that is what all this is about. Both the suit and algorithms strip their user of responsibility. If your view of the outside world is curated to fit your window, and your opinions are made for you, you cannot imagine alternatives. Spider-Man had numbed himself to pain after a loved one's death in the previous game. Wearing the black suit provides disinhibition, so that he can be free of his feelings and agency. By using it, he doesn’t have to face the consequences of his actions, or his words. He copes by closing himself off from the world. In the game’s final act, a sobered-up Spider-Man has to reach within himself to regain his sense of responsibility, cleansing the city of Venom.Video games, being driven by artistic impulse atop commercial value, have the ability to cross boundaries, to not simply be what is asked for, but what is needed. They can send their torch to the darkness of a world consumed by algorithms and hope that it clears away the chaos, shining a better way out. The cure to prejudice is perspective. When rights are being taken away, representation matters more than ever. A strong voice can break the echo chamber, piercing filter bubbles and opening individuals to a world full of points of view other than their own. And what better way to do that than through virtually becoming a different person, one with a different cultural background, personal struggles, and dreams? There is a [side quest](https://www.ign.com/wikis/marvels-spider-man-2/Graffiti%5FTrouble) in Spider-Man 2 where you get to play as Hailey, a person who is hard of hearing, and the game features a creative way for players to experience her world. In the length of that entire section, the sound is muffled–no music nor voices. She communicates through sign language and text messages. It is appropriately jarring after hours of hearing John Paesano’s incredible theme at every turn. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/msm2_characterhighlights_hailey_4k_legal_2023.jpg) Source: Press Kit. --- > The cure to prejudice is perspective. When rights are being taken away, representation matters more than ever. --- Some may bemoan this optional mission, as you don’t play as the superhero that the game markets and you bought to play. But maybe, having that one mission as a point of comparison, heightens the divide between the life of the ideal power fantasy, swinging from Brooklyn to Queens in less than a minute with booming music, and the quiet meditative life that people experience every day in the real world. The cure to self-righteousness is to be humbled by another point of view. It is difficult to be kind and understanding when algorithms have become everyone’s personal yes-men, making every conversation a debate and pitting each other like sports teams. When Spider-Man’s partner, Mary Jane, gets infected by the black suit, she spouts violent words from the depths of her dissatisfied relationship. The suit makes her see her partner’s shortcomings and nothing else. It deflects blame, feeding on her negative emotions. At that moment, Spider-Man has to interrogate himself, without the suit, to reiterate his selfish entitlement. With the blinders off, he practices empathy and saves the woman he loves. Algorithms pigeonhole discourse into segregated bubbles, quarantined of any facts, where everyone feels that they have the right answer. Unlike Spider-Man 2, our alien invasion came not from the sky, they came from the ‘Cloud’. But if we spend a moment to think for ourselves, without the “aid” of algorithms, maybe there can be mutual understanding. Algorithms are a great power. There’s no mistaking it; they shape what is being talked about and how, tailoring truth based on each user’s search history. **And you know what they say about great power and great responsibility, *don’t you?*** ### Indie Game Club Issue 1: Grimm's Hollow URL: https://www.superjumpmagazine.com/indie-game-club-issue-1-grimms-hollow/ Last updated: 2025-04-22T14:20:03.000Z **SUPERJUMP's Indie Game Club is a monthly series where YOU can play along!** This month, we played Grimm's Hollow, a short and sweet RPG by [ghosthunter](https://ghosthum.itch.io/) that you can [play for free on Steam](https://store.steampowered.com/app/1170880/Grimms%5FHollow/). Our mission at Indie Game Club is to drive conversation surrounding interactive art by creating a book club-inspired platform featuring free games by indie publishers that push the boundaries of small team game development. Coming in April, we will be playing Nightmare Kart, the PSX Bloodborne-inspired karting fan project by LWMedia. We will be giving our thoughts on the game next month, and you can follow along! Get the game on [Steam HERE](https://store.steampowered.com/app/2930160/Nightmare%5FKart/) for free and join our comment section to let us know what you think about the old school karting game. So without further ado, enjoy our team's impressions of our March game club title, Grimm's Hollow. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-11.png) Source: Steam. ## [Alexander B. Joy](https://www.superjumpmagazine.com/author/alexander%5Fb%5Fjoy/) The high point of this game for me is definitely the aesthetics. I love the Earthbound and Pokémon influence, and appreciate how both the ghostly purple palette and the protagonist’s name hearken to the spooky funeral town from the Red, Blue, and Yellow versions. Also, my goodness, are those sprites for the baked goods adorable. That said, I’m less interested in the allusive aesthetic choices than in what they achieve. Because when a game is this conversant with the RPGs of yesteryear, the tropes it chooses not to keep become equally as important as those it does. I couldn’t help but notice that Grimm’s Hollow has no victory theme when you win a battle (a “reaping” in the game’s parlance), and no victory animation of which to speak. The moment a fight ends, the music goes right back to the BGM of the area you’re exploring, and we only see poor Lavender slumped over, gasping for breath after the exhausting struggle; no matter how strong she grows, Lavender’s post-fight posture never changes; battles always tax her. It gives the sense that the task before her is utterly unrelenting. There’s no time to celebrate anything, and it’s back to the business of reaping as soon as a ghost is downed. It creates an aesthetic of exhaustion that perfectly conveys the understated awfulness of Lavender’s limbo state. No wonder reapers want to move on. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-13.png) Source: Steam. ## [Taylor D. Levesque](https://www.superjumpmagazine.com/author/taylorlevesque/) Grimm’s Hollow is a whole lot of good in one little package that only takes a couple of hours to complete. There is a lot of story packed into that short span of time, and some of that story is even told in the simple animations during gameplay. For example, the way certain NPCs move around at given times, or how our protagonist slumps after every single reaping victory. No celebration, no changes in animations as she grows stronger, just an exhausted slump at the end of an arduous task. The interpretation of whether the difficulty is physical, mental, emotional, or all of the above is left up to the player. Regardless, it adds to the atmosphere and story in a way that is subtle, yet effective. The colour purple tends to represent peace, spirituality, intuition, and bravery. It also happens to be the main colour in the game, even down to the character’s name being Lavender. It’s a fitting aesthetic in the game's deep story, which revolves around death, grief, and the bond between two siblings. For the short amount of gameplay offered, Grimm’s Hollow made sure every little detail would count toward the story they were trying to tell – and they succeeded; this is a work of storytelling genius. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-14.png) Source: Steam. ## [Nathan Kelly](https://www.superjumpmagazine.com/author/nathanielkelly/) There’s almost nothing to dislike about Grimm’s Hollow. The game hooks players with an adorable visual style and story surrounding a world that is easy to grasp and easily relatable characters. The darkly whimsical setting really grabbed me at first, and I was quite surprised to see that the variation in enemies, gameplay, and dungeons only increased my desire to fight every enemy and see all the nooks and hidden paths the game has tucked away. My only stumble in this game was that the timing prompts sometimes overlapped my other windows, and it was hard to tell if I could dodge or if I had a window prompt that would appear. What really stuck with me was in the final push to the end, the visuals go monochrome, the music is stripped to the basic sounds, and the fights get trivialized as you maximize the threshold on your stats and skills. The first hour and a half I spent with Grimm’s Hollow was tripping on the power fantasy that it delivers in spades, gaining enough experience to cash out almost every fight and seeing yourself start to defeat any enemy in one well-timed hit pretty consistently. But the new grey aesthetics suddenly changed the mood and it had me wondering if reaping ghosts was the right thing to be doing. There are two fights right next to each other that really affected me. The first was an enemy called TRIO with three distinct life bars that must be defeated in order. This enemy is three ghosts that cling together, the larger one protecting the smaller ones. Being forced to defeat them one by one forces you to see the solitude of the final ghost. Were they friends, siblings, maybe just coworkers? Reaping them might send them to the afterlife together, or it might not. The second fight is against The Lovers, a conjoined enemy that will attack until you defeat one of the pair. If you reap one of them, the other turns blue and makes no further actions. You reap the second in the hopes that their afterlives intertwine. The subtle storytelling here was brilliant and had me itching to see the conclusion of the game. Lavender’s story of selflessness and determination is heartfelt and the blunt, relatable prose made each character believable and interesting. A few minor gripes about the combat stop me just short of recommending Grimm's Hollow to everyone, but any person with 2 hours and an interest in indie role-playing games will find entertainment here. ### Crafting Creeper World: An Interview with Knuckle Cracker URL: https://www.superjumpmagazine.com/crafting-creeper-world-an-interview-with-knuckle-cracker/ Last updated: 2025-04-18T13:36:49.000Z **The Creeper World series has represented a different take on real-time strategy design over the years thanks to its focus on fighting against an unending force known as "The Creeper".** The fifth game in the series is changing things up, most noticeably through a shift from 3D to 2D design. I recently spoke with the game's creator, Knuckle Cracker. In this interview, we discussed the series' design as well as the specific differences audiences can expect in the new release, [Creeper World IXE](https://store.steampowered.com/app/2257010/Creeper%5FWorld%5FIXE/). ### SUPERJUMP For people unfamiliar with Creeper World, what inspired you to make an RTS in this fashion? ### Knuckle Cracker I created the original Creeper World game in 2008/2009\. I wanted to simplify strategy gaming and also explore a new type of RTS enemy… based on a fluid simulation. ### SUPERJUMP One of the draws and unique parts of the series is of course the creeper itself. From a technical point of view, what was it like creating the physics and simulation of the creeper? ### Knuckle Cracker In the original Creeper World, it was very, very challenging. Computers were slower, and so were game engines. So it took a lot of optimizations and tricks to pull it off. Over time, computers and game engines got faster. So I began to take advantage of that to improve the simulation. ![](https://cdn-images-1.medium.com/max/1062/0*OG6ahOEm2IN3MwIc.jpg) Source: Steam. ### SUPERJUMP Given the unique design of the game and series, how do you approach map design? ### Knuckle Cracker For the top-down games, it’s almost always based on fractal relief terrain. For the side view games (Creeper World 2 and IXE), it is notably harder. Though, in the case of IXE, the terrain itself is also now simulated, so that opens up a lot of map design possibilities. In all cases, I like a good balance of fun, that doesn’t take super long for the player to complete. I also like to create missions that have more than one possible path to victory. ### SUPERJUMP Continuing with that question, how do you approach difficulty in your games, specifically making maps easier or harder? ### Knuckle Cracker I err on the side of easier than harder, at least for most missions I create. I leave the really hard stuff to the community. I also take advantage of the nature of the creeper world games… which is that some maps can be forgiving when you make mistakes. If there are ‘safe areas’ on a map, then if a player has difficulty they can regroup and try again rather than just fail a mission. In other words, rather than a difficulty slider, I try to make maps that are themselves forgiving. That allows for new and casual players to enjoy them as well as for experienced players to optimize the strategies. ### SUPERJUMP With Creeper World IXE, this is the first time in the series that you are going with a 2D perspective, what was the reason for the change? ### Knuckle Cracker Creeper World 2 was also a side view, 2D game. But that was some time ago. I wanted to explore this style of gameplay some more and it also allowed for experimenting with “Sand” physics. The interaction between a flowing creeper and a dynamically changing terrain controlled by a falling sand simulator seemed both unique and interesting, and something new to strategy gaming. ### SUPERJUMP Did working in 2D change your process or philosophy about map design, and if so, how? ### Knuckle Cracker The main difference for IXE is the side view and the dynamic terrain. That changes some of the particulars of a given map, but not the overall design philosophy. ### SUPERJUMP How was it switching to pixel art compared to the art style of the previous games? ### Knuckle Cracker Pixel art in some ways is more difficult than the 3d models and art of Creeper World 4\. It can be difficult to get things that look both pleasing and are functional. This is especially true for fonts and text displays. A lot of RTS games need to show a lot of information to the player, or at least make it available. Having “lower resolution” to work with can make that challenging. ![](https://cdn-images-1.medium.com/max/1062/0*I9HB-YmRVVXzH9Y0.jpg) Source: Steam. ### SUPERJUMP Is there anything special or interesting about Creeper World IXE that you would like to mention to any fans reading this? ### Knuckle Cracker IXE has full support for players to create custom content. Everything from new units to changing the rules of the game. There is built-inmap-sharing scripting that allows for all sorts of fun. And because the game is “2D”, a player can create units easily. Small icons or other graphics can be used for ship and ship parts. The game also has an integrated upload and download map sharing system. So whether a player wants to create custom missions or just play custom missions made by others, IXE has some of the most advanced support of any game in the series. Put another way, there will be thousands of user-generated missions appearing over time, with entirely new mechanics, units, and play modes. Players can help make them, or they can just enjoy them as they appear. ### SUPERJUMP Thank you for your time and best of luck with the release. --- If you love reading interviews with game developers and other industry professionals, SUPERJUMP is the place to be. We’ve got a whole slate of awesome [interviews](https://www.superjumpmagazine.com/tag/interview/) here on the site to be sure to check out our pages, make sure to check back regularly for new interviews, and keep watching our social media as well. ### Split Fiction: Tried, Tested, and Triumphed URL: https://www.superjumpmagazine.com/split-fiction-tried-tested-and-triumphed/ Last updated: 2025-04-17T22:23:33.000Z **It can be said that Josef Fares has been single-handedly keeping the split-screen co-op genre alive since 2018\.** The Swedish-Lebanese filmmaker initially gained widespread attention through his 2018 co-op prison break game, A Way Out. People were initially attracted to the game thanks to his daring middle finger to the Oscars when promoting it, but many, like me, stayed for the fresh and well-told co-op experience. For seven years, Fares hasn’t strayed from his winning formula of exclusively two-player co-op games. His games only allow two players to play the game, be it online or offline. There is no way to play the game solo with a bot-controlled companion—it’s two or off with you. But why should he change? A Way Out was ironically his breakout game that garnered positive reviews from the community. Its successor, It Takes Two managed to win several awards, including the coveted Game of the Year accolade by The Game Awards. So far, Split Fiction has been receiving rave reviews from critics and players alike. If it’s not broken, don’t fix it. Now, the same co-op exclusive rule also applies to his newest entry, Split Fiction. Fortunately, based on my experience playing through it with a friend, I can confidently say that it deserves the same laurels as its predecessors. ## Tale of Two Writers In Split Fiction, players take the roles of Mio Hudson and Zoe Foster, two young writers who've been invited by the tech company, Rader Publishing, to participate in an experiment where writers can experience their own stories via an advanced simulation device called “The Machine”. After an incident, Mio ends up inside Zoe’s simulation, where they subsequently discover that the experiment was part of a greater conspiracy. Therefore, the two writers must find a way to escape from The Machine by navigating through the different stories that came from their minds. Along the way, Mio and Zoe must also learn to set aside their differences that mainly stem from their different writing genres. The reserved and aloof Mio writes science fiction, which provides a great contrast to the quirky and outgoing Zoe, who writes fantasy. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/2.jpg) Source: Steam. --- > Fortunately, based on my experience playing through it with a friend, I can confidently say that it deserves the same laurels as its predecessors. --- The worlds presented by the minds of the game’s protagonists are reflective of their character traits. Zoe’s fantasy settings evoke a feeling of beauty with aesthetically pleasing visuals and whimsical tones. Family-friendly works like Harry Potter and How to Train Your Dragon seem to serve as inspiration for her worlds, a reflection towards her friendly personality. On the other hand, Mio’s sci-fi settings are a touch bleaker with more washed-out, darker color palettes inspired by dystopian media. Her stories take inspiration from more mature stories like Akira, Cyberpunk 2077, and Chronicles of Riddick, which reflect her distant and blunt demeanor. The contrast between worlds in Split Fiction reaches beyond genre differences, which further fleshes out its two lead characters. ## Split Screen Redefined Despite the slightly different approach to themes, Split Fiction offers plenty of gameplay commonalities that anchor the players’ experience. On a presentation level, the game offers stunning visuals and colorful vistas; it may have been the best-looking Hazelight experience to date. To this effect, there are numerous in-game sections that allow Mio and Zoe to sit on a bench overlooking beautiful scenery. These sections exist in both sci-fi and fantasy iterations, a statement on the game’s consistent execution of dazzling graphics. Much like It Takes Two, Split Fiction relies on unique gameplay mechanics that only appear in a single stage. Moreover, each stage features a different gameplay feature for players to learn and master in short order. For instance, a sci-fi stage gives Mio a gravity-altering sword that can stick to certain surfaces, while Zoe gets a whip that can grab and throw certain objects. These mechanics are introduced in a well-paced and intuitive way that allows players to get used to them before they tackle more adv challenges. Split Fiction’s pacing even improves on It Takes Two; stage difficulty often intensifies just before players are transported to the next stage, thus keeping the mechanics from becoming too repetitive. Going back to the previously mentioned sci-fi stage, the level culminates in a fast-paced set piece with the duo fending off enemies from a futuristic bike, which then turns into an explosive boss fight where the duo gets their own bikes. When the game kicks up a notch, the experience feels much like a theme-park ride that rarely slows down. These stage climaxes usually come in the form of a chase sequence or a boss battle that forces players to think on their feet. However, these action-packed sequences come with plenty of telegraphed patterns or context clues, which prevent them from becoming unfair. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/3.jpg) Source: Steam. --- > Split Fiction’s pacing even improves on It Takes Two; stage difficulty often intensifies just before players are transported to the next stage, thus keeping the mechanics from becoming too repetitive. --- Action-heavy set pieces aren’t the only times players get to try their unique mechanics. Split Fiction has plenty of platforming and puzzle sections that require coordination and precise timing from both players. Thankfully, these sections do not feel tedious or repetitive thanks to simple, intuitive control schemes that are accessible to a wide range of players. Of course, some sections may take longer to clear if one is playing with a non-gamer partner. To help those folks along who may have less experience with modern games, Split Fiction has a multitude of button-prompt reminders and clues (either spoken or seen by the in-game duo) that can help players should they feel lost or at wit’s end. Split Fiction complements Hazelight's familiar co-op gameplay with a new feature called “Side Stories”, which are bite-sized adventures written by one of the duo when they were younger. While technically missable, these Side Stories are easy to find when traversing a stage. Acting in lieu of a typical side quest, the side stories usually take less than five minutes to finish and are inconsequential to the overarching narrative. Far from just providing insight into Mio or Zoe’s characters, ALL these Side Stories are a blast to play and can be more inventive than some AAA gaming experiences out there. For example, one mission takes the form of a pastel-colored Fall Guys-esque experience, ending with a terrifying—but ultimately hilarious—boss battle. In addition to Side Stories, Split Fiction has some shiny new tech that stands as its biggest achievement in the co-op realm. It really pushes the split screen genre to its limit, as displayed in an extended sequence late in the game. In doing so, Split Fiction manages to make the best use of its distinctive art style and emphasis on co-op gameplay to transcend its medium—or at least, subvert expectations tied to it. Unfortunately, there isn’t much that can be said about this achievement since it straddles spoilers’ territory, but one thing is for certain: you’ll know it when you see it. --- Split Fiction is more than a straightforward split-screen game. It feels like a comprehensive experience of unique characters, genres, worlds, and, ultimately, diverse stories. All of these are brought to life thanks to excellent use of contrasting themes, mesmerising visuals, well-paced gameplay, and boundary-breaking ideas. Earlier, I wrote that Josef Fares has been keeping the co-op split-screen genre alive since 2018\. With the release of Split Fiction, I suspect that he may have kept it in good health, and dare I say, elevated it, for another decade. ### Conspiracy, Prescience, and Deus Ex URL: https://www.superjumpmagazine.com/conspiracy-prescience-and-deus-ex/ Last updated: 2025-04-15T22:31:49.000Z **In late 1996, industry veterans John Romero (formerly id Software) and Tom Hall (formerly id Software and Apogee/3D Realms) founded Ion Storm.** This studio would, in its brief existence, have an enormous influence on the games industry at the turn of the century - both positively and negatively. Ion Storm's debut title, released in 1998, was the confusingly named Dominion: Storm over Gift 3, a middling RTS that couldn't hold a candle to contemporaries like StarCraft and Age of Empires. Dominion was not the third game in a series, but rather a spin-off of 7th Level's G-Nome, a mostly forgotten 1997 mech game that took place on a planet named Gift 3, hence the name. Two years later and long overdue, Ion Storm released Daikatana, one of the most infamous game releases ever. The game was a new IP, a shooter from the mind of John Romero, and he had spared no expense hyping the title in the lead-up to its release. What was hyped and what was delivered were two very different things - Daikatana was a buggy mess, with dated design, a somewhat confused plot, and frustrating AI limitations. I would argue that the years have been kind to Daikatana, though, and there's a lot to love in hindsight. It had been a horrific start for Ion Storm - a bland RTS followed by one of the most disastrous releases in gaming history. Things were looking bad for the ambitious studio, but Ion Storm's fortunes would suddenly shift a month later in June 2000. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image.png) Deus Ex. Source: Steam. --- > What was hyped and what was delivered were two very different things - Daikatana was a buggy mess, with dated design, a somewhat confused plot, and frustrating AI limitations. --- ## The God From the Machine It is poetic that Deus Ex would prove to be the literal *deus ex machina* for the developer's reputation and legacy. Released a month after Daikatana, the development of Deus Ex was overseen by Warren Spector, who had joined Ion Storm in 1997 and founded a second office in Texas, this one in Austin. Ion Storm's main office in Dallas, in the penthouse of one of the city's most prestigious towers, developed a frat-house reputation as the team of young game developers riding the wave of the Dotcom Boom rocketed past oil barons to the top floor, where they hosted all-night LAN parties, ordered copious amounts of pizza, and drank to excess. From all accounts, Ion Storm's Austin studio sounded comparatively tame. Spector had joined Ion Storm from Looking Glass Studios after receiving an offer he couldn't refuse from Romero - the ability to produce the game he wanted, the way he wanted. Spector had been developing a reputation long before Romero and the scrappy id Software crew had hit the big time with Doom, and he'd played a pivotal role in the creation of the "immersive sim" genre with Ultima Underworld during his time at Origin Systems, and then with System Shock at Looking Glass. Many id developers, Romero included, have expressed how influential Ultima Underworld was to them in the creation of Doom. Spector's game, under the working title "Troubleshooter", commenced development shortly after the Austin team settled in. The concept had been circling through Spector's head since at least 1994, and he finally had the resources and freedom to pursue it. There was some skepticism from within Ion Storm at the slow progress, but Romero had faith in Spector and backed his creative vision. Deus Ex was finally released in June 2000, just a month after Daikatana's launch had left Ion Storm's reputation in tatters. The reviews soon started to roll in, and it was immediately clear that Spector and his team had a hit on their hand; as the years have rolled on, it has become abundantly clear that "hit" is an understatement. Deus Ex redefined the gaming landscape in ways that few games had done before or have since. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-1.png) Source: Author. --- > Ion Storm's main office in Dallas, in the penthouse of one of the city's most prestigious towers, developed a frat-house reputation as the team of young game developers riding the wave of the Dotcom Boom rocketed past oil barons to the top floor, where they hosted all-night LAN parties, ordered copious amounts of pizza, and drank to excess. --- ## A Product of Its Time Deus Ex is the quintessential immersive sim. Though the definition of what that means continues to spark debate, the core elements are all there in abundance: Freedom, player agency, consequence, and systems that reward real-world problem-solving skills. However, it wasn't just mechanics that made Deus Ex shine. It is hard to overstate the impact of the 1990s zeitgeist on Deus Ex. The game is infused with paranoia and conspiracy theories, of shadow governments pulling strings and mysterious "insiders" delivering cryptic messages of dissent. These themes didn't emerge in a vacuum - like all media and art, Deus Ex is a product of its contemporary culture. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/DSC_0005.JPG) Warren Spector's design documents for Deus Ex at the Game Masters exhibition in Canberra, Australia, January 2020\. Source: Author. It is increasingly difficult to conceptualise the world of the early Internet, but it was a time of both concern and anticipation. Never before had there been such ready access to information, such an easy way to share ideas. In this early Internet of bulletin board systems ([BBS](https://en.wikipedia.org/wiki/Bulletin%5Fboard%5Fsystem)), chat groups, and eventually early websites, a subculture flourished. The rest of the world was slow to catch on - it would be many years before fact-checking websites, online encyclopedias like Wikipedia, or content regulation became the norm. Ideas spread fast, but discerning the truth was infinitely more difficult. It was in this environment that the legendary TV show The X-Files emerged, hitting the small screen in 1993\. The X-Files took a simmering post-Cold War subculture of conspiracy theory and deftly weaved it into a modern and infectious narrative about government overreach and shadowy G-Men pulling the strings that hold up the facade of reality. Computers and online culture would come to figure prominently in the X-Files, most notably in the Lone Gunmen, a trio of anti-government computer hackers that frequently helped Mulder and Scully throughout the series run (and even got their own short-lived spin-off show). The world that the X-Files emerged from was a cultural [Lagrange point](https://en.wikipedia.org/wiki/Lagrange%5Fpoint) between the conspiracy-fuelled past of UFOs and the JFK assassination, and the post-modern future of vast, interconnected online subcultures, paranoia about climate change, the Y2K bug, and the looming rise of an increasingly powerful corporate aristocracy. The X-Files was a cultural phenomenon, but it wasn't the only example of postmodern paranoia and existential anxiety. Unsolved Mysteries, airing from 1987 and famously hosted by Robert Stack, frequently delved into stories of UFOs, ghosts, and unexplained phenomena. In the West, anime rapidly found mainstream acceptance through film and TV like Akira, Ghost in the Shell, and Neon Genesis: Evangelion, each infused with a heady dose of paranoia and conspiracy. Cinema too, with Dark City, Johnny Mnemonic, 12 Monkeys, and of course the capstone to 1990s paranoid cyberpunk fiction, The Matrix. This is all, evidently, a distinctly Western cultural lens - it is the world I grew up in. However, as I hope I've illustrated thus far, while globalisation was quickening exponentially thanks to the emergence of the Internet, true global perspectives were still limited in scope and scale. This is the world from which Deus Ex emerged. A world of lingering anxiety from the unsolved mysteries of its past, stuck in a rapidly changing and unpredictable present, and coloured with a vaguely hopeful yet notably paranoid concern about the future. Deus Ex, like so much art of its era, is a product of its time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Spoilers_Ahead-12-2.png) Minor Deus Ex spoilers ahead. ## Conspiracy Theory All-Stars With 2025 hindsight and a bit of selective cherry picking, the plot of Deus Ex is eerily familiar. The year is 2052, and society seems to be teetering on the brink of chaos. Wealth inequality is at an all-time high, biomechanical and cybernetic implants are relatively commonplace, civil strife is rampant, and the world is wracked by a lethal global pandemic known as the Gray Death. Pharmaceutical company VersaLife controls the only known vaccine, and access is largely restricted to those higher in the social order. As the player delves further into the world of Deus Ex, they will uncover a dark conspiracy involving mainstays like the Illuminati, Majestic 12, FEMA, and of course, Area 51. Deus Ex hit all the right cultural notes for the year 2000 - The Matrix was fresh in everyone's mind, The X-Files would finish its (original) run a year later, and the Y2K Bug had come and gone without much fanfare ([*or had it???*](https://www.jamesparker.dev/were-there-any-y2k-bug-related-conspiracy-theories/)). But Deus Ex wasn't just a culturally relevant game - it was a damn *good* game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-3.png) Deus Ex. Source: [MobyGames](https://www.mobygames.com/game/1749/deus-ex/screenshots/windows/784848/). --- > This is the world from which Deus Ex emerged. A world of lingering anxiety from the unsolved mysteries of its past, stuck in a rapidly changing and unpredictable present, and coloured with a vaguely hopeful yet notably paranoid concern about the future. --- Deus Ex was praised for its free-form gameplay that represented the very pinnacle of the immersive sim genre to date. Gameplay systems were refined, tested, and polished. The first-person shooter DNA of Deus Ex is strong, and it is one of the best contemporary examples of the original Unreal Engine's capabilities, but this was far more than a linear run-and-gun shooter like Unreal, Quake, or even Half-Life. Unsurprisingly, with Spector's influence, Deus Ex felt far more System Shock and Thief: The Dark Project than it did Doom or Duke Nukem. ## A Changing World The 2003 sequel, Deus Ex: Invisible War, was a spectacular fall from grace. Due largely to hardware limitations imposed by an Xbox release, and quite possibly influenced by increasing strife at Ion Storm, Invisible War was poorly received. While not entirely dismissed, performance was criticised, and player agency felt, oddly, far more limited than its predecessor. While not the primary subject of criticism, it should be noted that the plot of Invisible War was not highly regarded. You could argue that this is partly due to the benchmark being set so high by the previous game. But it is important to recognise that the world had changed *immensely* in the intervening years, and the catalyst was September 11, 2001. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-4.png) Deus Ex: Invisible War. Source: Steam. Among the many consequences of that day was a marked shift in the mindset around state power and conspiracy. Much of the world rallied behind the US as it sought to respond to the horrific attacks, though perspectives on what constituted a proportionate response were vastly polarised. But societies *did* rally behind organised power - whether it was the political status quo or the political opposition. Conspiracy theories were rife too - but in the face of so many deaths, both during the 9/11 attacks and in the War on Terror that followed it, the idea of entertaining conspiracy seemed largely distasteful - many thousands of people had died. Ion Storm closed its doors in 2005 after a troubled couple of years, and the studio's intellectual property passed into the hands of publisher Eidos Interactive, before passing to Square Enix following their merger with Eidos in 2009\. Two years later, development studio Eidos Montreal released Deus Ex: Human Revolution. Human Revolution was a stunning return to form. From a design perspective, it was a fresh and refined take on the original formula. Where Invisible War had struggled with its cross-platform release, the practice was now an industry standard, and Human Revolution suffered no such difficulties. The title was infused with the series' signature blend of cyberpunk conspiracy theories, but there were new themes now, with prejudice and inequality chief among them. Ten years on from the 9/11 attacks, society faced new challenges - a polarised world of war exhaustion and Islamophobic fear. While the thematic links with the zeitgeist weren't so overt as with Deus Ex, the influence is clear, especially in hindsight. One of the core themes of Human Revolution was fear and paranoia directed at augmented citizens, a sort of biomechanical racism. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-5.png) Deus Ex: Human Revolution. Source: Steam. --- > Human Revolution was a stunning return to form. From a design perspective, it was a fresh and refined take on the original formula. --- In 2016, Eidos Montreal further explored the story of Human Revolution protagonist Adam Jensen in Deus Ex: Mankind Divided. This time, the themes were far more overtly influenced by issues of prejudice and race. Unfortunately, their handling was ham-fisted at best. Pre-release marketing used language like "apartheid" when describing the social divides in the world of Mankind Divided, drawing some critical commentary that the marketing was trivialising a very real and relatively recent tragedy. Even more tactless, Mankind Divided co-opted terminology and imagery used by the Black Lives Matter movement, with language such as "Aug Lives Matter" and the familiar raised fist - this time, a cybernetically enhanced one. It all felt a bit icky - these were and still are real issues with real victims, and a major studio co-opting those movements for financial gain felt unethical, and ironically, quite cyberpunk. The game itself was actually very good - Mankind Divided is beautiful, and a very good example of what the limited open-world style of games like the Yakuza series can offer; what the game world lacked in size, it made up for in detail and immersion. Unfortunately, it ends just as it seems to be reaching a crescendo, and it is clear that Eidos Montreal was planning for a sequel that never materialised. Though it was actually quite good, Mankind Divided had been overshadowed by [aggressive monetisation, most infamously with single-use DLC](https://www.polygon.com/2016/8/24/12623440/deus-ex-dlc-one-time-use) \- one of the most idiotic and greedy decisions ever made by a game studio. ## Mankind, Divided The 2016 release of Mankind Divided coincided with the beginning of a tumultuous period of global politics. A new US president precipitated the beginning of a post-Truth era, with social media playing a defining role in the spread of misinformation and disinformation. This all culminated with the global coronavirus pandemic, and despite over [7 million confirmed deaths](https://data.who.int/dashboards/covid19/deaths) from the virus to date, *real* conspiracy theories flourished about the origins of the virus and allegedly malicious intent behind vaccines made to save lives. In this environment, spurred on by the monetisation of engagement by social media and harnessed for political clout by the powerful, conspiracy theories flourished. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-6.png) Deus Ex: Mankind Divided. Source: Author. --- > A new US president precipitated the beginning of a post-Truth era, with social media playing a defining role in the spread of misinformation and disinformation. --- The X-Files returned to TV from 2016 to 2018, and despite a handful of great episodes (Season 10 Episode 3, "Mulder and Scully Meet the Were-Monster", is an absolute treat), the new run had a mediocre reception. Like so many TV shows that return after a long hiatus, the key issue was that The X-Files no longer felt fresh or relevant. At the core of this was that The X-Files was a TV show that relied on the inherently captivating nature of conspiracy theories despite their clearly absurd foundations in reality. The problem is that conspiracy theories had long since ceased being fun. Conspiracy theories are ultimately founded in the distortion of reality and misinformation, and as has become increasingly clear in the last decade, these concepts can have dangerous and sometimes lethal consequences. The same seemingly harmless individuals entertaining fanciful ideas about the moon landing and Y2K Bug were now finding success in discouraging people from taking vaccines and spreading racist theories about ethnic groups controlling government and media institutions. It almost seems irresponsible to entertain conspiracy theories today, when the consequences of taking them seriously are so dangerous, yet there are always people who take them seriously. It's unfortunate, since reality has such great fodder for good conspiracy theory fiction - the idea that a shadowy global cabal had manufactured a virus in order to use a vaccine to control the population is a *great* basis for conspiracy fiction, and is actually quite close to some of the ideas in the Deus Ex. ## Fiction Is More Than Entertainment In 2020, Reed Berkowitz of the Curiouser Institute posted an article on Medium, [A Game Designer's Analysis of QAnon](https://medium.com/curiouserinstitute/a-game-designers-analysis-of-qanon-580972548be5). In the article, Berkowitz highlighted the strong links between various types of live-action games and the QAnon movement. Groups like QAnon co-opt popular strategies used in game design and marketing to drive interaction and engagement, heightening the sense of immersion by making the player feel like they are an integral part of a broader community and world. When used for nefarious purposes, these sorts of tactics are what draw otherwise rational people into exponentially more deluded and dangerous thought processes. However, immersion is also what draws the player into the world of Deus Ex, to feel like you really are there in a dystopian world, uncovering the crimes of the powerful as part of the resistance. It speaks to an inner desire in us all, the same desire that drives those who fall into conspiracy theory thinking - to be the underdog, the hero, to be the one with impeccable values, who has the moral fortitude to stand up for them, and the insight to see the real truth of the world. In either case, immersion is a powerful tool in communicating ideas. Games have, historically, not been particularly successful at driving social change, despite the fact that on paper, the medium seems to have all the right ingredients. Perhaps part of the problem is that games are still very much treated as an entertainment product. The common refrain, especially since GamerGate, is "keep politics out of games". But "politics" has always been there. Fallout has a long history of tackling human nature and making statements on war, survival, and ethics. BioShock is a stern rebuke against the consequences of selfish libertarianism. Arcanum: Of Steamworks and Magick Obscura touches on many socio-economic issues, such as one quest where the player needs to decide how to handle a group of orcs attempting to form a labor union. And of course, there is Deus Ex, which from the start has highlighted the dangers of unchecked power, degradation of ethics in the name of technological progress, wealth inequality, and racism. We may not see another game like Deus Ex, because the world that it portrays is now far too close to reality for comfort. But it does highlight an important issue - games are more than entertainment. They are reflections of the world in which they are made, and often have important things to say - as long as we listen. ### The Nintendo Switch 2: A Fascinating Sequel URL: https://www.superjumpmagazine.com/the-nintendo-switch-2-a-fascinating-sequel/ Last updated: 2025-04-11T00:12:41.000Z **On April 2, 2025, Nintendo officially announced the release of the Nintendo Switch 2 console: June 5, 2025.** During this announcement, they showed off a bunch of new features and gameplay advantages. But do these design improvements really hold up to scrutiny or are they simply not worth the price tag? ## Base model changes The Switch 2 will have, according to Nintendo, a 7.9 inch screen - a massive upgrade from the original Switch's 6.2 inch screen and even a step up from the Switch OLED's 7 inch screen. This makes it even bigger than its leading competitor, the Steam Deck, which rolls in at 7.4 inches. That being said, the console itself is no thicker than the original Switch, which I take as a bonus; it lets players enjoy a similar handheld experience for comfort and familiarity. The only issue I really have with the physical size difference is that it will be slightly harder to tote around than the original Switch, and those that use them will have to buy a completely new protective case, as anything designed for the original Switch won't fit Switch 2\. Looking past the physical sizing, the Switch 2 addresses a fairly major flaw with the original Switch: screen resolution and frame rates. The original Switch was widely disparaged for supposedly supporting 1280 x 720p resolution and a disappointing 30fps, which was frustrating to gamers used to 60fps for PC and other consoles. The Switch 2 steps up the game to supporting up to 4k resolution and up to 120fps. And this isn't just blowing smoke - [early testers attending Switch 2 premier events](https://www.theguardian.com/games/2025/apr/03/i-got-to-play-the-nintendo-switch-2-all-new-slight-improvements-revealed) have said that the console lives up to the hype and plays even intense games like The Legend of Zelda: Breath of the Wild with buttery smoothness and beautiful high definition. Finally, the Joy-Con 2 controllers are attached to the Switch 2 via "strong magnets," per Nintendo, and feature larger buttons for one-controller play. I find this both promising and concerning; while I love that it'll now be much harder to accidentally knock your Joy-Con out of its slot and damage the hardware, I'm concerned as to whether Nintendo have actually addressed the issue of drifting that's plagued the system since its launch. If not, there are going to be lots of very unhappy fans a few months post-release. I will say that I'm fascinated by the mouse control options in the Joy-Con 2s, which gives it, in my opinion, a hand up against the Steam Deck again; diversity in gameplay style has always been a strong point for the Switch systems, and adding this additional element may make it an easier transition console for PC games as well as a simpler learning curve for new gamers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/NintendoSwitch2_HW_07.png) Source: Nintendo. ## New games and upgrades I'll say it proudly: I am so looking forward to playing Mario Kart World purely for the fact that I'll be able to toodle around looking at things without having to race at all. I'm going to spend so much time doing nothing at all in that game. That being said, I am also thrilled about the new knockout mode, the increased number of racers per round (which'll make things all the more challenging), and the new characters we'll be able to play as. Moo Moo Meadows Cow mains are going to be hilarious. I'm also very excited to finally get a glimpse of Deltarune's chapters 3 and 4, and more than happy to buy the game knowing the number of updates Toby Fox has planned for it. I'm a massive fan of Undertale and so proud of how far the developer has come since his debut. I absolutely can't wait to play through the rest of the story and fall back into the nostalgia and genuine love I have for the series...while still cursing my inability to do well in bullet hells. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/NintendoSwitch2_MarioKartWorld_SCRN_11.png) Mario Kart World. Source: Nintendo. We also got a glimpse of Hollow Knight: Silksong, which fans have been clamoring over, though there's not a lot of information available about it. It looks gorgeous from the small amount we've seen, and with a team as dedicated as Team Cherry, I'm sure it'll be well worth playing. Other releases like Witchbrook and Kirby Air Riders look like great fun, and though they're not my style of gameplay, Metroid Prime 4: Beyond and Dusk Bloods look absolutely stunning and terrifying in their own ways. I'm quite disappointed in how Nintendo is handling upgrading original Switch games to the next generation, though. While I'm glad we'll be able to see Breath of the Wild and Tears of the Kingdom in HDR, I don't think the Zelda Notes feature and HDR alone are enough to justify the upgrade cost. I think perhaps the Kirby: Forgotten Lands upgrade pack might be worth getting, as it adds an additional adventure to the game, but in the end, it'll all come down to pricing. As of right now, we don't have official prices for the upgrade packs, though [some sources speculate](https://www.nintendolife.com/news/2025/04/nintendo-switch-2-edition-game-upgrade-pack-prices-seemingly-revealed-japan) they'll be between $10 and $30 depending on the game and region. Source: YouTube. ## Voice and video chat features An interesting development for the Switch 2 is the addition of voice chat. It was a bit unexpected, but not unwelcome, especially if it works as advertised in the trailer with minimal lag and solid noise cancellation (Kudos to Nintendo for showing the lag, actually, that gave me a little faith in how it'll actually work). I love that it supports chat between games and can be used within certain games as a feature as well; I love chatting with my friends while we play, and if we can do that on-platform rather than having to go through a third party like Discord on another device, it's all the better. I'm uncertain as to whether I like the addition of the camera, though. I can't imagine that running smoothly on a system like the Switch 2\. I just don't think it has the power necessary to maintain multiple video feeds and a high-resolution game at the same time. We'll just have to wait and see. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/NintendoSwitch2_Camera_05.png) The Nintendo Switch 2 offers voice/video chat functionality built into the system. Source: Nintendo. ## Pricing So, what sort of horrendous price tag has Nintendo put on this kitted-out system? How much of my soul will I have to give up to get one? The answer is...$449.99, or $499.99 if you bundle the console and Mario Kart World. This is honestly surprisingly affordable to me. Yes, it's more than the original Switch's $299.99 release cost, but it's actually less expensive than the Steam Deck OLED ($549.99), which is, again, its leading competition, and about on par with other consoles in this generation. I was fully expecting to have to pay $600 for the console, so I'm fine with this price tag. Now of course, this doesn't take into consideration the rising cost of Nintendo games - upwards of $70 per game for even digital editions - or the [cost of all of the accessories](https://www.tomsguide.com/gaming/nintendo/nintendo-switch-2-accessory-prices-confirmed-joy-con-2-switch-camera-and-more) like the new camera ($49.99) or the Pro controller ($79.99). That, I think, is a big part of Nintendo's pricing problem and why fans are so upset. Still, I think the console itself, perfectly playable without accessories, is fairly priced. Source: YouTube. ## So, is it worth it? Whether or not the new Switch 2 is worth the cost will heavily depend on user experience in the months post launch. If the updates they've made to the hardware are sincerely beneficial and not just hype, then yes, I think it's worth upgrading. It's really just a matter of waiting to see what early adopters think. I do wish they'd released a new version of the Switch Lite alongside the Switch 2, for affordability's sake, but maybe that's in the works for the near future. Who knows? I know I'll be making the switch (yes, pun intended), so if you like, you can wait to hear what I think about it, but I think the best way to make sure you're willing to spend the money is to demo the system in stores like GameStop or at events like PAX if you get the chance. Until then, we'll just have to trust that Nintendo is going to hold up their end of the bargain after such a long and tumultuous wait. ### WordPlayer: Expelled! Reinvents The Morality Meter URL: https://www.superjumpmagazine.com/wordplayer-expelled-reinvents-the-morality-meter/ Last updated: 2025-04-11T00:12:47.000Z ⚠️ **I have avoided full spoilers for Expelled!, in that I am not delving into the plot or mystery elements too deep here, although players who want to go in completely blind may want to proceed with caution, as some fun mechanical details that you might otherwise uncover naturally will be discussed. The game is wonderful! I fully recommend it!* **I remember well the first time I played a game with a robust morality meter.** It was Star Wars: Knights of the Old Republic, and I found the idea of going full evil - or "Dark Side", in Star Wars parlance - enticing. Setting the game in the distant past and focusing so much on the mythical corrupting power of the "Force" allowed me to play as a bad guy without needing to think *too* hard about the fascist regime of the empire, and after a lifetime of hero's journeys and saviour narratives I was excited to make actively "bad" choices, to see how it felt to do awful things when given the option and have the game's story adapt to those actions without judgement. Knights of the Old Republic still holds up in many ways, but it's a product of a time in that the obvious allegorical lines between the "Empire" and real-world fascist regimes didn't feel quite so potent in 2003 (and it's worth noting that I was 16 years old when I played it). It was a time when someone could describe Nazis as "overused" as enemies, because fictional media was the main place we all saw Nazis depicted (which is very much no longer the case). The Dark Side path in Knights of the Old Republic is wild and often thrilling, but I don't think it's the path I'd choose if I played the game again now. As the credits rolled, I felt uneasy at the absolute chaos I'd caused. I'd gotten the ending that made the most sense for my actions, and it reinforced for me that my personal values were very different from the character's. Between then and now, I've generally avoided the "bad" path in games with morality systems, and have often found the good/evil binary in games to be undercooked. It can be very fun to do the "wrong" thing in a game, to sow seeds of chaos and watch as the world unravels around you. But usually, when the game gives you the option to make bad, mean, or unkind decisions, I find myself unable to make them - not just because the character's actions are wrong, but because I've found that very few of these games make "evil" as interesting as it was in Knights of the Old Republic. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/expelled2.jpg) Source: Press Kit. Which brings me to Expelled!, the latest choice-based narrative game from the geniuses at Inkle, and a follow-up to their wonderful 2021 game Overboard!. The game casts players as Verity Amersham, a teenage girl and scholarship student at a 1920s boarding school for "promising" girls. At the game's opening she's framed over an incident where one of the other girls smashes a stained glass window and jumps from the second storey of the library, and it's up to the player to explore the school and find the optimum way to avoid expulsion over the crime you're swiftly accused of. As you venture around the school making decisions about how to proceed, the number on your "naughtiness" meter - the measurement of your current morality - will steadily change. Verity, at first, is insistent on following the rules, and won't step too far out of bounds. Things like skipping a class, being a little rude, or interrupting someone might lift your naughtiness meter by a point or two; attending class, helping a sick girl, or being polite might lower it by the same degree. There was no morality meter in Overboard! because it was clear from the jump that Veronica has murdered her husband and intends to cover it up by any means necessary. You're far more on the back foot at the start of Expelled!, trying to prove an unconvincing truth rather than concocting a convincing lie, which changes your whole mindset - is there a way out of this that *doesn't* corrupt Verity? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/expelled1.jpg) Source: Press Kit. It seems, in those initial runs, that testing different degrees of naughtiness is the correct way forward. It took me a few failed attempts to realize that the naughtiness meter does not actually reset to zero at the end of every run, though. It took me a while longer to realize that the scale, presented as going from 0 to 100 at first, actually extends well beyond that. And as you start to ramp up your naughtiness, new options open up. A naughtier Verity won't overthink it if you decide to barge into a room you're not invited into. She might sass someone harder than she would have otherwise. She might be far more willing to place the blame for what happened on a different girl. Eventually, she's willing to do whatever it takes - and the more people who get hurt along the way, the better. There is a turning point in Expelled! that will come at a slightly different point for each player, one where you realize that the only real way forward is to play not just as a naughty young lady, but as a terrible, unrepentant little freak. When the option to do something really awful pops up, you simply must do it, because getting through the game and securing the best ending is really a matter of figuring out the right way to do the wrong thing. The only way up is down. There's a *little* more nuance to it than that, but not a lot, and part of the fun of Expelled! comes from seeing a character embracing wickedness as a core part of their character. Expelled! is not being driven by any kind of noxious ideology. Verity's morality, her general wickedness, is not tied to any sort of broad commentary. If the game has a philosophy, it might be something along the lines of "wouldn't it be fun to go a little apeshit?" There is no judgement, no sense at the end that you sold your soul in exchange for your fun. You are playing a game, and in the course of playing it you've realized that the rules here are different from what you might have anticipated. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/expelled3.jpg) Source: Press Kit. I won't spoil the twists, turns and reveals that this structure enables, because they're best experienced for one's self. But there's something freeing about realising that the game isn't really asking you if you want to be good or bad - it's telling you to be as bad as possible. I liked the character so much more once I realized how far down a dark path I was going to have to push her in order to prove her innocence, which is a particularly fun sort of irony. I love branching stories and malleable characters, but morality systems that give you "good" and "bad" choices, encouraging you to pick which direction to push your character in, are less interesting to me than they used to be. "Is it worth doing something bad for a good reason" is a more interesting question, but one that can often feel artificial when games bend over backwards to offer "impossible" choices. To play a game likeExpelled!, and to find over time that being underhanded, sneaky, rude and cruel is the best way forward, is so much fun. By embracing this awfulness, Expelled! gave me something that I didn't know I was missing. ### Now Playing at SUPERJUMP, Issue 30 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-30/ Last updated: 2025-04-08T19:46:01.000Z **We're back with a brand new Now Playing!** We've been gone a couple of months, but we're back to show everyone what our team is enjoying right now. So let's get right to it! ## [Alexander B. Joy](https://www.superjumpmagazine.com/author/alexander%5Fb%5Fjoy/) ### Super Motherload Sometimes circumstances align in such a way as to deliver you the perfect game at the perfect moment. In this vein, a serendipitous series of events introduced me to [Super Motherload](https://store.steampowered.com/app/269110/Super%5FMotherload/) \[sic\], my current addiction: How appropriate that falling down a rabbit hole should lead me to a game about digging tunnels! 1. In my regular reading of Gamers With Glasses, I happened upon Samantha Trzinski’s [impressions](https://www.gamerswithglasses.com/impressions/game-about-digging-a-hole) regarding Cyberwave’s [*A Game About Digging a Hole*](https://store.steampowered.com/app/3244220/A%5FGame%5FAbout%5FDigging%5FA%5FHole/). 1. Weighing whether to buy the hole-digging simulator for myself, I sifted through its small handful of Steam reviews. 1. [One review](https://steamcommunity.com/id/berrycatblue/recommended/3244220/) alluded to [an old Flash game](https://www.crazygames.com/game/motherload) with a similar concept, noting that Steam offered an overhauled version of said Flash game. 1. A cursory search of Steam’s catalogue unearthed Super Motherload, on sale for about $5.00 USD. As for the game itself, Super Motherload offers an elemental kind of fun. You pilot a tank/helicopter hybrid with a mounted multi-directional drill, and burrow your way through a planet in search of resources and riches. Players receive bonuses for collecting sequences of particular minerals or consecutive chains of a single one, encouraging forethought and strategy while exploring the underground. Meanwhile, a dystopian sci-fi mystery unfolds in the background for additional flavor. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-7.png) Super Motherload. Source: Steam. I love Super Motherload for being one of those rare games that’s both relaxing and interesting. It’s simple enough to zone out and decompress while playing, but it has enough going on to remain consistently engaging. Carving up terrain with your drill feels remarkably like raking sand in a Zen garden, and is similarly rewarding. Four-person couch co-op introduces pleasant social elements to the proceedings. Simply put, I dig it. ## [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/) ### Suzerain and Suzerain: Kingdom of Rizia One thing that's clear to me after playing Suzerain is that I would make a terrible political leader. I'm too soft-hearted, indecisive, and principled to ever navigate the pitfalls of such a path. Suzerain can be a frustrating and unforgiving experience, because you're only given a limited amount of resources and you're in the dark about the expenditures. So, you spend money on a project hoping you'll reap the benefits, but then it never materializes in the end. Sometimes managing the country feels like driving in the dark without any headlights. Maybe an appropriate feeling for a country in dire straits, although it can feel unfair. The game's expansion, Kingdom of Rizia, addresses many of these concerns with some updates to the management system. In this installment, you actually get to see the projected income for your next term, so you're able to plan ahead. I enjoyed the story, too. As a monarch, you have a lot more power, and you're choices can shape the country in drastic ways. I had a little more success this time around (although many of my subjects were still not very pleased with me). Torpor Games definitely has something interesting here with Suzerain: a game that blends elements of the visual novel and strategy game genres. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-8.png) Steins;Gate: My Darling's Embrace. Source: Steam. ### Steins;Gate: My Darling's Embrace Here I am again with another Steins Gate. This time around, I'm playing Steins;Gate: My Darling's Embrace. The old adage about judging a book by its cover comes to mind, because at first I was a little hesitant to start my playthrough. It looks like one of those stereotypical romance spinoffs, after all! It has depth, though, and I've seen different sides of the characters. The game actually satirizes the typical spinoffs, subverting my expectations on more than a couple of occasions. Sorry for even doubting you, MAGES. To get a better picture, I'll have to finish it, though. El Psy Kongroo! ## [Jake Lang](https://www.superjumpmagazine.com/author/jakelang/) ### Marvel Rivals I’ve never been big into hero shooters, but Marvel Rivals, damn it, you’ve got me. I was never much of a PC gamer either, but this is the first game I feel like I would’ve played on console in the past and just not gotten it. Playing on PC, however, it just clicks. I’m still not very good, but it doesn’t matter—it’s fun no matter what. There’s a great flow to switching between heroes, learning their abilities, and figuring out how different matchups play out. Also, if you haven't, check out this in-depth [SUPERJUMP piece by Pruthvi Das on the Narrative Value of Marvel Rivals](https://www.superjumpmagazine.com/narrative-value-of-marvel-rivals/). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-9.png) ABZÛ. Source: Steam. ### ABZÛ – Relaxing in the Deep ABZÛ has been an unexpected favorite this month. It’s just pure exploration, movement, and atmosphere—no pressure, no stress. To me, it’s cozy, and I was grateful enough for it to share the game with a retired professor of mine. They’re not much of a gamer, but they got Steam just so I could gift it to them. It’s cool seeing how games have become more accessible, how people who wouldn’t have touched them years ago are now open to the experience. Being a “gamer” isn’t the stereotype it used to be, and that’s a good thing. ### Tony Hawk’s Pro Skater – Nostalgia on Repeat I’d already been on a bit of a nostalgia trip—listening to more Mighty Mighty Bosstones and Goldfinger, thinking about the franchise, and playing it on GameCube—so much that I started digging into THPS 1+2 sales numbers and sentiment. Everything pointed to THPS 3+4 being inevitable, and now, with the confirmation, it just feels right. This series is still an all-timer, and with Skate 4 finally dropping this year, 2025 is shaping up to be a banner year for skate game fans. ## [Ignas Vieversys](https://www.superjumpmagazine.com/author/ignasvieversys/) ### Wattam Since I was working on something related to Keita Takahashi for another (print!) publication, the video game maestro known for his whimsical Katamari Damacy franchise, I decided to properly give Wattam, his latest title, a try - if not for journalistic-y research, then for inspiration. The first and most obvious comparison that popped into my mind (as I was stacking tiny golden poops to match the height of a giant bowling pin that was hit by a random bowling ball the size of a miniature planet) was Teletubbies. If you're a 90s kid, you'll be familiar with these four eerie-looking creatures, each with differently shaped antennas and TV screens for their bellies. They wave hello to the baby-faced sun and hover their flying saucer-shaped compound, forming a perfect fodder for creepy-pasta material. The funny thing is: if you try to recap an episode of Teletubbies to someone without any context, you will probably get arrested under the suspicion that you're high on acid - which is how I feel like playing Wattam. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/04/image-10.png) Wattam. Source: Steam. For starters, you can take control of pretty much anything you see on the screen. Everyone giggles with glee, making baby noises. Some of the characters, like a mouth with legs called Beth and a Spring Tree, can gobble up other creatures. Occasionally, more characters will appear (some of them out of other's bums); some of them will be crying, and it's your mission to fix that. Once, controlling a balloon that was afraid of heights, I had to fly up into the air, a bottle of milk dangling in total fear below me, to retrieve a phone from the sun. Turns out, it was a big misunderstanding and the sun had no intention of upsetting Mr. Telephone. If someone asks me what I currently play, I will simply redirect the interested parties to watch some gameplay, rather than risk sounding like I'm high on something funny. Wattam might be preparing me for baby talk, but it's a jolly weird game that I will probably only play again as a parent. ### Cruelty Squad I got shot at a lot (sniped at is more accurate) and learned a thing or two about stocks in Cruelty Squad, which is an absolute fever-dream of a game that feels like almost having a seizure. I knew what I was signing up for when I bought the game (no tutorial? Check. PTSD-inducing soundtrack? Check. Cannibalism? Sure!). But, just like any great post-modern work of art (see "Infinite Jest", Murakami's "1Q84" or anything released by Kojima), sometimes you just cannot understand the appeal of a brilliant piece of art because it might not be the right time for it, which I realized was the case for Cruelty Squad. ### Black Myth: Wukong I also played a truckload of Black Myth: Wukong, finally reaching the "final boss" (it's not the REAL, post-game boss, unfortunately for my controller) after 40+ hours. My salutes go to all reviewers who had to speed through this beast of a game in less than a week. I get why it lost its GOTY title to Astro Bot, but, damn, I don't remember playing such a fully-packaged, gorgeous and ambitious title since first laying my hands on Elden Ring. Such a shame it got drowned by the culture war because it's truly one for the ages. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments and check back next month for more of what our team is getting into. ### Main Character Syndrome: The Billionaire Quest for Happiness URL: https://www.superjumpmagazine.com/main-character-syndrome-the-billionaire-quest-for-happiness/ Last updated: 2025-04-04T00:17:15.000Z **There is a disease in America.** One that has festered in Silicone Valley and gradually metastasized to the broader United states, infiltrating our political leadership. A particular big player, Elon Musk, loves to use memes and flex his gaming ‘skills’ to try and relate to his NPCs (you know the term: non-playable character). That’s right, this is how he refers to you and I: as a gaming term that labels us as mindless and predictable with no agency or contribution to the main storyline or ending. As the plot progresses, the American public is viewed as nothing more than the rendered forests in Skyrim or a villager in Kakariko tilling the earth and offering the occasional side quest. In an episode called [‘The Republican Party’s NPC Problem — and Ours’](https://www.nytimes.com/2025/02/16/opinion/ezra-klein-podcast-congress-audio-essay.html), Ezra Klein called out this narcissistic viewpoint by identifying the true NPCs. The only non-playable characters in this story are Congress, the Supreme Court, and the Presidential Cabinet. They do not challenge the abuse of power or uphold their oath to defend the constitution. As DOGE infiltrates each government agency with no oversight or transparency, as lies are spewed and laws are broken, those who swore to serve the American people are nothing more than NPCs. One must wonder what unspoken promises were made to sell one's soul to destroy our freedom, nation, and democracy. But I digress. The true disease that has taken hold of these billionaires is Main Character Syndrome. The main character hoards and consumes all resources, kills without thought or regard, and destroys obstacles in their path. Through their hubris and warped reality, the billionaire class believe themselves to be the only real characters in the game, as if we are in some simulated existence. It brought me back to Horizon Zero Dawn, and I reflected back to where it all began: Ted Faro. [![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Horizon_Machine_Trailer_5_1481211902_1490043360.png)](https://www.scee-press.com/app/product-archive/312/4272/%28product-tab:assets;sort=last%5Fmodified%2Bdesc;page=3;limit=90%29) Horizon Zero Dawn. Source: Press Kit. I played Horizon Zero Dawn in late 2017, when I believed the tech industry was doing ‘good’ in the world. When the motto for Google was, ‘Don’t Be Evil.’ When Elon Musk believed that electric vehicles would pivot us away from fossil fuels in a world of finite resources. A Tweet from Musk in 2018 stated: > *“We know we'll run out of dead dinosaurs to mine for fuel & have to use sustainable energy eventually, so why not go renewable now & avoid increasing risk of climate catastrophe?”* As the plot unfolded in Horizon Zero Dawn, I was drawn to Ted Faro’s character. Hidden in ancient texts and encrypted holograms, he was the reason these killer robot dinosaurs existed. He was the reason humanity went extinct. But Elon Musk? Certainly a ‘good’ person, I mused. He was doing good for humanity. Neuralink, Tesla, SpaceX…it was all about progressing and elevating the human race. I admired Musk at the time. I watched the interviews and invested in his companies. I knew that Earth’s resources were limited, and he would lead us into a renewable future and allow us to evolve as a species with AI. I was naive. The similarities between Elon and Ted Faro were striking to me. What if Elon Musk turned evil? What if his companies were used solely for money and power? What if he lacked the foresight to the future of AI? No…I was being paranoid. The Tesla co-founder had stated in multiple interviews the danger of AI, calling for a pause on development, dangers of mass job displacement, and warning on the destruction of human civilization. Fast forward. There has been no call to pause, and no way to slow the development of AI. There have been no regulations, and investors pour money into stocks like Palantir and Nvidia. Chatbots like Gemini, DeepSeek, and ChatGPT can already outperform on data processing and analysis, pattern recognition, and generating text. If I wasn’t such an inexperienced writer, you may not be able to tell that this entire thing wasn’t written by ChatGPT. Elon now sits at the head of the government, next to the president as an unelected bureaucrat. His insecurities and vindictiveness have blossomed like a fungal headed Clicker from The Last of Us. In a futile pursuit of happiness, he usurps power. Devoid of human empathy, utterly careless about the consequences of his actions, consumed by greed and with the mentality of a petulant teenager. A true Ted Faro to the bone. [![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/IMG_3611-1.jpg)](https://horizon.fandom.com/wiki/Ted%5FFaro) Faro and Musk. Source: Google Images. Ted Faro also suffered Main Character Syndrome. He believed himself above rules and regulations as he built an empire known as FAS: Faro Automated Solutions. Similar to Elon, he was the owner and chairman of this robotics and tech empire. A college dropout driven to pursue his career, he initially used his tech to do good. Project Firebreak as an example, stabilized the super volcano under Yellowstone National Park. But it’s never enough to do good when you amass so much fame and wealth. Main Character Syndrome spreads like a fungus, tendrils reaching to suffocate whatever life remains. In a world that now feels small and limited, they reach for power. Soon Faro involved himself with the government, as Elon Musk has. Ted Faro expanded his empire to the military, which exploded his wealth exponentially, to become the wealthiest man in the world. See the similarities yet? Richest man, government subsidies, political power, zero oversight. What could go wrong? [![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Faro_Plague-1.webp)](https://horizon.fandom.com/wiki/Chariot) Faro Plague. Source: Press Kit. Faro’s AI military robots called Chariot, were deployed to military zones. He arrogantly instructed his programers to remove capability for backdoor access. Rogue killer robots, an irrational fear that has already seeped into my subconscious. Currently, there exists an AI robot dog, its initial purpose to seek and disarm landmines. Now, these robotic dogs have an attachment on their back for a rifle. Debate on its military use has been ongoing. The terrifying episode [‘Metalhead’](https://en.wikipedia.org/wiki/Metalhead%5F%28Black%5FMirror%29) from Black Mirror poses similar themes, and no longer feels like science fiction. Just as Musk believed fossil fuels to be archaic and obsolete, Faro did as well. His military robots were programed to convert organic matter to fuel, in a biomatter conversion process. Any organic matter. Trees, grass, animals, or humans. --- A movement among the technofascists has been led in part by self-proclaimed philosopher, Curtis Yarvin. This is not another tangent: Yarvin’s ideals laid out in his book ‘The Dark Enlightenment" is revered by top tech billionaires. A playbook for Project 2025 and sideline players such as Paypal’s co-founder Theil, Coinbase’s Brian Armstrong, and Mosiac’s Marc Andreessen, Yarvin is the idol worshiped by those infected with main character sickness. Yarvin believes democracy and freedom cannot coexist. The libertarian viewpoints that poison America’s elite believe there should be no regulations or restrictions. This world is the the main character’s playground, and we are an obstacle to their true freedom. Yarvin proposed that the unproductive people of society could be converted into biodiesel. No joke. > *“The trouble with the biodiesel solution is that no one would want to live in a city whose public transportation was fueled, even just partly, by the distilled remains of its late underclass. However, it helps us describe the problem we are trying to solve. Our goal, in short, is a humane alternative to genocide.”* In cult-like admiration, the billionaires plan to live out their adolescent fan-fiction in a reality where they rule and own their own network states. Democracy and American people will be fat cut from the bone, tossed to the hypothetical Horizon Zero Dawn Chariot robots. --- Ted Faro’s robot army stopped responding to commands. He defensively claimed losing control of his AI robotic military was an accident, even though he had programmed it with no backdoor access. He looked above himself to a much smarter and more experienced scientist, Elisabet Sobeck. Her findings were dismal. Much like a virus, the plague spread like wildfire, defaulting to the emergency fuel protocol to use organic matter as biofuel. Humanity would be doomed. The Chariot swarms infected each other and multiplied, consuming everything in their wake. The NPC Elisabet Sobeck sacrificed herself to save humanity. She developed the robot dinosaurs we see in the beginning of the game, with the purpose to terraform a new Earth. She seals away all of humanities knowledge in APOLLO, hoping one day clones of humanity can rediscover the lost history and reclaim technological advances. Cue: Aloy. Whatever end of days lie ahead for humanity, we can be certain the billionaire class will hide away in their bunkers, just as Ted Faro had, as the rest of us perish. Main Character Syndrome has made these men delusional and disconnected from reality, believing only they are capable of running civilization. We the people…are expendable. ![don't give up. You are not alone, you matter signage on metal fence](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/photo-1564121211835-e88c852648ab.jpeg) Photo by [Dan Meyers](https://unsplash.com/@dmey503) / [Unsplash](https://unsplash.com/?utm%5Fsource=ghost&utm%5Fmedium=referral&utm%5Fcampaign=api-credit). What once felt like a beacon of hope for humanity in the tech industry has proven to be an overwhelming disappointment. I do not want a Musk or Faro to lead humanity to its demise, but this isn’t a Marvel movie and there won’t be some good guy main character to save us. It’s time for the NPCs to reclaim their identity and stand up united against fascism, and defeat the self-proclaimed main character. I will not be an NPC. ### Hidden Gems of Game Design Vol 34 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-vol-34/ Last updated: 2025-04-02T14:00:29.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### Betrayer (2014) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-8.png) Source: GOG. With the sad closing of Monolith last month, my entry is a game from former members of the studio who wanted to create a different kind of FPS with Betrayer. Taking place in the 17th century, you arrive at a colony in Virginia to find that the place is deserted, ghosts and monsters roam the land, and you will need to explore and figure out how to set things right. Each level takes place in a massive area with points of interest, resources, and challenges to complete. Your general path is to explore each area, looking for colonies and important points from which you enter a kind of dark world to cleanse it of enemies. The game emphasizes that you can sneak by enemies, and the wind can hide your footsteps. There are also additional weapons and upgrades to find while trying to avoid packs of enemies. What separates Betrayer from a lot of FPS is that you are not going to be running and gunning here. With weapons from the 17th century, you'll be standing, hoping to hit, and then taking a while to reload your weapon. Like Hunt: Shutdown, there is something special about using weapons where one bullet is a huge deal. Miss, and you must either switch to a backup weapon or run away and hope to get a reload before the enemy catches up to you. Conversely, when fighting someone with a gun, if they miss, you know you can charge in and try to take them out. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-9.png) Source: GOG. The game switches between a colorful world and a monochrome one for the dark sections. When you are running around in the dark world, there is this sense of eeriness to the surroundings, which reminded me of the game [Mundaun](https://store.steampowered.com/app/720350/Mundaun/) (another game you should check out). What hurt the game in terms of the market was that if you were hoping for amazing AI enemies or unique gunplay like FEAR, you weren’t going to find it here. The general path through each level became samey after a while, and at times, Betrayer felt like a tech demo for something greater. Sadly, that something greater never arrived; the studio closed and the game is currently [only available on GOG](https://www.gog.com/en/game/betrayer) after being delisted on Steam. Long before Hunt: Showdown brought some excitement to old-time weapons, Betryaer was making an interesting concept for a survival horror game with them, and if you are looking for a slowed-down shooter, this one is worth playing. ## Bryan Finck ### Pyre (2017) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-10.png) Source: Steam. **Supergiant Games is one of the industry’s most beloved and dependable indie studios.** Their catalog is filled with titles that have been critically and commercially acclaimed, with nary a misstep to be seen. With the likes of Bastion, Transistor, and the massively successful Hades games as brethren, [the title often forgotten is 2017’s Pyre](https://store.steampowered.com/app/462770/Pyre/), very different in structure and mechanics from the other three. So today I want to highlight this forgotten gem, in hopes that others will no longer bypass it on the Supergiant Highway. You begin the game in The Downside, the game world’s version of Purgatory. The crux of the game, known as the “Rites”, is the competition by which exiles can earn their freedom from The Downside and a chance to return to a life of comparative luxury in the Commonwealth. The Rites are the most unique and divisive aspect of the game, as they represent the bulk of the action but technically do not include any actual violence. Rare are the games that utilize a system like this and do it successfully, but I believe this is where the game shines brightest. A cross between soccer and basketball, each team has a Pyre, a flame that must be extinguished by the other team in order to win. Each Pyre has a point value assigned based on the strength of the team, and every time a team manages to put their Orb in the sacred flame, its strength is reduced until nothing is left. The team that extinguishes the other Pyre first is the winner. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-11.png) Source: Steam. As you defeat each team that opposes you, some of their members may wish to join your crew, and you will also find additional companions in the course of your travels through the game. Thus, you will build a roster of players that you will need to choose from for each match of the Rites, choices that affect the progress of the storyline. The RPG elements come into play as each participant gains experience through competing in the Rites, allowing their skills to increase and new abilities to be purchased. Throughout the game, you also have chances to explore the land for expanded knowledge of the lore and benefits for the group. It’s difficult for me to understand why Pyre is the red-headed stepchild of the Supergiant lineup, but that seems to be the truth of it. Because the story is deep and the lore is never forced down your throat but is always there for the taking, it’s hard to find that as the damning aspect. Each character’s arc is well-done, and the dialogue, though gibberish to our ears, lends weight to the characters and leaves you caring for them once their story is concluded. Other games have pulled off the no-violence style of gameplay, most recently Undertale, to great acclaim, so the culprit is likely elsewhere. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-12.png) Source: Steam. I suspect the hybrid combat system, combining traditional RPG abilities and action with a sporting feel, has left fans of both genres out in the cold. The most acclaimed games from the developer are hack-and-slash action RPGs at heart, and Pyre strays far afield of that formula, apparently to its detriment. It’s a shame that it seems to be the case, as the narrative and gameplay are excellent despite the unique trappings in which they are presented. Do yourself a favor and check out Pyre, especially if you’re a fan of the other Supergiant games you’ve undoubtedly heard of; you’ll be glad you did. ## CJ Wilson ### The Berlin Apartment Demo (Release Date: TBA) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-13.png) Source: Steam. **While the game is not officially out, I played the demo for The Berlin Apartment so I could learn more about it.** In The Berlin Apartment, you play as different characters who have lived in a spacious apartment in the city of Berlin, Germany, over the course of a century. The story is narrated by a handyman talking to his young daughter about the residents who used to live in said apartment as he fixes the place up. From the limited time I got from this demo, I was intrigued to learn more about it as I saw different clues and relics from roaming around this quaint but lived-in living space. I got to experience two short stories in the demo. The first level focused on a young man in the 1980s during the Cold War when the Berlin Wall was still erect, dividing the city into East and West Berlin. You get to know this gentleman as someone who likes to care for nature; you use a watering pot to water the various plants scattered around the apartment. Suddenly, you see a paper airplane fly in from across the wall, where you write a letter and then fold the letter into your own makeshift airplane by choosing which configuration you prefer. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-14.png) Source: Steam. Finally, in the second level, you play an old man who used to run a local movie theater based on the clues you find, as your objective is focused on you having to gather your belongings before you leave the apartment behind during the height of World War II. The interior decor is changed to be a lot grander as the different books and photos you find show how this older fellow lived a prosperous life filled with wonder and joy before it got taken away from him once you see his old film reels that he managed to keep after the Nazi Regime burned down his movie theater. In many ways, this game combines the short, self-contained episodes of What Remains of Edith Finch with the same cel-shaded art style of Sable. I wish I had gotten to play more than this short 30-minute demo, but it did its job, making me want to buy the game when it comes out. That’s what I love about demos, where if it hooks you right then and there, after just 30 or so minutes, you know you have found your next purchase. I stumbled upon The Berlin Apartment from a Day of the Devs showcase page featuring new and upcoming games on Steam. Being a gamer has its perks; finding a game that isn’t usually covered by significant gaming publications like IGN or GameSpot ranks high on that list. I guess that is what our Hidden Gems page is about, discovering games that get lost in the shuffle, even if they are demos. ## Antony Terence ### Pure (2008) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-15.png) Source: YouTube. After being purchased by Disney Interactive Studios, ATV Offroad Fury developers Black Rock Studios decided to stick with what they did best: off-road racing. The result of that acquisition was Pure (2008), an original game published by Disney that put ATV tricks at the center of its experience. While most racing games task you with finishing races first, Pure’s challenges take a different route. In contrast to games like MotorStorm, in-game Quad Bikes can be pre-loaded before jumps, letting you get air time for performing tricks. Pulling back on the left stick and pushing forward right at the edge of ramps felt exhilarating, especially since more air-time meant better tricks. Pressing a face button and moving in one of eight directions lets you perform tricks across various skill levels, feats that become harder as you fill up your Thrill Bar. Once you get back on the ground, this bar serves as a speed boost for your bike. Pure becomes a balance of mastering tricks and speeding up at the right moment to win. Complex tricks take longer to perform and sit on the deep end of the game’s risk-reward roulette. You’ll also need to build up your Thrill Bar for them, meaning that you had to hold off from using speed boosts. In a genre that already demands quick thinking, Pure’s trick-or-treat mini-game adds depth to an engaging experience. Fortunately, its single-player World Tour events don’t just have regular races. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-16.png) Source: Steam. Freestyle events ask you to obtain the highest trick score possible, meaning you can focus on chaining combos instead of speeding past other Quad Bikes. Your gas is limited though, a knot resolved by picking up gas and score multiplier pickups in mid-air. Switching up your moves is essential because repetition counts as “stale” moves that aren’t worth as many points. It was my favorite mode, eclipsing the three-lap Standard Races and short Sprints. Pure’s sense of blistering speed is best felt as you’re executing one trick after the other across the game’s stunning tracks. From the jungles of Thailand to the mountains of Wyoming and the Glamis Dunes, 48 tracks cover an incredible amount of ground across 12 locations. The game also lets you customize your nimble Quad Bike with upgrades to tackle specific challenges and rise among the ranks in the World Tour mode. Pure might not pack an open world or a massive garage, but its focus on mid-air Quad Bike antics sets it apart from the competition. Lay-offs forced the studio to abandon a Pure sequel when Disney leaned into freemium content back in 2011\. It was eventually shut down, with ex-employees forming new studios like Studio Gobo (partnered with Guerrilla Games, Ubisoft, and more) and Boss Alien (now a part of Zynga thanks to CSR Racing). Pure remains a compelling look into where the off-road racing genre could have headed. **Thanks for reading! Come back next month for another entry and more great hidden gems to check out.* [**You can find all previous Hidden Gems stories here*](https://www.superjumpmagazine.com/tag/hidden-gems/)**.* ### The Role and Difficulty of Skill-Based Matchmaking URL: https://www.superjumpmagazine.com/the-role-and-difficulty-of-skill-based-matchmaking/ Last updated: 2025-04-04T00:17:21.000Z [](https://medium.com/plans?dimension=post%5Faudio%5Fbutton&postId=3039f3418f16&source=upgrade%5Fmembership---post%5Faudio%5Fbutton----------------------------------) [**Activision’s findings about skill-based matchmaking**](https://www.activision.com/cdn/research/CallofDuty%5FMatchmaking%5FSeries%5F2.pdf) **(SBMM) are an important read about the challenges and misconceptions of creating a competitive and friendly online atmosphere.** But it also drives home one of the hardest aspects of these games and how it relates to matchmaking and balancing a game: what does skill mean in a game? ## A winner is...you? When we discuss single player or linear experiences, it's far easier to define a game's skill curve: if the player beats Level 1, they can now do Level 2\. Every reflex-driven game is about constantly testing the player's mastery and understanding of a game as they make progress through the experience. However, progression looks different in multiplayer games. Let's say I'm playing against a team of people who have no clue what they are doing. If I walk away with a kill/death ratio (K/D) of 15/2, then I must be some kind of pro gamer...right? But on the very next match, I'm now up against a team who knows how to play and my K/D ratio completely changes to 2/15. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/09/image-10.png) Source: Author. Whenever a human player goes up against another human player, the number of factors that affect a match is exponentially greater than in a single player experience. Even weapons in a multiplayer context add much more complexity to the equation. Now, it's not just a question of how powerful a particular weapon is, it's also a question of each human player's individual skill with each specific weapon (and how these factors compare in a multiplayer encounter). When teams are added to the mix, the ability for a developer to predict player skill level becomes almost impossible. ## Defining "skill" through measurable metrics Anyone who has played a team-based game knows that *hell is truly other people*. Being the best or worst player on a team can feel like torture. You might either feel like you're carrying the entire team or letting them down. But this also creates a problem in terms of measuring skill, especially in relation to teamwork and especially if your game features mechanics or elements that aren't easily quantified. Measurable metrics of wins and losses, kills and deaths, hits or misses, and so on, are easily tracked. However, there are "fuzzy" factors that lead to these results which are far harder to gauge. ![](https://miro.medium.com/v2/resize:fit:929/0*EBrH6ZVjqwF5-Jvv.jpg) DBD continues to struggle with defining their core experience and skill level; making it even harder to learn for new players. Source: Press Kit. This problem I'm describing is a longstanding issue with Dead by Daylight, which has the added challenge of an asymmetrical encounter design. The game's matchmaking is based on determining "good play" - and again, "good" is often synonymous with "winning". To win as the killer, you must hook the other team enough times to defeat them. Winning as a survivor means escaping. But here's the problem: there is far more happening in a match that contributes to these end states but that isn't factored into the assessment of win/loss. Let's say a killer fails to defeat the survivors but manages to get the entire team on the "death hook" state and holds out for a long time. Were they a good or bad killer? And then, in the case of survivors, let's say someone is the first to be killed - but they were constantly juking the killer and taking hits for the entire team. Were they *bad* at the game? Both sides are awarded points based on various factors of 'smart play', but the ability to acquire these points is, again, going to be determined by the skill of the killer and the survivors. To add even more confusion to the mix, let's introduce the concept of "ELO hell" (ELO is a rating system that measures the relative skill levels of players in zero-sum games). One of the ways this articulates in real life scenarios is to identify cases where a player is sitting in the wrong matchmaking bracket due to their team. If I'm a really good player and I'm on a team of newcomers, I could end up being completely shut down by the opposing team. Does that mean *I'm* a horrible player? Conversely, if I'm the standout player among a team of lesser-skilled people, does that mean I'm a *brilliant* player? Source: YouTube. What does all this mean? Understanding what skill means in your game involves figuring out *how* a team/player can achieve particular win states, but also, how they *contribute* during the game. Let's say your game only tracks kills as the sole determination of skill. But if I'm playing a support role - maybe a tank or healer - and I keep my entire team alive but never score a kill, am I a bad player? Am I omitted from win states or points/acknowledgement because I haven't satisfied a specific narrow win condition? Games that reward "good play" or "skilled play" need to be cautious about precisely how these things are measured and determined. This isn't just because players will miss out on advancement, it's also because highly limited measures of success may cause the player base to gravitate to highly restricted ways of playing the game. In other words, limited success metrics can incentivize limited tactics/ways to play. ## Unlocking the meta Speaking of incentives, it's worth noting that whatever is seen as the "best" way to play - which may become the most common way to play - tends to most negatively impact players at both ends of the spectrum (e.g. casual players on one side and hardcore players on the other). If everyone knows that Gun X, Perk Y, and Character Z are the best combinations, then why should anyone who wants to move up in the ranking play anything else? This leads to a kind of toxic behavior in these games, where some players bully others if they aren't playing what's currently meta. From MOBAs, to shooters, to MMORPGs, people want to win, as there's certainly no reward for losing a match. ![](https://miro.medium.com/v2/resize:fit:929/0*6y66RSUch1Vn5IgZ.png) Team-based games have their own struggles in terms of matchmaking and can lead to even more toxic behavior. Source: Gamespot. This often leads to poor sportsmanship and people using rankings as a cudgel against other players. It is the common refrain: "It's not my fault we lost, I had the best score on my team." The problem is that you can play "correctly", do everything well, and your team still loses; the opposite is also true. When skills and progression in these complex settings are whittled down to only 2 or 3 metrics, the impact can be that players don't see or care about the many ways that you might be contributing to team success (keeping everyone alive, delaying/holding back the other team, etc...) - if you're the lowest on the scoreboard, then *it must have been all your fault*. Many games have tried to combat the toxicity present in multiplayer experiences by incorporating stricter and more powerful tools for reporting bad behavior. That last point also surfaces something important about how multiplayer and skill-based games have transformed over the years. ## The limits of skill and matchmaking There's one more fallacy that I want to touch on. Everything here is based on the idea of designing a competitive/esport-friendly experience, but this is only one part of the broader equation. Even if you do find the magic ratio and craft a perfectly-balanced competitive experience, you still have all your work ahead of you of you: that is, crafting an enjoyable experience that people actually want to play. You can give me all the best skill-based matchmaking in the world, but that won't mean I automatically enjoy the fighting, battle royale, multiplayer shooter, etc... experience you're building. Multiplayer design has become more and more homogenized over the years, with developers chasing both the live service model (the idea of making a "daily game" or a "lifestyle game" that players regularly dive into) while also trying to appeal to the esports crowd. Games designed to meet these two needs can sometimes exclude players who want to dip in once in a while, or play casually with friends, or casually with random people. It's often the case that you must play these games every day or you're going to fall behind in the meta, your ranking, or whatever daily rewards are included. ![](https://miro.medium.com/v2/resize:fit:929/0*CFbpgtufkBCS0Ql9.png) Live service has created a push for every multiplayer game to be the only game in town for someone’s free time. Source: Fortnite. It feels like forever since we've seen someone create a unique multiplayer experience that genuinely hasn't been seen before. When everything is filtered through the idea of a daily play, team-based/hero shooter, or fighting game, there are so few ways you can stand out from everyone else. *For readers: What are your thoughts on skill-based matchmaking? And can multiplayer design continue to grow in new/novel directions?* If you enjoyed my piece and want to follow me, [I'm posting on Bluesky](https://bsky.app/profile/gwbycer.bsky.social) and you can find links to all my other works from there. ### Indie Monthly: March 2025 URL: https://www.superjumpmagazine.com/indie-monthly-march-2025/ Last updated: 2025-04-02T03:39:46.000Z **There are a few interesting trends bubbling up in the trenches.** One that I'm particularly fond of is the minimalistic strategy game. These are no-frills titles with simple yet emergent mechanics, coupling simple graphics and interfaces with deceptively deep board game-like rulesets. For a developer who wants to work in strategy but doesn't want to go head-to-head with the likes of 2K, Sega, or Paradox, it's a great middle ground. It helps that the games can be a blast to play. Last month, we looked at Dawnfolk, a great early entry into this style. We have two more entries this month, with even more to come. But we'll begin by looking at a game trying to bring some innovation to the FPS genre. As always, you can check out the [Find the Fabulist YouTube channel](https://www.youtube.com/playlist?list=PLerWTn3E-2CkTvCMDJ873hYXBAzizQa4a) to see footage of the games in action. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/CandCA.jpg) Source: Author. ## [Check & Clean](https://store.steampowered.com/app/2368840/Check%5F%5FClean/) Check & Clean is a tactics-focused FPS with some roguelike elements. The objective is to clear a building of hostiles using careful planning to compensate for limited resources. Each mission begins with the player trapped in a safe room somewhere in a building full of armed men. Using explosive charges, the player moves from room to room, neutralizing every opponent until none remain. The player has two tools to aid in this task: Free use of bullet time and access to a camera in each room that can be used to check on enemy positioning and firing order. Unlike in most first-person shooters, the protagonist is no tank. He will go down in a realistic number of shots, and the close quarters mean that enemies are unlikely to miss. The only way to safely clear a room is by taking out all opponents before they have a chance to fire. For most weapons, that only allows for maybe three shots before the enemy reacts, and with ammo being scarce, there's not a lot of room for error. Even if you're experienced with the genre, expect to screw up a few times when you're starting out. Check & Clean is definitely made with the speedrunning crowd in mind. Everything that the player does is on a timer, and getting the best times requires some serious tactical modifications. It might mean checking the cameras while waiting for a charge to go off, refraining from using bullet time, blind firing from the hip, or leaving ammo uncollected. One feature that bears mentioning is the music. Check & Clean boasts of having a dynamic soundtrack that is tied into the gameplay. Each level begins with a fairly standard, minimalistic techno soundtrack, but the music grows more complex with each room cleared. More importantly, the music is cued to the timing of the explosive charges, letting the player know that a door is about to open while checking the cameras - a useful feature when aiming for the best times. The overall gameplay experience focuses far more on tactical thinking than conventional FPS mechanical skills. As such, it might not appeal to people who prefer twitchy action-oriented games. However, it's definitely worth a look if you're after a unique take on the genre. Check & Clean is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/MorkullA.jpg) Source: Author. ## [Morkull Ragast's Rage](https://store.steampowered.com/app/2191540/Morkull%5FRagasts%5FRage/) Morkull Ragast's Rage is a brawler Metroidvania with a story that revels in breaking the fourth wall. Story aside, it is overall a very standard example of the subgenre without much to mix up the formula. Morkull was once a perfectly ordinary death god before a glitch in his world made him aware of the programmers who created him. In an effort to keep him from causing too much damage, the developers arranged for his minions to turn against him, casting him into perdition in the deepest pits of his own realm. The only way out is for Morkull to appeal to the one person who can save him - the player now controlling his actions. The core gameplay is built around a simple combo and parry system. Morkull gains new movement skills at key story moments and combat skills through an experience system. The combo system gives the player enough versatility that mastering the parry system isn't strictly necessary, though Morkull's fragility makes it a wise idea. In terms of level design, Morkull focuses mainly on its combat, though there's still plenty of precision platforming in the mix. Most of the more technical sections are optional and focus on common platforming challenges, using skills like triangle jumping and movement cancellation. The overall map is relatively small compared to most Metroidvanias, indicating that exploration is less of an element. A lot of the appeal of the game is tied up in the protagonist's irreverent personality. Morkull knows he's in a vide game and takes every opportunity to taunt and cajole the player. Most of the in-game lore is also composed by Morkull, who seeds little jokes and references throughout the text. This kind of self-aware humor isn't for everyone, but if it's up your alley then it does add a little more appeal to the experience. Overall, Morkull Ragast's Rage is a decent game that just doesn't do enough to distinguish itself mechanically or aesthetically from its competition, and the humor isn't pervasive enough to tip the scales. Even so, dedicated Metroidvania fans will still probably find something to like here. [Morkull Ragast's Rage](https://selecta-play.com/en/morkull-ragast-s-rage) is available for PS5, Nintendo Switch and for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/KofCardsA.png) Source: Author. ## [Kingdom of Cards](https://store.steampowered.com/app/3160500/Kingdom%5Fof%5FCards/) Kingdom of Cards is a lightweight management and strategy game built around discovering item combinations. It's a simple concept that's quite a bit harder than it looks at first blush. The objective of each run is to locate the key to a boss dungeon and defeat the enemies within. To this end, the player must develop a fighting force capable of taking the boss down - not an easy feat, and impossible with what's available early on. A typical playthrough begins with developing the kingdom's economic base by crafting superior tools for the workers, then using money and resources to smith or locate the increasingly powerful weapons needed for heavy combat. Despite the theming, Kingdom of Cards is not a deckbuilder. The player doesn't gain cards passively but must earn them, whether by having peasants collect them, earning them via subquests, or finding them by exploring, looting, or raiding new territories. Such unlocks are sporadic, forcing the player to constantly seek out new means of finding cards. Most cards do little on their own and need to be combined with others, and this leads to the heart of the game. With enough money, the player can construct buildings that can synthesize superior tools and weapons out of the resources they've found and then combine those with their subjects to create superior workers and soldiers. Basic workers only yield basic cards, and the starting soldiers can't do much, so figuring out those combinations is the only way to finish a run. Kingdom of Cards is not meant to be finished over the course of a single run. The in-game log keeps track of all discovered combinations, including different formulae for certain pieces of gear that the player may not have found yet. The player also earns experience upon winning, losing or quitting a run which can be used to unlock new locations cards. These appear randomly in item harvests and can be essential for finding rare loot and weapons. The gameplay loop is simple enough that even a beginner can get a handle on it quickly, but Kingdom of Cards can be deceptively difficult. Boss encounters are extremely difficult without just the right set of advanced units, and getting those units can take a while due to the randomness in the game. Kingdom of Cards also lacks some of the automation features found in similar strategy games, and while the kingdom never grows too large, it can be a bit daunting having to sift through dozens of cards looking for the right combination. Overall, Kingdom of Cards is a decent beginner-friendly strategy game, but it falls just a bit short compared to some other minimalist titles. Kingdom of Cards is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/FlockingA.jpg) Source: Author. ## [Flocking Hell](https://store.steampowered.com/app/3236280/Flocking%5FHell/) Flocking Hell is a minimalistic strategy game designed for extremely quick sessions of play. It has the player rallying an army of sheep in a desperate effort to fend off an invasion of mutton-craving demons. Each round has the player using a limited number of moves to build up defenses. Initially, the only thing the player can do is explore the map, collecting stray sheep and using Minesweeper-esque clues to locate settlements and other features. Subsequently, the player can use those gathered sheep to connect settlements to make them grow faster, mine for crystals that power a special weapon, and play cards with various effects. Once the player runs out of turns, a wave of demons pours in through a hellgate and moves from settlement to settlement. At this point, there's nothing left for the player to do but watch the carnage and hope that the settlements are strong enough to withstand the assault and destroy all the attackers. If successful, the player advances to another round while collecting new cards and long-term upgrades. The best strategies in Flocking Hell are straightforward enough that most players will pick up on them in very short order. Each map features a randomly chosen variant rule, and the upgrades the player selects will also affect the ideal strategy. The elements are mostly the same, however, and the approach doesn't vary too much. Perhaps the most noteworthy thing about Flocking Hell is the brevity of its rounds. A player with some basic understanding of the elements can finish a round in less than five minutes, meaning that a full seven-round campaign can take as little as half an hour. This makes the game ill-suited for long sessions, but good for quick bursts of play during busy times. Overall, Flocking Hell is a bit of an entry point for strategy. While there is a challenge mode for more seasoned enthusiasts, it's definitely targeting a more casual audience. Flocking Hell is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at all the indie games that caught our attention in March. Be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### How Should We Think About Game Dev Redemption Arcs? URL: https://www.superjumpmagazine.com/how-should-we-think-about-game-dev-redemption-arcs/ Last updated: 2025-03-30T22:12:36.000Z **The AAA games industry is currently experiencing a precarious state of flux.** It's become commonplace for the largest and most costly gaming experiences in the world to release in a rough, buggy, and oftentimes broken state. Despite the price tag steadily increasing for consumers, it's become more surprising when a game releases without a day-one patch than when you boot it up and immediately have to wait for an update to fix bugs reported on day one. This has become such a norm in our gaming culture that it's almost unfathomable to think that, less than twenty years ago, most games hit the shelf finished and ready to play. That's not to say that games didn't have problems – they most certainly did – but addressing those problems was a lot more costly. When games were only available physically, publishers would have to physically recall games from store shelves, print new versions of the revised game, and restock them in stores. Obviously, this was less than ideal, so it was in a developer and a publisher's best interest to make sure a game was completely functional before shipping it for distribution. This is no longer the case, and there is no better of an example of this than 2020's infamous Cyberpunk 2077\. Cyberpunk 2077 was one of the most high-profile failures gaming had ever seen up to that point, with the state of the game being mired in controversy and well-deserved anger. To call Cyberpunk 2077 buggy would be doing the true state of this AAA title a disservice. Upon launch, it was nigh-unplayable. It got so bad that Sony decided to [pull Cyberpunk 2077 off of its online storefront](https://www.theguardian.com/games/2020/dec/18/cyberpunk-2077-sony-pulls-game-from-playstation-store-after-complaints) less than a week after it released, an unprecedented move that sent shock waves throughout the industry. While it's hard to believe it's been nearly half a decade since Cyberpunk 2077 released, the legacy of its botched launch will be remembered for generations to come as a checklist of what not to do before your game is unleashed on the public. Or will it? Lately, if you look into the quality of Cyberpunk 2077, you'll be told a very different story than you would have heard a few years ago. The majority of online discourse has shifted from demeaning the game's buggy, broken, laughable beginnings to high praise for the game's immersive, living world, and intriguing, deep missions. Phantom Liberty, Cyberpunk 2077's massive DLC, went so far [as to win multiple awards](https://en.m.wikipedia.org/wiki/Cyberpunk%5F2077:%5FPhantom%5FLiberty), cementing itself as one of some of the best downloadable content ever released. This puts consumers in a bit of a precarious position when it comes to actually critiquing a product in the game's industry these days; should you hold a game accountable its initial release, or should you judge it by the penultimate product it becomes? It's a difficult question with no immediate answer. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/ss_7bbae8adf0c05471dfea2ebb1dc2611ee0f72835.1920x1080.jpg) Cyberpunk 2077: Phantom Liberty. Source: Steam. Cyberpunk 2077 isn't the only game to walk this questionable line. No Man's Sky, Fallout 76, Final Fantasy XIV: these were all massive releases with tons of hype that just failed to deliver when players initially got their hands on them. Since then, all of these games have been updated and patched into completely unrecognizable experiences, representing years of continuous work culminating into something that not only lives up to players' expectations, but often surpasses them. Some of these games certainly handled things better than others, however. No Man's Sky took a little while to come around, but eventually addressed the well-deserved criticism and made continuous free updates to craft something more akin to their release promises. Fallout 76 took a more devious route, adding microtransactions and paywalling content before rectifying the core problems with the experience. Final Fantasy XIV is a whole different beast, with Square Enix deciding to [disconnect the game from the servers temporarily](https://www.engadget.com/2012-08-16-final-fantasy-xiv-servers-shutting-down-ahead-of-relaunch-a-re.html) in order to relaunch it in a completely reworked and renewed state, now titled A Realm Reborn. The relaunch was met with near-unanimous praise, revitalizing Final Fantasy XIV, allowing it to climb to one of the biggest MMOs in the world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/ss_931c6080a17d7f6a8266c72a599d2f1aa6c52d33.1920x1080.jpg) No Man's Sky. Source: Steam. Therein lies the most important aspect of our current situation: how a company handles the fallout (no pun intended) of their botched launch. The unfortunate reality is that AAA gaming is moving at a breakneck pace and costs an exorbitant amount of money. When projects can cost as much as Firewalk Studio's doomed hero shooter Concord [(coming in at a potential eye-watering $400 million development cost,)](https://www.forbes.com/sites/paultassi/2024/09/21/new-report-says-sonys-concord-cost-400-million-to-make/) developers and publishers aren't afforded the luxury of another year in the oven. At this point, a few delays are inevitable, with developers posting a generic apology jpeg to social media [meme](https://www.reddit.com/r/videogames/comments/13snxrc/the%5Fvideo%5Fgame%5Fapology%5Ftour/) due to how commonly it occurs. Shareholders only have so much patience however, so eventually the game has to come out, whether it's ready or not. The investors want to see a return on that investment, and the quality of the product doesn't matter nearly as much as whether or not they can make their money back. This doesn't excuse the shoddy and broken state these games come out in, however. Empathy is warranted for the developers just doing their jobs, staring down crunch and struggling against impossible deadlines. Working under impossible conditions, while simultaneously crafting outstanding products, is difficult at the best of times, but woe unto those developers who are asked to complete unattainable goals in such an unrealistic time frame. The developers unfortunately tend to be the target for the ire of the consumer base, when ultimately these problems trickle down from the top. Be it mismanagement, poor financial planning, or over promising to investors, many issues plaguing a game's release are out of the developer's controls. Game development is incredibly difficult, and the larger the experience the harder it gets to perfect, but it is still a product being promised to customers. Quality control is extremely important to retain trust and keep your validity as a developer and/or publisher. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/ss_3820f55642a38473932c7214b03afa87daae7c0b.1920x1080.jpg) Fallout 76\. Source: Steam. So this brings us back to the initial question: how do we judge games that released broken, but became great? To say that these games have *no* merit, or that the work that was put into them post launch amounts to nothing, seems to be too simple an answer. Many of these games – not least of all the aforementioned Cyberpunk 2077 – have gone on to be some of gaming's greatest and more revered games of all time. Without the patience of players (in conjunction with a whole lot of money from their respective developers and publishers), we wouldn't have these incredibly impressive experience to grace our memories with. At the same time, the idea of completely dismissing the total failure from these companies to deliver their promised product when they say they will is a metaphorical continuous middle finger to the companys' biggest supporters. It goes beyond financial distrust and inconvenience and barrels straight into the territory of straight disrespect for those who are the most excited for a new game. Therefore the answer is, disappointingly, probably somewhere in the middle. No matter how good a game becomes, it seems that the people who were burned by its initial release never quite forget and struggle to forgive, even if they go on to enjoy the game post-redemption arc. Their names will forever bare the taint of disrespect on them, and no matter what they do, it will seemingly stick to them like tar. That is where the answer lies: forgive, but never forget. Enjoy these games for what they've become and allow yourself satisfaction while playing them, especially since most of them are far from full priced by the time they're actually worth playing. Just never forget that these companies, the larger ones in particular, care far more about your money than they do about your satisfaction with the experience they crafted. While you shouldn't let the stickiness of the tar deter you from immersing yourself in these wonderful games, the discomfort of the tackiness on your hands should be a constant reminder that they are marred by the greed and pettiness of the AAA games industry as a whole. ### Reflections on Trauma, Time, and Memory Through 1000xResist URL: https://www.superjumpmagazine.com/reflections-on-trauma-time-and-memory-through-1000xresist/ Last updated: 2025-03-30T22:12:41.000Z ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Spoilers_Ahead.png) Heavy spoilers for 1000xResist throughout. **Memory is, ultimately, fallible.** We want to believe in the power of our recollections—those precious memories that fabricate our souls, those collected snapshots that represent our traumas, joys, successes, and failures. We want to believe that our experiences are real. Moments lost to time can be stitched together through individual and collective memory, aided by recording tools such as smartphones and cameras. Memory is precious to us because, in many ways, it feels like the only true way to believe in the lives we have lived—to revisit experiences that were happy, sad, or life-changing. Human recollection is a deeply flawed system. Memory is a reconstructive process influenced by factors upon factors, compounded by internal and external stimuli, such as emotional impact, sights, smells, social influences, and personal beliefs. Memory is influenced by education. It's influenced by dogma. Our most traumatic memories often remained buried by our psyches, delivered piecemeal by our brains to protect us from terrifying ordeals. To some extent it feels as though we cannot trust our memories at all; each of us has experienced an argument with a loved one in which our memories of the same event wildly differ. Sometimes a disagreement in recollection can spark a fight. Sometimes it can feel world-ending. 1000xResist makes a point of ripping apart consciousness to remind us of the slipshod foundations beneath us. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/the-dance-2560x1440-f497f0601e92.jpg) Source: Epic Games Store. --- > Our most traumatic memories often remained buried by our psyches, delivered piecemeal by our brains to protect us from terrifying ordeals. --- ### You know where to find me [Dr. Elizabeth Loftus](https://www.apa.org/news/podcasts/speaking-of-psychology/memory-manipulated), a professor at the University of California Irvine, is well known for her studies on memory and how distortion and manipulation can create "false memories" that feel like real experiences. Memory, she says, does not function like a recording device and automatic playback machine—memory is consistently manipulated—it's affected by new information, thoughts, suggestions, ideas, and public recordings like television and newspapers. Memory is also not as individualized as we want to believe. Human consciousness is frail and easily impacted by internal and external stimuli; shared events can create memories in which the circumstances are influenced by those who we shared these experiences with. Philosophers like Carl Jung believed that the "collective unconscious" or "objective psyche" came from genetic inheritance, not personal experience carved into each tabula rasa. 1000xResist's central conflict rotates around an anchor of memory, its illusory patterns laid bare as it contrasts the perspectives of shared events. The game smartly does away with the necessity of choice, comically reducing the selections to pieces of phrases or titillating the player with an alternative that results in the same linear path. Even to the end, the choices in the game result in a spreadsheet of endings whose meaning will vary from player to player—even as some are left scratching their heads as to the purpose of the whole. ### There is a you and an us and a means to us Science fiction stories, and even some modern studies and technologies, would have us believe in the possibility of memory recording. In 2020, scientists at the NIH Clinical Center conducted a study that seemed to enforce the idea that our brains record memories in "neural firing patterns," not unlike how vinyl records store music in their grooves. “Our results support the idea that memories involve coordinated replay of neuronal firing patterns throughout the brain,” [said Dr. Zaghloul](https://www.nih.gov/news-events/news-releases/scientists-monitored-brains-replaying-memories-real-time). “Studying how we form and retrieve memories may help us understand ourselves and how neuronal circuits break down in memory disorders.” Can we trust our memories? When it comes to recollection, how important is the machine's accuracy of what we remember? What of us is formed by "true memory" and what portion of our personalities are formed around reactions to traumatic events and not the events themselves? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/ss_61a6e44febc18ab55ddaeb50c2ea0b40fc021108.1920x1080.jpg) Source: Steam. --- > The game smartly does away with the necessity of choice, comically reducing the selections to pieces of phrases or titillating the player with an alternative that results in the same linear path. --- 1000xResist is a story about survivor's guilt, dogmatic groupthink, flawed recollection, and an ever-shifting past shaped by mistakes, generational sins, and individual traumas. It posits that memory is even *less* dependable than we believe, its foundations built on quicksand whose walls constantly shift in and out of space and time. It is a game that moves in and out of shared memory, its nonlinear moments passing back and forth along scenic tracks that range from deeply personal to cataclysmic. As Watcher delves into the history of the ALLMOTHER, she must confront the cosmic giants that stand at the intersection of truth and lie, making her own choices along the way and dealing with the fallout of their world-changing consequences. ### Haunted by a place that doesn't exist I am, if anything, an evangelist for the things I love. Before playing 1000xResist, a good friend cautioned it would become "a part of my personality." [Disco Elysium](https://www.superjumpmagazine.com/disco-elysium-and-the-advancement-of-video-game-storytelling/), [Baroque](https://www.superjumpmagazine.com/baroque-sin-and-suffering-2/), [Koudelka](https://www.superjumpmagazine.com/drafting-koudelka-the-best-lost-survival-horror-rpg/), [Xenosaga](https://www.superjumpmagazine.com/transcending-the-material-xenosaga-religion-and-the-fear-of-death/), [Signalis](https://www.superjumpmagazine.com/signalis-review/), [Death Stranding](https://www.superjumpmagazine.com/death-stranding-and-the-unfailing-perseverance-of-optimism-2/)—I habitually absorb the games that foundationally impact my soul. As a writer, I cannot help but add these experiences—both personally and materially—to my bank of inspiration, to recall them when I work on short stories, novels, and essays. Immediately upon beating 1000xResist, I knew I had to spread the good word, messaging friends far and wide about the game's impeccable narrative. I suggested the game to my friend J. *J: "I've never yelled 'oh shit' so loud at a game."* One day later. *J: "This game just like, connected some separate artistic threads in my brain."* Two days later. *J: "I'm realizing that a lot of what I do artistically is so someone will ask me about it and then can gush about my influences..."* There is a quote from 1000xResist that I've seen repeated in its small social spaces, a piece of the Ocuppant's conversation with Watcher in Chapter 4\. *"There is the you that remains that remains and remains."* The game is filled with unusual language—"Hair to Hair" and "Hekki Allmo" and "Red to Blue." All these sayings have meanings, and all of them come back again. But "the you that remains that remains and remains" sticks in the player's mind, a combination of linguistic repetition and philosophical prodding. 1000xResist is built upon repetition and recollection. It is also a game about myth-building and the importance of belief. Safe in their Orchard, the sisters want to believe that Iris, their ALLMOTHER, is waging war against the despicable Occupants that have ruined the world. Each sister is coded with purpose and place, and Watcher's days revolve around interpersonal investigations and truncated time travel. Faith and identity are paramount to the sisters, a ragtag collection of clones, who wield their authority with severity. Order is the glue holding this future together, and as with most religions and fascistic governments, their fragility can be exposed by the people they serve. While the Allmother is something of a tyrant, her allowances stem from her experiences as a young girl, and she makes the grave mistake of allowing her clones to partake in art. Fascist governments button down art and entertainment over time, knowing that creativity is the ploy of the meager, and that revolution is born not just from disparity, but from yearning. "From each according to her ability, to each according to her needs," says Blue in Chapter 6, quoting Marx, even if she may not know the origin of the saying. When Blue becomes part of the revolution against the Provisional Government, it is not because she is some great revolutionary or messianic figure. She is simply part of the majority that cannot abide by control and injustice. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/1kxr-screenshot-01-2500x1406-c77b941737b5.png) Source: Epic Games Store. --- > As a writer, I cannot help but add these experiences—both personally and materially—to my bank of inspiration, to recall them when I work on short stories, novels, and essays. --- Indie video games like 1000xResist bear the unique opportunity to be about more than their mainstream counterparts. [Sephonie](https://www.superjumpmagazine.com/sephonies-strong-story-elevates-its-gameplay/), by Melos Han-Tani and Marina Kittaka, utilizes its time to delve into the twin histories of Japan and Taiwan. It examines how Taiwanese people are perceived internationally, and the challenges immigrants face to achieve equity and prestige in an unfair world. 1000xResist explores the traumas of China and Hong Kong, focusing mostly on the 2019 Hong Kong riots and their aftermath. It is a game where trauma is never relinquished but passed on and transformed, and the fractal elements of these sins carry over into the new world no matter how many times it is created. 1000xResist is a game of different worlds and realities. Like many game narratives that heavily feature philosophy, it delves into solipsism and how individuals formulate their internal worlds built from perception, experience, and trauma. The game's first violent event—Watcher stabbing the Allmother in the back—is met with surprise from the player and the affected characters. Watcher cannot understand how Allmother has let so many terrible things come to pass, and the Allmother is shocked that she could not see it coming, though perhaps she is also wondering why her death took so long. These disparate perspectives forge a brittle chain of memories, where things are not what they seem. ### Are we destined to reflect until we dissipate? We return to memory because it is our only anchor to the past. We cannot trust our eyes and ears, and in an era where things are so easily manipulated and perverted, it's tough to separate the real from the unreal. 1000xResist is a story built on lies. Lies beget pain, beget failure, where the labyrinth's core does not contain an answer that can help us, and instead functions to obscure the journey. The black box remains firmly shut, its secrets inferred by environmental storytelling and narrative suggestion. In a game that contains every science fiction trope both familiar and not, I cannot help but compare it to 13 Sentinels, which feels both eerily familiar and achingly new. Recently I played Ender Magnolia, and while the game references NieR: Automata with frequent abandon, it still felt like its own story born within its world. Narratives of unrelenting sincerity feel like a revelation because they do not lampshade their artifice, and instead focus on being clever, compelling, and true. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/ss_1b03251c88daf4f81b9a16e36af302749f42d25a.1920x1080.jpg) Source: Steam. --- > 1000xResist is a story built on lies. Lies beget pain, beget failure, where the labyrinth's core does not contain an answer that can help us, and instead functions to obscure the journey. --- The emotional beats in 1000xResist hit hard because they do not pull their punches. You cannot create a good story if you continually consider an imagined audience—the author must offer themselves to the indulgent real. As with NieR: Automata, part of what makes 1000xResist so compelling is that its story rests in a post-human world. We do not have to pretend at the pains of our lives in 2025—millennials like me, especially, are homesick for a place that never existed. It follows that we craft narratives in which human beings are an afterthought, or where lessons must be learned and sins must be carried by entities long after we are gone. The memories that Watcher is forced to revisit through the Allmother are unhappy. Learning how Iris became the Allmother is the crux of the game–scenes that extend to the narrative's final moments play out with cruel abandon. Iris and her parents have a complex, messy, and dispiriting relationship, that might be a little too familiar for some. The themes of immigration, communalism, and revolution mirrored by the Occupants versus the sisters are not accidental, and the deeply philosophical questions over existence that linger after the credits roll insist upon further reading, the game's sharp dialogue is sometimes too inflated with metaphor. Again, 1000xResist is a product of the era in which it was written. When I played [Metaphor](https://www.superjumpmagazine.com/metaphor-refantazio-and-the-power-of-fantasy/) last year, it was smack dab in the middle of our upcoming political upheaval, when many of us were not thrilled with the idea of voting in another Democrat but could not stomach the Republican option. 1000xResist's politics are about the people versus the government, both in the various Allmother eras and the Hong Kong revolution of 2019\. There is a bit of familiarity in the timetables as well—for those of whom Covid is still a distinct nightmare, 1000xResist lays it on thick with a pandemic that ends the world just in time for it to be subjected to the ambivalent aliens that incited it. Do memories last? If everyone who ever lived was gone in an instant, what remains? What can tell the stories of our individual lives? Do we remain individuals, or do we become part of the great unified whole, ghosts whose representations are meted out by the objects we left behind? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/ss_a031297f19d1742ef71b829f7a21d84def3cbf02.1920x1080.jpg) Source: Steam. --- > As with NieR: Automata, part of what makes 1000xResist so compelling is that its story rests in a post-human world. We do not have to pretend at the pains of our lives in 2025—millennials like me, especially, are homesick for a place that never existed. --- ### Together then? ...Into the future. I want to believe that I matter. I am selfish. I am small. I focus on the wrong things as life passes me by. My crimes are human ones—I want to be seen, I want to be invisible. I cannot abide cruelty. I relish in pain. My dreams and goals are too often tangled up, one confused for the other as my ambitions get the best of me and I am not left with enough time or energy to accomplish anything of value. 1000xResist's alien race upholds a standard in which human beings are shown to be painfully illogical, and the evolution of our consciousness is a great and terrible mistake. When everything ends, when society crumbles away and all that is left is what we leave behind, I want to know: did I live at all? 1000xResist attempts to break down the messy construct of life. The journey of the sisters, of Watcher, of Iris, of Jiao, mother, father. The nameless, faceless people who die due to the callous cosmic macro-perspectives of the Occupants. This tapestry of memories and perspectives weaves in and out again, crafting the only thing that remains and remains. We hunt for someone to blame for our troubles. Is it Iris, or her as the Allmother? Are Iris' mother and her lethal stoicism responsible for all of our pain and trauma? What about the Occupants? Or maybe it's the soldiers just following orders? What do the sins of the father—or mother, in this instance—mean in a society of rising fascism? Do those in power always fall, making mistake after mistake to justify their actions? The enemy is time. We do not have enough of it. As Secretary guides us through the macrocosmic ennui of the Occupants and we are forced to cede the Instrumentality of everything, 1000xResist's final weighted choices are all based on memory—what do we take with us, and what do we leave behind? ### Ultra Street Fighter II: The Final Challengers - A Retrospective URL: https://www.superjumpmagazine.com/ultra-street-fighter-ii-the-final-challengers-a-retrospective/ Last updated: 2025-03-30T01:57:43.000Z **I feel like I don't play enough Street Fighter.** Netflix anime series High Score Girl is centered around Street Fighter II, a game that is still near and dear to me as I still regularly play Ultra Street Fighter II: The Final Challengers on the Switch. I will always love the series and never tire of playing, but it was still great to reconnect with the phenomenon vicariously through the anime, back when the game was new and took the world by storm. The anime does a great job of taking you back in time, reliving the birth of the fighting game phenomenon all over again and also witnessing the humble advent of the now booming competitive fighting game scene. High Score Girl, above all else, portrays the connection gamers once shared with each other in the real world, long before the convenience of playing with complete strangers on the internet. Video games have always been accused of being an anti-social hobby, and this is strongly implied in the anime as well, but in hindsight, it really wasn't the case at all. Video games gave us a place to escape, and also gave us like-minded friends with whom to share those virtual adventures. Fighting game tournaments bring expert players from all over the world, united under the banner of virtual fighting. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/2025032412520000_s.jpg) Source: Author. Street Fighter may be on every system that has ever existed (sometimes even unofficially) but it has always lent itself naturally to Nintendo consoles. At one time the association was at its strongest, back when the best way to enjoy arcade hits at home was on the 16-bit Super Nintendo Entertainment System. For many who have been around the block for a while, our fondest memories were on a Nintendo system. When Ultra Street Fighter II: The Final Challengers was first announced for the Switch in the build-up to the system's launch, I was over the moon, and this was despite the moaning of critics claiming how this was the 1000th edition, among other cringe-inducing hyperbole. To me, it was a celebration, and a homecoming, of the most celebrated gaming franchises that can claim to be a global household name. Although the series has taken a much different direction in this day and age, it was refreshing to see Capcom dial it back to basics on the Nintendo Switch. In a way, it invited an audience which had long been alienated by newer games in the franchise. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/2025030915552300_s.jpg) Source: Author. Years after its launch, Ultra Street Fighter II has remained active on the online circuit, leaving behind its lukewarm critical reception. Despite the middling reviews from critics mostly complaining about the price (which was well below a standard Switch RRP, by the way), the game would go on to be a commercial success. Both as a physical retail release (good luck finding a copy in stores now) and especially as an eShop release, it exceeded Capcom's own sales expectations. It is a Switch classic in every sense and loved by many gamers despite critics trying to convince everyone otherwise. Ultimately this is the same Street Fighter II experience the gaming populace has always loved, and complaining about a new version of it won't change the fact that this is an eternally playable fighting game. Any version of this classic will always be considered a great game, whether it's among those who were fortunate enough to witness its inception and rise to video game stardom back in the '90s, or even those who are discovering it for the first time after their introduction to the franchise with Street Fighter IV or even Street Fighter 6. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/2025032412524700_s-1.jpg) Source: Author. No matter how many times or years you play Street Fighter II, no two matches ever feel alike, and the perfectly balanced roster of now iconic characters still, to this day, inspires modern fighting games. There's something in it for all play styles, all levels of experience, and something to keep everyone coming back. For these reasons I find myself returning to Ultra Street Fighter II, with each online battle giving me something new to remember, making me feel as if I am playing for the very first time. An observation of my own experience, in the 30 or so years I have been playing the series: I never actually used T. Hawk, perhaps less than five times to date, which may give me something new to discover about the game down the track. Speaking of rare characters, Akuma initially made his debut in the series as a secret boss character with a convoluted unlocking process, but in this Switch exclusive, he can be selected right from the start. It surprises a lot of people that my main go-to World Warrior is E. Honda. As a child when I first started playing these games, the hundred-hand slap was an easy and fun move to execute, but now as a more seasoned player, Honda has the ability to dish out high damage and close in on opponents with unreal speed. One may assume that he has a disadvantage against projectile attacks, but this super-sumo athlete can cover distances in an eyeblink, being able to corner and pummel his opponent in a heartbeat. He also has some impressive grapples that would make Zangief shake in his boots. Everyone has their favorite character and personal history, so while there's nothing wrong with using Ryu and Ken, the gameplay gets far more adventurous when you explore other styles, particularly those that don't have the convenience of long-range projectiles. Ultra Street Fighter II is the pioneering accumulation of versus fighting, with all the classic songs and stages intact, along with all the gameplay additions and revisions made throughout its history. The remixed visuals and soundtrack are great too, although I personally prefer the combination of classic visuals and remixed music to make a vintage game feel like a modern-day classic. The three new playable characters are a great part of the enjoyment too, whether it's the unstoppable Evil Ryu, the faster combo-focused Violent Ken, or the mythical secret boss Shin Akuma himself, who makes his first true playable debut in the mainline continuity since the Game Boy Advance spin-off launch title Turbo Revival. Granted, they're not completely brand-new characters, but they still offer fresh gameplay styles, unlike their original counterparts. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/2025030915543700_s-1.jpg) Source: Author. Think of it this way; the last time the game introduced new characters was back in 1993 with Super Street Fighter II, and it has been perfectly balanced ever since, so anything completely new added to an already perfectly tuned character roster is a huge deal. These enhanced versions of Ken, Ryu, and Akuma are a pretty sweet deal. Yes, they are overpowered, and they do indeed break the "fairness" of matchups, but that's part of the entertainment and appeal. It's like when the supercharged boss characters (Vega, Barlog, Sagat, and M. Bison) became playable in Champion Edition for the first time. Much like how the Samurai Shodown reboot in 2019 went back to its roots to reinvent itself, Ultra Street Fighter II is proof that no number of systems or meters can ever replace the core, sound fundamentals of one-on-one fighting. For some of us, it was a landmark moment to revisit the magic of being a gamer in the 90s, but with better graphics! I took a day off from work, picked up the game first thing in the morning as soon as the store opened, and spent six hours just enjoying it on my own before I even got into the online multiplayer. I even had friends, who had long stopped playing video games for decades, come over to enjoy some Street Fighter (the JoyCons are functional enough). Ultra Street Fighter II naturally lends itself to the Switch just as Street Fighter II Turbo did on the SNES decades ago. It's raw, hard-hitting, and offers endless bouts for instant combat gratification. The thoroughly tested gameplay formula is unquestionably the most polished it has ever been. Those claiming that it's more of the same need to play some of the prior titles in Street Fighter: 30th Anniversary Collection, just to appreciate how smooth and responsive the gameplay of Ultra Street Fighter II is by comparison. Classic Street Fighter has been rejuvenated here just like Namco has done with Pac-Man in recent years. Re-tuned iconic characters, compelling variations of classic fighters (Evil Ryu, Violent Ken, and Shin Akuma), intuitively balanced and refined combat, and a thoughtfully remixed art style and soundtrack, all breathe new life into Street Fighter II. A classic that was already endlessly playable in its own right. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/2025030915560800_s-1.jpg) Source: Author. Moral of the story: I need to play more Street Fighter. ### Remember That Joy Is An Act Of Resistance URL: https://www.superjumpmagazine.com/remember-that-joy-is-an-act-of-resistance/ Last updated: 2025-03-27T00:48:21.000Z **I’d like to tell you about a particularly juvenile series of events I had lately while playing a game.** This will come back to an earnest point about video games and writing eventually, but I seemingly need to do something jokey before I enter earnest mode. I know it’s not super healthy but there will be a point to it. Recently, I played through Sniper Elite: Resistance, the latest instalment of the long-running WWII shooter series from Rebellion. For those unfamiliar, Sniper Elite combines third-person action with first-person sniping, and is a straight-laced fare, apart from its gory X-ray kill cams. Periodically, time will slow down the insides of the soon-to-be dead Nazi is shown. You see the bullet or explosion shrapnel burst through their head, vital organs, or most infamously, their testicles. It was the right Game Pass game at the right time for me. I wasn’t especially hankering for another Sniper Elite game, but when its January 28 release date came around, I was having an urge to kill virtual Nazis. Who’s to say why, after absorbing the news of the week prior to the game’s release, I would feel this way. A real stumper. ![A screenshot from the Forbes website with the headline: Musk retweets Hitler didn't murder millions, along with a picture of Elon Musk. The sub heading reads: Musk and Tesla have faced heightened criticism since the billionaire made a gesture likened to a Nazi salute](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Screenshot-2025-03-15-141042.png) Screenshot unrelated. Source: Forbes. While playing Sniper Elite, I got a song stuck in my head. It was a song I hadn’t thought of in a while. It’s going to take a little explanation but it's easy to see the correlation. You see, back in 2012, a couple of guys recorded a series of cover songs under the name My Dick. They were called this because they replaced most of the lyrics of the songs with the phrase ‘my dick.’ Yes, it’s extremely lowbrow and one-note, but you have to admire the commitment to the bit. And you have to admire their rendition of their rendition of the 1978 Gerry Rafferty classic [Baker Street](https://www.youtube.com/watch?v=Fo6aKnRnBxM). You may not know the name, but you’ll certainly know the iconic sax riff. In Baker Dick (they’re all named like that, of course), there is the same understated intro then that sax, now accompanied by the singer following along in falsetto quoting Friedrich Nietzsche. Just kidding, he is obviously repeatedly belting out the phrase ‘my dick.’ It’s still funny. Just a great bit of sophomoric humour that has lodged deep inside my brain instead of something more useful. Source: YouTube. For an insight into my brain, start the video for Baker Dick above, then start the video below, and revel in the unabashed stupidity. Source: YouTube. I think what led me to installing Sniper Elite, turning the difficulty right down, and start acting as a one-man army with a penchant for aiming below the belt, was that I was seeking comfort by doing something silly with my favourite hobby to combat in the ever-increasing mountain of bleak news, whether it be imminent global threats, or something closer to home. When I do feel like that, I go through a bit of a thought cycle in regard to my spare time (and sometimes my life in general, but I’ll save that for therapy). It goes like this: 1. Why am I spending my spare time playing and thinking critically about video games, then occasionally writing about them? Shouldn’t be doing something more capital-I *Important*? 2. What could I, the hobbyist who writes comedy and video games criticism, write that is Important? 3. What’s the point of any of this? 4. Oh yeah, I like it. I think it is fun. That’s the point. Sometimes it’s good to do things you enjoy. If you want an example of how this works, I started this article a couple of weeks back and got about halfway through. I was still at step four and had found some time to write, which can be hard as it requires both time and some remaining spoons at the end of the week. Then my mind started the cycle anew, and I didn’t finish it. I’m unlikely to write many pieces this year and this one talks about dicks and balls way too much. Too silly, certainly not important, let alone *Important*. Then I saw this thread on Bluesky from Rami Ismail, one of the most prominent faces of the indie games scene. [I implore you to read it](https://bsky.app/profile/ramiismail.com/post/3lk7sodgdxk2g). It’s a beautiful story that touches on the same kind of thing I’m trying to spit out here, but far, far more cogently. Rami has grown to be more than a game dev and consultant, he’s the biggest advocate for Arabic representation and fighting Islamophobia in games. And he also struggles with making silly things against a backdrop of constant tragedies and genocide. ![A screenshot of a section of Rami Ismail's story on making games during dark times. It reads: Whenever times are dark and the world is falling apart and evil grasps at everything that I love and know, I wonder what I am doing with my life making silly things like games, silly things like art, silly things like entertainment - I think of that response. I find strength in it. Over my career, I've seen the power of games, of play, of art, of joy. They manifest spontaneously, everywhere, always. They're encoded into our being, into our humanity, and no matter how bad things get, art galvanizes, play reinvigorates, joy motivates - it just happens.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Screenshot-2025-03-16-161021.png) A section of Rami Ismail's story on making games during dark times. Source: Bluesky. There’s something else from a band that occasionally rattles through my head. Don’t worry, we’re firmly in the earnest zone. The phrase ‘joy is an act of resistance’ was coined by the Toi Derricotte in the poem [The Telly Cycle](https://rattle.com/from-the-telly-cycle-by-toi-derricotte/). It has become a popular phrase in social justice circles. Poetry isn’t where I came across the phrase (surely not a surprise by now), but from the British rock band Idles, who named their second album ‘[Joy as an Act of Resistance](https://www.youtube.com/watch?v=VODKZxsRa%5FE&list=PL1h1aQTAqESvkXWD8Sjt9zaeVflDbwPd5).’ I’ve got to say, it’s a much better thing to have stuck in my mind than the works of My Dick. It’s a good thing to remember if you’re worried about the frivolity of your pursuits, whether it be gaming, writing, or anything else. The people who are trying to destroy the world for their own benefit and deeply miserable people, and they aim to make everyone so miserable that they can’t fight back. So please, wring some joy out of anything you can, or better yet, provide a source of joy for others. Video games are a reliable source of joy for me, and I’m sure they are for you, too. Rebellion’s goofy insistence on putting graphically violent nut shots in their game was a source of joy for me. As were those two guys who decided over a decade ago to record an entire album of covers with exactly one joke repeated ad nauseam. And I hope you got something out of this, even if it was a laugh and a reduced amount of respect for me after watching those two videos together. ### The Unexpected Genius of Sit and Spin Adventure URL: https://www.superjumpmagazine.com/the-unexpected-genius-of-sit-and-spin-adventure/ Last updated: 2025-03-25T00:31:47.000Z **One of gaming’s stupidest artifacts happens to contain the most brilliant gameplay loop ever conceived.** I refer to Zakk August’s Sit and Spin Adventure (2015), a browser-based walking simulator whose simple presentation and chaotic aesthetics disguise some truly inspired game design. The game can be a challenge to find nowadays; none of its [original](http://www.zaugust.net/sit-and-spin-adventure.html) [hosting](http://www.zakk.lol/sitandspin) [URLs](https://mariopowertennis.tumblr.com/sitandspin) are alive as of March 2025, and the only playable version I’ve uncovered resides in a dusty corner of [GameSalad Arcade](https://arcade.gamesalad.com/play/129932). Butthe game is wellworth digging up to experience its singular sense of humor and appreciate its remarkably clever mechanics. ![The title screen for Sit and Spin Adventure. It says "PRESS ENTER," and notes that the game version is V1.3. The credits read, "Zakk August 2015 / mariopowertennis.tumblr.com."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Sit-and-Spin-Adventure-Title.png) Sit and Spin Adventure's title screen. Source: Author. In Sit and Spin Adventure, you control a sentient, ambulatory version of [the iconic Playskool toy](https://shop.hasbro.com/en-us/product/playskool-play-favorites-sit-n-spin-toy/E66ED7D3-5056-900B-103D-73B1F689942E). Dropped in the midst of an odd, sprawling world with an art style halfway between a web-scraped amateur Photoshop job and a “[graphic design is my passion](https://knowyourmeme.com/memes/graphic-design-is-my-passion)” clip art collage, you wander the various locales, speak with the bizarre denizens you find there, and investigate glistening points of light that mark sites of interest. The game offers no other guidance regarding where to go or what to do. The lone primer you receive is the minimalist game manual presented at startup, which instructs you to press WASD to move and SPACE to interact. ![The controls for Sit and Spin Adventure. The text under WASD key glyphs reads, "Movement." The text under a spacebar glyph reads, "Examine." Elsewhere, text reads, "Press Enter to Play."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Sit-and-Spin-Adventure-Controls.png) The controls shown on startup. Source: Author. The basic appeal of Sit and Spin Adventure is its comedic value. Everything is surreal and humorous at first glance, and often even funnier upon closer inspection. You may run across a photorealistic astronaut, abuzz with anxiety, as he jitters at ludicrous speeds. On another occasion, you might find your way barred by a gigantic Japanese-speaking frog in a scholarly pasteboard cap. One path leads you to Jesus, sporting sunglasses and grinning on a concert stage before legions of adoring fans, who then tasks you with cleaning his special private beach. Another route traps you in an aural torture chamber where a heavily truncated clip of Smash Mouth’s “All Star” plays on a loop, forever. And then there’s the lunar lemonade stand whose entire staff has asphyxiated for lack of air on the moon… ![A screenshot from Sit and Spin Adventure. The player avatar is on a lunar surface, with the earth a distant blue gibbous in the background. The player stands before a clip art lemonade stand. The text box reads, "All these children are dead. There is no breathable air on the moon. Why would they set up a lemonade stand here."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Sit-and-Spin-Adventure-Screenshot-2.png) In hindsight, the moon is an objectively poor location for a lemonade stand. Source: Author. You have no enemies to fight in Sit and Spin Adventure, but you can – and will – stumble into a Game Over routine before long. The game offers few opportunities to backtrack, and most paths are one-way; thus, any road you follow eventually culminates in an inescapable dead end. In such rooms, big, bold text informs you your journey has concluded, and you’re encouraged to press ENTER to restart the game. But there’s a twist. Many dead ends reveal hidden abilities that your intrepid plaything hero can activate to eliminate obstacles and explore new routes. These abilities aren’t unlocked, per se, because Sit and Spin Adventure has no save mechanism. Instead, they’re bound to keys that the game never told you to press before. It turns out that you always had access to these powers – you simply didn’t know it. After all, why would it ever have occurred to you at the game’s outset to press O to call upon the might of the government? Much less to try it when confronted with a roadblock? ![A screenshot of Sit and Spin Adventure. Large text reads, "Game Over / Press Enter to Restart." The player stands before a gray 3D clown sitting at a judge's bench. The text box reads, "Hello, I'm Horrible Margaret, the president of this school. If you ever need to use the power of government, just hit O, for objection!"](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Sit-and-Spin-Adventure-Screenshot-5.png) A dead end teaches the player a valuable skill. Source: Author. This simple but surprising mechanic constitutes the game’s masterstroke. Sit and Spin Adventure’s design prefigures a concept that Tommy Wallach, in [his book on Outer Wilds](https://bossfightbooks.com/collections/books/products/outer-wilds-by-tommy-wallach), terms “epistemic gating.” Whereas some games restrict (or “gate”) a player’s progress according to their skill (like in Super Mario Bros. or Elden Ring), strength (like any number of Final Fantasy games), or the items they’ve collected (a [Metroidvania](https://en.wikipedia.org/wiki/Metroidvania) custom), games that rely on epistemic gating instead use the player’s know-how as their benchmark. In such games, what stands between players and the game’s finale is not a bunch of stat-grinding or treasure-wrangling, but developing a grasp of what must be done in order to finish. In Wallach’s account, it’s never the features or the circumstances of epistemically gated games that change, but rather, the player’s understanding of those features and circumstances. Sit and Spin Adventure represents an early foray into this gameplay style, if not its first example. To this day, it still feels fresh – and surprising to experience. ![A screenshot from Sit and Spin Adventure. The player's avatar swings a large, photorealistic judge's gavel after pressing the O key.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Sit-and-Spin-Adventure-Screenshot-6.png) Wielding the power of the government. Source: Author. Once you faceSit and Spin Adventure’s great twist for yourself, the game’s entire texture transforms. Throwaway background details cohere into navigational hints or hiding places for silly easter eggs. Impassable obstacles start to look more like lateral thinking puzzles whose solutions have yet to be uncovered. Most magically of all, *losing feels good*. Dead ends become metaphorical doorways, with each game-over enriching successive playthroughs via the new possibilities they reveal. In several cases, they’re even *literal* doorways; sometimes the game-over message is a ruse, and the secret paths these screens obscure can be opened with the proper knowledge. Thanks to this excellent design choice, Sit and Spin Adventure constantly furnishes incentive to explore, encouraging players to uncover new abilities while empowering them to see all the weird and funny sights the game offers. ![A game over screen from Sit and Spin Adventure. The player stands before an open treasure chest, through which the eyes and nose of Pee-wee Herman peer. The text box reads, "No treasure here! But I'll tell you this! If you ever need to talk to frogs, just hit the right arrow key. HA!"](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Sit-and-Spin-Adventure-Screenshot-4.png) The real treasure is what we learned along the way. Source: Author. Sit and Spin Adventure deserves celebration for its simple yet powerful design philosophy. One on level, it’s a master class in using minimalist techniques (and technology) to craft satisfying gameplay. It infuses the walking simulator with life, showing how to revitalize an otherwise bare-bones and oversaturated genre. Yet the game’s true value lies in the mindset it instills among its players, urging them to dismiss nothing based on how it first appears and to slow down and take a second look at anything and everything. In these intellectually incurious – if not proudly ignorant – times, we need more games like Sit and Spin Adventure to remind us that curiosity is a virtue, and discovery its own reward. ![A screenshot from Sit and Spin Adventure. The player pilots a red rocket in space, with the moon visible in the distance, and has stopped beside a clip-art UFO with a green alien inside. The text box reads, "I'm trying to go to clown college. Have you been there? They won't let me into the USA."](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Sit-and-Spin-Adventure-Screenshot-1.png) You're better off visiting most other countries... Source: Author. ### An Interview with the Developers of Microtopia URL: https://www.superjumpmagazine.com/interview-with-the-developers-of-microtopia/ Last updated: 2025-03-23T13:35:08.000Z **There is more overlap between video games and insects than you might expect.** Satoshi Tajiri was inspired to create Pokémon by his time hunting bugs as a child. Hollow Knight shows us that insects can be as central to a Metroidvania game as vampires and space parasites, and Animal Crossing would just feel incomplete without the trusty bug-catching net. Cordyceps Collective are a Netherlands-based development team who display their insectoid inspiration proudly. In Microtopia, released in February 2025, players use robotic ants to construct massive colonies, while advancing up a sprawling tech tree. I reached out to interview them to discuss their new game. ### SUPERJUMP Tell us a bit about the story of Cordyceps Collective. I understand, from your [site](https://cordycepscollective.wordpress.com/), that you're a team of three. How did you meet, and how did you decide to start making games together? ### Cordyceps Collective That's right, we’re a three-person team composed of Tijmen Meijer (Game Director), Floris Kaayk (Art Director), and Maarten Brouwer (Lead Developer). Floris and Tijmen actually attended the same art school in Breda, the Netherlands (though ten years apart). They met when Floris wanted to explore the world of game development, and Tijmen, who had recently graduated, offered to help. In addition to Microtopia, they also created Next Space Rebels. Maarten has been part of the team from the beginning, contributing to the programming back-end. Credit also goes to our composer, Rutger Zuydervelt (alias Machinefabriek), who delivered the amazing ambient soundtrack. ### SUPERJUMP Why did you choose the name "Cordyceps Collective"? Isn't Cordyceps a parasitic fungus that infects insects? ### Cordyceps Collective We wanted to come up with a new group name for this project rather than reusing our previous one. After tossing around ideas, Maarten suggested Cordyceps Collective. You are right, as you might know from a rather famous video game and TV series, it is a type of fungus that infects insects, altering their brains to turn them into zombies that walk high into the treetops for the fungi to grow out and release their spores. We are but the drones of a greater cordyceps network that instructs us in its objective of creating Microtopia. That and it has a nice ring to it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Microtopia_UI.png) Source: Press Kit. ### SUPERJUMP Can you tell me about the inspiration behind Microtopia? Was there a single lightning bolt moment where the idea of the game suddenly formed, or was it more gradual? ### Cordyceps Collective The idea struck Tijmen while watching a Kurzgesagt video about the inner workings of an ant colony. In real life, ant colonies organize themselves using an intricate system of pheromone trails. ‘Explorer’ ants wander around randomly until they find food or another point of interest. Once they do, they follow their own scent trail back to the colony, reinforcing the path for other ants to follow. The more successful trips ants make, the stronger the trail becomes. As food gets depleted, the scent fades, and the process naturally redirects resources elsewhere. In essence, this behavior functions like an algorithm, where simple rules lead to complex, adaptive solutions, similar to how slime molds find efficient pathways. Tijmen was struck by the idea of replacing this organic system with player interaction. After creating an early demo, combining the theme of life functioning like a machine with the structure of a factory game, everything quickly fell into place. Electronic ants crawling around, collecting and processing resources, while the player, acting as a hive mind, manages the colony’s logistics. ### SUPERJUMP How much did the behaviour of real ants inform your design? ### Cordyceps Collective We started with the core inspiration of pheromone trails and then expanded on it by introducing ant castes, a defining feature of eusocial insects, where individuals within the same species have specialized roles and appearances. A key gameplay objective is colony reproduction, which requires ramping up production to create gynes (young fertile queens). These queens then embark on a nuptial flight (or "flying ant day") to mate with drones from other colonies. Beyond these biological influences, we incorporated many automation and management conventions, such as harvesting and smelting iron, building robotic factories, and researching technology to progress through a tech tree. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/MicrotopiaColonyDesertBiome2.png) Source: Press Kit. ### SUPERJUMP Why did you decide to make the ants in your game robots? Is this a commentary on the way actual ant colonies function? ### Cordyceps Collective For a long time, we envisioned the game with realistic ants, going through multiple iterations. However, from a gameplay perspective, they needed to construct buildings, smelt iron, and perform other tasks that felt unnatural for real ants. We experimented with giving them culture and intelligence, but it didn’t quite work. Then we remembered a short film Floris made 20 years ago about insects composed of electronic components that evolved from e-waste. The idea fit perfectly with the game. It serves as a form of satire, illustrating how, even in an environment polluted by humanity, life finds a way to survive and thrive. Once we embraced the robotic ant aesthetic, everything clicked into place. The industrial colony, resembling a circuit board, felt like the perfect setting. From that point on, there was no doubt about the direction of the design. You can watch the film on YouTube! ### SUPERJUMP Was there anything about ant behaviour that you weren't able to adapt, or that you had to take some creative liberties with? ### Cordyceps Collective One common expectation about ants is that they go to war with other colonies. This is something we chose not to incorporate into Microtopia. While robotic soldier ants would be cool, Microtopia is not a game about destruction. Colony-building is a slow and deeply engaging process, and after hours of work, it wouldn’t be fun to start over because an aggressive neighbor wiped out your larvae. ### SUPERJUMP The gameplay in Microtopia involves the different roles that ants can play in a colony. Queens, workers etc. Some of these roles have been created for the purpose of the game, like inventor ants. How did you go about making up these new ant roles? ### Cordyceps Collective Inventor ants serve as the equivalent of research stations in other management games, generating a resource that allows players to unlock new technologies. We chose to combine this standard gaming convention with inspiration from real-world honeypot ants. These ants have specialized members that store excess food, developing enormous abdomens filled with nectar to feed the colony during shortages. Many of Microtopia’s mechanics blend traditional game design principles with natural inspirations. ### SUPERJUMP What happened to humanity in the world of Microtopia? There are gears lying around, and other hints that human beings may have once existed (someone has to have designed the robot ants). Are we still around? ### Cordyceps Collective Floris’s original short film ended on a dark note, with electronic insects becoming the dominant life form and taking over the world. Microtopia is set 10,000 years after that event. The expansion of these robotic insects triggered an apocalypse. Humanity is long gone, and the world is shattered and broken. All that remains is a new form of electronic life—one that thrives through cooperation rather than destruction, carrying on where organic life left off. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/DevelopementTree_CloseUp.png) Source: Press Kit. ### SUPERJUMP Why did you choose the name "Microtopia"? ### Cordyceps Collective Roughly translating to "small place," Microtopia represents both the physical scale of your ant colony and your attempt to create a microscopic utopia for these strange, industrious creatures. ### SUPERJUMP Do you have any future projects in mind? Will these also be insect based? ### Cordyceps Collective Right now, Microtopia demands all of our attention. We don’t have any concrete plans for future projects yet, but whatever comes next will likely be another game that encourages players to be inventive and creative. --- We'd like to thank the team at Cordyceps Collective for making time to tell us all about Microtopia, which is available on [Steam](https://store.steampowered.com/app/2750000/Microtopia/). Stay tuned to SUPERJUMP for more interviews! ### Level Up Your Look: Custom Apparel for Gamers URL: https://www.superjumpmagazine.com/level-up-your-look-custom-apparel-for-gamers/ Last updated: 2025-07-18T01:03:14.000Z **Gaming has evolved beyond just a hobby; it has become a lifestyle.** From esports professionals to casual players, gamers express their passion not only through their skills but also through their fashion. Custom apparel for gamers is the next big trend, allowing individuals and teams to showcase their unique style while representing their favorite games, communities, and brands. If you're ready to level up your look, here's why custom gaming apparel is a game-changer and how you can get started. ## Why gamers love custom apparel ### 1\. Personal expression Gaming is a deeply personal experience. Whether you're a fan of first-person shooters, strategy games, or MMORPGs, your style should reflect your passion. Custom apparel allows you to design clothing that represents your favorite characters, in-game achievements, or even your gamertag. ### 2\. Stand out in the crowd At gaming conventions, esports tournaments, or even local gaming meetups, custom apparel sets you apart. Wearing a unique jersey or hoodie with your team logo or in-game nickname can instantly grab attention and establish your presence. ### 3\. Boost team spirit For esports teams, branding is crucial. Custom jerseys, hats, and hoodies help foster team unity and create a professional image. Many esports organizations invest in custom apparel to build their brand identity and gain recognition in the competitive gaming space. ### 4\. Comfort and functionality Gaming apparel is designed with comfort in mind. Whether it’s a lightweight hoodie for long gaming sessions or a breathable esports jersey for tournaments, high-quality custom clothing ensures you stay comfortable while focusing on your game. ### 5\. Monetization for streamers and content creators If you’re a gaming influencer or content creator, custom apparel can be a great way to monetize your brand. Many YouTubers and Twitch streamers launch their own merchandise lines, allowing fans to support them while sporting exclusive designs. ## Popular types of custom gaming apparel There are many ways to incorporate custom apparel into your gaming wardrobe. Some of the most popular options include: - **Custom Hoodies**: Stay cozy during long gaming sessions with hoodies featuring your favorite game graphics or Gamertag. - **Esports Jerseys**: Represent your team with high-performance jerseys featuring sponsor logos and player names. - **Graphic T-shirts**:Express your gaming passion with custom t-shirts from a reputed online store like [4inbandana](https://4inbandana.com/custom-polo-shirts). You can showcase your favorite quotes, characters, or gaming memes. - **Snapbacks and Beanies**: Complete your look with custom headwear featuring game-inspired designs or your brand logo. - **Gaming Socks and Accessories**: Small details like socks, wristbands, and keychains can add a custom touch to your style. ## How to get your own custom gaming apparel ### 1\. Choose a custom apparel provider Many online platforms specialize in custom apparel for gamers. Look for companies that offer high-quality printing, embroidery, and material options to ensure your designs come out exactly as you envision them. ### 2\. Design your apparel If you're artistically inclined, create your own designs using software like Photoshop or Illustrator. Alternatively, you can hire a graphic designer or use online design tools to bring your ideas to life. ### 3\. Select quality materials Comfort and durability are key when choosing gaming apparel. Opt for breathable fabrics like cotton or polyester blends that provide flexibility and longevity. ### 4\. Place your order Once you’ve finalized your design, order a sample to ensure the quality meets your expectations. After approval, you can order in bulk for teams, events, or personal use. ### 5\. Show it off! Once you receive your custom apparel, share your new look on social media, gaming events, or livestreams. Engage with your community and inspire others to personalize their gaming fashion. ## The future of gaming fashion Custom apparel for gamers is more than just clothing; it's a statement of identity, passion, and belonging. With advancements in printing technology, AI-generated designs, and sustainable materials, the gaming fashion industry is poised for continuous growth. Whether you're an esports professional, a casual player, or a gaming content creator, custom apparel is the perfect way to showcase your love for gaming while staying stylish. So, what are you waiting for? Level up your look today and represent your gaming lifestyle with pride! If you are looking for high-quality gaming apparel and accessories, check out[ 4inBandana](https://www.4inbandana.com/) for unique custom designs. **This story contains links from one or more partners.* ### Soulsborne Sweetness and Rolling Raiders: Good in Gaming Vol. 2 URL: https://www.superjumpmagazine.com/soulsborne-sweetness-and-rolling-raiders-good-in-gaming-vol-2-2/ Last updated: 2025-03-21T10:36:31.000Z **This time in SUPERJUMP's dive into the world of positivity in the gaming community, Artemis Octavio explores the kindness of the Soulsborne community when one of their own faces a real-world boss fight.** We also have a fun exclusive from SJP’s founder James Burns, exploring the world of a fellow Aussie gaming publication and their efforts to support gaming at all ability levels through a wheelchair rugby league! [Cat Webling](https://www.superjumpmagazine.com/author/catwebling/) **Editor** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Screenshot-2025-03-18-at-4.26.52-PM.png) Zullie The Witch's YouTube channel. Source: YouTube. ## “Don’t You Dare Go Hollow” by [Artemis Octavio](https://www.superjumpmagazine.com/author/artemis/) If you’ve dredged the depths of Soulsborne YouTube, there’s a good chance you’ve run across the videos of [Zullie The Witch](https://www.youtube.com/@ZullietheWitch). She’s been datamining FromSoftware Games for longer than I’ve been playing them. She’s accrued a repertoire of videos detailing esoteric lore, aesthetic minutiae, and deep-dives into famous Soulsborne areas and bosses. With the impending release of Elden Ring: Nightreign, Soulsborne fans have firmly set their sights on her new videos to discover the hidden secrets of the game. To the dismay of many fans, [her latest video](https://www.youtube.com/watch?v=gWblAIfGWW0) was initially appended with a Ko-Fi donation link and a depressing note, detailing that the Youtuber has been having a rough go at it lately: "I am clawing my way out of a pit of depression, but the pit is deep and my claws are blunt," wrote Zullie. "I'd been hoping to get back to making videos at the start of the month, only to find myself just slipping in at the end of it instead. Between that, the fact I haven't been able to secure a sponsor video in a while, and a looming $15,000 in medical expenses, I'm reluctant to do this, but I'm openly asking for donations." Soulsborne fans are notorious for not backing down from a challenge, so the community joined forces to face off against the most difficult boss in the world: medical debt. Within a matter of hours, Zullie stated she had decided to remove the donation link, as not only had her donation goal been met, but she received thousands of extra dollars to support her. In a pinned comment she writes: “Update: I'm removing the donation links because this has already smashed every expectation I had and I'm kind of overwhelmed by how quickly and emphatically you've all lent your support. I've always been a deeply anxious person, and a large emphasis of that anxiety lately has been financial issues, so I truly didn't anticipate seeing the bulk of those issues get crushed into nothing in the span of a single afternoon. I'd been deeply reluctant to ask for assistance, especially because I felt like I had avenues of addressing these problems that weren't available to the average person, like vying for sponsor money or trying harder to make more videos, but having finally asked, I don't know how to express how unprepared I was for the level of generosity I've received. It feels conflicting because I've always been ashamed of even slightly inconveniencing others, but choosing to suffer in noble silence was still suffering. Thank you all so much, I'm hardly able to comprehend, let alone express, what I'm feeling right now.” What’s particularly endearing about this news story, is that many fans decided to list their donations with a famous line of dialogue from one of Dark Souls’ beloved NPCs, Laurentius of the Great Swamp, who farewells the player by saying: “Don’t you dare go hollow”. In the post-apocalyptic world of Dark Souls, humanity is cursed with undeath; felled warriors rise back to life, over and over again, in the process losing their minds and sanity, becoming shells of their former selves, in other words, “hollow”. This narrative set piece melts together with the themes of struggle and overcoming insurmountable challenges that cloak the game. The wise adage is a rallying cry for perseverance and strength. It’s a reminder to Zullie that she is not only respected and admired but loved by her community, a fandom that would suffer a grievous blow if she stopped making videos, and a group of fellow-minded FromSoft lovers who do not want her to give up, who do not want her “to go hollow”. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/449592529_1012733590860737_6344013158504526780_n.jpg) The 2024 Wheelchair Rugby League Champions - The Rolling Raiders. Source: Player2. ## Rollin’ with the Canberra Rolling Raiders by [James Burns](https://www.superjumpmagazine.com/author/jamesburns/) Our friends over at Player2.net.au (another Australia-based independent gaming publication) have always been superstars when it comes to giving back to the community. Their support for charities has been particularly notable (especially through the [Terry Campese Foundation](https://www.terrycampesefoundation.org.au), which uplifts and mentors young people through a range of great initiatives). Just recently, they [announced a new partnership](https://www.player2.net.au/2025/02/player-2-and-the-canberra-rolling-raiders-the-perfect-match/) with the Canberra Rolling Raiders, a [Wheelchair Rugby League](https://www.raiders.com.au/crrl/wheelchair-rugby-league/) team based here in Australia. As usual, Player2 have taken a thoughtful approach to philanthropy: Wheelchair Rugby League is a highly inclusive sport that enables high-level international competition for the widest possible range of people - regardless of their ability or any other attribute (sex, ethnicity, religion, etc). As their announcement notes, Wheelchair Rugby League can be an expensive endeavour (the chairs themselves can each cost thousands of dollars, transit to-and-from venues is costly for players, and venue hire itself can represent a significant financial hurdle). Player2 will not only contribute its own funds directly (that is, through the generosity of Matt Hewson, Player2’s founder and Editor), but it will also run wider fundraising efforts throughout 2025 and 2026. It’s easy to feel that there are no good things happening in the world at the moment. This is, of course, the key reason why we’ve kicked off the Good in Gaming series. It’s not just that there are so many stories of generosity, grace, and kindness out there in general; it’s also that even an often-toxic video game industry is capable of truly great feats of love that are genuinely about lifting people up rather than putting them down. Player2 thoughtfully and repeatedly demonstrates the kind of ethos we should all want to emulate. Make sure to keep an eye on their [website](https://www.player2.net.au) and [Bluesky](https://bsky.app/profile/player2au.bsky.social) for future updates. ### Formula 1 Video Games URL: https://www.superjumpmagazine.com/formula-1-video-games/ Last updated: 2025-03-17T11:55:07.000Z **The 2025 Formula 1 Grand Prix is officially underway, with the first round taking place in Melbourne (Australia) at the time of this story.** As I type these words, I can hear the supercars whooshing all the way from my apartment; supersonic soundwaves, apparently. Formula 1 is a motorsport that exists in a world of its own, and the fandom surrounding it has really picked up in the last five or so years. This is a sport with a rich history and legacy of legendary drivers. Formula 1: Drive to Survive on Netflix no doubt introduced new fans to the sport, which you can check out right now with its six seasons of dramatic intensity. Fans can also look forward to the theatrical release of the aptly and succinctly titled F1 in 2025, starring Brad Pitt and Damson Idris in an almost Top Gun-style buddy-pilot dynamic. The full trailer debuted to commemorate the start of the 2025 grand prix. If you're following the latest season or weren't one of the lucky ones in Melbourne who managed to score the hottest ticket in town, here are some F1 video games you can pick up right now on most modern gaming platforms. ## F1 24 ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/F124-steam.jpg) Source: Steam The official F1 video game is no doubt a great place to start. It features all the licenses, likenesses, and most importantly, staggering production values and ultra-realism rivaling the likes of Gran Turismo and Forza Motorsport. While the annual EA release cycles can cause inevitable burnout, F1 24 is the definite driving simulation that captures the majesty of the motorsport. It's a feature-heavy game, but more importantly, it's just a stunning game to look at and admire on any modern hardware, especially the attention to detail when driving in first-person. The game is available via a Game Pass subscription too. If you happen to be going through an F1 phase right now, this is the ideal time to pick up F1 24. ## F1 Manager 24 ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/F124-Manager-steam.jpg) Source: Steam Chances are you might be more fascinated with the behind-the-scenes management and business aspect of F1 rather than the actual driving aspect, and if that's the case then F1 Manager 24 has you covered. The Manager series started out as a companion game to the main driving franchise with the release of F1 Manager 22, and unfortunately it looks like there won't be any more new releases after F1 Manager 24\. Not only is Manager overshadowed by the main driving franchise, but it also struggled to find its footing as a deep management simulator, nowhere near something like Championship Manager. That being said, for most fans of the sport there is a lot to enjoy here, and it's best experienced on a portable device making it perfect for a handheld PC like Steam Deck. There is also a Switch version which, although it suffers from graphical and performance issues, at least allows players to take the experience on the go, and it holds up reasonably well when performing managerial tasks (load times can still be a chore, though). ## Virtua Racing ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Virtua-Nintendo.JPG) Source: Nintendo If hyper-realism isn't your thing, there are plenty of other fun alternatives. SEGA AM2's Virtua Racing was a pioneering 3D racing game, laying down the groundwork for Daytona USA and generations of other racing titles. The simplistic polygon graphics are charming and practical, but what makes the experience timeless is its smooth and addictive driving model, delivering fun arcade driving with a real sensation of speed. There have been several home ports for this one, but luckily you don't need to hunt down old SEGA hardware for this, as the game has been beautifully remastered for Switch as part of the SEGA Ages lineup. The Switch release features a pristine framerate and a range of modes including multiplayer. This one is always fun to play and makes for a fantastic time-burner in handheld mode. ## Pole Position ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Pole-Position-nintendo.JPG) Source: Nintendo Namco's 1982 arcade classic is iconic and timeless for all the right and deserving reasons. It was undeniably ahead of its time, hailing from a time when arcade prowess was light-years ahead of what home consoles could conceivably achieve. Pole Position is one of those games that's easy to jump back to time and again thanks to its smooth and addictive driving model, while also delivering a sensation of speed that feels unreal given the hardware limitations of the time. This game is all about chasing that high score in record time, and the chase keeps bringing you back for more. This one can easily be picked up on Switch as part of the immense Arcade Archives library of digital releases. Those willing to go the extra mile, however, will find the Atari 2600 port well worth checking out; it's an easy cartridge to find in the wild and it works great on the modern Atari 2600+ console. The Atari home conversion was one of the most impressive ports of its time, and still just as fun to play as its arcade counterpart. ## Horizon Chase Turbo - Senna Forever ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/F1-Senna.jpg) Source: Steam There's a good chance that you already have Horizon Chase Turbo installed on your smartphone. The free download version is the quintessential smartphone gaming experience, and while the game can be played on other platforms, it feels just perfect as a portable mobile gaming experience. It may be a paid DLC add-on (inexpensive, by the way) to the base game, but the Senna Forever campaign is well worth it as a fun F1 arcade experience and as a loving tribute to Ayrton Senna, one of the most legendary drivers to have ever lived. The three-time world champion's life tragically ended in an accident during a race at the 1994 Grand Prix. Senna Forever pays tribute to his lasting legacy via excellent gameplay modes, the most notable being the engaging career mode. The exclusive campaign also presents unique F1 race mechanics and systems not found in the base Horizon Chase Turbo game. --- There are other F1 video games worth mentioning, but these would require plugging in legacy hardware (F1 Race on Game Boy is a personal favorite!). If you're just getting introduced to F1 and its video game subgenre, then these games are a good and convenient place to get started in the fandom. ### One Year Later – An Autopsy of Suicide Squad: Kill The Justice League URL: https://www.superjumpmagazine.com/one-year-later-an-autopsy-of-suicide-squad-kill-the-justice-league/ Last updated: 2025-03-18T14:26:39.000Z **The first glimpse anyone got of Suicide Squad: Kill The Justice League was during the online event DC Fandome, in August of 2020\.** At the end of its cinematic teaser, a release date was slated, for the year 2022\. This would age poorly, as the game underwent two major delays, finally releasing in February 2024\. Looking back, people’s first reactions to the teaser were a huge contrast to its reception on release. Most had been eagerly anticipating another entry from the then spotless record of Rocksteady, who revolutionized the superhero genre of video games with their Arkham series. Unfortunately, things didn’t get better from there. When the gameplay trailer reared its head a year later, people started to notice what the game was about. Each of the four playable characters mainly used guns instead of unique character-specific mechanics, which clued future players to the game’s looter shooter foundations. Even then, Rocksteady was a household name that had yet to disappoint, reassuring fans to hold their reservations at bay. But then [the co-founders of Rocksteady left the studio at the end of 2022](https://www.polygon.com/24040541/rocksteady-studios-founders-new-studio-hundred-star-games), before the game’s release, leaving the remaining employees to pick up the pieces of a vision that was not theirs. Having just played Suicide Squad, now a year since its release, with the developers announcing they’ve stopped supporting the game, I have to say that there are good things that surprised me and lessons to be learned from bad habits in the gaming industry. ## What went right? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Screenshot--15576-.png) Source: Author. Before delving into its cause of death, I felt it right to celebrate the game’s brief life. The idea for a Suicide Squad game was conceived as early as 2010, and then teased three years later at the end of WB Montreal’s Batman: Arkham Origins. Another three years passed before WB Montreal evidently cancelled the video game, handing the development to Rocksteady instead. Suffice it to say, the version of the game in stores right now may have had around a decade of on-and-off development, with numerous changes, with the end result being entirely different from its first conception. Without talking about the what if, the game the people are actually playing is a competent third-person shooter with amazingly fun traversal while carrying all the faults of a live service model. The core gameplay loop of Suicide Squad centres on getting around the open-world city of Superman’s domicile and shooting aliens to earn loot. The traversal does wonders to spice up repetitive missions and enemy types. Each of the four characters has their own way of traversing the world, such as a jetpack, grappling hook, and my personal favorite, teleporting boomerangs. The city itself is a joy to explore, sporting a truly unique art-deco look meticulously designed by a team of artists. Like the usual Rocksteady venture, Suicide Squad has a lot of collectibles and challenges that encourage exploration but never get overwhelming, a welcome distraction between missions. There is great environmental storytelling, especially in one rare indoor mission where players are placed at the other end of Batman’s fists. But like most parts of the game, there is a lack of harmony between what the game tries to do and what it delivers. One example is the game’s irreverent characters. Their jokes hit at times, but there is a dissonance between them and most players who end up controlling them. They have so much disrespect for the heroes, the titular Justice League that they’re supposed to kill, but the majority of players do not. Fans have enormous respect for the DC universe that Rocksteady has built since Arkham Asylum in 2009, and moments of Suicide Squad can feel like the characters are not only spitting in the face of four previous games but also on someone’s childhood. One wonders if all or most of this was designed by a committee, mandated by out-of-touch suits who hold the money. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Screenshot--15617-.png) Source: Author. --- > There is great environmental storytelling, especially in one rare indoor mission where players are placed at the other end of Batman’s fists. But like most parts of the game, there is a lack of harmony between what the game tries to do and what it delivers. --- The game’s controls, on the other hand, are intuitive, and snapping from traversal straight to combat is incredibly smooth. It bears similarity to Insomniac’s Sunset Overdrive more than anything else, but another source of inspiration that would not be as obvious is that of Doom Eternal. Like previous Rocksteady Arkham games, Suicide Squad has a counter mechanic, where you can effectively repel enemy attacks. Unlike their prior games, countering enemies leaves them open for a “shield harvest,” where players can regenerate their shield bar by attacking enemies glowing blue with predetermined melee animations. This is not dissimilar to [Doom Eternal’s "glory kill](https://www.thegamer.com/doom-eternal-how-to-perform-glory-kills/)" system, which emphasizes aggressive gameplay, discouraging players from running away and keeping them engaged in the action. Their similarities end there, however, as the rest of Suicide Squad’s systems do not support this core tenet. In between story missions that recycle objectives and enemies, side missions repeat the same thing, desensitizing what was once fun combat. The only incentive for players to keep going is to see the story’s ending, which, due to it being a live service game, is artificially extended through endless grinds. The cast of Suicide Squad, from its villains turned heroes to its heroes turned villains, falls flat from lack of polish and even satisfying cutscenes past the halfway point. If only the traversal had been more motivated in the lull between missions, meaningfully integrated beyond a way to get from point A to point B, and maybe even included in linear platforming sections, it could have helped with the pacing. Unfortunately, it wouldn’t have been in line with the game’s live service model, and any detours from the reusable open-world mission design have been discarded. The game’s prolonged development time seemed dedicated to its always-online mission cycle with microtransactions and battle passes. This pattern has brought down many successful game franchises before, as many companies have succumbed to the attractive allure of endless growth promised by live service. A decade of development for decades of players spending money on the same game looks like a fair trade-off on paper, but that is assuming the game would reach the success of heavy hitters like Fortnite or Overwatch, ignoring the cautionary tales of so many others. In actuality, [Suicide Squad’s player count](https://www.thegamer.com/suicide-squad-kill-the-justice-league-ssktjl-steam-player-counts-steamdb/) ended up averaging around a hundred people, and its lifespan closer to ten months. ## What went wrong? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Screenshot--15605-.png) Source: Author. To be fair, a lot of things were going against the game’s success. [Kevin Conroy’s unfortunate passing](https://www.nytimes.com/2022/11/11/arts/television/kevin-conroy-batman-dead.html) made this his last video game voice acting role, having it carry more weight and reason for criticism than it would have otherwise. No matter what the developers did, they could never salvage the final product to satisfy fans of Conroy’s iconic portrayal, especially with the game’s reduced emphasis on story. Apart from that, Suicide Squad was pulled into so many different directions during development, from founders and executives alike, that it was bound to be a mishmash of disjointed parts. I’m sure the developers wanted to release a game they could be proud of, and the developers tried their best to imbue the final product with some heart, but their game was stuck in a vicious cycle. The longer a game is developed, the more money it burns, leading to a higher pressure for commercial success. Suicide Squad had followed a trend quickly going out of style, and its delays only marked its doom. Pressured by the shifting market’s ticking time bomb, and the devilish demands for mainstream appeal, the game was stripped of any identity other than the facade of recognizable IP. Every decision that led to the game was motivated by gaining as many old and new players as possible, prioritizing their retention rather than crafting an enjoyable experience. They dangle the DC IP like a carrot on a stick, covering for the fact that their stick doesn’t stand out in an oversaturated market. Everything is worked backward in service of the live service model. The game introduces the multiverse, as an excuse for reusable boss fights and different maps. The plot is contrived, with most cutscenes there to explain away the types of game modes for grinding gear. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Screenshot--15600-.png) Source: Author. --- > Suicide Squad was pulled into so many different directions during development, from founders and executives alike, that it was bound to be a mishmash of disjointed parts. --- Suicide Squad is so busy setting up its endgame that it falls from its back-heavy weight. It relies on the faith that people will buy it on release, making its budget back to produce new updates, and practicing the too-common habit of “fixing things in post.” Like its Hollywood counterpart of failed movie franchises, Suicide Squad’s commercial failure means that the future plans it set up will never be fulfilled, and what all the behind-the-scenes hard work amounted to was a “promise.” There has been a trail of bodies with this same cause of death before. [BioWare's Anthem](https://www.forbes.com/sites/erikkain/2019/05/30/why-anthem-failed-and-why-it-was-never-destined-to-succeed/) followed up successive single-player action RPGs with a multiplayer-only bomb after almost a decade in development. [Arkane’s Redfall](https://www.forbes.com/sites/paultassi/2023/05/03/redfalls-failure-is-microsofts-failure/) followed critically acclaimed immersive sims with a bug-infested multiplayer looter shooter. Suicide Squad is just one of many recent victims. This is a trend, a Modus Operandi of the serial killer called corporate greed. Nothing about this case is new, neither the type of game nor its failure. But with Rocksteady steadily altering its course, encouraged to go back to its roots of single-player storytelling, maybe the future of AAA video games is starting to look bright after all, as companies learn the hard way that gambling on trends rarely bears fruit. [With Warner Bros. reportedly losing 200 million US dollars from their video games division](https://www.businessinsider.com/suicide-squad-video-game-failed-cost-warner-brothers-2024-5), maybe the only thing Suicide Squad killed is the future of live service games. ## What could have been? The name “Suicide Squad” presents a unique opportunity for adaptation from paper to controllable characters. The idea of an expendable team that you or your friends can control, each member having an equal chance to die before the credits roll, is ripe for edge-of-your-seat tension. It is, by and large, a great premise for a video game, particularly a multiplayer one. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/suicide_squad_2.jpg) Suicide Squad (1987) written by John Ostrander with art by Luke McDonnell. Source: DC. Regrettably, what we got instead were interchangeable one-dimensional characters with different colored firearms. To put salt in the wound, the CCO of DC at the time, Geoff Johns, [spoke in 2012 about the then-upcoming game](https://kotaku.com/geoff-johns-says-a-great-superman-video-game-needs-the-5885093), commenting on the storytelling potential of lead characters permanently dying. Alas, that was a time before live service became the titan that it has been for years. And now, that ingenious concept runs opposite to a game that’s supposed to last forever, meaning that the whole premise of the title isn’t even remotely utilized in the final product. If the game was either a multiplayer battle royale or a linear single-player story, it could have a chance at translating the core idea of the IP. But to have it both ways means that the game wasn't faithful to the source material and never needed the expensive sheen of its IP in the first place, other than to reach a larger audience, which it ended up alienating either way. It is worth noting that the developers spent a large part of their careers and years of their lives making this game. Suicide Squad was most likely in development before the first appearance of a battle royale game and around when Bungie’s Destiny became popular. It’s important to look at its development within that context, as Rocksteady wouldn’t have been able to respond to the failure of other live service disasters, like Crystal Dynamics’s Avengers, with enough time. With the writing on the wall for Suicide Squad’s fate – even before the game hit the market – Rocksteady’s founders jumped ship, leaving their brainchild in the oven midway through production. So the team was left to adopt and raise a baby that was not theirs. [They were not even informed that they were going to be making a live service game](https://www.forbes.com/sites/paultassi/2024/06/06/report-suicide-squad-kill-the-justice-league-devs-knew-it-was-all-going-wrong/) when they were hired by the company. By the time the final product reached the Steam store page, there was no love left, which is bad news for a live service game that requires constant content to be churned out. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/ss_6cf9f98dcf74e2c228b1cdae3bbd38ca754398d3.1920x1080.jpg) Source: Steam. In game development, chasing trends sometimes means you’ll find it already dead of old age when you catch up to it. Releasing a $70 live service game while the genre is on its last legs ensured Rocksteady’s game would be dead on arrival. Instead of a breath of fresh air, Suicide Squad is now just the most recent victim buried under many different Steam categories, unsure of its identity, constantly on sale. ### The Ultimate Guide to Crosshairs for Valorant URL: https://www.superjumpmagazine.com/the-ultimate-guide-to-crosshairs-for-valorant/ Last updated: 2025-07-18T01:03:02.000Z **Valorant's shooting mechanics reward precision and control, making your crosshair one of the most crucial aspects of your gameplay.** A well-designed crosshair can significantly improve your aim, reaction time, and overall performance in Riot Games' tactical shooter. After years of experience and countless hours analyzing professional play, I've compiled this comprehensive guide to help you find or create the perfect crosshair for your playstyle. The variety of [crosshairs for valorant](https://bo3.gg/valorant/articles/best-valorant-crosshair-codes) is impressive, with the game offering one of the most customizable crosshair systems in the FPS genre. From minimalist dot crosshairs favored by precise players to more elaborate designs preferred by those who need better visibility, Valorant's settings allow for extensive personalization. This freedom to customize has led to a vibrant community of players sharing their configurations and constantly experimenting to find the perfect setup. ## Why Your Crosshair Matters Your crosshair serves as your point of reference for every shot you take. It affects how you perceive targets, track movement, and execute precise flicks. A poorly configured crosshair can obstruct your vision, cause eye strain, or mislead your aim. The right crosshair, however, becomes an extension of your intention – almost disappearing from conscious thought while perfectly indicating where your shots will land. ## Key Crosshair Properties to Consider ### Size Smaller crosshairs provide better precision for headshots but can be difficult to track during fast movements. Larger crosshairs offer better visibility but may obscure small targets at longer ranges. Most professional players opt for a middle ground – visible enough to track easily but small enough for precise aiming. ### Color Contrast is key when choosing a crosshair color. You want a color that stands out against all map environments. While green and cyan are popular choices due to their rarity in Valorant's environments, some players prefer white, yellow, or even red. Your choice should depend on your visual perception and what feels most comfortable after extended play. ### Outline Adding an outline to your crosshair can improve visibility against varying backgrounds. A thin black outline can make lighter-colored crosshairs pop without adding significant visual clutter. ### Center Dot Some players prefer having a center dot for precise aiming, while others find it distracting. If you use a center dot, keep it small to avoid obscuring headshot-level targets at distance. ### Inner and Outer Lines These settings control the main structure of your crosshair. Inner lines appear closer to the center, while outer lines extend further out. Balancing these elements affects how you perceive recoil and movement inaccuracy. ## Pro Player Configurations Studying professional players' setups can provide valuable insights: - TenZ: Known for frequently changing his crosshair, he often uses a small cyan crosshair with a center dot. - ScreaM: Prefers a simple green crosshair with no center dot, focusing on clean visuals and minimal distraction. - ShahZaM: Uses a thin yellow crosshair that provides excellent visibility while maintaining precision. What's fascinating is how these players' crosshairs often reflect their playstyle – entry fraggers might opt for designs optimized for quick target acquisition, while support players might choose configurations that assist with utility placement. ## Common Mistakes to Avoid 1. **Oversized crosshairs**: While better visibility is important, excessively large crosshairs obstruct critical visual information. 2. **Poor color contrast**: Choosing a color that blends with map elements will cause you to lose track of your aim point in crucial moments. 3. **Excessive movement**: Dynamic crosshairs that expand dramatically during movement can be misleading for spray control. 4. **Copying without testing**: What works for a professional might not work for you due to differences in monitor settings, visual perception, and playstyle. ## Finding Your Perfect Crosshair The most effective approach is methodical experimentation. Create a baseline crosshair with moderate settings, then adjust one parameter at a time while testing in the range or custom games. Pay attention to how each change affects your comfort, accuracy, and visual clarity. Remember that your optimal crosshair may evolve as your skills develop. New players often benefit from more visible crosshairs that help build fundamental aim habits, while experienced players might prefer minimalist designs that provide cleaner sight pictures. ## Conclusion Your crosshair is a deeply personal aspect of your Valorant experience. While there are general principles to follow, the perfect configuration comes down to individual preference, playstyle, and visual processing. Take the time to experiment with different settings, and don't be afraid to make adjustments as you grow as a player. What matters most isn't following trends or copying professionals – it's finding a crosshair that feels invisible during play while giving you the visual feedback necessary for consistent performance. When your crosshair feels like a natural extension of your intent rather than a UI element you're consciously tracking, you'll know you've found the right configuration. **This story contains links from one or more partners.* ### By Design: The Power of Immersion URL: https://www.superjumpmagazine.com/by-design-the-power-of-immersion/ Last updated: 2025-03-16T11:27:05.000Z **Recently, after recovering from a week-long bout of a horrendous stomach bug, I went in search of a "comfort game" - something familiar, enjoyable**, **and immersive to aid in my recovery**. Like so many gamers before me, that comfort game ended up being The Elder Scrolls V: Skyrim. On close analysis, Skyrim isn't really that great a game, especially 13 years after its release. The RPG mechanics are half-baked. The story is bland and derivative. The combat is boring and unbalanced. In comparison to contemporary open worlds, Skyrim is small and lacking in reactivity. The dungeon designs consist almost entirely of repetitive linear funnels to a generic objective (kill boss, get item). Yet Skyrim endures and somehow, in spite of all its flaws, every time I am pulled into the world and filled with the same sense of awe and wonder I felt when I first played it over a decade ago. No Skyrim run is complete without a Frankenstein-esque cobbling together of mods, and many of these help to smooth out some of Skyrim's rougher edges. Still, all of these mods are built on a solid foundation, and it is the base game that has inspired such a vibrant modding community. ![](https://images.steamusercontent.com/ugc/1924744996338894806/2C49419105E7677F8966AF24703F6E04223F5A1F/?imw=5000&imh=5000&ima=fit&impolicy=Letterbox&imcolor=%23000000&letterbox=false) Source: Author. ## An Ephemeral Pillar of Design Immersion is one of the more ephemeral pillars of game design. There's no metric for it, and every player's immersion threshold is different. There's no instruction book on how to achieve it. And I'd wager that for many larger AAA projects under corporate oversight, it would be difficult for a developer to push a game's release back purely for improving something so intangible. Yet immersiveness can sometimes make or break a game. In a gaming context, "immersion" is essentially a game's ability to enable and enhance a player's suspension of disbelief. It is the quality that allows a player to have a kind of out-of-body experience, to live within their character, and embrace the fiction of the game in much the same way as a tabletop RPG player or stage actor might refer to the feeling of being "in character". Different games take different approaches to achieving this. In some cases, it involves leaning into realism. Bohemia Interactive's Arma series provides a good example, incorporating several mechanics and features that emulate the battlefield to the most minute detail. Another strategy is to achieve it through interactivity and detail, much like the sandbox design of Larian's recent RPGs, and before them, the Ultima series (particularly Ultima 6 and 7). Closely tied to this is player agency - giving the player freedom and choice that somewhat mirrors the freedom they feel in the real world can similarly elevate the immersiveness of a game. This is where the appropriately named "immersive sim" dominates, and titles like Deus Ex, Ultima Underworld, or System Shock reward creative thinking. Skyrim, as with all the main Elder Scrolls games, has many elements of the latter two strategies and employs these methods quite well. You might argue that it is the possibilities unlocked by this design that inspired many of the popular mods, such as the various survival mods or the Alternate Start mod, which allows the player to begin the game in a different way, such as being a landholder, a tradesperson, or stranded in the wilderness. Skyrim's rich modding scene is likely responsible for the emergence of immersive survival-crafting games in the years that followed mods like Frostfall. ![](https://images.steamusercontent.com/ugc/943964397174423857/72B64B1F875889EB27F4CBC7D2C25E4B5564E9E1/?imw=5000&imh=5000&ima=fit&impolicy=Letterbox&imcolor=%23000000&letterbox=false) Source: Author. ## More than Mechanics Narrowing down Skyrim's immersiveness to something as simple as player agency and interactivity doesn't sit right with me. After all, plenty of games meet or exceed Skyrim in these areas. Yet Skyrim remains a cultural touchstone, with a meme-like quality as an endlessly replayable (and re-sellable) game, hiding in the corner of many a gamer's mind ready to pounce on the smallest shred of that "what to play next?" feeling. I think part of what it comes down to is the richness of the world. The Elder Scrolls series has been chugging along for thirty years now, beginning with 1994's The Elder Scrolls: Arena. It is a series steeped in lore, and while a great deal of that lore is pretty generic fantasy fare, there have been many points along the way where The Elder Scrolls has defined itself with unique twists on the standard Western European Fantasy inspiration. Quite notably, Morrowind in 2002 eaned heavily into alternative fantasy motifs reminiscent of the 50s, 60s, and 70s era fantasy, which was often influenced by science fiction or gritty sword & sorcery. The rich lore of The Elder Scrolls is accompanied by a soundtrack deeply inspired by the lore of the games. Jeremy Soule, one of the greatest videogame music composers of all time, injects Skyrim with musical works that are so rich and vibrant that you can almost feel the deep history of the world as you walk through it. Skyrim is the sum of its parts, but the thing that elevates it as a pillar of immersion is the glue that holds it together - deep lore, believable world-building, and an enchanting soundscape that practically transports you to the frozen tundra of the Nords' homeland. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-43.png) Source: Author. ## Not to be Ignored There is a big focus in game critique on mechanics, structure, and the technical aspects of game design. While criticism does often discuss the less tangible elements like sound design, music, lore, and writing, these elements are not often given their due recognition for the critical role they play in holding all the other elements together. Yet we're constantly served games that are held together almost entirely through a mysterious balance of design elements that elevate that ephemeral quality that we all somehow recognise as immersion. My father once told me a quote that has been variously attributed to Mark Twain, Andre Maurois, and E.B. White (the likely originator): > "Humor can be dissected, as a frog can, but the thing dies in the process and the innards are discouraging to any but the purely scientific mind." Likewise, critics can dissect games as much as they like - and while that may have some merit in certain circles, games are, for the most part, best appreciated as a whole. In a way, that quote has undermined the entire premise of this article. But on the other, it is an allegory for how much of what we love in games is a sum of parts difficult to define and quantify. ### Final Fantasy XIII Demands That We Fight For What Matters URL: https://www.superjumpmagazine.com/final-fantasy-xiii-demands-that-we-fight-for-what-matters/ Last updated: 2025-03-11T01:27:26.000Z **It's been fifteen years, and Final Fantasy XIII's legacy is mired in a void of division.** Final Fantasy continues to define and redefine itself by its past, showcasing swords and sorcery as it sells us images of rebellion and triumphant adventure. Final Fantasy XIII, despite its strengths, is defined by its weaknesses. A closer look reveals a game more deserving of praise, especially on its thematic fronts. The 2010s experienced a rousing, disturbing trend of anti-Asian sentiment in gaming. "Japanaphobic" talking heads in games journalism doubled down on the superiority of Western titles while aggressively criticizing Japan's creative offerings. Mainstream critics like [Adam Sessler](https://boundingintocomics.com/video-games/former-g4-host-adam-sessler-has-yet-another-public-meltdown-this-time-in-response-to-being-called-out-on-his-past-anti-japanese-video-game-rhetoric-im-not-apologizing-to-maga-weirdos/) frequently maligned titles such as Xenosaga or Boku No Natsuyasumi, and the [creative director of Assassin's Creed 3](https://www.neoseeker.com/news/20397-assassins-creed-3-creative-director-dismisses-bayonetta-japanese-games-as-literally-gibberish/) went on a tangent describing how "many Japanese games are released where their stories are literally gibberish," citing the absurdity of Bayonetta and saying he preferred Gears of War. This passive-aggressive attitude towards Asian games has lessened, but not completely receded. The trend reared its head once more in the release year of Elden Ring when [many journalists and developers took to social media](https://jmargaris.substack.com/p/elden-ring-discourse-emergency-dispatch) to proclaim their displeasure at its mountains of praise. --- > Final Fantasy XIII's positives have, mostly, remained unchanged over time: its graphics, presentation, and attention to detail are satisfying, filled with a Moebius-esque artistry and a vibrant, colorful futurism. --- This stint of xenophobia and the conservative sentiments surrounding it certainly affected Final Fantasy XIII. It wasn't what fans were looking for at the time—while Final Fantasy XIII looked like a return to the past, with its grousing protagonist and science fiction setting, it was instead pointing toward an uncertain future. Final Fantasy XIII's positives have, mostly, remained unchanged over time: its graphics, presentation, and attention to detail are satisfying, filled with a Moebius-esque artistry and a vibrant, colorful futurism. Its soundtrack boasts some of Final Fantasy's most favorited contemporary scores, and the battle system—unusual, and hampered by hours of tutorials—has been reappraised for its surprising depth and uniqueness. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Screenshot-2025-01-28-110525.png) Screenshot: Final Fantasy XIII. What has been overshadowed by the many arguments about the game's shortfalls is a narrative buried beneath melodrama, but whose excavation has so much to teach us about fascism, control, propaganda, and genocide. ### This Land Is Your Land Final Fantasy XIII begins with the Purge, a "[form of forced displacement and social cleansing](https://finalfantasy.fandom.com/wiki/Purge)" whereby the Sanctum, a religious technocracy, expunges any individuals it believes have been influenced by the scourge of Pulse. This world is firmly divided into the separate, unequal states of Cocoon and Pulse, physical nations separated by beliefs, technology, and formidable "gods" called fal'Cie. Although Cocoon's own Sanctum is fully directed by their fascistic system-god, the Purge is a regular occurrence in upper society, removing the tainted and displacing them on lower Pulse, even if this means the removal of their citizenry. > To the millions who call Cocoon home, the lowerworld of Pulse represents a constant source of fear. Suspected association with Pulse means stigmatization as an enemy of the state and all mankind—even for born and raised citizens of Cocoon. > The recent discovery of a fal'Cie from Pulse near the city of Bodhum caused widespread civil unrest. After placing the city's entire population under quarantine due to the possibility of contamination, the Sanctum then announced its intent to forcibly relocate the affected to Pulse in an emergency measure dubbed by authorities as the Purge. > > **Final Fantasy XIII Datalog: Cocoon Society** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Screenshot-2025-01-28-110514.png) Screenshot: Final Fantasy XIII. The Sanctum's propaganda and fear-mongering are so steeped in normalized society that entire towns could be Purged — if a Pulse fal'Cie appears in a township, the people of Cocoon will cry out for their expulsion, regardless if they are citizens, tourists, or family. Deportees are forced to wear restraint garments and are then loaded onto "Purge trains" where they are taken to locations to be offloaded onto Pulse. Resistance is futile and deadly: Sazh and Vanille are forced to watch as an entire crowd is gunned down because one restrained individual attempts to run away. The initial unification of the party in Final Fantasy XIII is not due to some grand ideation or attempt at revolution—it is simply because, for various reasons, each is set to be Purged. ### Bulls On Parade > "For the world is Hell, and men are on the one hand the tormented souls and on the other the devils in it." > > **Arthur Schopenhauer** One of Final Fantasy XIII's ancillary works, [Final Fantasy XIII-2 Fragments Before](https://finalfantasy.fandom.com/wiki/Final%5FFantasy%5FXIII-2%5FFragments%5FBefore), confirms a bloodier, colder truth behind the Sanctum Purge. The Sanctum's xenophobic, political stance is a thin veneer for their truer goal of eradication. The entire deportation to Cocoon's Hanging Edge was only a ruse whereby the fal'Cie Anima was an excuse—the true nature of the deportation is a covert order by PSICOM, the Sanctum's paramilitary unit, to slaughter the victims within the area under the banner of a political exile. The theocratic technocracy of Cocoon in Final Fantasy XIII is the sort of cyberpunk staple that *outwardly* seems absurd and fictional until you begin to make educated comparisons to real-world examples. The most obvious is the ongoing Gazan genocide. While this slaughter has recently made the headlines since October 2023, it's a maddening situation that has resulted in decades of warfare, death, and destruction by the ethno-religious State of Israel. Humanity shares the world. Unfortunately, the evils of empire, colonization, religious extremism, and nationalism poison the waters of our camaraderie. Those in power are always looking for an excuse to flaunt that power, othering their enemies by labeling them as illegal, alien, or subhuman. As of this writing, President Trump has decided that America—the largest military benefactor of Israel's ongoing genocide against the Palestinians—will turn Palestine into a "[Waterfront property](https://www.theguardian.com/world/2025/feb/05/waterfront-property-what-are-trumps-real-estate-interests-in-palestine)" for Israel, displacing over a million native residents and cementing decades of pain and suffering with an end that is as galling as it is absurd. Their "Purge" has been effective—and Israel has made it clear that under every guise, the Zionist state fully dismisses the personhood and statehood of Palestine. I am not asking you to make crass comparisons between real-world events and fictional stories. I'm telling you to open your eyes and become radicalized by the stories you claim to love. --- > *Every* Final Fantasy title made within the last few decades not only favors insurrection and resistance but frames the narrative call to action by a geopolitical or religious event. --- Separating Final Fantasy from its political and social inspirations is an absurdity propagated by the most insufferably illiterate members of the gaming subgroup. Final Fantasy VII is a thirty-year-old presentation of the positive aspects of [militant resistance and political insurrection](https://aftermath.site/final-fantasy-vii-remake-rebirth-terrorism), and every Final Fantasy game beginning with the second has had some iteration of conflict between the subjugated and the oppressor. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/ss_b0b5fab50e290f1225a19d98b85458c7c6f4f27c.1920x1080.jpg) Screenshot: Final Fantasy XIII. Although Final Fantasy's presentation of these allusions is never subtle, the hoi polloi sweatily clutching their controllers are baffled by its overt themes, swearing off the impact in favor of swords and sorcery. *Every* Final Fantasy title made within the last few decades not only favors insurrection and resistance but frames the narrative call to action by a geopolitical or religious event: AVALANCHE destroying one of the Mako reactors, SeeD cadets waging commercial paramilitary war against nations, the colonization of Dalmasca, the Ala Mhigan resistance against the Garlean Empire, Niflheim destroying Insomnia. Final Fantasy XIII's stakes might be more personal but no less impactful. Final Fantasy XIII's story-first approach may have subverted the expectations of gamers who could not correlate the examples with their real-world events. It is embarrassing to be part of a collective that frequently ignores the violent excess of the state but utilizes meaningless terms like "woke" against impactful, necessary fiction. ### Terrorists or Freedom Fighters The sequel to Final Fantasy XIII, Final Fantasy XIII-2, takes an interesting approach to resetting the narrative themes of the original game by manipulating time itself. While the characters do their best to "fix" what was wronged, certain tragedies cannot be avoided. --- > The Final Fantasy series is no stranger to political upheaval, revolution, or warfare, and our parties are typically composed of a smattering of proletariat rising against kings, popes, and autocrats. --- Upon visiting the Lamentable Rest portion of the Bresha Ruins, the players encounter a cemetery that bears an epitaph devoted to the many victims of the Purge. At the end of Final Fantasy XIII, Lightning and company learn the truth about the Purge itself, that its orchestration was at the hand of the Cocoon's transparently evil leader Dysley, who established the arrival of the Pulse Vestige according to his genocidal agenda: ensuring that massive casualties might summon the fal'Cie's original Maker back into the physical world. > "Sanctum logic. They conjured up the Purge to eliminate a threat. I mean—why carry the danger all the way to Pulse? Why not just stamp it out here? Execution masquerading as exile. That's all the Purge ever was." > **Lightning Farron, Final Fantasy XIII** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/ss_02d9c5fd6308948221b1bef8509dfd6000e7d7d9.1920x1080.jpg) Screenshot: Final Fantasy XIII. This agenda reads as the type of typical cosmic fair peppered throughout JRPG stories, but it cuts close to the real-world mark. Throughout history, world leaders have utilized political opportunities to expand their borders or colonize weaker, defenseless nations. America has used its considerable power to weaken the democracies of other countries, doing everything from manipulating elections to utilizing outright warfare to force results that would favor the United States and its hunger for foreign resources. The Final Fantasy series is no stranger to political upheaval, revolution, or warfare, and our parties are typically composed of a smattering of proletariat rising against kings, popes, and autocrats. In Final Fantasy VIII, this standard is challenged upon learning that the "terrorists" known as the Forest Owls are a simplistic resistance group in Timber whose generational history was borne from the people's desire to shirk the yoke of Galbadia. While they label themselves a resistance group, their efforts label them terrorists and enemies of the state. Despite their thin numbers, they are an actual worry for the Galbadian empire. > "Our resistance, 'The Forest Owls', will be forever known in the pages of Timber's independence! Exciting, huh?" > > [**Zone, Final Fantasy VIII**](https://finalfantasy.fandom.com/wiki/Forest%5FOwls) Americans have become too used to our placid, tedious lives. No revolution will be won via smartphone and social media; still, we collectively assuage our desires for change by opinionating our way through the deluge of cruelty and fascism, believing that by showering ourselves with the correct stances we can place ourselves on the right side of history while our comrades burn. Though they are just stories and only video games, an awakening occurs when you open your mind to the lessons present in Final Fantasy, and what it takes to become a "hero" in the face of unrelenting totalitarianism. ### Place and Perspective As mentioned earlier, there is little reason to bring up Final Fantasy XIII's mechanical flaws in relation to its narrative strengths. They have been exhaustingly detailed over the last fifteen years; like many of the other more controversial Final Fantasy titles, loud fans will not hesitate to tell you *exactly* what they think of the game when it is brought up in conversation. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/GamesIndex_GameListing_Artwork-1.jpg) Source: Press Kit. Final Fantasy XIII's *crimes* are marred by its protracted and bumpy development; the resulting game is due to the profound efforts of a team that refused to give up on the end product. Like Final Fantasy XV, XIII should have been doomed simply because of developmental short-sightedness and an obsession with the wrong details. > "The story’s fast-paced, forward-moving style was key, so I think the current format worked well. Instead of incorporating exploratory elements for a more slow-paced experience, we opted to prioritize speed and momentum for this title." > > **Yoshinori Kitasi, Final Fantasy XIII Ultimania** Perhaps what forces one to care about the events in XIII is not the characters themselves but what is inferred by this living, breathing world. The details that Square got right were the ones that bring Pulse and Cocoon to life—and like any JRPG, the player's desire to "save the world" stems from their immersion in that fictional space. > "I can say that FFX is my "youth" in one word, but the FFXIII series left me exhausted and out of breath, so it's a work that I have very complicated feelings about." > > **Daisuke Watanabe** The story of Pulse and Cocoon is foiled by its reliance on overfamiliar melodrama and overly emotional characters, while the lore and worldbuilding are relegated to "Datalogs" buried in menus. The average JRPG player does not need to be coddled, but considering the breakneck pace and forward momentum of Final Fantasy XIII's plot, it would have served the title to pull back its hyperfocus and directly answer a few questions about the fal'Cie, the l'Cie, and the history of Pulse. The game's early plot revolves entirely around the days leading up to the Purge, and how each character suffers under the hanging sword of paramilitary law and absurdist fate. "Fate" becomes the recurring theme as the characters work around the demands of their l'Cie Focus, and the true goals of the game's haphazard villains become lost in an assortment of names and concepts that are spread out unevenly through the game's hours of control. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/e745584703fe868400913ba4d858377f.jpg) Source: Press Kit. Final Fantasy XIII-2 and Lightning Returns dip into more contemporary Square surrealism, and in my return to the original game, I was surprised to find a (mostly) grounded narrative about refugees escaping the ever-present threat of tyranny. Final Fantasy XIII does not allow the player to *stop*, for good and for ill, and this breathlessness is comprised of the constant dangers in a world that despises you. Americans have become used to a society ruled by fear, supported by a populace whose bread and circus purviews are immediately and harshly reined in by foundational laws and violent enforcement. ### Finding the Time to Fight A consistent (and frustrating) criticism of JRPG characters is that they can be too taciturn, whiny, or ineffectual. And while the characters may seem childish in the first dozen or so hours, all of Final Fantasy XIII's main party members have satisfying arcs filled with betrayals, lessons learned, and satisfying ennui. The characters are messy, flawed, and broken. Final Fantasy XIII's reluctant heroism is a far cry from recent titles' insistence on [placing importance on birthright](https://www.superjumpmagazine.com/final-fantasy-xvi-and-the-sins-of-individualism/) and individualism. Final Fantasy XIII immediately rejects these notions, forcing (mostly) ordinary people into the shackles of fate and determinism, taking potshots at the very ideas of heroism and societal duty. While its early hours are filled with repetitive, directionless arguments about acknowledging or breaking fate, the cast inevitably forges their path, even when the result feels overly familiar. --- > Many players, such as myself, find solace in Final Fantasy because it allows us to enact fantasies of glorified rebellion and revolution in the face of our patterns and tedium. --- Players who balked at Final Fantasy XIII's structure fifteen years ago might feel less thorny about it today, amid a sea of cookie-cutter open-world concepts. The game's linearity *does* feel mechanical (do yourself a favor and turn off the game's poorly designed minimap), though it feeds into the forward momentum of the story's steadily increasing stakes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/Screenshot-2025-02-17-100954.png) Source: Steam. We are asked to find the time to fight. Many players, such as myself, find solace in Final Fantasy because it allows us to enact fantasies of glorified rebellion and revolution in the face of our patterns and tedium. Final Fantasy XIII is a pastiche of half-formed ideas, but it doesn't take much thought to meet its concepts and characters halfway. Instead of letting it lie, the Lightning Saga forged onward, tackling concepts of communalism and reconstruction in the face of great tragedy. Final Fantasy XIII-2 is less about personal responsibility and more about rebuilding. While the game's villain is much more understandable and tragic, the *real* enemy in XIII-2 is the past, and how the tyrannical mistakes of the previous government and societal morays lanced a united hope for the future. This hope is further dismantled by the events in Lightning Returns, where we are forced to contend with a society that has reached its final stages of absurdity, locked into static, tired trends. The rise and fall of repetition create us as a people—it's not how we deal with times of bounty, but how we can pull ourselves together during the struggle. These are confusing, painful, straining times. Most of us are in an endless loop of absorption versus negation. Do I wake up and read all the bad news, or do I selfishly ignore the suffering of the world for my mental health? How do I balance my empathy with my endurance? I long for the answer. My brittle advice does not extend far beyond "play more video games." All I can say is, when it comes to times of extreme xenophobia, fascism, cruelty, apathy, religious extremism, and mind-numbing nationalism, hold strong. There's a reason games like Final Fantasy XIII mean so much to you and me — and that funny feeling is only the start of great change. ### Hidden Gems of Game Design Volume 33 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-volume-33/ Last updated: 2025-03-10T01:16:02.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### [Star of Providence (2017/2025)](https://store.steampowered.com/app/603960/Star%5Fof%5FProvidence/) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-34.png) Source: Steam. The 2010s was a decade of redefining roguelike design, a topic in one of my major design books, where I cover everything from deck builders to roguelikes and many games that borrow elements from other genres. One genre that has seen a few amazing examples of combining roguelike elements with their gameplay is the bullet hell/shmup, and to my memory, the first one to go big this way was Star of Providence from [Team D13](https://team-d13.com/). You are exploring a mysterious tower as a tiny little ship, and you must go through it floor by floor to reach the top. The gameplay is a mix of bullet hell and twin-stick shooting. You’ll need to learn how to dodge through enemy bullets while being constantly on the move. Your starting gun is okay, but the game features multiple weapons of varying bullet sizes, attack types, and ammo supplies. On top of that, weapons can come with randomly chosen modifiers that affect their properties even further. All secondary weapons have an ammo limit and when that runs out the gun gets destroyed. One detail I really like about SoP is that no resource gets wasted. If you’re at full health and get more of it, the additional health goes toward raising your max life, and full ammo = bonus scrap that can be used to buy resources. Much of what makes the game work so well is how much care has been taken to make playing it as seamless as possible, including instant fast travel outside of combat to any room you’ve already visited. Throughout a run, you’ll find passive upgrades and special rooms that allow you to choose one from a pool of upgrades to add to your ship. At the end of each floor, you’ll come upon one of many challenging boss fights, which is where the “bullet hell” comes in. Following the game's release, the developers took a similar approach to new content as did the popular title The Binding of Isaac by adding a lot more “stuff.” New enemy types, room encounters, weapons, modifiers, etc. were introduced. Even new ending routes were added that took the player into other parts of the tower to fight new and demanding bosses on top of a progressive difficulty/ascension mode feature. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-35.png) Source: Steam. There’s a good reason why this game is on the list and that you haven’t heard of it, because Star of Providence was not the original name of the game. When it was released, it was known as Monolith and achieved a cult following among its fans, but it didn’t quite get known outside of those small circles. The game was featured at the annual speedrunning convention Awesome Games Done Quick, and when the developer Monolith heard about the game, they issued a warning to Team D-13 about continuing to use the name. From that point on, Monolith was known as Star of Providence. As of February 2025, the game has been officially “relaunched” with a massive free expansion and console release. If you love action roguelikes and shmups, this is an amazing game that you need to play. ## Antony Terence ### Wildlife Park (2003) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-36.png) Source: Steam. Zoo Tycoon’s success as an animal business sim in 2001 inspired several rivals that tried to build on its formula of raising animals and making profits from satisfied visitors. One such attempt is Wildlife Park, published by JoWood in 2003\. Developer B-Alive gives the visitors some much-needed attention, with plants and path design propping up guest satisfaction levels. And while the game doesn’t break new ground, its systems conjure their own flavor of nostalgia. Building an enclosure and taking care of your animals’ needs are fairly straightforward tasks if you’re acquainted with business sims from the 2000s. Pick wall materials, terraform the land with an animal’s favorite dirt and plant life, and set up food dispensers to get started. You’ll also have to monitor metrics like temperature, exercise, and behavioral needs tied to certain species. Fumble these and you’ll find protestors breaking fences and trapping themselves in enclosures. Once you get these sorted, you’ll have to deal with park guests. This involves placing the usual array of bathrooms, refreshment stations, benches, and information maps. Wildlife Park makes guests suffer from thirst more often on hotter maps, meaning you need more drink stands to compensate. Guests also have a plant meter that rises when attractive foliage is placed around paths and enclosures. You’ll have the occasional injured guest and lost visitor to handle but it’s largely smooth sailing. The game’s campaign kept things interesting with goals to work towards. Breeding animals is the best way to make money and your animals reproduce only when they’re at 100% satisfaction levels, so get busy. While achieving this is satisfying, the wait for gestation and birth is agonizing, even at the maximum speed setting. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-37.png) Source: Steam. The pacing wasn’t as fluid as Zoo Tycoon so I would pass the time by naming animals, staff, and even guests. Animals sound great and interact with the environment often but guests seldom do anything remarkable. The Wild Creatures expansion added prehistoric animals but they didn’t hold a candle to Zoo Tycoon’s massive dinosaurs and aquatic life. Despite its clunky UI, subpar graphics, and glacial pacing, Wildlife Park remains a park simulator worth your tinkering time. **Thanks for reading! Come back next month for another entry and more great hidden gems to check out.* [**You can find all previous Hidden Gems stories here*](https://www.superjumpmagazine.com/tag/hidden-gems/)**.* ### Gaming with Bad Internet URL: https://www.superjumpmagazine.com/gaming-with-bad-internet/ Last updated: 2025-03-08T19:50:16.000Z **So you want to play online games with your friends, but you’ve found yourself in a position where a decent internet connection is out of reach.** You’re stuck with the weak and unreliable satellite variant that may as well be dial-up, because surely dial-up internet would be better than whatever this is, right? If you’re too young to know what dial-up is, don’t worry, it won’t make your situation much better. There’s always the route of single-player games. They’re great on their own, and tons of fun can be had playing them. Sometimes though, it’s great to be able to play a game with some friends whether they live near or far. Have no fear, for we are in the same leaky boat. My internet actually used to be much worse than it is now, and I’m not entirely sure how I got through that, but I did manage to play some online games despite it all. It’s possible! You just have to find the right ones or you will be in a constant loop of disconnecting and reconnecting more than actually playing anything. To those of you who have never had to suffer, you can’t imagine the level of irritability and anxiety this can cause. Got lag? Your ping bumped its way up to 100? Sure, that sucks, but try playing a game when your ping has bumped up to 20,000\. It should have disconnected me, but the torture went on. Granted, of course, that’s when the game was in that nasty state of instability. Once it stabilized for me, it averaged out at about 650 - 750\. And that, my friend, was on a good day. We’ll talk about what games I was even able to play online to any extent in just a moment after a few tips. First and foremost, if you aren’t using a wired-in connection, it will be in your best interest to fix that if at all possible. It makes a HUGE difference, even with a satellite connection. If a wired connection isn’t something feasible for any reason, at the very least you’ll want to position yourself closer to the router. You’re also not going to want any other applications running on your device if you can help it, as this will help minimize your bandwidth usage, leaving more for whatever game you’re trying to play. One final note: try to select a server geographically close to you. Now that we’ve got that out of the way, let’s talk about the fun part: the games! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Screenshot-from-2025-02-23-12-47-16-1.png) 7 Days to Die. Screenshot by Author. That horrible connection I mentioned earlier that somehow didn’t get me disconnected? That was 7 Days to Die. Crazy, right? 7 Days to Die was one of the games I could most reliably play with an internet connection more unstable than the Canadian economy. Depending on the day, the maximum number of people in the server was 4 before I would end up in a constant loop of falling through maps, disconnecting, and hating everything the apocalypse stood for. Most of the time it was only myself and one other person, and generally, the game was completely fine to play even though it would generally settle into a ping around 650 within a few minutes of connecting. Save for a bit of a delay, it was mostly playable and it didn’t impact my ability to kill zombies or collect resources. But those skyscraper quests, where like 97 zombies all spawn in at the same time? Let me tell you, this was a great experiment to see how high your ping could really go before you get disconnected. Or, oddly enough, hopping onto a vehicle and going for a ride only to free-fall under the map for 10 minutes. My record was over 100,000. The crazy part is that I’m not even exaggerating. As long as you’re okay with a bit of a delay and avoid driving anywhere, 7 Days to Die was mostly playable with a very bad internet connection. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/20250208103840_1.jpg) Terraria. Screenshot by Author. Terraria is another survival-by-crafting game that you can play for hours upon hours with tons of replay value. Not only is the game super fun to play anyway, but it’s very light on its network requirements, especially since the whole map downloads its current state while you connect. If you and your friend are on opposite ends of the map, the game only updates what is directly around you specifically. This was another game where it was very rare for me to disconnect. There didn’t really seem to be any activities that made the connection worse at any time, and the connection stayed consistent unless weather played a part, as satellite internet is prone to those variables. Due to its replayability and light network requirements, this one is a must-try if you’re in the bad-internet boat. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/20250208120628_1.jpg) Among Us. Screenshot by Author Next up, we have Among Us. Groan all you want – desperate times call for desperate measures. This will definitely depend on your server and who you’re playing with. I tried this one with a bunch of people who live in my general geographical area and it went super well! I almost forgot my internet was the equivalent of a satellite dish mounted to a potato. Aside from the occasional teleportation due to lag, this game was playable with very few hiccups. However… I decided to try playing a completely random online match a few times to see how it would go, and the performance depended on the individual match. I would assume this had to do with the location of whoever else was in the match with me. Let’s just say that more than once, I was voted as the imposter, literally because I was “Teleporting all over the map.” The lag was so bad, that one person thought I was cheating, and the others just thought it suspicious. Still, entertainment is entertainment. If the other players were at least somewhat nearby though, it was doable! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Screenshot-from-2025-02-23-12-20-54.png) Old School Runescape. Screenshot by Author. Next, a game some may have been expecting but others will also groan at: Old School Runescape. There, I said it. The Old School version was released in the early 2000s when bad internet was still widespread, a problem for many people. During its time, it was also a cheaper (or free) variant to other MMOs on the market. Even if all you do is fish or mine, it can still be something to do with friends if you’re looking for something lowkey. Killing monsters or bosses with your friends can still absolutely be an option, though! Depending on just how bad your internet is, you may experience some lag depending on how populated your world is, or where you are. For example, going to the Grand Exchange in a trade world is probably not the best idea if you're already lagging when there aren’t many people around; you’ll likely get disconnected. Minigames that are packed with people may also prove to be a pain. Old School Runescape hails from a time when not everyone had the luxury of high-speed internet. It is still being played today, not only for the nostalgia but for the fun it can still bring people, so it was an easy addition to this list. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-38.png) It Takes Two - great offline option when bad internet strikes. Source: Steam. Last but absolutely not least we have our honorable mentions, couch co-op games - no internet required! If you can play with people in person, whether they are friends, siblings, cousins, or other family, couch co-op is tried and true. It has become far less common than it used to be, and more and more people appear to be missing the appeal of it. Less common doesn't mean you have no options though. Games like It Takes Two, Baldur’s Gate 3, Halo 1 through 4, Castle Crashers, Cuphead, and Stardew Valley fit the bill; I’ll even mention Terraria here again because it applies. There are so many more out there that you can play locally, but the lists will vary depending on what you’re using to play the games. Consoles tend to keep couch co-op in mind more often. --- Having bad internet doesn’t have to keep you from gaming with your friends. There are options out there! Talk about it with whoever you want to play games with and find something you can all enjoy together. ### Indie Monthly: February 2025 URL: https://www.superjumpmagazine.com/indie-monthly-february-2025/ Last updated: 2025-03-05T01:03:20.000Z **February was a booming month for A-tier games, with the likes of Civilization 7, Like a Dragon: Pirate Yakuza in Hawaii, and Avowed burning up the charts.** At the same time, the first wave of new content sent both fresh and established live service titles to new heights. With all that action, it would be easy to overlook what's going on at the edges of the industry - but that's why I'm here, digging up hidden gems for your consideration. This month's offerings are an eclectic mix, with genres ranging from old-school RPGs to experimental deckbuilders, with themes ranging from restoring a shattered world to ruling it from the shadows as the living dead. As always, you can check out the [Find the Fabulist YouTube channel](https://www.youtube.com/playlist?list=PLerWTn3E-2CkTvCMDJ873hYXBAzizQa4a) to see footage of the games in action. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/CabernetA.jpg) Cabernet. Source: Author. ## [Cabernet](https://store.steampowered.com/app/2401410/Cabernet/) Cabernet is a narrative-driven RPG set in an Eastern Europe-inspired fantasy world inhabited by vampires and other magical beings from Slavic folklore. The player's goal is to survive to the end of the story while investigating the secrets of underworld society. Liza, a young 19th-century doctor, awakens alone in a cellar with no memory of where she is or how she got there. She emerges into a party held by the Higher Society, a clique of vampires that secretly runs the city, and soon deduces that she has been inducted into their ranks. Adjusting to her new existence as the living dead and learning the rules of the local hierarchy would all be hard enough were it not for the strange supernatural entity that's stalking her through the night. All of this is tied into the mystery of Liza's own death, the memories of which are slowly returning to her. The mechanics of Cabernet are built entirely around its story, setting, and especially its characters. Liza possesses many of the gifts traditionally attributed to vampires - including shapeshifting, hypnosis, and invisibility - along with vulnerability to sunlight and restrictions on entering buildings without invitation. As a woman of letters, she also has access to more worldly knowledge. All of these talents offer different avenues by which she can complete quests. Liza also needs to feed regularly to survive, and this fuels the game's morality system. Many actions affect Liza's disposition, either preserving her humanity or pushing her deeper into a nihilistic urge to survive at all costs. Even a player striving to maintain Liza's humanity is going to have to attack a human at some point, and feeding on random humans isn't an option - Liza can only bite someone with whom she has a trusting relationship, risking their death every time. This essential cruelty is essential to the story of Cabernet, which leans heavily into the depictions of vampires as an aristocracy of the night. The Higher Society serves as an anal0gue of the gentry class of the late colonial period, with the humans standing in place of the serfs. Most of the side quests have Liza meddling in the sad affairs of individual humans, either for her own benefit and amusement or in the benign role of a humanitarian, but either way, it's clear that she's doing so as a person in a position of superiority. Ultimately, the player gets to choose who gets a happy ending and who continues to spiral down into despair. Overall, Cabernet offers a fresh take on a traditional vampire story, and fans of traditional horror and dark fiction will likely find something to appreciate. [Cabernet](https://partyforintroverts.com/cabernet/) is available for PC via [Steam](https://store.steampowered.com/app/2401410/Cabernet/). A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/DawnfolkA.jpg) Dawnfolk. Source: Author. ## [Dawnfolk](https://store.steampowered.com/app/2308630/Dawnfolk/) Dawnfolk is a base-building game meant as an easy entry point into the world of strategy games. With levels lasting anywhere from fifteen minutes to two hours depending on the mode, it's designed to offer a more casual experience for people without the time for heavier strategy. At heart, Dawnfolk is a game about managing resources. Buildings produce and consume four major resources based on their positioning. Most buildings have an adjacency bonus based on either other buildings or terrain types - haphazardly plopping buildings anywhere is likely to yield inadequate results. There are also one-time opportunities to gain resources by gathering them from certain tiles, with the player gaining bonuses by doing well in simple minigames. The core loop is, by design, simple compared to other similar games. The learning curve comes from figuring out what all the buildings and resources d0 - after that, figuring out a strategy isn't too daunting. The player can destroy buildings at will and eventually gain upgrades to alter terrain types, making it quite a bit easier to figure out building placements than in some other strategy games based on adjacency. The actual objectives in Dawnfolk vary based on the mode, and there are plenty of those. Initially, the only choice is a brief story campaign lasting around 3-5 hours. In this mode, the player is tasked with completing preset objectives while holding out against attacks by dark forces that get more aggressive the longer the level takes. It's a moderately challenging mode meant mainly to introduce the player to different mechanics, building, and tile types. Completing story levels and earning achievements gradually unlocks additional modes. These include expeditions, a challenge mode featuring one-off levels with variant rule sets; puzzle mode, where the player is tasked with maximizing the production of a certain resource on a preset map; endless mode, an open-ended game in which the player holds out against the darkness for as long as possible; and sandbox, which is the same minus the dark forces for a more easygoing experience. Between the five modes, there's a lot of variety in both the style and difficulty, and there's bound to be at least one that will appeal to most people. Overall, Dawnfolk is a pretty mellow game that's designed for beginners, but with enough advanced challenges to give more seasoned strategy game enthusiasts something to sink their teeth into. Well worth a shot if you dabble in strategy. [Dawnfolk](https://dawnfolk.com/) is available for PC via [itch.io](https://darenn.itch.io/dawnfolk) and Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/SeedOfPandoraA.jpg) Seed of Pandora: Legend of the Gaia Tree. Source: Author. ## [Seed of Pandora: Legend of the Gaia Tree](https://store.steampowered.com/app/2213070/Seed%5Fof%5FPandora%5FLegend%5Fof%5Fthe%5FGaia%5FTree/) Seed of Pandora is a throwback JRPG, one of many in a recent revival of 16-bit-styled role-playing games. It takes a pretty straightforward approach to the style, aiming to recreate the gameplay of that era. Bastien is a youth living on a farm in the Kingdom of Garda, a realm built around the legendary Gaia Tree from which all life springs. Recently, Bastien has been haunted by a recurring dream - a vision of a strange world outside of Garda, and the voice of a woman calling his name, beseeching him for help. But there are clues suggesting that these are more than mere dreams, and Bastien soon finds himself launched into a quest that concerns his own connection to an ancient, banished order that has put the world in jeopardy. Mechanically, Seed of Pandora is a turn-based RPG bearing many similarities to other recent throwback games. Aside from the standard RPG actions, most characters possess two sets of skills: Psi, which consumes a non-renewing resource and is mainly for healing; and techniques, combat skills drawing on a different resource that increases as characters inflict and receive damage. As regular attacks are generally ineffective, managing that second resource is necessary to win even standard fights in a reasonable amount of time. One small divergence from the usual JRPG of the time is a lack of random encounters in dungeons. While the party is still subject to random attacks in the overworld, enemies are visible inside closed areas and the party can generally avoid them with a bit of caution. This is recommended, as encounters can be somewhat protracted even with good strategy. All of this is pretty standard, which is a good way to describe Seed of Pandora in general. The overall execution is competent to good, but there aren't a lot of risks taken in either the mechanics or the narrative. It is simply a recreation of an older style of game. Hardcore fans of '90s RPGs may still enjoy the experience, but if you're looking for something novel, you're unlikely to find it here. [Seed of Pandora: Legend of the Gaia Tree](https://seedofpandora.com/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/SpellhackA.png) Source: Author. ## [SPELLHACK!!](https://store.steampowered.com/app/2889780/SPELLHACK/) SPELLHACK!! is a strategy deck-builder with some tower defense mechanics and an aesthetic inspired by computer games of the late 80s. The core gameplay, with some similarities to other titles, is just far enough removed from genre standards to break it out from the pack. The game is divided into day and night phases. The day is reserved for deckbuilding and preparing defenses for the evening attack. The player has a limited amount of time to explore different areas of the city for new spells, upgrades, side quests, and temporary enhancements. Advancing through the story gradually unlocks new areas, and scanning those areas reveals additional information. The daytime portion offers a little bit more control over deck design than most deckbuilders offer. While the events are still random, each location features a predetermined set of possible events and the player gets a few choices along the way. It doesn't guarantee that anyone can get a specific build, but it does feel less frustrating when you can angle for events that, for example, remove or upgrade cards. During the night, the player must protect a portal from waves of summoned monsters, using spells to damage enemies and deploying walls to slow them down. The gameplay is semi-real time, as turns come at regular intervals, with the player getting a fresh hand and renewed energy about every 15 seconds. Enemies have various innate traits, though aside from the ones that move around the field when damaged or temporarily become invincible, they don't have a huge impact. The controls and interface are simple and there's not too much to figure out here. Energy is the major limiting factor - most spells are relatively costly, and some require a non-renewing resource that must be gained from destroying certain enemies. Energy management ends up being the bulk of the tactical consideration, as most viable builds pretty much play themselves. Combat is won between fights, with quick decision-making tipping the scales once the fight starts. Overall, SPELLHACK!! is an interesting variation on the deckbuilder formula that might be a little too different for some. If you're willing to deal with a slight learning curve, it has a lot to offer. SPELLHACK!! is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at all the indie games that caught our attention in February, be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### Snow Bros. Wonderland's Fun 3D Platforming Is Refreshingly Forgiving URL: https://www.superjumpmagazine.com/snow-bros-wonderland-combines-puzzle-solving-platforming-with-mook-battles-2/ Last updated: 2025-03-05T01:03:28.000Z **Heading into this review, I'd never played the original Snow Bros.** People have mentioned that they have a lot of fondness and nostalgia for playing it in arcades. While I lack that nostalgia since Snow Bros. wasn't the sort of game I saw at Disney game rooms, I can see the pure joy that comes from the gameplay. I had a lot of fun with the sequel and played for several hours, and I didn't need quarters to play. The first Snow Bros. game debuted thirty-five years ago from Toaplan, a Tokyo-based developer known for entertaining side-scroller platform games. Originally made for arcades, the game was a side-scroller like many of its contemporaries and made its way to homes via the NES in late 1991\. Tatsujin, which currently owns Toaplan, has released Snow Bros. Wonderland in celebration of the original's release. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-41.png) The original Snow Bros. for NES. Source: [Take on the NES Library](https://takeontheneslibrary.com/finished/58-snow-brothers/). ## Snow Bros. Wonderland Twenty years have passed since the original Snow Brothers took on evil with the power of ice and camaraderie to stop an invasion. But now the next generation must learn to wield that power as they protect the kingdom from a new threat. Two brothers team up when evil King Atchich wants to take over the kingdom again. That it happened "again" should be concerning, but we Americans don't have room to talk about our competence in fighting evil. Snow has never been a more powerful weapon. Whether in single-player or co-op modes, the brothers take on Atchich's goons, using various attacks or tools that are available to them. You can use bouncing platforms to your advantage or turn your character into a snowy pinball, using the ricochet to take down an army. You are to be feared, especially when obtaining keys for necessary portals. ## From side-scroller to three-dimensional worlds Instead of a side-scroller, Wonderland has multiple platforms to explore and navigate with portals and the action and animations have been upgraded to 3D. While I'm not usually fond of 3D animation in games, Snow Bros. Wonderland is one of the exceptions. The designs aim for stylistic execution rather than attempts at realism, and the abstract approach reduces the potential for the uncanny valley. It means that the puzzles become complex, but not impossible, as you figure out when to jump and how to avoid common obstacles. No fall damage makes a huge difference as you can fail repeatedly while navigating a platform, but try again to figure out what you did wrong. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-40.png) Snow Bros. Wonderland. Source: Steam. The gameplay thus far is fairly straightforward. I had a huge sigh of relief seeing the blend of platforming and boss battles as someone who is terrible at dodging. Mooks and bosses have a predictable pattern that you can use to target them using snowball powers and jumping. I can't compare it to the first Snow Bros. game, but given my experience, I would have been terrible with that one. It helps that the first few levels are forgiving and merciful about failures. You have the equivalent of one hundred lives. While coins can buy lives, you can also find coins easily. I was able to navigate about three levels without a problem. Whether that will hold for future levels remains up to debate. But it means that, without any time limits or fall damage, I can enjoy the game as an amateur. Most importantly, however, this game is fun! It makes you want to grab your wrappings and some boots before going out to fight icy mooks. While I haven't played co-op mode, some other reviewers have mentioned they've enjoyed themselves a lot. As we transition from winter to spring, while some places are still getting heavy snow, they can enjoy the pixels of cold snow and two brothers fighting evil. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-42.png) Snow Bros. Wonderland. Source: Steam. I know the journey is fun, meaning the end can only be better. And as a Floridian who rarely sees snow in real life, getting to enjoy this snowy action any time of the year is much appreciated. **A review code was provided by the publisher.* ### The Narrative Value of Marvel Rivals URL: https://www.superjumpmagazine.com/narrative-value-of-marvel-rivals/ Last updated: 2025-03-04T12:41:54.000Z **In the domain of live service, I find narrative akin to the mascot of a greasy burger joint, a "smiling face" slapped on a soulless product in the name of retention. But this time, things are different.** Thus, I found myself loading up this yet-another-live-service hero shooter Marvel Rivals, only to come out, after many hours of play, deeply burrowed in the questions of its lore. Questions like, "Why are some of the characters from different timelines? What's Jeff the Land Shark doing in this game? Why is Wakanda a planet? Why is this season about vampires? How is it that not one but *two* Doctor Dooms are responsible for everything happening in the game?" Live-service hero shooters rarely have a coherent narrative. At least, [that's the anecdote](https://www.reddit.com/r/truegaming/comments/1e71jta/hero%5Fshooter%5Fstory%5Fand%5Flore%5Fis%5Fwritten%5Fas%5Fif/). So it was a slight culture shock to see how well-developed and interconnected the lore is in Marvel Rivals – it reads as if it jumped right out of a comic book page! Personally, I haven't seen narrative integrated like this since perhaps Overwatch, or even Team Fortress 2. Overwatch, even if a premium product at the time of its release, put out a bunch of animated shorts and comic book tie-ins to expand the narrative of its world. Yet, it still felt disconnected from the core game experience because it wasn't integrated into the game itself. Rather, it was an add-on, a supplementary experience to the main game, something you'd find on your YouTube feeds as you doomscroll, and — if you're curious enough, or have some time to kill — click on and check out. But Marvel Rivals contrasts this experience by using narrative as a power source to fuel the "why" of everything happening in the game, like an Arc Reactor powering an Iron Man suit. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image.png) Source: Press Kit. In most live-service shooters with narrative, you're often left to wonder what the occasion is when a new event pops up, who the newly introduced characters are, or what role they play in relation to the setting. Unfortunately, the lack of ludonarrative coherence leaves little to wonder about. What information you had left you feeling incomplete, or worse, it would likely demotivate you from seeking answers yourself. What answers you do find are either general (taking the form of Fandom pages, and character biographies that reveal something about their overarching role), or exactly what you're looking for (comic book series either out of sale or no longer available, or official YouTube clips kept unlisted for reasons unknown). Kept away from the player's immediate reach, the established narrative isn't given the chance to enrich the games with the same "why" value. Were it allowed the time to shine in the spotlight, even if just for a little while, it would've left quite the imprint on players. As I write this, Marvel Rivals is hosting a second season (labelled Season 1), with a new battle pass laden with vampire-related content. It turns out that Count Dracula wants blood. As vampires engulf New York in a crimson darkness, the city's heroes attempt to fend off the invasion. The great minds of Reed Richards and Tony Stark work out the kinks of assembling a device capable of using the Montesi Formula to destroy vampires. What our beloved heroes don't know is that this is a mutual arrangement between Drac and Doctor Doom, whose ominous plans involve the Darkhold... plans that Doctor Strange and Moon Knight put to rest in the last season. Interestingly, the answers to what's happening in the game's world comes wrapped within the rewards you earn. So, if you were to know what I just revealed about the season's story, you must inch your way through either the battle pass, or the event challenges, and obtain their final rewards: Gallery Cards. These cards come with short stories that reveal the happenings within the Marvel Rivals universe. Even the limited-time events (like the Lunar New Year event) had a surprise story, featuring various characters you'd recognize! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/03/image-1.png) Source: Press Kit. Right here, Marvel Rivals is already miles ahead of the competition. The game actively places the story — no matter how implicit — in front of the player, allowing it time to shine, but not without its caveats! Being a game, it's a genius choice to make the narrative a reward. For the first time in a long time, narrative is no longer treated as a tack-on to contextualize something. Here, the narrative has a central purpose that drives every component of the game. It not only dimensionalizes the reason for the player to attempt challenges and to progress through the battle pass but also represents itself as a mark of the player's Hulk-like efforts to finish them. It makes the game make sense and pulls us closer to the characters in whom we take an active interest. Thanks to this, if you came into the game purely because a character you like is in it, chances are there's something about them within the metagame you can now explore, not just in the core gameplay. **The story is now not just a thrown-in feature... it's a gift of achievement shedding light on the fascinating journeys our favourite characters are going on!** As such, with every Gallery Card coming with its own story, the sense of novelty and discovery within the narrative strengthens the anticipation of obtaining new stories as a reward. It's exactly what players like me can anchor ourselves to, so we can connect with the player base in ways we'd hoped. It's a rare example of a studio reminding itself where the faithful followers of its intellectual property come from. > [i hope this is ok to post! i was asked at my job to draw for our marvel rivals display so i took requests from coworkers.](https://www.reddit.com/r/marvelrivals/comments/1i3vh5z/i%5Fhope%5Fthis%5Fis%5Fok%5Fto%5Fpost%5Fi%5Fwas%5Fasked%5Fat%5Fmy%5Fjob/) > by [u/clarentbloodarthurs](https://www.reddit.com/user/clarentbloodarthurs/) in [marvelrivals](https://www.reddit.com/r/marvelrivals/) ****A Reflection of Cultural Impact:** **Marvel Rivals* has significantly raised interest in comics that it's created such opportunities for comic stores. Source: [u/clarentbloodarthurs](https://www.reddit.com/user/clarentbloodarthurs/). This is no different from what Riot Games attempted with Netflix's Arcane. With a high-profile cast and a snazzy story to go with it, the show went on to become one of 2024's top ten streamed shows in the world, grabbing Emmy nominations left, right, and centre. Despite incurring a net loss, the show rose to the top of the charts in over 60 countries, resuscitated League of Legends with a 50% increase in its player base at the time of Season 1's release, and quite possibly generated high volumes of organic interest in the League of Legends brand among consumers who previously weren't aware of it. To quote Riot's CEO: > “\[...\] people think we make things like Arcane to sell skins, when in reality we sell skins to make things like Arcane.” This supports the ultimate argument of any creative pouring their heart and soul into the work: *cultural impact takes precedence.* Powerful, engaging narratives (often, in business, treated like chopped liver) are crucial to drive it forward. It's what writers have argued about for **eons**, stressing that this level of dedication towards an abstract entity like narrative *is not wasted effort*, as most stakeholders would claim. Story has always been a core component of interactive entertainment, contributing to cultural development and impact. The jury's still out on whether games with seemingly absent narratives indeed possess a fraction of it, even if emergent or thematic in nature. But the point stands: it can drive interest, engagement, and even encourage subscriptions. Since the time of Marvel Rivals' launch, the Fandom pages have seen an uptick in visitors, especially when new characters join the roster. The Fantastic Four, Magik, Luna Snow, the Invisible Woman's "Malice" alter ego… despite the implicitly perverse intentions I'm sure the visitors of those last couple of pages carry — pages that are trending as of this writing — the online community is experiencing a further change in how they perceive these geeky worlds of costumed critters and true believers. As the world actively discusses the characters they play and the worlds they inhabit, the Marvel universe grows into a benevolent symbiote in their hearts and memories, planting its feet even firmer to the ground as the face of comic book culture among many. Time will tell if there's still room for giants like DC to make a similar dent, but they'd better act fast. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/2_182d6d01.jpg) ****Source:** Marvel Rivals official website. As I flush down hours of my time in the game, I'm brought closer to the possibility of becoming their five-dollar goldfish. It's all thanks to the developers and writers who respected the source material and adapted it so well, that I imagine the loyal fanbase feels right at home. Further proof that staying true and faithful earns you a growing, *paying* audience in return. All of this could've been Overwatch (or Overwatch 2 now, I guess), once upon a time. Shame that it was, like most narrative efforts, rag-dolled to the side in favour of formulaic choices. It killed any purpose it had in the market, allowing for a game like Marvel Rivals to swoop right in, and snatch the spotlight. And I think making this point is timely, given the industry's current state, with [almost 20% of the narrative workforce laid off in 2024](https://gdconf.com/news/gdc-2025-state-game-industry-devs-weigh-layoffs-ai-and-more). Perhaps more studios, those running live-service ops as well as those that deem it necessary to eradicate narrative departments, could observe Marvel Rivals as a case study, and take a page from their Darkhold. Perhaps, keeping the story in the front and centre, and using it to inspire the "why" of their games, is key to connecting the business wants with the creative directions and risks. That's only possible if the writers and narrative designers were given the space, time, and trust to help brands bring back their "wow" factor... ... something NetEase continues to achieve with Marvel Rivals. ### A Selection of New PC Games Worth Playing in 2025 URL: https://www.superjumpmagazine.com/a-selection-of-new-pc-games-worth-playing-in-2025/ Last updated: 2025-02-27T02:28:34.000Z **For passionate gamers with plenty of virtual dosh to spend or diehard players who simply want to play the latest releases of today, there are some excellent PC games to consider right now.** In fact, 2025 has started with a flurry of must-play products. Alongside [listening to leading podcasts online](https://www.superjumpmagazine.com/tag/superjump-podcast/) and following a variety of gaming-related accounts on social media, gamers everywhere are setting some time aside to explore some of the best new PC games that are currently being raved about. Of course, there are still plenty of great games from last year to play. For example, cooperative third-person shooters like Helldivers 2 are still thriving, while [online war games for PC](https://plarium.com/en/games/genre/war-games/) have also been receiving plenty of plaudits. While these popular products still deserve some of your attention, they can be enjoyed alongside the latest and greatest releases of the year so far. So, without further ado, below is a brief look at some of the finest releases to play in 2025 so far. Make no mistake about it, the new year has started with a bang for PC gamers. ## Call of Duty: Black Ops 6 Kicking things off with a series of games people adore, the Call of Duty franchise has been alarmingly quiet in recent times. People who are obsessed with these action-packed products that are filled with combat scenarios have only had rehashes of previous games to sample. Now, though, Call of Duty: Black Ops 6 is here, and it’s already captivating CoD fans. The gunplay is impressive, zombies have returned, there are new weapons to use, and so much more on offer. Simply put, Call of Duty is well and truly back. ## Stalker 2: Heart of Chornobyl The long-awaited sequel [to Stalker: Call of Pripyat](https://www.reddit.com/r/stalker/comments/iuzqkw/my%5Fthoughts%5Fon%5Fcall%5Fof%5Fpripyat%5Fsort%5Fof%5Fa%5Freview/), Stalker 2: Heart of Chornobyl is a game worth looking at. With players immediately finding themselves in the Chornobyl Exclusion Zone, it’s up to you to survive and thrive against the odds. Having been dealt the worst of hands, players need to be resourceful, avoid being taken out, and find out exactly what is going on while enduring the most testing of circumstances. Source: YouTube. ## WoW The War Within Understandably, World of Warcraft needed a facelift. It has been executed fairly well in WoW The War Within, with gamers taking to the new Story Mode feature, in particular. If you’ve neglected recent WoW games, then now might be the time to consider jumping into them once again, especially as WoW The War Within appears to be an upgrade on previous versions of the game. ## Marvel Rivals Released just before the end of 2024, Marvel Rivals has experienced a rise in players at the start of 2025\. With [your favorite superheroes coming up](https://variety.com/lists/best-marvel-characters-movies-tv-shows/) against each other in a series of epic battles, it makes for a frenetic masterpiece filled with strong doses of excitement. If you’re partial to superhero games, then Marvel Rivals is definitely for you. ## Civilization VII Since its release in February, Civilization 7 has received plenty of positive reviews. The latest game from a much-loved series, it has experienced some notable changes that have elevated the game further. From its three new Ages to its increased amount of buildings and resources, there is plenty to get stuck into in this one. If you’re a fan of the previous installments of the game, this spruced-up creation might just tickle your fancy. Other top PC games of 2025 so far include Age of Mythology Retold, Fallout London, Black Myth Wukong, Frostpunk 2, Ara History Untold, Metaphor ReFantazio, and Dragon Ball Sparking Zero. ### 2024 Dungeons & Dragons Character Building is So Much Better URL: https://www.superjumpmagazine.com/2024-dungeons-dragons-character-building-is-so-much-better/ Last updated: 2025-02-26T14:00:56.000Z **Some time ago, I wrote a seven-part series dissecting the Dungeons and Dragons Fifth Edition character sheet, from race and class to skills and saves.** I'd long held the idea that this sheet was overly complicated for new players and wanted to make sure that the game could remain as accessible as possible. In 2024, Wizards of the Coast re-released the core rule books of D&D with an overhaul for not just aesthetics, but mechanics and organization as well. I was excited for this, but still skeptical; would they actually make any useful changes? So, I picked up my copies and flipped directly to the sheet building section. I was *impressed*. The 2024 D&D character sheet is so much simpler, cleaner, and easier to put together than the 2014 version and I'm so excited to break down the changes for you so you can start playing right away. ## A simpler layout ![The 2024 D&D character sheet, a two-page spread.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-33.png) Source: Wizards of the Coast. The [new character sheet](https://media.dndbeyond.com/compendium-images/phb/downloads/DnD%5F2024%5FCharacter-Sheet.pdf) is only two pages, with a more compact setup than the 2014 version. There are a few big changes that stand out to me: - The character and player basic information is still at the top of the sheet, but I like that they've highlighted level and XP in their own bubble. - AC now appears at the top of the sheet, between player info and hit point info. - The hit point info section has been moved up on the page, to the right of the player info, and has been slightly reorganized to focus on current HP first. - The skills and abilities sections have been combined, with the skills appearing under the ability score that determines their modifier. - Initiative, speed, size, and passive perception now make up a cohesive section near the top of the sheet. This makes sense to me as they're stats you need to reference fairly often throughout the game - I like that you don't have to hunt for them anymore, though I do wish this section also included passive insight. - The "attacks and spellcasting" section has been renamed "weapons and damage cantrips," and has moved up the sheet. I love that it now takes up far more of the page - I've always hated having to cram my information into the tiny middle box. - "Features and traits" has been broken into three sections - "class features," "species traits," and "feats." I like the specificity and expanded writing space, especially for higher-level characters. - The section for proficiencies now includes a specific space for armor training, which is super convenient for loot dispersion. - All of the spellcasting information is now on page two, with a simplified spell list - I assume they want you to keep the PHB handy for referencing what spells do, which is fine - and the modifiers, DC, and attack bonus at the top of the sheet with the spellcasting ability. - All of the story-based character information (backstory, alignment, flaws/bonds, appearance, and languages) has been moved to page two. I actually really like the fact that all of the individualized boxes across the first two pages of the 2014 edition have been condensed into larger, much more generic sections; I think it leaves a lot more room for customization. - Equipment is now all in one smaller section. I can see this causing some problems, especially at higher levels when characters are likely to have more full inventories. Overall, the reorganization of the sheet makes it much easier to find the information you need quickly, especially during combat. According to Wizards, the 2024 edition of the game was revamped with input from dungeon masters across the community. I can completely see that influence here; it really feels like the development team listened to what players actually needed to know and planned accordingly. ## Character building in 2024 D&D ![A party consisting of a dwarf, a halfling, two humans, and two elves rest around a fire in the woods.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/DND_Art1.png) Source: Wizards of the Coast. To test how the building mechanics have changed in the 2024 edition of the game, my friends and I decided to play a short one-shot game. I ran the game with five players, all of whom used the basic 2024 D&D character rules from the new PHB (in fact, four out of the five built their sheets on DnDBeyond). One player created a Berserker Barbarian, and was delighted to discover that the Frenzy class feature had been amended to remove the restriction stating that using it caused a level of Exhaustion. This has long been a source of ire in the community; if you can't use a basic class feature without serious consequences every single time it's enacted, why would you bother picking that subclass? They later switched to a different build, meaning we didn't get to explore this any further, but I thought it was an incredibly useful update. Another player chose a Beast Master Ranger for their character, which is another long-maligned subclass (well, class in general). They were happy to find that Beast Master had been improved, with the new Beast of the Land working wonderfully in their first combat encounter by absolutely obliterating a Twig Blight in one hit. They also discovered that Hunter's Mark changed; Favored Enemy now refreshes on a long rest, giving you casts of Hunter's Mark rather than simply letting you choose a creature type to hunt down. Additionally, Deft Explorer granted them Expertise, which was convenient, and gives two languages, though it no longer has a scaling mechanic. They felt that the changes hampered story versatility while improving mechanical versatility, which was a bit of a trade-off and watered the class down story-wise. We also had a brand new player at the table for this game, who had never built their own D&D character before. I was able to sit with this player and help them build their own character - a hilarious Rogue with a penchant for breakdancing - in the space of about an hour. They were also able to play with few if any hiccups; they were able to find all of the skills and abilities they needed quickly and easily without hunting around the sheet or the PHB for too long. They were even able to pull off some fun combat without frustration, which can be a major hurdle for new players. There were a few other minor changes we discovered, such as the renaming of certain Druid abilities (though their function doesn't seem to have changed much), a few new spells (we're particularly fond of Elementalism), and the new origin building mechanics offering players far more customization when it came to languages. Generally, though, the characters were quick and easy to build, and all of the information was easy to find upfront. Using the new core books as a DM was convenient as well; I had to do much less flitting around and fumbling to find what I needed when it came to monster stat blocks and class features. It was all laid out logically and simple to find through the Table of Contents, which helped the game run smoothly. ## Conclusion While I think I'll be playing in regular old Fifth Edition for some time yet because it's what I'm most familiar with, I'm not at all opposed to using the 2024 rule set. Overall, I think Wizards of the Coast made some solid improvements to the structure of the game, making it more accessible to those trying it for the first time, which is always a step in the right direction in my book. It does feel like the team actually took on the advise and criticisms of long-time players in this redesign; everything feels more focused on the fun of the game, and hits more heavily on the idea that being kind to each other is a core part of making the game work. I'm glad to see that the 2024 update doesn't feel cheap or like a cash grab, which was a major community worry. To me, this feels like a sincere attempt to improve on D&D without taking anything away from the game that we love. I still have my problems with Wizards of the Coast, but in this, I can give them my praise: I think the 2024 update to the core rules is well worth exploring. ### Secret Level Makes A Roguelike Existential URL: https://www.superjumpmagazine.com/secret-level-makes-a-roguelike-existential/ Last updated: 2025-02-25T14:00:30.000Z **I didn't think, after finishing Spelunky, that the franchise would have more to say.** Creator Derek Yu gave an interview in a documentary where he believed the cave explorer was the villain, raiding artifacts rather than donating them to a museum. Another video showed that even he couldn't beat the HD version on the first try. Amazon's series Secret Level had another interpretation. Each short episode puts a new spin on different games. The Spelunky episode asks about the journey, rather than the many frustrations. ## Tallying the cost Outside a magical underground chamber, Ana Spelunky regenerates after another death. She and Liz Mutton discuss if dying over and over again changes you as a person. Liz marks the number of times that she has died, while Ana keeps track in her head. Though they revive outside the underground world, both have vestiges of pain that come from each death. Being new to this routine, Ana believes that she can shake off the pain and try again. Liz tries telling her it's not that easy. Your body may revive, but you're not the same person going in and out. Each death affects you, which is why Liz marks her attempts by scratching tally marks on the wall from each painful death. Ana dismisses her because she points out that her body doesn't have any lingering effects. Unfortunately, Liz is proven right. Ana dies 82 times. While some runs show her making great progress, other times a dart or tiki statue gets her in the early mine levels. She gets frustrated, understandably. I relate all too well as someone who thought they mastered the mines, only to suffer a stupid death yet again. Liz empathizes, saying that she also got frustrated after her first round of deaths. That's why she has another perspective: the tally marks represent her adventures. Ana regains her spirit. She sees the past 82 lives not as failures but rather as experiences. And each one, long or short, became an adventure to her. The show ends with her diving into the mines again, hoping that this time her run will be different. But if it isn't? At least the journey was fun and unique. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Secret-Level-Spelunky-1.png) Secret Level: Spelunky. Source: Amazon. ## Why game 2 and not game 1? Ana heralds from the second Spelunky game rather than the first one. She is, in fact, the child of the Spelunky HD's classic guy player, who married another player character named Tina Flan. Spelunky 2 is about her retracing her parents' steps when they go to explore a potential treasure mound on the moon. Some endings have the family reunite and go home with loot; others involve the player character turning into a deity (it makes sense in context). It surprised me initially that Secret Level chose to depict the sequel and not the first one. On a rewatch, however, it made sense; Spelunky 2 has more creative ways for the player to die that a two-minute short can recreate. The first Spelunky game and its HD remake have its share of epic failures that it will replay, but Spelunky 2 ups the ante. I haven't played Spelunky 2, both because it's much harder and because I would feel guilty about endangering a child that much with my inept playing. Videos have brought me up to speed about the gist and showed the many things that can kill Ana and various other player characters. Items like the jetpack, which can simplify your run drastically, can turn into wearable bombs if they are hit in the right place. Meanwhile, new mummified cats and ghosts can curse you, or a dose of poison will weaken you at the wrong time. ## Did Spelunky change me? The short asks this question to the interested audience who has played the game, and finding the answer is hard. I invested two to three years of my life into playing the original Spelunky, navigating my first roguelike. It taught me that Steam tags are unreliable when you are trying to search for educational games and that any game can be beaten with enough time invested, but those seem like cynical answers. Suppose, however, that Liz is right, that each failure was meaningful, even the ones where a man-eating plant or the wrong jump led to a good run ending abruptly. It would signify that all the time invested was not a waste. The game did get me through tough times while putting me through the wringer, to the point that I tried playing it while sick with COVID over Christmas 2021 (my sister had to shout at me to get some rest). Something kept me returning despite the difficulty level. I didn't return to other roguelikes like Geometry Dash, which somehow managed to be harder. Even when I beat Olmec once, I beat him again when returning to the game because dying stupidly again removed my "Old Age" victory. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Secret-Level-Spelunky-feat-image-2.png) Secret Level: Spelunky. Source: Amazon. I also learned that a difficult game where I show incremental progress impresses my friends. A few joined streams just to hear me swear, since they said I'm adorable when angry. They celebrated the little wins along with the big ones. Some players found solidarity in the creative ways they could fail a level. There are many videos of epic fails that can happen even if you aren't trying to rob a shopkeeper. Other players made their names with uncovering secrets and mastering speed runs. A recent video showed how to shave a few minutes off the Hell Run by taking advantage of Olmec's tendency to smash blocks when he charges. Though there aren't new Spelunky installments announced, Secret Level has put a heartwarming spin on how hard it is to win. We still have adventures, no matter how many times the spikes get us, and those memories help add to a unique experience. ### Digimon Story: Cyber Sleuth Captures a Different Creature URL: https://www.superjumpmagazine.com/digimon-story-cyber-sleuth-captures-a-different-creature/ Last updated: 2025-02-25T03:42:41.000Z **Many people compare Digimon to Pokémon, although that’s unfair to both franchises.** The Digimon are, as the name suggests, sentient digital beings that interact with the real world, and that alone take**s** its stories in other directions. Characters in its worlds have died, confronted traumas, and faced sadistic opponents. Because of this tone, its target audience is usually older than many other shonen franchises. Digimon Story: Cyber Sleuth continued this tradition of showcasing the various faces of a digital existence. ### Keychains that kick-start an adventure To understand Digimon, we should keep in mind its original starting point. It all dates back to the Tamagotchi, which Bandai first unleashed upon the world in 1996\. The simple, small egg device sported a dot-matrix display that gave the player a window to a virtual pet. Neglect meant death for the poor creature. The next year, Bandai released Digimon, which featured pets that were scarier and capable of virtual combat. The company hoped these aggressive creatures would appeal to boys more than the cute Tamagotchi designs. Digimon World, an original PlayStation title, arrived in Japanese players’ hands in 1999\. All of this occurred before the release of the first anime, which shows that much of the franchise’s roots lay in fact in its games. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Digimon-Mini.jpg) A Digimon Mini Ver.2.0\. Picture edited by the author. Source: [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:Digimon%5FMini.jpg) ([CC BY-SA 4.0](https://creativecommons.org/licenses/by-sa/4.0/deed.en)). This focus makes sense, though; Digimon are data, like the sprites in a game, so playing it is a meta experience in itself. Ever since the late 1990s, we’ve also been spending an increasing portion of our lives in digital worlds. Its subject seems more prescient than ever. ### Collecting a creature or two I came to Digimon Story: Cyber Sleuth as an old fan of the franchise. My first encounter was when I saw a friend’s Digimon V-Pet back in the 20th century. When they aired in the early 2000s, I watched the first four series of Digimon (Adventure, Adventure 02, Frontier, and Tamer). I also used to collect some of the Digimon trading cards and was lucky enough to get MetalEtemon, one of my favorites, in one pack. One thing that drew me in was its stories’ darker tone. The DigiDestined – those who are able to access the digital world and bond with Digimon – grow in the face of various hardships, both in the digital world and in their personal lives. The show tries new things in each of its series, such as the fusions of DigiDestined and Digimon in Digimon Frontier, despite the fact that it would have been safer to just tread the same ground. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Three-Digimon.jpg) Kerpymon, Sakuyamon, and Piedmon join me in a dungeon. Source: Author. Of course, the designs of the creatures also play an important role. There’s the [popular meme](https://knowyourmeme.com/photos/2207557-science) that jokes a cat evolves into a lion in Pokémon, whereas in Digimon it changes into a pterodactyl and then into a fridge with a machine gun. That’s the kind of unconventional change you can expect in this world. The designs do match their environment though, because anything is possible on the internet and the normal rules fall by the wayside. Digimon Story: Cyber Sleuth, released in 2015, recognizes that the creatures are one of the franchise’s strong points. In the complete edition, there are over 300 Digimon available, and it’s a good mix of familiar faces and others that deserve more of a spotlight. I became nostalgic when I finally encountered my favorites: Sakuyamon, Etemon, Kerpymon, Piedmon, and more. ### Splashes of colour The battle animations during combat, especially of “big” attacks, are often quite easy on the eye. It’s an aspect that heightens the drama of each encounter. Your battle team can also consist of up to 3 active Digimon, like many Persona and Final Fantasy titles. Thankfully, there’s also an option to shorten the battle animations, because they might test your patience when you’re grinding to reach higher levels. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Arcade-Area.jpg) In the arcade area, the woman wearing the maid outfit is person you should talk to enter the Offline Coliseum. Source: Author. Oh, and how you’ll grind. After some steady progression in the Champion stage, you’ll feel you’ve hit a wall, but there are strategies that can overcome it. The Offline Coliseum is one such source of easy experience. Located on the 4th floor of Nakano Broadway, near the arcade machines, it allows one to fight in a tournament against formidable PC opponents. When you win the cup, you advance to the next level, so it’s better to purposely lose after four battles, so you have the option to come back and farm experience later. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Numemon.jpg) PlatinumNumemon in Digimon Story: Cyber Sleuth. Source: Author. Two Digimon, PlatinumSukamon and PlatinumNumemon, also have passive effects that boost the experience one receives from a battle. They stack too, so having two in your party increases the experience gains even further. You can also equip several Tactician USBs, which are items that also boost experience gains after a battle, to one of these Digimon to stack more bonuses. If one were unaware of these mechanics, then the game might seem an unbearable slog. Digimon Story: Cyber Sleuth is a game of interlinked systems, though. To get Tactician USBs — quite a rare item in the game — you can develop your farm, a research facility you fill with Digimon with the suited personality: the Builder personality. It’s a multi-step process with its own challenges, but you also gain a sense of accomplishment when your whole setup has grown into a formidable team. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Farm.jpg) Just feeding a MachGaogamon digimeat on one of my farms. Source: Author. ### Climbing into the driver’s seat One aspect I struggled to get into was the story. At the start, you sit through a long-winded section that is pretty vague, contextually speaking. It takes quite a while before the game hands you the reins, and it doesn’t take this time to explain many of its systems. It trusts you to consult the tutorial in the Digivice on your own time. Once they appear on the scene, the characters aren’t very endearing or multidimensional, either. One's obsessed with romantic relationships, another is always sullen, another is obsessed with coffee, and so on. They are, sadly, often defined by one or two quirks. Prominent female characters are also often sexualized to a significant degree. It’s not uncommon to see a prominent décolletage or a bizarre cutaway dress front and center. Sometimes, they also find themselves in situations that cater to the male gaze. Of course, those elements are also present in many Digimon designs, but there are also creatures that cater to the female gaze, so in that aspect, it isn’t so one-sided. This isn't the case in the designs of its human characters. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Medal-Man.jpg) There are some bright spots though, like the hilarious Medal Man. He's also on the 4th floor of Nakano Broadway. Source: Author. To make matters worse, it’s difficult to form an emotional connection with any of the characters when the story jumps all around during its initial phases. The main narrative only becomes intriguing in the second half, which in a game this size is dozens of hours deep into the arc. Some of the side quests were actually much more interesting to me than the main storyline. One factor that made me return to it, as perhaps is the case for many other gamers, is the Digimon themselves. ### A route with many diverging paths It’s fun to raise a Digimon in Cyber Sleuth. Unlike many other creature collectors, growth isn’t linear in the game, because you can (and often must) de-digivolve a creature to a lower stage and then digivolve it again to meet the conditions of a digivolution. The charts of these digivolution routes often looks like an obsessed detective’s corkboard, too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Evolution-Chart.jpg) The available digivolution choices available to CatchMamemon. Source: Author. This going-backward-to-move-forward style of progression can be disheartening if you haven’t identified clear routes to an easier experience. To make the most of it requires careful planning and a change of thinking. The backward steps are part of the exploration process. Once everything clicks, the gameplay loop becomes a pleasant routine. You check your inbox for funny messages from characters, visit the Digi Lab to convert data into Digimon and see new evolutions, and then head to the farms to tweak what you need for your intended results. This means it’s easy to get side-tracked by many of these elements, but it also makes the game feel larger than its dungeons. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Battle-Scene.jpg) Sakuyamon celebrates another victory. Source: Author. Those dungeons can be quite difficult to navigate. The locations of mission objectives aren’t always clear, either. In these cases, the High Security hacking skill, which reduces or eliminates encounters, makes it a less time-consuming endeavor. It’s another instance where the game contains the system, you just have to dig through the layers to find it. My total playtime on the PC version amounted to around 70 hours (that’s excluding Hacker's Memory, which I haven’t touched yet), so it’s not lacking in the content department. Though, your enjoyment of Digimon Story: Cyber Sleuth will depend pivotally on your love of Digimon. If you adore those odd digital critters, then you might have the patience to look past the game's faults and enjoy the various intricate systems and challenges it has to offer. ### Why Every Gamer Needs a High-Quality Custom Mouse Pad URL: https://www.superjumpmagazine.com/why-every-gamer-needs-a-high-quality-custom-mouse-pad/ Last updated: 2025-07-18T01:02:51.000Z **Gaming is more than just a hobby; for many, it’s a passion and a competitive pursuit.** Whether you're an esports professional, a casual player, or a streamer looking for the perfect setup, having the right equipment can make a significant difference. While most gamers focus on high-performance hardware like keyboards, mice, and monitors, the mouse pad is an essential yet often overlooked accessory. For top-tier custom mouse pads designed for performance and personalization, check out[ 4inlanyards](https://4inlanyards.com/custom-mouse-pads). They offer a range of high-quality gaming accessories that enhance functionality and aesthetics. A high-quality custom mouse pad is not just about aesthetics—it directly impacts performance, comfort, and durability. ## The Importance of a High-Quality Mouse Pad A mouse pad might seem like a minor component, but it plays a crucial role in gaming performance. Here’s why every gamer should invest in a custom, high-quality mouse pad: ### 1\. Precision and Accuracy A smooth and optimized surface ensures that your mouse sensor can track movements with precision. This is particularly important for FPS, RTS, and MOBA gamers who rely on quick reflexes and pinpoint accuracy. ### 2\. Enhanced Durability High-quality mouse pads are built to last. Unlike cheap alternatives that fray or lose their smooth texture over time, premium mouse pads are made with durable materials that withstand intense gaming sessions. ### 3\. Comfort for Long Gaming Sessions A comfortable gaming setup is crucial for marathon gaming sessions. A well-cushioned mouse pad with ergonomic support can prevent wrist strain and fatigue, ensuring a smoother and healthier gaming experience. ### 4\. Customization for Personal Style Custom mouse pads allow gamers to express their personality and brand. Whether you prefer a sleek minimalist design, a vibrant RGB-lit pad, or one with your gaming team’s logo, customization adds a personal touch to your setup. ### 5\. Non-Slip Base for Stability The last thing any gamer wants is a mouse pad that shifts mid-game. High-quality mouse pads come with non-slip rubber bases, ensuring that your movements remain steady and uninterrupted. ## Types of Custom Mouse Pads Gamers have various preferences when it comes to mouse pads. Here are some common types to consider: ### 1\. Cloth Mouse Pads Soft and flexible, cloth mouse pads offer excellent control and comfort. They are ideal for gamers who need precise mouse movements and prefer a slightly resistant surface. ### 2\. Hard Surface Mouse Pads Made from plastic or metal, these mouse pads provide ultra-fast tracking for high-DPI gamers. They are great for FPS players who require rapid, fluid movements. ### 3\. Extended or XL Mouse Pads These cover a larger surface area, accommodating both the keyboard and mouse. Extended pads provide a uniform surface for seamless transitions between mouse and keyboard movements. ### 4\. RGB Mouse Pads For gamers who love aesthetics, RGB mouse pads come with customizable lighting to match your gaming setup’s theme. ### 5\. Wireless Charging Mouse Pads Combining functionality with convenience, these mouse pads feature built-in wireless charging for compatible gaming mice and smartphones. ## How to Choose the Best Custom Mouse Pad When selecting the right custom mouse pad, consider the following factors: - **Material** – Choose between soft fabric, hard plastic, or hybrid materials based on your gaming needs. - **Size** – Pick a size that fits your desk space and gaming style. - **Surface Texture** – Opt for a smooth or textured surface depending on your preference for speed or control. - **Edge Stitching** – Reinforced edges prevent fraying and enhance durability. - **Custom Design Options** – Look for providers who allow full customization with high-resolution printing and premium-quality materials. ## Conclusion A high-quality custom mouse pad is more than just an accessory—it’s a vital part of any gaming setup. Investing in the right mouse pad can elevate your gaming experience from improving precision and durability to adding a personal touch. Whether you’re a competitive gamer or just enjoy immersive gameplay, the right mouse pad can make all the difference. Upgrade your setup today and experience the benefits of a premium custom mouse pad! **This story contains links from one or more partners.* ### Psycho Killer Simulator: Violence in Butcher's Creek URL: https://www.superjumpmagazine.com/psycho-killer-simulator-violence-in-butchers-creek/ Last updated: 2025-02-25T03:42:47.000Z **David Szymanski has done it again.** I admire the man plenty, I even [wrote about his shorter games once before for SUPERJUMP](https://www.superjumpmagazine.com/celebrating-david-szymanskis-small-wonders/). The beloved creator of Dusk recently celebrated the release of his latest short-form game, Butcher's Creek, and I found it as wonderful and experimental as his previous works. It has all the sparkle of a Szymanski gem; the level design loops around in satisfying routes, the combat is punchy and meaty – a bloody and gory delight – and there's plenty of shlocky, B-horror-inspired, low-poly scenery to chew on. The obvious inspiration behind Butcher's Creek is Monolith's seminal survival horror title, Condemned: Criminal Origins. The similarities are plentiful. Both are first-person horror games that focus on scavenging weapons with limited durability. Both set their melee battles in dimly lit, nightmarish, dilapidated buildings, facing off against maddened killers ready to smash your head with a sledgehammer just as willingly as you are to them. However, I was always irked by the contextualization of violence in Condemned. Not specifically the violence itself – blaming real-life violence on video games is a tired conservative talking point, and some of my favorite games are excessively violent in their stylistic portrayals of blood and guts. Yet, as cultural products, games are not bereft from having their violence examined and criticized. The main issue I have with Condemned is how the game forces you to kill and brutalize homeless people and addicts from a morally advantageous position. The main reason I enjoyed Butcher's Creek more and claim it is better than the game that inspired it is because David Szymanski properly contextualizes the brutality you will be engaging in throughout your 1-2 hour playtime. If you're going to place me in frenetic, bloodied melees against psycho killers, the least you could do is admit the character I'm playing is also a bit of a freak – and explore that concept to its most ridiculous extremes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-81.png) Source: Author. --- > The main issue I have with Condemned is how the game forces you to kill and brutalize homeless people and addicts from a morally advantageous position. --- I need to clarify some statements before we move on. I don't believe Condemned: Criminal Origins is shock-jock media. I don't believe it's a game made with the intent of shocking, offending, or provoking ire. I don't think the developers behind the game are reactionaries who hate drug addicts and homeless people. I don't believe the game was purposefully made to incite real-life violence against the lower classes. I believe its use of unhoused folks as enemies was an unfortunate staple of its time period in gaming. I believe the violence is properly contextualized – the context itself is the issue. I also don't think you're a horrible person who believes in the eradication of the lowest social strata of humanity if you enjoy Criminal Origins. There's a lot to love and admire about the game. It's a cult classic for a reason. As a horror game, it excels at cultivating a darkened, gritty atmosphere. Its core mechanics serve to heighten the terror. Weapons break, leaving you defenseless and vulnerable. Guns and ammo are scarce, making your most powerful deterrents a rarity. Even in moments of reprieve, the uneasy feeling that you could get ambushed is ever-present. It's a game that relies on few jumpscares, instead letting the atmosphere and moment-to-moment gameplay heighten the player's feelings of tension. The problems I have with its violence are purely personal, and should not be taken as some objective moral marker; I just don't particularly enjoy playing as a cop beating on the homeless. It leaves a sour taste in my mouth, especially in the age of increased consciousness regarding police brutality and the criminalization of homelessness. You play as Ethan Thomas, an FBI agent on the hunt for a deranged serial killer, abandoned by the police force and framed for the murder of one of his piggy brothers. You are never the aggressor in conflicts, you are actively engaging in self-defense against violent civilians, rendered mad by some cultish paranormal shenanigans. This is how Condemned contextualizes its violence, and that's exactly the issue I have. The game paves the way for you to brutalize people under the guise of moral superiority. Your actions are justified: you are committing violence under reasonable expectations and self-defense. Yet, the violence is doled out to enemies labeled as "vagrants" and "addicts" in the game's lore and code. This creates a bit of ludonarrative dissonance. Agent Thomas never seems shaken or disturbed by all the violence he inflicts – although he does showcase some shock when presented with the gory remains of serial killers' victims. My Brother in Christ, you are a killer too. You split the heads of vagrants with axes, you knock out enemy teeth with iron pipes. You tase them, bash them, shoot them, cut them. Jesus...Agent Thomas is a bit of a sicko. Yet, the game is never brave enough to admit this, until its very unpopular sequel came out. I don't believe this game incites real-life violence, but the legacy of Condemned's context-of-violence is brutally felt whenever I hear someone labels it a "hobo-bashing simulator" and can inform some classist beliefs if taken in under an uncritical and reactionary mindset. If I am engaging in violence in a game, I tend to enjoy one of two routes. Oftentimes, a game can walk both paths simultaneously: 1. Embrace violence as a spectacle amid the moral absurdity of it all. Cut the head off an enemy and watch the blood fountain rain down from his bisected neck, like in No More Heroes. Gib a demon with an explosive rocket, like in Doom. Feel the snap and crack of a gangster's neck, like in Yakuza 0. 2. Devise a commentary on violence. Make me reflect on the nature of violence and my willingness to engage with said brutality in virtual, pixelated worlds, free from real-world consequences. Hotline Miami comes to mind, as the game's aesthetics and haunting end-of-level soundscape – the drone that plays as you slowly return to your Delorian, passing by the bashed and gored remains of the Russian mafiosos you just killed – always made me feel a pang of consciousness and guilt. With such realistic portrayals of violence and the authoritative position of the player's character, I believe Condemned fails to properly go down either route, stumbling its way through both paths. Butcher's Creek, on the other hand, goes headfirst into the first route – and boy, what a spectacle it is. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-88.png) Source: Author. --- > With such realistic portrayals of violence and the authoritative position of the player's character, I believe Condemned fails to properly go down either route, stumbling its way through both paths. Butcher's Creek, on the other hand, goes headfirst into the first route – and boy, what a spectacle it is. --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Spoilers_Ahead.png) Minor spoilers for Butcher's Creek. I dredge through ramshackle shacks and ruined basements, filled with the skinned corpses and spilled entrails of innocent victims. Killers donning burlap sacks and unicorn skulls assault me at every turn. I am naked – the soles of my feet are bloody with glass shards, but I am not defenseless. I willingly grab rusty tools and smash the killers' heads. My axe-swings exert an overwhelming force and often decapitate my foes. I'm not locked in here with them: they're locked in here with me. Butcher's Creek wastes no time presenting your character as a disturbed individual. The unnamed protagonist stumbles upon the eponymous Butcher's Creek, nestled deep in the Appalachian Mountains, to find a lair of prolific serial killers who worship a dark God, attracted by the promise of blood and gore. He is not a hero – he's looking for snuff tapes to add to his perverse collection. The game's aesthetics and mechanics are built around cultivating the feeling that your character is just as voracious for brutality as the killers you face off against. The game is presented as a found-footage horror film, grabbed straight from a VHS camcorder – a grainy film filter showers your screen in pseud0-analog static. It's as if the Player Character has one hand on his camera and another on his rusty pipe, gleefully filming the carnage to enjoy the tape on a CRT TV afterward. Tapes of dubious and amoral content are the lifeblood of this unnamed protagonist. Collecting the tapes strewn about serves multiple mechanical purposes, from temporarily increasing your maximum health, to unlocking special rooms containing rare and powerful weapons, and even as consumables to save your game. When your health runs low, your character receives a second wind from photographing scenes of indiscriminate bloodshed – either take a picture of bloodied remains with your camera or find pristine polaroids depicting cruel torture to fill your health back up to the maximum. In Butcher's Creek, your character willingly engages in violence, almost joyfully so. One of the challenges of making any horror-focused story work is ensuring that the protagonists don't have easy answers or excuses to escape the threats that haunt them. Butcher's Creek doesn't set all its battles in ruined interiors; the characters step outside to face off in the woods, and, even wounded and naked, the Player Character never makes a run for it or even attempts an escape. He instead jaunts deeper into the dark crevices of its haunts to uncover the cult's secrets. There's also the matter of agency. Self-determination is often stripped away from the enemies of Condemned since they are mind-manipulated by sonic emissions (as explained by the sequel, to much chagrin), which furthers their dehumanization. It seems everyone in Butcher's Creek is more than willing to dole out slashes, beatings, and torture, the Player Character included. It turns Butcher's Creek into a more honest experience – violence is not hidden under layers of moral grandstanding. One might read these paragraphs and think that the morality of Butcher's Creek's contextualization of violence is even more perverse and sick than Condemned's, but I believe the context levels out the playing field – psycho killers versus psycho killer. You are on equal footing with your assailants, albeit outnumbered and in the nude, but morally and ethically cut from the same blood-soaked cloth. Ultimately, Condemned portrays a more cynical viewpoint with its grittiness and depressingly grim world, whereas Butcher's Creek is more buoyant and self-aware – it overflows with levity, humor, and stylistic choices that make the whole game significantly more palatable and less gruesome than the sum of its parts. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-20.png) Source: Author. --- > The game's aesthetics and mechanics are built around cultivating the feeling that your character is just as voracious for brutality as the killers you face off against. --- Despite its extreme representations of gore and blood, the PS1-style chunky polygons add degrees of separation to your violent actions. It's harder to take a world so seriously when it is stylized and inspired by campy horror aesthetics. It acts as an antithesis to the realistic graphics and acts of violence that Condemned portrays. Truly, Butcher's Creek is so exaggerated in its carnage, the blood-thirst so unrealistic and self-aware, it borders on comical and ridiculous (in positive ways). You're playing as an overweight, naked fiend who can hold his own against droves of goons...the premise itself is a bit on the zany side. The anonymous protagonist presents himself less as a "too edgy for me" kind of anti-social personality and more as a ridiculous killer with unsavory desires. The levity of its design is felt when you barefoot-kick enemy goons and they exclaim with audible curse words – every "f\*ck!" filled with pain and spite. The game is janky in all the glorious ways jank offers unique aesthetic experiences in the realm of gaming. I dare you not to laugh when an enemy has to execute its wonky pathfinding, slowly taking angular steps to reach you only to be kicked into a deep pit, or not let out a little chortle when an enemy ragdolls on top of a torrent of fire, watching his body spin in the air before unceremoniously colliding with the floor. The serial killers are so funny. You constantly find notes of people chastising others for not providing enough snuff tapes to the Dark God, anecdotes of them locking up their most loony cult members in a "Unicorn Palace", and reminding everyone to "not let those crazies out – we locked them in there for a reason!". The funniest note I found was about a goon complaining that their burlap sack of a mask was uncomfortable and itchy, wondering why they all have to dress the same and live in such dilapidated conditions: "It's not the 70's anymore", the goon complains. A reply to his grievances is a castigation for his lack of faith. You don't have to explore Butcher's Creek deeply to realize its deeply tongue-in-cheek nature. Maybe it's just my own desensitization of violence in media, but it's really hard to take the brutality seriously in a world where a flavor text exclaims "Fresh Blood! Nice!" when you take a picture of blood splatters to regain your health. Yet, there are still moments of effective scares. One particular scenario sent shivers down my spine – you walk through a narrow forest path and you can hear the crunching of leaves and twigs. You are being stalked, but the enemy never ambushes. I nervously crept forward and looked back way too many times to find my pursuer non-existent. Ultimately, Condemned is the scarier game, but comparing the two on horror alone is akin to comparing a realistic, psychological crime-thriller to a B-horror flick made on a budget. Butcher's Creek is going to draw me into one more playthrough – I want to experience the campiness and ridiculousness of its setting and context of violence all over again. Whereas, with Condemned: Criminal Origins, I can barely get past the beginning levels as the violence on display is significantly harder to stomach. That's the incredible accomplishment of Butcher's Creek: in its portrayal of violence, it went all-in on the spectacle, took it to its most ridiculous extremes, and delivered one of the most palatable ultra-violence simulators ever as a result. Hidden in this, under layers of guts and entrails, is an effective lesson on how to portray virtual, pixelated carnage. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-21.png) Source: Author. ### The Music of Becoming: Life Is Strange's Soundtrack, a Decade Later URL: https://www.superjumpmagazine.com/the-music-of-becoming-life-is-stranges-soundtrack-a-decade-later/ Last updated: 2025-02-23T11:12:49.000Z **A gloomy day in Arcadia Bay. Max gets on the school bus to go back home. She pops in her earphones.** The sound fades and José González's [*Crosses* ](https://open.spotify.com/track/0ByKWq0hsuYriK5avSMJ5r)starts playing. We witness the seaside calmness of Arcadia Bay's structure, including the lighthouse, from her seat window. The strumming of the acoustic and the weighty lyrics evoke a very personal feel to the listener. You cannot help but listen to what they're trying to say. It immediately gets you hooked. It's not just this single instance. Life Is Strange's soundtrack as a whole had a very carefully crafted melancholic and relaxing vibe, almost as if they were trying to tell you to understand your struggles and fears. From [*Obstacles* ](https://open.spotify.com/track/2ynCjjrmED5CfiVn2ZLkUk)by Syd Matters to [*Santa Monica Dream*](https://open.spotify.com/track/05riEz6hccTC3AOu2Tj5dG) by Angus & Julia Stone, it captured the essence of indie folk. A sense of hope and perseverance in the midst of all the darkness and uncertainty we are going through. It's all going to be alright, we need to just relax. It's been 10 years since we were introduced to this game and the soundtrack still feels as fresh and as relaxing as time goes by. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/life-is-strange-max-listening-in-bus.jpg) Source: DON'T NOD. ## Notes of growth As the game progresses, we delve into Max's life and all the things happening with her and her best friend, Chloe. The narrative elements and the artistic direction in the game are extremely captivating, no doubt about that, but the music brings it all together. Without the music, it's just a game, but with it, it's an experience. An experience of making choices when the end results don't seem too clear. But, you have to; a bit like real life. [*Spanish Sahara*](https://open.spotify.com/track/3SJWVMRwk5z4Uaff7kGs0d) by Foals plays in one of the alternate endings, which is the more tragic one. The choices you make to get that ending are not easy, and sometimes, you'll take them unknowingly. The song hits right at the moment when the player feels numb, a hollow feeling in the heart as to where it all went wrong. But, we all have to live with the choices we make, as does Max. And it gets clearer as the song grows in intensity and the lyrics become much more humane, telling us to ''forget the horror'' and move on. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/life-is-strange-max-and-chloe.jpg) Source: DON'T NOD. ## More than just background music Another great track from the game's soundtrack is the instrumental piece, [*The Sense of 'Me'*](https://open.spotify.com/track/2WuYFh5gbBgwCUSF8E61TM)by Mud Flow. A soothing piece where the guitars do the talking, and the vocals serve as echoes in a way. The only lyrics are- ''*Try to try again; To hear yourself again from time to time.''* Narrative-wise, this starts playing when Max is driving through the rain at night witnessing all the chaos and destruction caused by an ''unnatural'' storm in Arcadia Bay. The sounds get melodic and harsher as the song goes on, but it also makes you feel something inside. It's up to the listener to interpret what the feeling is, but no doubt it's important. The soundtrack of Life is Strange is what makes it so compelling and innovative, even a decade later. Playing the game feels more like a journey to discover your own feelings, struggles, and emotions. The songs just amplify them and bring them to the forefront and help you face them head-on. If you’re returning to its world after years away or discovering it for the first time, its melodies remain a quiet friend, humming in the background of life’s changes. It’s a reminder to pause, feel, and embrace the journey. Maybe that’s why it still resonates, because, in its own way, it was never just about the game. It was about us, and the lives we continue to live. ### Trusting in the Process: Revisiting Forspoken URL: https://www.superjumpmagazine.com/trusting-in-the-process-revisiting-forspoken/ Last updated: 2025-02-22T21:11:23.000Z **If you were to tell me there’s a gimmick in Forspoken that allows you to find and befriend the cat-like Familiars of the powerful group of rulers called the Tantas, I would have probably been more interested.** I believed, because of an atrocious initial reception, that this game had few redeeming qualities: annoying banter, a nonexistent plot, a flat and uninviting world, poor polish, glitches, and, worst of all, a prickly, mean protagonist. Forspoken is a lot of things, but “cat collector” was not what I expected to find. The ability to befriend these little helpers who collect items and mana for me as I explore eased my initial concerns about first impressions. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Spoilers_Ahead-1.png) This article contains spoilers for all of Forspoken. The game is a recent addition to the PS+ game catalogue, so I wanted to give it a shot. I found that, aside from occasional overly abrasive dialogue, the story and chatter weren’t nearly as bad as I’d expected. While flawed by rough post-production, Forspoken’s heartfelt narrative, intriguing world, and excellent combat and exploration make it a game I continue to enjoy days after completing it. Calling it imperfect as a caveat to liking it feels like a weak defense because I *genuinely* enjoyed Forspoken for what it was. It has interesting combat mechanics and a lot of utility within its various toolkits. It reminds me a little of Final Fantasy XVI (or I suppose the other way around?), in that you can gain specific elemental skill trees that deal melee and/or ranged damage and grant buffs. You can customize combinations of these abilities relatively fast, allowing for reactive, twitchy gameplay. Its world is domineering and majestic, its creatures are frightening and varied, and its leading lady is kind of a blast. But most of all, this is a game that simply *blooms* after you roll credits. ## The Fear of Fate Forspoken centers around Frey Holland, whose story begins with her abandonment under the Holland Tunnel (get it?). In the opening scene, we see her appealing a grand larceny charge in a public trial. This gives us a quick introduction: an orphan, a criminal, dismissive, and kind of a dick. However, after her release, we witness a softer side when she returns a phone that has fallen from someone's pocket. At the heart of this ragged, angry persona is a reluctantly soft soul. I would describe Frey as just that: a bit burdened by her empathy, barely hanging onto it. This whole journey to a fantasy world is an exploration of embracing that side of herself, rather than side-eying it as an unfortunate relic of a life that never was. Once free of the law, thanks to the goodwill and hope of a judge sympathetic to her situation (barring one more instance of law-breaking), Frey is soon cornered by gang members to whom she owes money. After escaping, we find her in her sordid, mostly empty apartment within a condemned complex. It’s there we meet her cat, Homer, who forms the sometimes cheesy, often adorable, crux to this game’s heart. We see Frey sleep on a bare mattress on the dingy floor, that she loves Homer dearly but can’t afford the cat's preferred wet food, and she’s got a duffel of money saved up for their planned getaway. That all goes up in flames in a scene that feels rightly emotional as Frey frantically searches for Homer through the fire. We know the gang has found her and set her apartment ablaze, and in prioritizing Homer’s safety and escaping with her, Frey abandons the hard-won money to its fate as ash. This is all a little contrived, but it wasn’t any worse than the myriad CW shows I’d grown up watching. Here, I found myself at odds with how I expected to feel about this game. Sure, it was a little on the nose with the “save the cat” character beat, but I’d read (subjectively) worse character introductions in very popular books. We eventually see Frey relinquish Homer to the kind-hearted judge, asking her to look after the cat while she tries to figure things out. While sitting atop the Holland Tunnel sign, the visuals imply she is contemplating ending her life, until she notices a glinting object. Here, a Jude Law-sounding, sentient vambrace, which she names Cuff, adorns her and transports her to the mythically beautiful world of Athia. Athia is a land of sprawling structures, of ruins and dragons and lost magic, of a mutated populace, and a terrible, wasting horror. I, as the audience, am delighted. Frey, as the window we have to the world, is conversely unamused. In response to the question often posed to Isekai characters—a sort of “*are you going to take this chance in a new world?*”—Frey responds with an understandable “*hell no.*” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/GameplayShowcase_Screen001--1-.png) Source: Press Kit. --- > Frey's refusal to heed the call is an admittedly uncomfortable dichotomy of character and game direction, something akin to ludonarrative dissonance, but in this case, it's a deeply obvious character-narrative tension. --- It’s easy to think we’d thrive in a world that isolates us from our current problems, right? But Forspoken asks us an additional question: what do we do if that new world *also* sucks? Athia is plagued by a series of terrible occurrences—a ravaging world-disease that turns everything it touches into a monster ([except Frey, of course](https://tvtropes.org/pmwiki/pmwiki.php/Main/TheImmune)), and the corruption of their once beloved quartet of magical rulers, the Tantas. Athia’s fearful and long-suffering populace quickly labels Frey both savior and demon as she wields her unfamiliar power. That same old persecution Frey has faced in New York overshadows the allure of magic; Athia’s populace sees her as both victim and menace. Her constant whining about how tough things are has been almost intolerably annoying, but we see her start to relax in the wild. Her acerbity feels almost scripted, but beneath it lies tenderness. She wears her acidity like a carapace, and how much of it you can tolerate becomes one of the game’s key litmus tests. Frey’s refusal to heed the call is an admittedly uncomfortable dichotomy of character and game direction, something akin to ludonarrative dissonance, but in this case, it’s a deeply obvious character-narrative tension. It is also an immensely interesting one. I can’t think of a character more ruthlessly opposed to being in the story they’re in than Frey—and not satirically, or by way of being meta—but in genuine and blatant opposition to narrative direction. This is where I think the writing is weakest because here we have a character so averse to being in her own story that she often simply walks away from it. The game constantly has to steer her back through cataclysm or mental kidnapping, with Frey’s insistence on progressing only really manifesting in the last chapter or two. She is kicking and screaming her way to the fourth wall. A desperate desire to return to New York and Homer motivated Frey, convinced that this would bring back her usual problems rather than force her to contend with Athia’s completely new and difficult circumstances. Frey is more than simply a reluctant hero—she’s an outright bitter one who repudiates her supposed ‘destiny’ and frames it only as an obstacle to getting home. It’s a stubbornness I tolerated even at its weariest iteration because there was always a little hope in me that Frey would finally allow herself to be part of the world. Her dogged ability to refuse that made me want to sink my teeth in deeper, because I love a good hopeless case, and boy, does she test my patience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/GameplayShowcase_Screen009.png) Source: Press Kit. The funny thing is we don’t really see her change all that much, even as more and more tragedies transpire around her, because those same misfortunes also make her increasingly desperate to leave. I think her distance from this world is a product of her distance from everything—I don’t know these people, why should I help them? I’ve always known *my* troubles and I can’t solve those; how can I solve this place’s issues? It’s funny that Frey *does* help them*,* even if the entire time she rolls her eyes about it. Most of those instances are spurred by a want to solve her own main problem, which amounts to just running in the opposite direction of whatever new issue the story has for her. In her chance encounter with a young girl named Olevia, who ultimately dies at the hands of one of the corrupted Tantas, we catch a fleeting glimpse of a Frey who can’t stand injustice. She seeks petty revenge against the powerful sorceress, still caring for the young girl even after her death. But that glimpse fades quickly, leaving no trace behind. The problem is that Olevia’s death isn’t enough, and nothing ever seems to be. Eventually, though, you—the player—get to decide when to let it go. I believe my affection for Frey stems from my fondness for Korra, another complex character who faced early negative reception due to her volatility. Korra, of The Legend of Korra, had a lot to live up to in the shadow of Avatar: The Last Airbender—a show almost universally considered near-perfect. Korra was never going to fill those shoes. I’m glad she didn’t. She’s obviously much more well-received in hindsight than Frey, but in Forspoken's heroine, there’s something of that wildly swinging girl mad at the world. Here’s someone everyone wants to hate, who grew up believing everyone hated her, and who thinks that being terrible to everyone won’t change things anyway, so when people—like resident healer Auden in the last Athia stronghold of Cipal—extend sympathy, it alone isn’t enough to break through her walls. I don’t want to fall back on the idea that people, even subconsciously, tend to dislike difficult women. Frey’s problems as a character are rightfully and fairly criticized, and framing this issue explicitly as one of gender robs it of any real depth. However, I do think her snarky and rude behavior plays into an assumption I’ll call ‘bad actor allowance.’ This is the threshold to which we tolerate a character’s attitude before it becomes insufferable. I argue this bar tends to be lower for female characters than for male ones. Female characters certainly seem to hit their heads on it more often. Obviously, you need to show how compelling you can *make* their anger. If it feels unearned or flat, you fail at creating a character of interesting depth. Having one trait—Frey’s being that she’s really mad about everything—isn’t palpable in the long run, because it can feel ill-conceived without development. Frey obviously has cause for her anger - she’s had a rough life - but sympathy stretches only so far for a character that simply doesn’t care. There has to be another trait. It doesn’t even need to be redeeming, just *something* that elevates a character from being one-dimensional to someone with a dream or something to fight for. Homer is technically the thing Frey is ‘fighting for,’ but in the face of a world on the brink of destruction, her priority of getting home to her cat—who is already safe—feels ridiculous. That’s the point. Frey’s bullheaded refusal to care about anything other than Homer *is* the rock she has to chip away at. It’s the familiar versus the unfamiliar; it’s being in a crowded room and realizing you *are* inthe crowded room too, it’s not just full of other people. To everyone else, you are just part of the other people. --- > Each of these characters seem to get what Frey's on about – they labor under her arrows with a scoff and sometimes even rebuff her – and it's Frey who has to learn to trim her thorns. --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Forspoken_TGA_Screenshot_04.png) Source: Press Kit. Frey is only half of the personality equation here. She’s accompanied by that sentient arm adornment, Cuff, that only she can hear. They are the duo at the core of this story. Their banter forms the snippets heard in various internet takedowns, with Frey proclaiming things like “Is that a motherf\*\*\*ing dragon?” in the early hours with incredulity that feels only partly genuine. I’ve seen very good arguments against this brand of insincerity, but I actually find the juxtaposition between fantasy-hating Frey and the fantasy world a pretty comical one. There are some laugh-out-loud funny lines of dialogue, oftentimes because of that diametric absurdity. The issue is that these two are the only company we have when we’re exploring the open world, and Cuff is essentially a disembodied voice trapped in metal. Forspoken is a lonely game, and I think it’s what makes Frey’s outbursts all the harder to contextualize. ## The Two-Man Band Problem Forspoken’s main conflict revolves around the Tantas, four women who once ruled over Athia with grace and fairness, but who are now isolated and cruel imitations of their former selves due to a mysterious Corruption. We witness the “Break”, as Frey renames it, which is the illness sweeping across the land. When we first faceplant into this world, we’ve got only Cuff to keep us sane, but eventually, we find our way to Cipal and its cast of supporting characters. The Tantas are actually riveting enemies, and the pretty awesomely attired Council of Cipal reveal some internal political and personal turmoil as well. None of which Frey really seems to care about but I *really, really* do. Forspoken suffers from this party problem throughout. In the absence of anyone Frey can really connect with, we’re bereft of shared character growth. In most JRPGs, you amass a party—a group of people you gain rapport with, who have various motivations and personalities that more deeply enmesh us in the world because of their connections to it beyond our protagonist. Forspoken’s hook of its world is a pretty cool one, but because your investment is linear and third person, all of the larger world plot points are relegated to side characters, quests, snippets of text found in books, and refuges scattered around the realms. It limits your attachment two-fold, because you’re exploring all of this as a half-interested Frey. There are plenty of games that focus on a singular character, but Frey herself is so isolating that the philosophy of the lone wolf affects the entire game in a way that is at odds with its themes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/Forspoken_Worlds_Collide_Screenshot_07-4.jpg) Source: Press Kit. Nothing illustrates this more vividly than when you encounter Break Storms: bright blue thunderstorms that roll across the landscape, cause you passive damage, and birth frightening enemies. Frey's escape from these storms is in refuges, or safe houses, where she can shut the door on the eerie blue light and craft and sleep and watch all the cats lounging about the place. But the music is *intense* during these storms, changing abruptly so that it feels like an emergency to escape from. When Frey rests in these refuges, awaiting the storm's end, she curls up besides one of the Familiars. They help it feel less scary, but it still feels so viscerally lonely, because we *are* alone—even with Cuff snarkily commenting on our sleepiness. Frey does gain a friend in Auden, who seems determined to temper Frey’s insistence on not giving a damn by giving a lot of damn's herself. However, even she and Frey remain, at best, reluctant acquaintances for the majority of the game. Auden’s father, Robian, a researcher, and Jo, an archivist, round out the more pivotal supporting characters. Each of these characters seems to understand what Frey is about. They labor under her barbs with a scoff, sometimes even rebuffing her, and it’s Frey who has to learn to trim her thorns. And she does! *Eventually.* Really, it’s her mother who brings this full circle when it’s revealed that Frey is actually the daughter of one of the Tantas—Tanta Cinta—who sent her to New York to protect her from the Corruption slowly driving the Tantas to madness. Tanta Cinta stands in deep contrast to her daughter. She is patient, kind, soft-spoken, and loves deeply and openly. In this juxtaposition, we see not who Frey might have been had she grown up loved in Athia, but who she can model the tattered remains of her kindness after. It’s really in her mother’s story, and that of the other Tantas, that Forspoken shines, which is a shame because it occurs near the very end of the game. It’s there, after seeing everything that brought Athia to its knees, everything her mother did for her, we’re left with a choice to make with Frey. Do we save our people? Or do we go back to New York? And you *can* go back to New York—you’ll get a 20-second cutscene of a sad-looking Frey holding Homer, asking what to do now. End. This choice is the culmination of that character-narrative push and pull, in which Frey is too detached to give a damn. However, if you choose to stay in Athia to fight, you are rewarded with a glimpse once more of that caring, selfless Frey—and this time it sticks. ## Opening the Door There is a scene at the very end where Auden and Frey talk after Frey decides to stay and help Athia. In this scene, a snide remark from Frey seems to mask, for once, a much deeper affection. It’s expertly delivered as an obviously softer blow. A cuff on the shoulder. It’s a good send-off as an ending because we finally see that glimpse of caring Frey become something more permanent. Choosing Athia genuinely made me feel that, even at our most hopeless and horrible, we are still capable of choosing better. *That’s* a pretty awesome reminder. Frey also makes a very long-winded speech to Homer about having hope and how she’ll always be there for her even if she can’t see her, which was hilarious because I assumed Homer—like any cat—was perfectly content at the judge’s nice apartment, cozying up on the windowsill, wet food on demand. But, of course, this is a game about a girl and her cat, so Homer looks longingly out the window at a passing shooting star symbolizing Frey before, I assume, turning to knock something adorably off a table. Cuff is our final interesting component because for a long time he really wasn’t all that interesting. He’s protective of Frey and annoyed by her, but seems to grow a little fonder of her as time progresses, and...that’s about it. We don’t know what he is until much later, and by then we’ve seen a few hints as to what that might be. Once again, it’s the *ending* here that really sealed the deal for him and Frey’s continued alliance. When we discover that Cuff is the being responsible for the Tanta’s corruption—including driving Frey’s mother mad—we are treated to a climactic boss fight between Frey and Cuff (or, er, Susurrus). At the end of the game, after his defeat, we assume his death. --- > ...Forspoken is the rare game that really shines in the context of its finished story because it finally feels like there's a story to tell. --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/GameplayShowcase_Screen007.png) Source: Press Kit. But no. Frey speaks out to him cheekily in the final scene, and we find out she’s locked him away permanently into a gold tattoo on her arm. He threatens to drive her mad as he did her mother, and at that moment I affectionately “oh, you”-ed at the story because Frey, hater of being a hero, was now warden to a demon created to kill her nation that might eventually drive her mad. It’s a sacrifice no one knows she made. Post-game they continue their little conversations in the open world, and it seems like maybe he’ll wind up not driving her up a wall, because she’s pretty much already driving him up one, and in this is a tease of what could have been all along. The world feels richer now that you’re at home in it; your connections to the land feel greater, your joy feels genuine, and your relationships will only deepen. There is a beacon for you now. Whereas before you wandered Athia listlessly, lacking direction, lacking connections, now it feels like an adventure. With the stellar traversal mechanics and mysteries of the world waiting in the wings, Forspoken is the rare game that really shines in the context of its finished story because it finally feels like there’s a story to tell. This sounds bad—it’s a story-based game, after all—but the conclusiveness of the story means you can freely explore without the baggage of knowing there’s an ending that’s still to come. I remember how I couldn’t bring myself to go back to the open-world portion of Final Fantasy XV once I beat it because it robbed the narrative of closure. I was too emotionally connected to the ending, and so revisiting happier times via “time travel” felt jarring and false. Forspoken does the complete opposite. The ending cements Frey’s place in Athia and you feel like you belong here. After I beat the game, I picked right back up in my room, able to chat amicably with the denizens of Cipal, now friends and companions, and the first thing I did was dive out those front doors. The world spread out—unexplored, wild—and *now* I was eager to see it. ### Good in Gaming: Understanding Mental Health, Using DLC for Good, and Saving Real Dogs URL: https://www.superjumpmagazine.com/good-in-gaming-understanding-mental-health-using-dlc-for-good-and-saving-real-dogs/ Last updated: 2025-02-18T14:00:37.000Z **Ask anyone who’s been in the gaming community long enough, and they’ll tell you this space is about far more than just achievement hunting and esports scores.** Gamers can be some of the most compassionate people in the world (though we might be a little biased to think so); they know exactly when and where to turn on multiplayer and work together to make the world a better place. To celebrate this, the SUPERJUMP team decided that it was time to shed a little more light on the people choosing to use the community to do good. So, we've created the Good in Gaming series, a new recurring SJP piece that will highlight gamers being kind to each other and their world. We hope it'll be a nice little injection of positivity into your week. From supporting mental health with realistic and compassionate depictions of struggle to raising money for charity to fun programming at local libraries, here are some of our favorite recent Good in Gaming stories. [Cat Webling](https://www.superjumpmagazine.com/author/catwebling/) ***Editor*** ## Arkham Shadow Casts a Light on Mental Health Depictions by [Marvel Maximus](https://www.superjumpmagazine.com/author/marvel/) Mental illness in popular media is often synonymous with violence, especially in AAA video games where combat is a big part of the gameplay loop. Last year’s award-winning VR game Batman: Arkham Shadow surprisingly swoops in to rectify those depictions. A sequel to the [prequel](https://store.steampowered.com/app/209000/Batman%5FArkham%5FOrigins/) of a long-running franchise, previous entries had players punching through hordes of abused and mentally ill criminal patients. [Dr. Christina Fawcett](https://www.rcpsych.ac.uk/news-and-features/blogs/detail/cultural-blog/2020/01/15/dr-christina-fawcett-on-the-batman-arkham-series-and-incarceration-of-people-with-mental-illness) analyzed the first game in the series, Batman: Arkham Asylum, and how it relates to the incarceration of people with mental illness. Originally, the games’ commentary on these issues was relegated to audio tapes and subtext. Arkham Shadow takes this to a whole new level, utilizing VR to put players virtually inside an institution and participate in group therapy. The writing team at Camouflaj argues that instead of being the precursor to crime, the only offense of mental illness is that it makes people vulnerable to the exploitation of manipulative systems, structures shaped by people in power with selfish intentions. The team even went as far as to hire a clinical psychiatrist as a mental health consultant when planning out the game’s story. Not only that, voice actor and mocap performer Troy Baker spoke fondly of his enlightening experience preparing the role and attested the authenticity of his character’s conditions to the doctor. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/38974764_1351656926217950_5841847447829133579_n.jpg) Batman: Arkham Shadow. Source: Meta Quest Store. Camouflaj didn't have to go the extra mile, but they did, and they should be applauded for it. Instead of perpetuating stigma and harmful depictions, the game puts into context the oppressive conditions of some mental institutions, putting the people in authority in question. In this game, as is the case in real life, monsters are never made in a vacuum. To learn more about this, you can look up [Dr. Eric Bender](https://www.linkedin.com/posts/h-eric-bender-m-d-13242076%5Fthe-psychology-behind-batman-arkham-shadow-activity-7287640867425730561-zIzH/) or watch the video where he talks with the team at Camouflaj about his involvement in Arkham Shadow. There, you’ll get neat tidbits like the difference between psychopathy and psychosis, and which diagnosis is accurate for characters like The Joker. ## SCS Software Using DLCs for Good by Matthew Lawrence Every year since 2019 SCS Software, makers of the Euro Truck Simulator series and American Truck Simulator, participate in Pinktober. Pinktober is a global initiative that takes place during October and aims to help raise money and awareness for breast cancer research. Throughout the month, SCS Software promotes their Pink Ribbon Charity Pack DLC which is available for both ATS and ETS2\. These packs add a handful of different paint jobs for trucks and trailers, as well as adding some cabin accessories. 100% Of the proceeds for these DLCs go to breast cancer awareness charities, even if the DLCs were purchased outside of the month of October. In 2024 [SCS Software](https://blog.scssoft.com/2024/11/pinktober-2024-update.html) was able to donate over $50,000 to the Alliance of Women with Breast Cancer from the money earned on these DLCs. SCS Software invites players to help raise awareness for breast cancer research by sharing photos of them driving their trucks with the Pink Ribbon paint jobs. SCS Software frequently features these photos on its social media pages, garnering some great attention from the manufacturers of the featured trucks. SCS Software also hosts charity streams throughout October and asks their players to do the same. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/aliance.jpg) Source: SCS Software blog. Along with helping to raise money and awareness for breast cancer research, SCS Software has also participated in Movember to help draw attention to men’s health initiatives and likewise donated money to Člověk v tísni (Czech for “People in Need”), an organization dedicated to providing humanitarian aid to those affected by the war in Ukraine. SCS Software has donated over [$75,000 to Člověk v tísni](https://www.facebook.com/scssoft/posts/632256245609486/). This money was raised in the same fashion as the money donated to the Alliance of Women with Breast Cancer, with SCS offering a DLC of Ukrainian paint jobs. These paint jobs were released in March of 2022, less than a month after the invasion of Ukraine. In a game series that contains almost no dialogue and doesn't feature any type of overarching storyline, adding these DLCs and encouraging charity streams and donations has been a great way for SCS Software to do good. ## Buy MTX, Save Real Dogs by Pruthvi Das We have [coffee games](https://store.steampowered.com/app/914800/Coffee%5FTalk/) and [bartending games](https://store.steampowered.com/app/447530/VA11%5FHallA%5FCyberpunk%5FBartender%5FAction/) with interesting characters to talk to. We have[ laundry games with pandas](https://store.steampowered.com/app/3194550/Bao%5FBaos%5FCozy%5FLaundromat/). We have [writing games about offering kind words](https://store.steampowered.com/app/1070710/Kind%5FWords%5Flo%5Ffi%5Fchill%5Fbeats%5Fto%5Fwrite%5Fto/). These are games that feature cute themes, light mechanics, and/or casual settings, all designed to create relaxing experiences for players. A little over five years ago, we didn’t know what to call them. Now, they’re popular “wholesome” or “cozy” games. And I’m beginning to believe that wholesome/cozy games could, in the long run, help us make a positive impact on the world more effortlessly. Take Old Friends Dog Game, a biographic pet management game about taking care of senior dogs using your dog sanctuary. As a Gold Winner at the 2022 NYX Game Awards and a Webby honoree for Social Impact in Games, the game (somewhat) chronicles the lives of the senior dogs that have lived and crossed over the rainbow bridge at the[ real-life sanctuary they stayed in](http://www.ofsds.org/), each of who are immortalized through the dogs you meet in the game itself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/unnamed.png) Source: Google Play Store. While elements in Old Friends still reflect the general markings of a mobile game, the monetization — or the intentions behind it — give the game a different meaning altogether. Any in-game purchase you make isn’t only for the player experience, but also for showering support and making a difference where we can. If the game turns in profits in a single month, the Runaway team covers the cost of one real-life resident for a full year. As such, the incentive to watch advertisements or purchase in-game content isn’t only more powerful, but it also no longer feels like an invasive chore, a problem most mobile games deal with. The game is a perfect example of how a wholesome idea can make a difference… and hopefully is the first of many to come. Old Friends is available for both [Android](https://play.google.com/store/apps/details?id=com.runawayplay.OldFriends) and [iOS](https://apps.apple.com/ph/app/old-friends-dog-game/id1489388968) devices. ## Miami-Dade Public Libraries Celebrate Video Games With Mario Day and Pokemon Day by Priya Sridhar The Miami-Dade Public Library Systems have organized many events for video game and manga fans. Let’s-a go with Mario Day and Pokémon Day! World Pokémon Day is celebrated on February 27 every year. You gotta catch ‘em all when new generations and Pokémon come out and trainers prepare for battle. Mario Day, on March 10, 2025, honors Super Mario the plumber that has rescued princesses, navigated mushroom worlds, and grown to fantastic heights. His friends and enemies alike have starred in their games telling different stories, from Princess Peach in the theater to Wario crusading for greed. MDPLS has fun [events](https://mdpls.org/event/12744601) for Mario Day and [Pokémon Day](https://mdpls.org/event/12741591) scheduled at the downtown Miami Main Library and other branches. Miami residents who enjoy a mushroom or Pokéball should check them out! ### When Being Nosey is a Superpower URL: https://www.superjumpmagazine.com/when-being-nosey-is-a-superpower/ Last updated: 2025-02-18T03:29:46.000Z **It's not unusual to say that many of us like to dive into a video game experience the same way a cinephile digests sophisticated films or the way a book critic can read into literature.** Video games, through the adventure genre especially, have the ability to evoke unexpected feelings from the player; I believe this is because video games have the capacity to tell stories in a way different from all other mediums. Player agency is the clear difference, as the player is an active participant in the narrative. It's not like cinema where the viewer is passively taking in the story presented to them, nor is it like reading a novel where the reader's imagination is an island unto itself. Instead, video games from the adventure genre present a space where the player actively drives the narrative, a space where the player's imagination manifests into a lived experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-31.png) Source: Steam. Telltale were the early pioneers of the modern adventure genre that we've come to love, and now it's Don't Nod leading the genre. Whether it's Life is Strange or even something like Tell Me Why, Don't Nod have designed an effective formula that others have adapted. Now, granted: most of these pretenders are average at best, but every now and then a new developer comes out of nowhere with something truly novel and compelling. "Mexico, 1921\. A Deep Slumber." is the first major release from developer Mácula Interactive. This independent studio is dedicated to presenting unique and insightful stories from their rich heritage, and their debut titles achieves exactly this. It's a rich presentation of Mexico set to the backdrop of the 1920s. The story is a dark political thriller, complete with corrupt politicians, elaborate conspiracies, and religious cults, the works. Yet, these tropes come together to present a narrative that is not only mature and thought-provoking, but a real tour de force. There is no better way to immerse yourself into 1920s Mexico than through this game. The production effort is stunning given the size and budget of the fledgling studio. The visuals are presented in an effective abstract manner, and of note is the voice acting, whether in its native soundtrack or English dub form. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-32.png) Source: Steam. This experience no doubt takes after the game design conventions of Life is Strange, but in the best possible way. Don't Nod adventures have always involved a "superpower" gameplay gimmick, whether it was rewinding time (Life is Strange), telekinesis (Life is Strange 2), or telepathic-foresight (Tell Me Why); these gameplay hooks added substance to these adventures. In Mexico, 1921\. A Deep Slumber. it's all about the powers of investigative journalism, and one superpower in particular: **Nosey Mode**. You read that correct: *nosiness* is a superpower that allows you to observe important cues hidden in plain sight, and even rudely eavesdrop on conversations that aren't really any of your business, but since you're an investigative journalist...then, well, I suppose *everything* is your business. The game's protagonist, Juan Aguirre, is a journalist of integrity, determined to reach the truth no matter the cost. It gets him in trouble. Mexico, 1921\. A Deep Slumber. is an excellent debut from Mácula Interactive, one that presents a fascinating period brimming with style and personality. Oh, and it's an excellent adventure game in its own right. ### The Early Years of the MMORPG Market in Brazil (2004–2010): The Golden Era of Level Up Games URL: https://www.superjumpmagazine.com/the-early-years-of-the-mmorpg-market-in-brazil/ Last updated: 2025-02-18T23:51:17.000Z **This story explores how the commercial MMORPG market began in Brazil.** It highlights how online and free-to-play games have profoundly impacted culture and are an important part of the history of video games in Brazil. After reading a [recent essay by Felipe Pepe](https://felipepepe.medium.com/the-gentrification-of-video-game-history-dfe11f1e08ae), I realized that the history of Level Up in Brazil may be a more relevant page in the history of video games than I imagined. That fact seems little known in the Global North, especially in the USA, so I decided to write this introductory story. First of all, it must be said that legendary MMORPGs like Ultima Online (1997) and EverQuest (1999) have always been almost unknown in Brazil, and World of Warcraft (2004) has always been much less known and played by us compared to some of Level Up's MMORPGs. Even though I was a fan of Warcraft III: Reign of Chaos(2002), The Frozen Throne (2003), and "DotA" (when it was a mod for Warcraft III), I never played World of Warcraft in the 2000s. World of Warcraft was only released in Brazil on December 6, 2011, and it took a while to become known in my country. The history of MMORPGs in Brazil was very different from that of the US and also had significant differences from other Latin American countries. As is common for a PC gamer in the 1990s and 2000s, I loved RTS, FPS, and WRPG, especially Age of Mythology (2002), Call of Duty (2003), and Fable (2004). However, from 2004 onwards, I started playing MMORPGs from "Level Up! Inc" (later renamed "Level Up"), a Filipino game publishing studio founded in 2002 and owned by Asiasoft since 2014\. Some of Level Up's games are among the ones I've played the most in my life, such as Ragnarök Online and Silkroad Online. Dofus, Grand Chase, GunZ: The Duel, Perfect World, and RuneScape all earned time on my monitor, and I got to know many others through friends who also played Level Up's games. I played other MMORPGs in the 2000s, such as Priston Tale, Mu Online, and Grand Fantasia Online, but this story is only about the games associated with the "Level Up! Games" trademark. Although Level Up is a company originating in the Philippines, it has Brazil as its core business, and it was in Brazil where it published most of its games. #### Some games distributed by Level Up in Brazil: 1. 9Dragons (BR: 2008), developed by Indy21 2. Aion: The Tower of Eternity (BR: 2009), developed by NCSoft 3. Allods Online (BR: 2010), developed by Allods Team 4. Assault Fire ("Ni Zhan" in China) (BR: 2013), developed by Tencent 5. City of Heroes (BR: 2006), developed by Cryptic Studios (formerly), Paragon Studios (formerly) and Homecoming Servers 6. City of Villains (BR: 2006), developed by Paragon Studios 7. Combat Arms (BR: 2010), developed by Nexon 8. DarkEden (BR: 2008?), developed by SOFTON Entertainment 9. Dofus (BR: 2008), developed by Ankama Games 10. Eligium (BR: 2012), developed by Goldcool Games 11. Elsword (BR: 2013), developed by KOG 12. Forsaken (BR: 2012), developed by Perfect World Entertainment 13. FunOrb (BR: 2009), a website dedicated to small, Java-based browser games 14. Grand Chase (BR: 2006), developed by KOG Studios 15. Guild Wars (BR: 2005), developed by ArenaNet 16. GunZ: The Duel (BR: 2006), developed by MAIET Entertainment 17. Khan Wars (BR: 2010), developed by XS Software 18. Lineage II (BR: 2005), developed by NCSoft and E&G Studios 19. Lunia (BR: 2008), developed by Allm 20. MapleStory (BR: 2008), developed by Wizet 21. M.A.R.S. (BR: 2012), developed by Yingpei Games Digital Technology 22. Pangya (BR: 2005), developed by Ntreev Soft \[The game was published by UNO, and was discontinued in 2007\. From 2009 onwards, Level Up started distributing Pangya in Brazil.\] 23. Perfect World (BR: 2008), developed by Beijing Perfect World 24. Ragnarök Online (BR: 2004), developed by Gravity 25. RuneScape (BR: 2009), developed by Jagex 26. Silkroad Online (BR: 2007), developed by Joymax 27. SMITE (BR: 2014), developed by Titan Forge Games 28. Sudden Attack (BR: 2011), developed by Nexon GT 29. Trickster Online (BR: 2007), developed by Ntreev Soft 30. Turma do Chico Bento (BR: 2012), developed by Insolita Studios 31. Warface (BR: 2013), developed by Crytek Kiev, Blackwood Games (2019-2021) 32. Warrior Epic (BR: 2009), developed by Possibility Space ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/chico.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/propagandachico.jpg) Left: **Turma do Chico Bento* (published by Level Up), a Brazilian farming simulation social network game based on Brazilian **Chuck Billy 'n' Folks* ("**Turma do Chico Bento*"), a Brazilian comic strip and part of the **Monica's Gang* ("**Turma da Mônica*") comic book series, created by Mauricio de Sousa; right: first advertisement for Chico Bento magazine, 1982\. Sources: Webcore games; Arquivos Turma da Mônica. In this story, I'll tell you a little about what it was like to be an MMORPG player in Brazil between 2004 and 2010, and I'll talk about some of the Level Up games I played in the 2000s. It doesn't mean that 2010 is the end of Level Up, but that year can be seen as a turning point. Since 2022, Level Up has changed its logo, launched a [new website](https://global.leveluplatam.com/) and a distribution platform ([Hype](https://hype.games/br)), and expanded its business in Latin America. In Hispanic America, it is known as "[Up n’ Beyond](https://upnbeyond.leveluplatam.com/)". Currently, [Level Up](https://br.leveluplatam.com/) operates as a publisher and in the content production business, producing podcasts, live streams, and e-sports competitions. Although this article is limited to the years 2004–2010, below is a brief chronology to give you a basic overview of the history of the company: - 2004–2010: The Golden Era (Level Up Games' classic era) - 2010–2016: The Renewal Era (period after Ragnarök Online Renewal update) - 2016–2020: The Hype Era (Level Up launches a game distribution platform called "Hype") - 2020–2022: The Pandemic Era - 2022–now: The Level Up Latam Era ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-21.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-22.png) Left: reformulation of the "Level Up!" company in 2022; right: Level Up's office in São Paulo. Source: Level Up. > “We’ve been developing Hype for almost a year. We’re excited about the launch, but what motivates us most is seeing what’s next. Hype will be constantly evolving, always guided by what’s most important to the player. We want to make it easier for players to access PC and Mac games, both online and offline. We intend to do this by offering affordable prices, on an intuitive and secure platform." > > **Julio Vieitez, CEO of Level Up in October 2016 (**[**IGN Brasil**](https://br.ign.com/pc/41642/feature/level-up-anuncia-servico-de-venda-de-games-hype)**), one month before the launch of the Hype platform.** --- #### Table of Contents ****I. The beginning of the PC MMORPG market in Brazil (2004–2010)** ****II. Game design and online experience in Level Up games** II. i. Classic MMORPG game design II. ii. My top 5 online games published by Level Up ****III. Final thoughts** ## I. The beginning of the PC MMORPG market in Brazil (2004–2010) In the early 2000s, MMORPGs were very little known to Brazilians, but the success of the genre in the US inspired the Ignis Games studio (with 15 developers) to work for 3 years on the first Brazilian MMORPG, Erinia, published on May 5, 2004\. According to [Folha de São Paulo](https://www1.folha.uol.com.br/fsp/informat/fr0505200419.htm), the game could be played for free for 15 days, and then a monthly fee was required. The setting and enemies in this game are inspired by Tupi-Guaraní mythology and Brazilian folklore, including creatures like [saci](https://en.wikipedia.org/wiki/Saci%5F%28Brazilian%5Ffolklore%29), [caipora](https://en.wikipedia.org/wiki/Caipora), [o homem do saco](https://en.wikipedia.org/wiki/Sack%5FMan), and many others (we will mention some more later). However, the project was a commercial failure, having reached a maximum of [600 simultaneous players](https://www.uol.com.br/start/ultimas-noticias/2014/12/10/10-anos-de-erinia-rpg-online-brasileiro-apostou-no-folclore-mas-falhou.htm). Erinia was too modest to compete with Ragnarök Online, which arrived in Brazil in the same year as [the first international MMORPG translated into Portuguese](https://mmorpgbr.com.br/ragnarok-online-esta-celebrando-seu-17o-aniversario-no-brasil-com-uma-boa-serie-de-eventos-especiais/#:~:text=MMORPG%20Not%C3%ADcias-,Primeiro%20MMORPG%20traduzido%20oficialmente%20para%20o%20portugu%C3%AAs%2C%20Ragnar%C3%B6k,comemora%2017%20anos%20no%20Brasil). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-31.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-23.png) Erinia. Source: Imagens das Antigas, Backloggd. In September 2004, when Steam had only been around for a year, and its website was restricted to Valve games, Level Up began operating in Brazil in partnership with Tectoy, a Brazilian company best known for producing, publishing, and distributing Sega consoles and video games. Although better known in the console market, Tectoy also distributed PC games in Brazil such as Daytona USA (1994), Blade Runner (1997), and StarCraft (1998). Furthermore, Tectoy has been publishing Brazilian games for PC since the 1980s, such as Pense Bem (1988) and Show do Milhão (1999). The partnership between Tectoy and Level Up continued until the second half of 2010 when Tectoy sold its stake in Level Up. This partnership was important for Level Up because Tectoy knew the gaming market in Brazil and the social and economic context of the country in the 2000s like no other company. Interestingly, Level Up had a website where it was possible not only to buy CASH for its games but also to give credits to buy games for Zeebo, a Brazilian console released by Tectoy in 2009. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/zeebo.jpg) Zeebo with keyboard. Source: Gazeta do Povo. Let's take a brief economic overview. After restoring its democracy in the 1980s, and after overcoming one of the worst inflationary crises in history in the 1990s, Brazil in the 2000s was in the "Lula Era", its most prosperous economic period in three decades. During his two terms, President Lula undertook radical reforms and changes that tripled the country's GDP per capita, leading it to achieve investment-grade status by the Standard & Poor's credit rating agency. The peak of economic growth in the decade was in 2010 when Brazil's GDP grew by 7.5% (the third highest growth of any country in that year). However, Brazil was and continues to be a middle-income country; that is, a country with a per capita income between US$1,136 and US$13,845\. In 2004, when Level Up came to Brazil, the country had the 37th highest per capita income ([Folha de São Paulo](https://www1.folha.uol.com.br/folha/dinheiro/ult91u94956.shtml), March 31, 2005). According to World Integrated Trade Solution ([WITS](https://wits.worldbank.org/CountryProfile/en/country/by-country/startyear/LTST/endyear/LTST/indicator/NY-GDP-PCAP-KD)), from 2004 to 2010, Brazil's GDP per capita (constant 2010 US$) rose from US$7,178.35 to US$8,673.90\. In addition to GDP per capita, inequality in Brazil must be taken into account. In 2004, in a ranking of 127 countries, Brazil was the eighth most unequal country in the ranking, with a Gini coefficient of 0.591 (this is the index that compares the income of the richest 20% with that of the poorest 20%). Between 2004 and 2009, inequality according to the Gini coefficient decreased by 5.6%, and average real income increased by 28%, but even today Brazil continues to be one of the most unequal countries in the world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-3.png) A 2004 photo by photographer Tuca Vieira that shows Paraisópolis (a neighborhood in São Paulo, Brazil) that became known around the world and became a symbol of social inequality. Source: BBC News Brasil. In parallel with the economic context, another important factor that must be considered is internet access in Brazil. Starting in 2004, with the advent of social networks, most notably Orkut and later Facebook, the Internet blossomed as a mass media in Brazil, and, starting in 2007, with the emergence of the first smartphones and 3G connections, it also became available on mobile devices. However, most Brazilians who used the Internet in the 2000s depended on LAN houses, commercial establishments similar to an Internet café where users can pay to use a PC with Internet access and a local network. According to [G1](https://g1.globo.com/Noticias/Tecnologia/0,,MUL1559094-6174,00-PELA+PRIMEIRA+VEZ+ACESSO+A+WEB+EM+CASA+SUPERA+LAN+HOUSES+NO+BRASIL+DIZ+ESTU.html) (April 6, 2010), it was only in 2009 that for the first time in Brazil, there were more people accessing the Internet at home (47% of Internet users) than in LAN houses (43% of Internet users), however, only 27% of the Brazilian population had access to the Internet in their homes. Internet access in Brazil was very limited [compared to the US](https://en.wikipedia.org/wiki/Internet%5Fin%5Fthe%5FUnited%5FStates), whose population in 2000 mostly had a personal computer at home, and in 2007 mostly had broadband internet at home. In 2016 (almost 10 years after the US achieved this feat), for the first time, more than 50% of Brazilian households were connected to the Internet. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/lan-house.webp) Xtreme Games Lan House in Brazil. Source: TechTudo. Due to economic conditions and limited access to the Internet and personal computers, Level Up adopted a creative and bold business strategy that created "Ragnarok Mania" in Brazil, paving the way for its next IPs. Listed below are some of the company's initiatives in Brazil: - The games published by Level Up did not require high-end, expensive computers; - Four months of free beta testing of its first game, Ragnarök Online; - Free distribution of DVDs with Ragnarök Online; - Translated publication (2004–2005) of the manhwa series created by Lee Myung-Jin, Ragnarök(20 volumes, in the Brazilian edition), which inspired the game; - Partnership with LAN houses spread across the country for events, advertising, and at the point of sale for Level Up products; - Level Up magazines (which includes the first magazine specialized in online games in Brazil) with credits for online games; - Advertising of Level Up on a variety of products; - Free DVDs of Level Up's games in breakfast cereal boxes (something widely consumed by children and teenagers from middle-class families in Brazil at that time); - TV advertisements; - The Portuguese-dubbed anime of Ragnarök Online (2005–2006) aired in Brazil on July 3, 2006, through a partnership with Level Up and Cartoon Network (a channel that was not broadcast on open TV, but which was widely watched by children and teenagers from middle-class families in Brazil); - Participation in Brasil Game Show (BGS), the largest gaming convention in Latin America and one of the largest in the world; - Participation in Anime Friends, in São Paulo, the largest anime and Asian pop culture event in Latin America. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/gmsBR.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/produtos.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-4.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/shopee.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-55-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/bgs2011-09.jpg) GMs from the beginning of Ragnarök Online in Brazil; Level Up advertisements; Ragnarok: The Animation with Brazilian Portuguese dubbing; collection of the manhwa that inspired the game Ragnarök Online; Level Up! Poster #2 intro page (2006); Level Up at Brasil Game Show 2011\. Sources: Forum Ragnarok Online, Facebook (Grandchase), Level Up Latam, Shopee, Ragnarok Online Brasil, Adrenaline. Below is the official Level Up video presenting Ragnarök Online in Portuguese (unfortunately there is no English translation). It is interesting to note how extremely detailed it is because most Brazilians had no idea what the heck an MMORPG was. Level Up also made TV commercials for other games besides Ragnarök Online. An example is the many nonsensical TV commercials for MapleStory (something that only makes sense in the 2000s). The only Portuguese sentence in these videos is something like "Do you want to do things from another world? Visit maplestory.com and play for free!". #### Videos - Official presentation of Ragnarök Online: - 2010 MapleStory TV commercial: - Anime Friends 2011 - Ragnarök Day: [https://www.youtube.com/embed/0tXFv4816H4?si=rAm9yGBD-z1H\_YsQ](https://www.youtube.com/embed/dI5KA7AJE-U?si=-o9DN1Mn49XsUYdE) - Anime Friends 2011 - Grand Chase Day: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-56.png) Pages from Level Up! Poster #1 (dedicated mainly to the major Heritage update of Ragnarök Online in 2006) that explains the timeline of Ragnarök Online updates and references the book "The Hitchhiker's Guide to the Galaxy" with the title "the hitchhiker's guide to Rune Midgard". It was common for Level Up magazines to make references to popular books and movies in Brazil. Source: Mercado Livre. In February 2005, Level Up officially entered the Brazilian market, launching its first MMORPG in the country, Ragnarök Online (after 4 months of beta testing, 2004–2005), the first Korean online game to be successfully exported to other countries. In Brazil, it was the first MMORPG officially translated into Portuguese, running on national servers, with a payment system in Real (Brazilian currency since 1994). Throughout its history in the country, the game has had free and paid official servers, with a microtransaction system for free servers and a VIP server system. Premium access for RuneScape and FunOrb, VIP access and ROPs for Ragnarök Online, moedas ("coins") for Khan War, gemas ("gems") for Smite, APs for Assault Fire and CASH for many online games (including Allods Online, Combat Arms, Elsword, Forsaken, Grand Chase, M.A.R.S., Sudden Attack, and Warface) could be obtained not only on the website, but also by purchasing Level Up magazines. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-49.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-50.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-51.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-52.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-53.png) Cover and some pages of Level Up! Poster #20 (2010). This anniversary edition includes an interview with Grand Chase voice actors and behind-the-scenes from the Level Up editorial team. Source: Mercado Livre. This was a brilliant marketing strategy for children. This way, instead of needing their parents' credit cards, children simply had to ask to buy a magazine, something much more normal and acceptable to their parents. This strategy encouraged the purchase of magazines with entertainment, art, and information about Level Up games. This method was applied not only to Level Up! Poster magazine, but also to other Level Up products, such as Level Up! Quadrinhos ("Level Up! Comics"). The first issue of Level Up! Poster magazine was published in 2006, and new issues were published for many years after. [In 2016, a special 10th anniversary issue of Level Up! Poster #100 was published](https://playragnarokonlinebr.com/novidades/novidades/esta-nas-bancas-a-edicao-100-da-revista-poster-level-up). Level Up! Quadrinhos magazine had its [first volume published in June 2011 and its last issue in June 2016](http://www.guiadosquadrinhos.com/capas/revista-level-up-quadrinhos/re820100). After Ragnarök Online ended its beta testing period, many Brazilians could not afford to continue playing it; in the case of children and teenagers, many could not convince their parents to pay monthly for it, as it was a new business model that was not yet widely accepted by Brazilians. However, the game delighted so many players that many accepted Level Up's credit system and continued to play Ragnarök Online. Over the years, other Level Up games were also published (many of which were free-to-play with microtransactions), engulfing practically the entire potential MMORPG audience in the country. The main highlights during the 2000s were Ragnarök Online and Grand Chase. Despite all the economic and internet access limitations in the 2000s, these two games independently achieved the national record for simultaneous online players of 21,000 players. This record was broken in 2010 by another MMORPG published by Level Up, Perfect World, [with 22,331 simultaneous players](https://g1.globo.com/tecnologia-e-games/noticia/2010/04/game-line-bate-recorde-brasileiro-de-jogadores-simultaneos.html). However, Perfect World's record was short-lived: in 2011, [Grand Chase reached the impressive milestone of over 39,500 simultaneous players in Brazil](https://web.archive.org/web/20160923012046/http://levelupgames.uol.com.br/grandchase/noticias/novidades/grand-chase-bate-recorde-e-ultrapassa-39500-jogadores-simultaneos). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-45.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-46.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-47.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-48.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-39.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-40.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-43.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-41.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-42.png) Pages from Level Up! Comics #31 and #32\. In the center of the image gallery is the cover of #32, published in January 2014\. Source: Grand Chase Wiki. It may be hard to comprehend the impact of these games today when we have constant access to the internet. But if you’re not impressed by these numbers, in addition to all the economic and internet access limitations discussed above, consider that about 90% of the 5,565 Brazilian cities at the time had fewer than 40,000 inhabitants. In other words, the number of simultaneous Grand Chase players in Brazil was roughly equivalent to the population of one of the largest cities in the country. It's worth noting only a small fraction of Brazilian households had a reasonable internet connection to play an MMORPG in 2010, and [65% of households did not even have a computer](https://g1.globo.com/tecnologia/noticia/2012/05/computador-atingiu-45-das-casas-brasileiras-em-2011-diz-pesquisa.html)! We can speculate about why a game like Grand Chase was so successful in Brazil. Grand Chase is essentially a fighting game with RPG elements, and fighting games were among the favorites of Brazilians in the 1990s and early 2000s. But unlike most fighting games of that time, Grand Chase's graphics were adorable for girls too (similarly, Ragnarök Online's graphics were appreciated by both girls and boys). This game is simpler for new players, compared to Ragnarök Online, and at the same time, it is a complex game for those dedicated to competitive multiplayer. Grand Chase was also more economically accessible to Brazilians, and the Portuguese dubbing made the characters more captivating and memorable. The voice actors of Grand Chase are fondly remembered to this day throughout the country; some are even invited to participate in yearly gaming and Asian pop culture events. #### Grand Chase voice acting in Brazilian Portuguese - Classic Voice Acting: - New voice acting (with the same voice actors): Although Grand Chase is a Korean game, it is more popular in Brazil than anywhere else in the world. Ragnarök Online is a similar case: it was popular internationally, but in Brazil, it found success of an unusual magnitude, with an impact probably even greater than that of Grand Chase, although less visible, since it was also widely played on pirate servers. It is important to note that these games were not Level Up's only successful ones: Perfect World and MapleStory, among others, enjoyed large Brazilian audiences, and many still play them to this day. However, Level Up had to compete with Blizzard's titans and other MMORPGs in the 2010s. As Level Up's MMORPGs became less popular in Brazil, World of Warcraft gained popularity. As a tribute to Brazil in the 2000s, the developers of Ragnarök Online created a region in the game entirely inspired by Brazilian culture. After the failure of Erinia, this region (which includes a dungeon and a city called Brasilis) is perhaps the closest we've seen to a successful MMORPG based on Brazilian folklore. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/monsters.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/brasilis-2.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/brasilis-3.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/brasilis-4.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/brasilis-5.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/RO_VerassMonument.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/RO_Brasilis.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Revista-Level-Up-N-17-Ragnarok-Online-Brasilis--2009-.jpg) From top to bottom and from left to right: the monsters of the Brasilis region inspired by Brazilian fauna and folklore (from left to right: [Boitatá](https://pt.wikipedia.org/wiki/Boitat%C3%A1#:~:text=Boitat%C3%A1%20%C3%A9%20um%20termo%20tupi,das%20primeiras%20registradas%20no%20pa%C3%ADs.) (boss), [Headless Mule](https://en.wikipedia.org/wiki/Headless%5FMule), [Toucan](https://en.wikipedia.org/wiki/Toucan), [Curupira](https://en.wikipedia.org/wiki/Curupira), [Iara](https://en.wikipedia.org/wiki/Iara%5F%28mythology%29), [Jaguar](https://en.wikipedia.org/wiki/Jaguar) and [Piranha](https://en.wikipedia.org/wiki/Piranha)); colonial house in baroque style; "Copacabana Beach Boardwalk" in Brasilis; Brasilis Art Museum; Cathedral designed by "Nascar Omeyer" - a reference to the Brazilian architect Oscar Niemayer; the Verass Monument in the center of town; a screenshot showing elements of the tropical island city; Brasilis in the official Level Up magazine #17 (2009). Source: Level Up. Naturally, the developers didn't forget to add samba instruments to the soundtrack (check out the video below). I found a video of a French gamer on YouTube from when this region appeared in Ragnarök Online 15 years ago. He seems to have loved the city (and also football, the beach, and Brazilian women, as I would expect). Brazilian fans of Grand Chase also received a beautiful tribute from Level Up: a farewell concert when the game was discontinued in 2015\. You can watch the full concert in the playlist below: ## II. Game design and online experience in Level Up games Having discussed the social and economic context and the reception of Level Up's games in Brazil, we can finally analyze some of the games published by Level Up. However, our analysis will have to be somewhat superficial, as it is impossible to detail all of Level Up's games, especially since I have never played many of them and some have unfortunately been discontinued. The first subsection will be dedicated to analyzing general aspects of the MMORPG experience of the 2000s, and in the subsequent subsection, I will briefly comment on my favorite Level Up games. ### Classic MMORPG game design An MMORPG (Massively Multiplayer Online Role-Playing Game) is a type of online RPG that allows thousands or even millions of players to participate simultaneously, offering a dynamic and interactive virtual world. In this type of game, players interact with the environment, other players, and NPCs in real-time, and the game world continues to function even when the player is not online. If you play any MMORPG nowadays, you have a general idea of ​​what MMORPGs were like in the 2000s. After all, I believe that MMORPGs are still more about their communities than about their scripted adventures. There are some exceptions, such as Final Fantasy XIV, which can easily be appreciated for its main quests, but even in this case, the community is an important consideration in its game design. MMORPGs are games whose design is thought to provide a space of possibilities not only to follow a plot and evolve a character as in a conventional RPG but above all to freely explore a world with other players. This world has its fictional economy, organic and dynamic, with inflation, demand, supply, service, and many other elements of what exists in the real economy of a country. However, many classic elements are practically extinct in today's MMORPGs. In Ragnarök Online, the main update for the transition from a classic to a modern style of MMORPG design was the 2010 Renewal update. Subsequent updates have increasingly modernized the game to current MMORPG market standards. Modern MMORPGs have become much easier and more practical for players. For example, in classic MMORPGs you have to search in different cities for the item you want to buy, comparing prices and eventually trading with other players. Nowadays in games like Final Fantasy XIV, you have an algorithm that lists all the items that are being sold by other players, and you can simply select the cheapest one for purchase. These and other design choices have made MMORPGs more convenient, but they have also weakened the "value" of certain achievements and immersion in a virtual society. Below are some of the characteristics of classic MMORPGs such as Ragnarök Online, Silkroad Online, Perfect World, and many others published by Level Up: - Dying can be costly (you lose a significant amount of experience); - It takes a long time to gain the experience to evolve your character, especially at a high level; - It is very important to have friends to share items and information with; - The higher your character's level, the more you depend on parties and guilds to progress in the game; - Transportation and teleportation are not automated, and can be costly; - It is common to need help from other people to get through a dangerous region and reach an important place; - High level of emergent gameplay; - The bosses were very powerful, some could only be faced by well-organized parties or even a guild; - It is common that even in introductory areas of the game there were a few powerful (and sometimes offensive) creatures that newbies needed to run away from, and veterans hunted to obtain their rare items; - Social skills are mandatory to find your way around the game world (it is also common to need to ask for information about where to go and what to do in quests); - Decisions about your build (distribution of attribute and skill points) are extremely important, as they could make your character unbalanced and terrible, to the point where it would be better to start over with a new character; - In many places in the game world, it is almost impossible to survive alone, regardless of your class; - There are many extremely rare items (sometimes with a lower chance of dropping than someone winning the lottery); - Trying to improve equipment with a blacksmith is increasingly risky (you could lose it forever!); - Developers and GMs used to have difficulty dealing with bots and hacking. Another interesting feature of classic MMORPGs that I particularly love is the fact that each player usually has a main character with a single class. After all, a character can typically have just one class, and it is difficult to evolve more than one character at the same time, which costs a lot of time and money. This type of game design choice often means that the avatar's class is linked to the player's personality, as each class has specific functions in parties and guilds. In other words, choosing to be a hunter, knight, wizard, priest or bard decisively influences your experience in the game forever. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/knight2.gif) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/wizard.gif) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/bard.gif) From left to right (Ragnarök Online): a knight; a wizard; a bard and an odalisque playing music for the party members. Source: Divine Pride forum. ### My top 5 online games published by Level Up I would like to briefly comment on some of Level Up's games individually. The following five numbered games are my favorites from Level Up, all of which are still playable today, and are good examples of the variety of online games from Level Up in the 2000s. ### Ragnarök Online ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-60.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-24.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-5.png) Form left to right: a swordsman and three rockers; Prontera, the capital and the center of the economy of Rune Midgard; the War of Emperium. Source: Warp Portal BR, The Enemy. In the early 2000s, 3D MMORPGs were widely praised for their immersive settings, but 2D MMORPGs tended to have more charismatic character designs. Ragnarök Online combined the advantages of both design styles into an MMORPG with 3D settings and stylish 2D characters; not only were the avatars well-designed, but the creatures also had charismatic and creative sprites. Monsters like the Rocker (a violin-playing grasshopper) are unforgettable. Ragnarök Online's soundtrack is equally memorable; for many Brazilians (including me), the Prontera theme and Wanna be Free (the War of Emperium event song) are some of the most iconic pieces of RPG music ever. The tracks below, from the Ragnarök Online soundtrack, are more memorable in Brazil than many internationally celebrated Final Fantasy songs. Ragnarok Online Theme of Prontera 0:00 /275.879184 1× Ragnarok Online Wanna Be Free 0:00 /167.026939 1× Even before the first issue of Level Up! Poster magazine was published, Ragnarök Online was more than popular in Brazil, it was a revolution. The Heritage update (which introduced trans-classes - another stage of character development) motivated many players to buy the first issue of the magazine. What particularly enchanted me about the game was the way it seemed like such a real society but in a fantasy world. I made friends in this game that lasted for years, and there are events, scenarios, music, creatures, and battles that I remember with clear detail. I know no other world in an RPG as well as Rune Midgard, because in this world you had to interpret the quests, NPCs, maps, and the architecture of the places by yourself. This type of exploration made me get to know Rune Midgard the same way I get to know a new city in the real world: saving money, asking other players, and sometimes exploring on my own, walking carefully from one region to another. The items I found could be valuable or not, nothing told me about this a priori, I had to negotiate personally or check the price that other players set for that item in the cities; the price of an item could change a lot depending on the season and events. Typically, I had a priest, wizard, or hunter as my main class, but I also liked to have a second character (as a blacksmith or alchemist) to provide services to the economy of Rune Midgard, such as making potions and custom weapons (improved or imbued with elemental powers). In addition to the individual immersion, Ragnarök Online provided a collective experience of Rune Midgard. I and other players not only made our stories, but together we lived the history of the world; sometimes new lands were discovered, such as islands and entire hidden regions introduced in new updates; new quests and monsters appeared, and every week we prepared for the famous War of Emperium, where guilds compete for the castles dotting the game map. A castle gave guild members benefits, such as an exclusive dungeon and access to some NPCs inside the castle. It's interesting how the game design was intrinsically designed for this war since guilds evolve as characters, and guild leaders have specific skills to be used in war. As a bonus, the lords of the castles were known by everyone on the server for their banners in the cities. Ragnarök Online is a legendary game in Brazil, and [Level Up is unlikely to discontinue it anytime soon](https://centraldesuporte.levelup.com.br/jogos/ragnarok). --- ### Silkroad Online ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-57.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-8.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/BOW.gif) From left to right (Silkroad Online): a thief; a delivery quest (trading between cities) with four merchants and four hunters (and two thieves can be seen in the background on the left); an archer killing the weakest monster in the game. Sources: Soft32, playorigin, vsro.org. While Ragnarök Online introduced me to Norse mythology with its 2.5D design, Silkroad Online introduced me to Far Eastern mythology and Asian aesthetics with its 3D design. Silkroad Online shares many of the characteristics of classic MMORPGs with Ragnarök Online, but in Silkroad Online it is easier to fight alone against other monsters (rarely does anyone have a 100% support build), and characters are not defined exactly by classes, but rather by the weapons they specialize in (such as bow, spear or sword and shield). Interestingly, the game world is more dangerous in relation to other players, as they can propose duels almost anywhere, and in some cases (such as when the player is dressed as a thief) one could be attacked without warning. The most interesting things about this game are the jobs and the interactions between cities. The player can choose between three jobs: merchant, hunter or thief. Merchants can do quests to deliver supplies from one city to another; hunters fight thieves and protect merchants; thieves rob merchant caravans. I used to play as a merchant, and I loved traveling between cities with different types of caravans (some could carry more weight than others, and also varied in speed and resistance). Delivery quests involve route strategy; sometimes it's better to be on the roads, where there are fewer monsters, other times it's better to fight monsters and avoid encountering other thieves, and you may want to hire a hunter friend if your merchandise is valuable. [Silkroad Online is currently published internationally by Joymax](https://www.joymax.com/silkroad/). --- ### Dofus ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-58.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/telefrag.gif) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/grougal-gif.gif) From left to right (Dofus): city ​​design; a non-offensive tactical skill; a long-range offensive skill. Source: Dofus.com (forum). Tactical RPGs are my favorite subgenre of RPGs; if you also like this genre, you should try Dofus. This is one of the few non-Asian games published by Level Up in the 2000s when there were two servers for Brazil/Portugal (Spiritia and Helioboros); in 2017 they were unified under the name Crocabulia. Originally made in Adobe Flash, Dofus is a 2D MMOTRPG developed by the French studio Ankama Games and is especially popular in Europe and Brazil. This game has a very charismatic design and creative tactical multiplayer systems. There is a fusion of class and race systems for the creation and evolution of your avatar, and battles often involve teamwork. It is very interesting to cooperate in a tactical multiplayer game, like being in a game of chess in which each player controls a black piece, and everyone teams up (or fights independently) against the white pieces. In addition, it is worth mentioning that there are a lot of events and things to do in the cities. If I had to recommend one of my top 5 MMORPGs to play today, it would be Dofus. The game is currently published by Ankama Games, and I like it even more today than I did back then. If you play on mobile platforms, I recommend DOFUS Touch. --- ### Grand Chase ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/grandchase-inventario.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-27.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Ai_Divine_Tempest.webp) From left to right (Grand Chase): inventory system; a cooperative online multiplayer battle against monsters; [Ai](https://grandchase.fandom.com/wiki/Ai/Dimensional%5FChaser) using a skill in PVP. Sources: Game Blast, TechTudo, Grand Chase Wiki. Grand Chase is a 2D side-scrolling action MMORPG. It was Level Up's second most popular game in the 2000s and became their flagship game in the 2010s. Like Ragnarök Online, this is one of the most popular games in Brazil's history. Grand Chase is visually the opposite of Ragnarok Online, with a 2D side-scrolling scenario and 3D characters; both games are equally charismatic, though Grand Chase is cuter and has more customization appeal. In addition to equipment customization, each character has unique skills and a linear evolution. It is common for players to specialize in certain characters, just like in fighting games. [My favorite is Ryan](https://grandchase.fandom.com/wiki/Ryan), "the protector of the forest", one of the characters introduced in the first updates. There are different game modes: One of which involves facing monsters and finding items, another enables you to fight against other players. In addition, there is the Practice Mode, in which the player can practice with all kinds of characters and classes. Although it was discontinued in 2015, [the game returned in 2021](https://www.uol.com.br/start/ultimas-noticias/2021/06/30/internet-comemora-retorno-de-grand-chase-veja-as-reacoes.htm) (it is available on [Steam](https://store.steampowered.com/app/985810/GrandChase/)), and I recommend it to those players who enjoy fighting as much as they do RPGs. It is worth noting that it only has voice acting in Korean, English, and Brazilian Portuguese. --- ### GunZ: The Duel ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-12.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/steamworkshop_webupload_previewfile_229762725_preview--1-.gif) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/the-duel.gif) Left: GunZ: The Duel (2003); right (gifs): GunZ 2: The Second Duel (2014). Sources: Games-popularity.com, Steam Community, Genius. GunZ: The Duel was one of the first games published by Level Up, and was featured in Level Up! Poster #1\. Both GunZ games (GunZ: The Duel and GunZ 2: The Second Duel) are online third-person shooters with RPG elements and over-the-top performances (inspired by action movies and anime), including wall-walking and blocking bullets with swords, which is very nostalgic for the 2000s. GunZ: The Duel may not be as charmingly unique and immersive as the others in my top 5, but it is genuinely one of the most fun. In addition to the expected PVP modes, there's also a Quest mode, in which a group of players goes through different stages and fights creatures. I remember that, unlike Grand Chase (in which I preferred cooperative gameplay), I preferred GunZ's PVP mode. One aspect I like about this game is its 3D platform game design; there are maps where you need to climb walls or jump to specific locations and the level design works especially well with verticality. [GunZ: The Duel](https://store.steampowered.com/app/3139440/GunZ%5FThe%5FDuel/) and [GunZ 2: The Second Duel](https://store.steampowered.com/app/242720/GunZ%5F2%5FThe%5FSecond%5FDuel/?l=portuguese) are available on Steam. --- My top 5 includes Level Up's two most popular games in Brazil (Ragnarök Online and Grand Chase) and three games with average popularity (Dofus, GunZ: The Duel, and Silkroad Online). They weren't the only popular games from the publisher though, so the following image gallery features some of Level Up's most memorable games in Brazil, including the third most popular in the 2000s, Perfect World. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/city-of-heroes.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/pangya.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Runescape.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/lineage2.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/combatarms.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/lunia.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/MapleStory.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Perfect-World.jpg) From top to bottom and from left to right: **City of Heroes;* **Pangya;* **RuneScape;* **Lineage II;* **Combat Arms*; **Lunia;* **MapleStory; Perfect World*. Sources: Facebook, Reddit, l2jbrasil, Adrenaline, level up games fans, The Player Brasil, Mobygames. ## III. Final thoughts Level Up was a key company in the early days of the MMORPG market in Brazil, contributing significantly to mainstreaming Asian pop culture beyond Japan. Today, the experience of playing an MMORPG has changed a lot but still consists of living in a world that is incorporated into our real world. No matter how different the gaming market is in Brazil, the influence of our history cannot be underestimated. More than 20 years after Level Up arrived in Brazil, [according to a recent survey](https://g1.globo.com/tecnologia/noticia/2024/08/16/quase-6-milhoes-de-lares-brasileiros-nao-tem-acesso-a-internet-revela-ibge.ghtml), today 92.5% of the population has access to the internet (and 34.2% access the internet via computer). [According to a survey by PGB 2024](https://exame.com/tecnologia/745-do-brasileiros-jogam-videogames-com-frequencia-classe-c-esta-mais-incluida-no-consumo/), around 74.5% of the Brazilian population plays some kind of electronic game. 58.2% of Brazilian gamers play mainly on PC, 33.2% prefer to play on smartphones or tablets, and 27.7% play on consoles. Brazilians play a lot on mobile platforms and especially on computers, and there are huge communities of Brazilians in all types of MMORPGs nowadays, including Final Fantasy XIV, myself included. It's amazing to be part of such a huge community that includes subcommunities from several countries. Each Final Fantasy XIV player came from a different background in MMORPGs to decide to be in this game and to choose a main class for their avatar; besides the fact that I'm a Final Fantasy fan, I'm sure I was also influenced by my history in Level Up's MMORPGs. However, I am concerned that there are an increasing number of free-to-play online games that are ignored by game journalists and even game historians. These games have thousands of untold stories about their players, many of whom are in countries in the Global South. It is not only offline games and famous MMORPGs (such as Final Fantasy XIV and World of Warcraft) that deserve to be analyzed and preserved in the pages of history, nor are they the only ones that influence culture in society. I believe that when you discontinue an online game, you are eliminating not just a fictional world, but a world within the real world. Furthermore, when you do not tell the stories of these games, you are also eliminating from history the people who played them. Many non-Japanese Asian games and some Brazilian games that I played didn't even receive a review on aggregators like Metacritic and Opencritic. They're also not in the pages of the main RPG books, usually dedicated to JRPGs or WRPGs from the Global North, and some games released in Brazil weren't even mentioned on their release day. One of my goals here at SUPERJUMP is to talk about the history of video games in my country, and I'm just getting started. For an introduction to video games in Brazil, I recommend "[Watch our video history of gaming in Brazil](https://www.redbull.com/us-en/the-history-of-video-games-in-brazil)", by Jon Partridge. And, if you are interested in delving deeper into the history of video games in the Global South, be sure to check out these books. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-30.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-29.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-28.png) Books about video games in the Global South. Source: Amazon. ### The Strange Case of the Dr. Jekyll and Mr. Hyde Video Game URL: https://www.superjumpmagazine.com/the-strange-case-of-the-dr-jekyll-and-mr-hyde-video-game/ Last updated: 2025-02-16T22:11:10.000Z **Isn’t this the last story you would expect to just show up in a video game website?** I’m pretty sure some of you might be scratching your head over the fact Dr. Jekyll and Mr. Hyde even had a video game adaptation, not to mention that this game came out in 1988, over thirty years ago! Why suddenly bring mention to it when it was most likely forgotten for a good reason? Well, if you know me, you know that I’m a big fan of filmmaker and online personality, James Rolfe AKA The Angry Video Game Nerd. Back in 2004, before The Nerd became the internet phenomenon that it is today, Mr. Rolfe made a pair of videos where he talked in disdain about two terrible video games from his childhood. While the video about Castlevania II: Simon’s Quest is now considered the very first AVGN episode, I always found the Dr. Jekyll and Mr. Hyde episode to be much more iconic and important to The Nerd’s legacy. It’s true that James doesn’t shy away from his love for Castlevania in later Nerd episodes, but Dr. Jekyll and Mr. Hyde set more foundation for the show as we know it today. It was the first time we saw Rolfe wear the famous white-dotted shirt and drink Rolling Rock to drown the pain, which became one of the most well-known traits of the character. Most importantly, to this day, Rolfe still continues to refer to that particular game as the worst he has ever played. Considering the stuff he had to endure for the twenty-plus years he’s been keeping AVGN going, hat says a lot. The Nerd would find himself re-reviewing Dr. Jekyll and Mr. Hyde several more times while taking us back to the past, with his first revisit probably being my favorite episode from the show. Now, with the game being known to the public for more than twenty years, I thought it’d be interesting to look it over and see if it’s indeed as bad as Rolfe made it out to be. I mean… it is, but let’s give it a bit more of a fair look, shall we? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-28.png) Source: IGDB. ## General overview Let’s address the very first elephant in the room. How can you turn a gothic mystery novel about the duality of a man’s personality into a video game? It can be done today and has been done by several studios; games addressing mental health like Hellblade: Senua’s Sacrifice, and some delving into the tragic and regretful paths of the characters like the two most recent God of War titles. Even indie games such as Celeste and Undertale focus on such themes and ideas, so it’s not necessarily that technology wasn’t there to tackle these topics properly. However, rather than being a direct adaptation of the novel and featuring levels inspired by beats from the original book and its many adaptations; the game tells a somewhat original story. In this, supposedly unrelated plot, Jekyll is on his way to his wedding while Hyde must fend off various demons. Already we have our first problem. What do literal demons have to do with the story? I understand that major changes have to be made to fit the story into video game form, but demons in a story about the duality of a man? This goes a bit beyond the point of the original, don’t you think? To its credit, I would argue that it was done to fit the game’s nature as a side-scroller. You need obstacles in a video game after all, but the way in which the game approaches the dilemma is odd to say the least. You’re starting the game off as Jekyll, who can only walk and jump. He can swing his cane if the player wishes to but, in a move which baffles any kind of logic, the attack doesn’t damage anything besides bees. Whenever Jekyll’s stress meter goes down from all of the attacks he endures, he transforms into Hyde, and now things become both interesting and even more confusing. When you gain control of Hyde, you’re in actuality playing a demonic mirror version of the level you just played with Jekyll. When you beat these demons I mentioned earlier, the stress meter goes down and Hyde transforms back into Jekyll. If you reach the same spot of the level in which you transformed into Hyde but didn’t transform back, Hyde will get struck by lightning and the game will end. If it sounds confusing; that’s because it is. What’s weird in the case of this particular game is that on paper, I don’t think that this is a terrible idea. As I mentioned earlier, the original book is about the duality of man. Dr. Jekyll is a good and honest person, while Mr. Hyde is a bad and despicable criminal, but they’re actually both the same guy. Jekyll makes the potion which transforms him into Hyde, able to control the transformation at first, until the evil side is starting to have more control over the good doctor. In a way; the game represents that by failing the player if Hyde catches up to Jekyll’s position in the level. The idea of making Jekyll non-violent and Hyde all about shooting stuff is also a good one since it fits with the themes of the book. Really, when it comes to looking at this game at face value, the ideas it has are honestly not that bad. For the time in which it came out, they’re even ambitious and unique. Sadly though, it’s the execution where the game shows its true colors and makes it clear to us why it’s seen as such a terrible experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-30.png) Source: [YouTube via IGDB](https://www.youtube.com/watch?v=ueUjl-j59T8). ## The problems Now that we have gone over how the game works, we can finally dissect why it deserves the lashing it earned from people. And I guess we’re starting with the most glaring thing I can think of: the game contradicts its own rules. I mentioned earlier that Jekyll’s gameplay is focused on a non-violent stroll to the church, but the enemies he has to face are anything but pacifistic. For reasons I could never understand, all the townspeople are after Jekyll and they are determined to make him suffer. From women in dresses to guys who carry bombs, a kid with a slingshot who has a crush on Jekyll’s fiance to a terrible singer who hurts you with her singing, and even dogs and birds literally pooping on him, it's safe to say that every living creature is after the doctor’s well-being. I guess someone put a bounty on Jekyll and he’s unaware of that, otherwise, the sudden hatred everyone has for him is bizarre, to say the least. Since Jekyll can’t fight back, due to his good nature I guess, he’ll endure a lot of damage from the second you start the game. Without you even noticing, the meter goes down and Hyde is now out on the town… until a second later when lightning strikes him dead and the game over screen appears. Yes, I understand why. Hyde can’t pass Jekyll because then evil beats good, I get the concept. But now I must ask, why make the enemies so hard to avoid to the point I can’t get even a millimeter into the stage!? The concept of presenting the struggle between Jekyll and Hyde as somewhat of a race between the two, punishing the player if Hyde gains the lead, is actually pretty cool. What isn’t cool is that the game isn’t designed with that idea in mind. In order to not become Hyde, you can’t take too much damage. Doesn’t sound too hard if you learn enemy patterns, right? Well, allow me to ask you, “What enemy patterns?” These people are as random as people who decided to gang up on a guy on his way to his wedding. Their movement speed changes, their behavior changes, and even the amount of damage they cause you changes. With Jekyll being essentially defenseless, how do they expect one to NOT get hit when that’s the point of the game? This isn’t a matter of challenge, it’s a matter of going against the basic idea of the game... and video games in general, I'd argue! And speaking of just that; imagine my shock when I found out there are TWO endings to this game! Yeah, two endings! The bad ending requires reaching the end of the final stage as Jekyll. In order to get the good ending, and face the final boss, you need to beat the stage as Hyde. Yes, you read that correctly. After the game teaches you that letting Hyde pass Jekyll means game over, you’re expected to do just that in order to get the good ending. What kind of backward nonsense is this!? I’ve had my share of games that require me to ignore any kind of logic beforehand but this here might take the cake! So allow me to summarize. You’re supposed to maintain your stress meter, which gets depleted once enemies hit you. The enemies are VERY hard to avoid and you CAN’T fight back. Once the meter goes all the way down you transform into Hyde and you must transform back into Jekyll as soon as possible because if you don’t, you lose. HOWEVER, only in the final stage there’s a way for you to essentially cheat death, skip the point where lightning would usually strike you, and fight a boss battle in order to get the good ending. To quote the man who made this game known to the public, “What were they thinking!?” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-29.png) Source: IGDB. ## Is there a chance? I think I made it pretty clear that I concur with Mr. Rolfe’s take on the game. It’s hard not to; I had writer’s block just trying to explain how everything works in this very article because the gameplay is so unearthly. And yet, despite all of the problems I mentioned and all the stuff that defies any kind of basic video game principle you’ve ever encountered, I THINK there’s a way to make the concept for the game work, bizarre premise or not. Like I said earlier, the concept IS interesting on paper, so is there a chance? What would need to be fixed in order to make this work? Like all adaptations; we need to go back to the source material. What is the Dr. Jekyll and Mr. Hyde novel about? A constant struggle between good intentions and evil desires over a man’s conscience. There’s more to it than that of course, but for the sake of a simple 8-bit game from the late 80’s, we have our basis. Jekyll’s good, Hyde bad, evil can’t beat good… or should it? The game already has two endings, one better than the other. If that’s the case then why not have the ending be determined by the player’s actions? If the players beat too many stages as Hyde, they’ll get the bad ending. If they beat more stages as Jekyll, they’ll get the good ending. That way the game can still punish the players for letting evil take the lead over good, but it wouldn’t just end the game unexpectedly and unfairly. Speaking of unfair; enemy patterns would have to be adjusted of course and Jekyll would need to be able to fend those off. Wouldn’t it go against his nature to harm people in the town? I didn’t say he needs to fight the people of the town. While I still find the idea of demons a weird part of the game, wouldn’t it make more sense for Jekyll to fight them than Hyde? Jekyll is on his way to his wedding, right? Weddings can be nerve-wracking. What if the enemies Jekyll has to fend off are demons that aren’t really there, but his own personal demons over the predicament? What if he worried he would fail as a husband or something doesn’t work out? There have been cases where people got cold feet before they got married, who said that in an 8-bit game, those couldn’t be represented with demons? Now, Jekyll can attack enemies without questioning his basic morals and it gives the player more of a chance to stay on the path of good. If the doctor still transforms into the evil mister, Hyde could be the one fighting off the people of the town because that’s literally what he does in the book! The good guy fights his personal demons while the bad guy takes it all out on the innocent people of the town. That says a lot with very little in a simple game, right? No asinine game mechanics required! I truly think that these changes could have made the point they tried getting across that much better, and not gotten lost under all the backward choices made so long ago. Maybe I’m reading too much into the intentions behind the game, as we know a lot of developers back in the day were aiming to make their games hard in order to have a longer shelf life. Who’s to say this wasn’t the intention with Dr. Jekyll and Mr. Hyde? The game only has 6 levels, so make the game unbelievably hard in order for people to keep playing it and not beat it in a day or a weekend. However, when I look at stuff like the two endings and the confusing mechanics I can’t help but wonder if something grander and more ambitious was in store for gamers before it got lost in the process. I suppose we’ll never know the true intentions behind the game but we are blessed with a very creative indie scene today, filled with beautiful and intricate stories people manage to tell with much simplicity. Maybe a second attempt at a game in the style of Jekyll and Hyde isn’t that bad an idea. Regardless if you agree with my ideas or not, who’s to say there isn’t an interesting game idea in here which could make people think and wonder without the desire to break their controller? In every good there’s evil and in every evil there’s good. Maybe even the most infamously bad games ever can have some good ideas buried inside them, just waiting for a chance to shine. ### A Deeply Subjective Look at Elden Ring: Shadow of the Erdtree URL: https://www.superjumpmagazine.com/a-deeply-subjective-look-at-elden-ring-shadow-of-the-erdtree/ Last updated: 2025-02-16T20:24:43.000Z **Shaman Village is the most special location in all of Elden Ring to me.** It’s located in the Hinterland, a serene meadow covered in blooming flowers. At the center of the village is a tiny Erdtree, which casts a gentle golden glow over its surroundings. I didn’t stumble onto the location by accident. I had seen some stunning gifsets on Tumblr and was immediately intrigued. While looking up how to reach this area, I had inadvertently learned the story behind it, and those revelations had already recontextualized large parts of the game. I thought I knew what I’d be getting, and had made my way to Shaman Village almost like a tourist would, just to see the grand spot with my own eyes. But it seems that knowing how to find the place and knowing why it’s so important was only a part of the experience. The first sign is the change in the soundtrack, from the ominous foreboding drone heard through most of the DLC to a slower, melodic tune. Then my stomach felt like I skipped a stair on the way down when I realised this was a somber reprise of the main theme. It’s always deeply moving to me when a location with a painful past has become peaceful and serene in the present, whether in fiction or real life. There’s a deep undercurrent of sadness in places like these; they are a testament to time always moving forward. The loveliness of the blooming flowers and the golden glow of the little Erdtree are undercut by the somber music, the gut-wrenching words of the item descriptions and the feeling of desolation created by the sound of flapping birds’ wings in the best possible way. This was when I realised that Shadow of the Erdtree had what I’d been looking for from Elden Ring all along. Last year, I wrote a piece called [‘What Is Elden Ring About?’](https://www.superjumpmagazine.com/what-is-elden-ring-about/), because I had become very well-acquainted with the minutiae of Elden Ring’s lore by that point, but felt that the game didn’t form a central theme the way From Software’s previous games did. The immense ambiguity around important characters’ motivations made it difficult to understand what any of it was supposed to mean. About the DLC I said this: > I used to think that there is some missing piece of the puzzle, some*thing* I was just not seeing that would tie the game up together. But it’s been months and either I’m oblivious or that easy answer just doesn’t exist. I am almost certain that upcoming DLC won’t fill in these pieces either. I’m happy to say the DLC has provided me with that missing piece, even though it wasn't what I thought it'd be. OK, enough waffling. Simply put, I think that Shadow Of The Erdtree is more emotionally direct than the base game. I think that instead of sacrificing that sense of ambiguity from the base game by being more obvious about the lore and themes, it has instead become more direct about the emotional weight of its narrative. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-22.png) Source: PlayStationTophies.org. --- > "There’s a deep undercurrent of sadness in places like these; they are a testament to time always moving forward." --- I’m not sure how much of this is my personal interpretation of disparate elements of the game versus the intended emotional response the developers sought to elicit. All I can say is that there wasn’t a single moment in the base game that made me feel the way I did in Shaman Village, even though the base game had plenty of melancholy. This is why I spent all that time at the beginning of the piece describing Shaman Village. The game used its soundtrack, ambient sounds, and a lack of enemies to create a specific mood. It would not have been as special without any one of those elements. So, even though I’m not fully confident this isn’t just me projecting, I am equally sure this isn’t all in my head. Shaman Village isn’t the only example of this new emotional directness. The main focus of this DLC is the demigod Miquella, who was an extremely enigmatic figure in the base game. I don’t think Shadow of the Erdtree really clears things up so much as it introduces knowns and unknowns in equal measure. We still don’t know a whole lot about Miquella, but we can be more specific about *some* of these unknowns than before if that makes any sense. Miquella’s quest for godhood and the contradiction at the heart of the ruthlessness in his actions to bring about a kinder world would have been compelling enough on their own, but the game also makes the emotional gravity of this clear with Miquella’s Crosses. From a gameplay perspective, the Crosses are a very welcome sight, as they contain valuable power-ups, typically signal that there’s a checkpoint nearby, and also give me a little dopamine hit for filling out the map just a little bit more. They often contain text you can read by touching the crosses, and almost all of them read: ‘I abandon here a part of the flesh of my body’. I saw these enough times on each of the crosses I checked that I stopped giving it too much thought. Its purpose was clearly to show us how serious Miquella was about his pursuit of godhood, giving up his body for the cause just like Ranni in the base game. And then I got to the Cerulean Coast, saw the Cross, touched the Site of Grace, went back to the Cross, and saw this: “*I abandon here my doubt and vacillation”*. It was a gut punch for me. It’s contradictory, but the abandoning of physical flesh only emphasizes Miquella’s supernatural quality while ascribing the physical connotation of removal to concepts like doubt and hesitation. Suddenly Miquella feels very, very emotionally accessible. He is still exactly as mysterious and unknowable as before; it’s just that the game drew attention to the emotional aspect of all this. Miquella wasn’t some hardcore fanatic or an unknowable being with an unknowable way of thinking after all. Even demigods can feel uncertain, it seems. It was so easy to imagine Miquella standing where I stood, on that cliff, fields of blue behind him, the ghostly grey sea below, feeling uncertain up to the moment he didn’t anymore. Of course, this is only the scene-setter for what follows deep underground in the Stone Coffin Fissure. This particular Cross didn’t catch me quite as off-guard; there had been a lot of build-up by this point. The idea that Miquella had had doubts this entire time already recontextualised his past actions for me and primed me to expect something significant going forward. A nearby phantom laments Miquella throwing away something he shouldn’t have. I was already feeling a sense of apprehension and sadness about what I suspected had happened, so seeing the words “*I abandon here my love”* was only the final confrontation. Still, taking that plunge down gave me time to reflect on just how sad it all is. It’s heart-wrenching to hear St. Trina implore you in a sincerely compassionate way to kill Miquella and forgive him. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-24.png) Source: Reddit. --- > "It’s heart-wrenching to hear St. Trina implore you in a sincerely compassionate way to kill Miquella and forgive him." --- There are other moments of Shadow of the Erdtree’s emotional directness: Messmer The Impaler turns out to be more complex and more tragic than his title would suggest, and the little cutscene that ends the DLC is not just emotionally but also uncharacteristically narratively direct. Normally the player would have to work hard at imagining this kind of scene for themselves. But with the clarity that time has given me, the two things I really, *really* remember from Shadow of the Erdtree are Shaman Village and the sequence at the Cerulean Coast and the Stone Temple Fissure, and they overshadow almost everything else in the game. They’re both instances of the very best of Fromsoft’s signature oblique storytelling, where the enigma surrounding the characters and narrative coexists with emotional accessibility. We will never know the whys, whens, and hows of Marika’s ascent to godhood, but we do have the gentle golden light of a small tree with nobody left to heal. Maybe we don’t need much more than that. It’s not that I’m blind to the game’s flaws. My relationship with this game is cyclical; I adore it unquestioningly at first, aware of its flaws but not bothered by them in the slightest. Slowly I am bothered by them, by the frustrating lack of any kind of central idea, by the fact that most items I find are useless for my build, by the repetitiveness of the mini-dungeons. Gradually I begin losing my patience with the characteristically patience-trying gameplay, and finally, I experience one frustration too many and take a break from the game, typically for months. Eventually, my frustrations fade and I start thinking more and more fondly of this game until in my head it’s a masterpiece as long as you ignore its negligible faults. This piece was immensely difficult to write. I started a rough outline for it in July, when I was still mostly head over heels in love with this game, with the frustrations slowly creeping in. By August, I gradually got more and more burned out until I put the game down and didn’t even think about it for months. During that time I would write and delete, write and delete; I simply didn’t know what I wanted to say. I’m now back in the fond reminiscence part of the cycle, which is why I talk more about the parts of the game that made an impression, and it’s positive in tone because I’ve now forgotten everything I wanted to forget. It’s suddenly been easier to write again. It’s still a rambling mess, but Elden Ring is such a difficult game to write about that I’m not sure I could do any better than this. I’m not even sure I’ll agree with any of this when I inevitably pick up Elden Ring again sometime in the future (and then start getting sick of it). But I do think this is how I want to feel about this game, and on the whole, I think I’m right about this game’s emotional directness (even though there’s a worrying lack of the same thought on Reddit). I do think that Shadow of the Erdtree was an improvement on the base game. Aside from the considerable gameplay improvements (a quality-over-quantity approach to mini-dungeons, a tightness in the world design, interesting enemy variability, bypassing the endgame levelling issue), there was an overall sharpness in the storytelling too. But what really makes it special is that it moved me with its story and characters on a deeper level than any of their previous games have in this way. We always speculate about the direction Fromsoftware will take their signature style next; I really hope their next game makes me feel this deeply too. ### Monstrous and Magnificent: Exploring Identity Through Dungeons and Dragons URL: https://www.superjumpmagazine.com/monstrous-and-magnificent-exploring-identity-through-dungeons-and-dragns-ready/ Last updated: 2025-02-15T01:48:40.000Z **At the bar of an ember-lit tavern, my Half-Elf swashbuckler orders a drink.** In the confines of the Human town, his pointy ears, long hair, and fair features stand out like a lily among the thorns. The bartender turns to me and with a curious face says, "Well, you don't look Elvish". It was then I realized part of Dungeons and Dragons was not a game, but a reflection. I was bringing parts of myself to the table without realizing it. At that moment I saw shades of my own life: the difficulties of a person caught between worlds, a person struggling to define and accept what "otherness" is. It reminded me of the countless times I've felt like I didn't belong– like the very nature of my features and idiosyncrasies did not fit within the space I occupied. I quit sports teams and stopped participating in certain spaces because I felt foreign. It took me years to realize it. Through D&D, I found a way to explore my identity (as well as others!) and understand what it means to embrace the "monstrous" portions of myself and be wholly magnificent. The beauty of the monstrous races (now called species in the newest edition) is they further accentuate difference, prejudice, and otherness. From the moment I rolled my first character sheet, I was drawn to the monstrous races. Why would I want to be a human? I do that every day! Lizardfolk, Tiefling, Half-Orcs, I was drawn to these characters that live on the fringes, judged on what they are long before their actions. I felt drawn to their plight and the chance it gave me to be someone else. Lizardfolk are seen as cold and calculated, a misunderstanding of what it means to see or process the world differently. Tieflings are judged for their demonic bloodlines and are mistrusted simply for their ancestors. Orcs and Half-Orcs are seen as violent barbarians and fight against accusations of pure brutishness. These are just a few examples, and they all carry the weight of prejudice. That is the essence of D&D, no? To be a character and to be a part of a larger story. These monstrous-looking people add a baroque dramatic layer to a fantasy world. Why make the differences in people minute and arguable when you can dramatize them? This is a fantasy story, after all! This technique disarms and adds levity to the often serious situations players find themselves in. The minute differences that people perceive and cause hate in the real world, become more apparent and understandable in D&D. We understand why an Aarakocra (Birdfolk) might naturally fear a Tabaxi (Felinefolk) or why an Elf might hate an Orc. It makes predicaments more approachable and less visceral when we deal with prejudice and hate. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-27.png) Source: DNDBeyond. --- > "Through D&D, I found a way to explore my identity (as well as others!) and understand what it means to embrace the "monstrous" portions of myself and be wholly magnificent." --- Part of creating a character or choosing a favorite character from a story is that we see ourselves in them. However, representation isn't always so direct (although that direct representation is important)! We see parts of our greater magnitude in characters, the beautiful little othernesses. For example, I didn't see myself physically in my Lizardfolk character. Still, there were parts of me there I wanted to explore. How would it feel to be a stranger in a strange land? What is it like to be more hard-skinned? What does it mean to live for honor and faith? How would it be to live and not hide who you are? My journey with my favorite character Hozanek, a Lizardfolk character, has been a walkabout through the jungle. Wild, unrelenting, and filled with moments of revelation. After one arduous battle, Hozanek spent a few sessions shedding his scales and rehardening. I took that home with me and started to shed myself, revealing old scars that I thought were healed. I began realizing some things weren't healed, only buried like a Lizardfolk's clutch of eggs in the swamp. Childhood bullying and prejudice that I did not comprehend left strange scars. Now, with time and reflection, I understood, and I could trace the trajectory of my search for authenticity. It was when Hozanek returned home to his people that my feelings truly started to set in. Hozanek wasn't welcomed with wide arms and crocodile smiles. There was no massive parade or triumphant return. Sure, Hozanek's den mother and other friends in the village were happy to see him. But, overall, he was met with questions and objections. He now spoke and dressed somewhat differently and brought unwelcome warnings home. He was no longer a "true Lizardfolk"; he was now foreign in his own home. Despite going through all those trials and turmoils it has led me here to this slow meandering path. What I found in myself through this newfound, and now longstanding, adventure is that I wasn't lacking anything. At the end of that path was a clearing of flowers; each a colorful little celebration of me. I started to come to terms with my particular struggles of self-definition. To accept all parts of myself even those perceived as "monstrous". It didn't matter how people saw me, who they thought I was, or where they thought I should belong. This garden was for me and no one else– no amount of small-mindedness and prejudice could denigrate that. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/phb24_sma_key_1920x1080-2.jpg) Source: Press Kit. --- > "What I found in myself through this newfound, and now longstanding, adventure is that I wasn't lacking anything. At the end of that path was a clearing of flowers; each a colorful little celebration of me." --- Through Hozanek's scales, I found not that I needed to be more callous but that my softness was already a strength. I found I didn't lack honor and faith but that life had made me cynical, and I needed to shake the blues loose. I learned that being "other" and feeling out of place is OK and that "otherness" provides a powerful perspective. Moreover, after playing Dungeons and Dragons weekly, I realized we all feel out of place. One good friend at the table plays a Half-Dragonborn with a lower back tattoo echoing the famous Bon Jovi lyrics: "*It's my life*." Was it funny? Absolutely, but it illustrated the point for me so well! It was a proclamation of ownership and a celebration of uniqueness. Those differences between individuals aren't just communicated in the game but also on the faces of the people around me at the table. With over two years of playing together, our oldest player took a hiatus saying he was struggling to find his place in the group. I'm happy to report his hiatus was short-lived and he's back! Was it something at the table? Maybe. Was it something going on in his life? That's possible, too. Regardless, it highlights his individual lived experience. These examples serve as a solid reminder that feeling "other" is something we each struggle with. At the end of the day, everyone is trying to find their adventuring party and themselves. In all that, what I've come to realize is that everyone is navigating the world with their own “monstrous” qualities. The traits that make us feel separate or misunderstood, although sometimes difficult to carry, are the qualities that most empower us. I've discovered that in a game where the monstrous are magnificent, I began to see my real-life differences as worthy of celebration. And that’s the real magic of D&D: It can be more than a fun game you show up for every Sunday. It can be more than a space where you create new stories and worlds. If you roll high enough and cast your spell just right, D&D can help you comprehend your place in this world too. ### Why Building Great Games is About More Than Numbers URL: https://www.superjumpmagazine.com/why-you-cant-objectively-build-great-games-you-cant-put-a-price-on-game-feel/ Last updated: 2025-02-09T02:17:30.000Z **I was reading a piece recently on** [**Game Developer**](https://www.gamedeveloper.com/) **that gave me pause about the meaning of game design at the AAA level: is it really about focusing on analytics and trying to “math” the perfect game?** A monumental shift occurred in the 2010s with the rise of the indie development scene. But one important conversation that is often missed in the context of that shift is the assumptions about AAA development and which of these can/should be put to rest. Today I want to discuss the reasons why you can't rely solely on quantitative metrics to create a great and memorable game, and how some of the very best games have a little "grit" to them. ## Objectively average The core principles of game design are not necessarily best represented by objective criteria. Video games are, by definition, a complex combination of art and science. Sure, you can define standards for coding or you can objectively describe different styles of art. But how do you explain the differences in first-person emotions and sensations you experience playing Super Mario and Crash Bandicoot? Or how Doom 2016 and Doom Eternal feel like quite different experiences despite the enormous amount of design DNA they share? The x-factor that can elevate a game from being merely *good* to award-winning-*great* is often found in these *qualitative* spaces where terms like "game feel" become relevant, despite their evasion of highly precise description. These are the spaces where distinctions between games make the difference between a game that players will remember fondly for years to come versus games that players easily forget within a couple of weeks after launch. It is, of course, true that if you don't understand game design and mechanics, you'll likely end up with a game nobody wants to play. However, if you look at a game *only* through a quantitative lens (without factoring in the many important qualitative aspects), you run the risk of the worst of all worlds (which, in my view, is the creation of a *remarkably average game*). Nobody will remember playing it and you will not develop a loyal fanbase who are prepared to come along for the ride (either they won't show interest in your roadmap for the game you just shipped, or they'll be uninterested in any new projects you announce). Source: Game-Wisdom via YouTube. Part of sustainable game development is creating games that keep players excited about what's coming next from your studio. In other words, you're really building a relationship with your players that goes beyond one individual game experience. Ideally, you want players to be interested in your games sight unseen; the mere fact you are working on something new gets them excited. Studios like Strange Scaffold and New Blood Interactive are examples of developers who achieved this level of trust and loyalty with their fans. It is obviously the case that understanding game design - and looking for cool ideas - involves, at least in part, *playing games* and exploring a wide range of different games. It can be tempting to focus your attention entirely on the big hits that perform well commercially, but I'd suggest looking beyond these experiences, especially if you want to give yourself the best chance of developing unique new ideas that help your game stand out in the crowd. ## Finding the rough edges A key aspect of good game design - and good game criticism - is the ability to look beyond the popular games that everyone is currently playing. You can't study game design solely by playing only the "best" games released each year. Doing so means playing a heavily curated and refined experience with all of its edges sanded down. You're not necessarily going to see the pitfalls and pain points of a genre (nor even know what they are in the first place). Sometimes, a slightly off-kilter "6 out of 10" game might contain something completely original and amazing that is worth your attention. One of my favorite games in recent memory is Astlibra: Revision. This game is a hodgepodge of stock assets and free music that is miles away from a polished, AAA experience. And yet, despite this, it comes together in a compelling way that feels cohesive. A game like this could never have been conceived by a major studio or someone who only experiences AAA games. The same could easily be said of hits like Balatro, Vampire Survivors, Lethal Company, and many more. These games are not the best looking - they won't stress a modern graphics card - and they didn't require millions of dollars to create. So, what qualities to these games share? They each explore a very unique and specific aspect of game design. Despite not being highly polished, these games all have something special that resonates with players, in a similar way that games like Stardew Valley and Factorio scratched very specific itches. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image-48.png) Imagine telling someone 10 years ago that this would be a scene from one of the most successful games ever made. Source: Author. Game designers - and publishers - continue to chase game success stories thinking there is some kind of mythical blueprint that, if they follow it to the letter, will guarantee their game will be the next million-copy-selling-GOTY-winning success. What really happens more often than not is that these games *try* to copy another specific game but end up delivering far less than the design they are mimicking. Players don't want carbon copies of games they've already played; they want something new and exciting. Bullet Hell/Heaven games are such a clear example of this approach in action; so many of them are either "Vampire Survivors but worse" or "exactly the same as Vampire Survivors but with a different theme". My favorite examples of game design in recent years have all gone in truly unique directions. I'm referring to games like Brotato, Picayune Dreams, and Death Must Die. ## Feeling it out As I explained earlier, understanding the difference between good, bad, and great games - in terms of "feel" - is very difficult to articulate in a concrete sense. You can explain to another person how to code jumping physics in a game, but you can't necessarily spell out the precise numbers needed to *make jumping feel good*. I've seen numerous examples of designers trying to create games directly inspired by classics like Super Mario or Doom, but they often do so in the most cookie-cutter way possible. There is generally a large difference between the feeling of playing Super Mario or Doom and the games that are inspired by them. Let me hammer home a key point here: ***Emulating classic games should not be the goal of your game's design: those games are the benchmarks you need to clear if you expect players to even think about playing your new game.*** If anyone tells you there is a perfect way to build a platformer, strategy, FPS, or any other genre of game: they're lying or they simply don't know what they're talking about. There are always some foundational aspects of game mechanics in each genre that need to be understood; these are the basic "rules" that have to be grasped before they can be broken. However, as important as these foundational elements are, they aren't enough on their own. If your game is a carbon copy of a game released in 1989 - even if it was the best example of design from that year - you shouldn't expect modern players to automatically flock to it. ![A neon first person shooter where the player faces a boss named The Corpse of King Minos](https://miro.medium.com/v2/resize:fit:929/0*9sTcWv7q_CCtJ3WH.jpg) The best games I’ve played are all about finding that “feel” that works for them and running with it. Source: Author. When a game does something that goes above and beyond its core/foundational mechanics, I want to tell everyone about it so that they can be inspired to go and make something different too. Anyone who understands coding and basic design principles can make a game in any genre they set their minds to, but crafting an experience that will truly excite players is another matter entirely. You never know what will resonate with players in advance. Making a perfectly optimized cookie-cutter platformer is one thing, but what about a game requiring players to climb a mountain using a hammer? Ultimately, there's no hidden secret or mathematical formula known only to large developers and publishers. The ability to create something truly special is open to anyone regardless of the size of your budget. The many outstanding games that have come to us through the indie development revolution are proof of that reality. **If you enjoyed my piece and want to follow me,* [**I'm posting on Bluesky*](https://bsky.app/profile/gwbycer.bsky.social) *and you can find links to all my other works from there.* ### Now Playing at SUPERJUMP, Issue 29 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-29/ Last updated: 2025-02-09T02:17:37.000Z **We're back with the very first Now Playing of 2025!** We hope each and every one of you enjoyed a wonderful holiday season and that the new year is fulfilling all your gaming hopes. We've got a big selection of our team's favorites for you this month, so let's get right to it! ## James Burns - Editor-in-Chief ### Indiana Jones and the Great Circle I think I've officially dumped Dragon Age: The Veilguard in favour of Indiana Jones and the Great Circle. Indy is really a no-brainer for me, both as a lover of Indiana Jones and the game's developers, Machine Games (who created the absolutely outstanding - and I would say, oft-underrated - modern Wolfenstein games). The Wolfenstein games, despite being action-heavy first-person shooters, are nonetheless filled to the brim with well-written dialogue, superb acting, and some of the industry's best environmental storytelling and set-piece design. Indiana Jones and the Great Circle is fascinating for many reasons, not least because Machine Games chose a first-person perspective but *did not* set out to create a first-person shooter. Indy feels far more like a first-person adventure game than a shooter. In some respects, it reminds me of the Metroid Prime series, with its clever environmental puzzles, emphasis on exploration, and the way it seamlessly shifts between first and third-person perspectives at just the right moments. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-15.png) Indiana Jones and the Great Circle. Source: Press Kit. Machine Games has succeeded in pulling off what may have seemed impossible at first glance: this is an Indiana Jones game with a plot and characters that are every bit as good - perhaps better - than several of the films themselves. Troy Baker's impression of Harrison Ford is *remarkable* and is quite possibly one of the greatest voice performances in any video game ever made. It's that flawless. And the art and set-piece design here is phenomenal; there are many stylistic nods to classic Indy shots (you'll quite often enter a room where Indy is strongly backlit; his iconic shadow complete with the outlines of his hat and whip loom large on the walls before you, just as in the films). I'm still playing through the game, but it's absolutely become one of my games of the year. Machine Games knocked this one out of the park. I think it's their best game to date, and that's saying quite a lot. ## Brandon R. Chinn My partner got me Silent Hill 2 Remake for Christmas and I've been enjoying it way more than I expected. It honestly feels more like a reimagining than a direct remake, even though I have some issues with its art direction and general AAA-ness versus the original. It's very fun to play and scratches that particular itch that only SH can scratch, even when 2024 had some spectacular new survival horror titles. ## Vitor Costa ### The Witness After writing my long essay on Half-Life 2, I started 2025 with one of my favorite games: The Witness, which is arguably one of the best puzzle games of all time, and my personal favorite in this genre. The reason I decided to finish this game again is because I am writing my next essay on it, in which I discuss epistemological issues. What I love about this game is how little it says about itself (almost nothing); it just exists, like a painting hanging in an art exhibition in which we can only see it, knowing only the title and the author. I love how it combines artistic subtlety, immersion and freedom of exploration with creativity and puzzle complexity starting from a very simple mechanic. Furthermore, it is not a game about beauty or morality, but about knowledge, something equally important to humans, but which is rarely at the center of a video game's design choices. This time I will try, for the first time, to finish all the extra puzzles in The Challenge. It's really a challenge... I haven't tried to solve such difficult puzzles since SpaceChem, although those games have different difficulties. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-16.png) Othercide. Source: Steam. ### Othercide I'm also playing Othercide, and I hope to finish it by the end of January. I don't know if I'll write about this game. Despite the interesting dark fantasy atmosphere, it hasn't inspired me enough for any essays yet. But it has excellent tactical RPG gameplay, possibly one of the best in this genre. What I love about this game is that it's almost a tactical puzzle, because we have few units (like Into the Breach), moving and attacking require common resources, and each choice needs to be well planned. This "tactical puzzle design" makes the rogue-like elements less frustrating, because intelligence and training are increasingly more important than simply having highly developed units. Maybe this game sometimes appeals more to puzzle fans than tactical RPG fans, but since I'm a fan of both genres, it works for me. ## C.S. Voll ### Digimon Story: Cyber Sleuth I finally finished Cyber Sleuth in 2025\. Going into it, I didn't really know how meaty this game was (it took about 69 hours to reach the ending. and I didn't even complete everything). It's an interesting creature-collecting title, that's for certain. Overall, I think the story only really gathers steam in its second half, since the fetch quests often break its momentum. Some of the design choices also irritated me somewhat; why do I have to run all the way back to the office to start a quest, for instance, even when the client is standing right in front of me, too?! For all its flaws, Cyber Sleuth did manage to make me feel like a kid again. Decades ago, when almost every youngster watched a shounen or shoujo show, Digimon was one of my favorites, and I daydreamed about a game like this. Cyber Sleuth allowed me to battle with the digital monsters closest to my heart, and maybe that's enough. I will need some time to really process my experiences with this game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-17.png) Suzerain. Source: Steam. ### Suzerain Now for something totally different. Suzerain is a government/political simulation game with a strong focus on its characters. It's not really a game that goes into granular detail with regard to the numbers, but it does weave an interesting tale and made me think of The West Wing. It takes place in an alternative universe, in the fictional country of Sordland, and it's clear a lot of effort went into the worldbuilding because the codex provides a library of information on topics like each country's history. In the short time I've been playing, it's already made me care about the president and his family too. This is something I can see myself getting lost in for a while. ## Jahan Khan During December a neat little free download dropped on the PlayStation store, titled My First Gran Turismo. I picked up a new television on Boxing Day and honestly, there's no better showcase for graphics on new hardware than a Gran Turismo game, so I downloaded this interesting release straight away. Technically, it's a demo of Gran Turismo 7, which is unusual as the main game has not only been available for a while now but it's been hugely successful in both sales and critical reception, as well as a money-making mainstay in eSports. Oh, and there's a movie too. My First Gran Turismo isn't just for newcomers, or players looking for a trial of Gran Turismo 7; to me, it was an opportunity to rekindle my love for the franchise. I absolutely adored the series until Gran Turismo 3: A-Spec and then fell off as I became an Xbox player and Forza became my thing. The whole Forza vs Gran Turismo debate isn't worth getting into right now, but I'll say that coming back to Gran Turismo was a treat. The graphics are utter eye candy and a great showpiece for my new TV. The music is what kicked the nostalgia into high gear, I'd forgotten how perfectly curated the soundtracks are for these games. I completed everything in My First Gran Turismo and immediately dove into Gran Turismo 7\. I'm still hopeless at customizing cars, and to be honest, I know nothing about cars, but thankfully the game isn't just about simulation, it's got arcade shenanigans too, and for myself and many, the music rally mode is pure addictive brilliance. I needed more, so I also got Gran Turismo for the PlayStation Portable. The experience is beautifully translated into a portable pick-up-and-play on the go, one with a fiendishly addictive gameplay loop. It looks and performs brilliantly too, smooth like butter. Gran Turismo is the ultimate comfort food on Sony consoles. Even if you already have Gran Turismo 7, completing My First Gran Turismo unlocks a heap of new cars and rewards. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-18.png) Another Crab's Treasure. Source: Press Kit. ## Taylor Levesque I’m kicking 2025 off on a good note with Another Crab's Treasure. Once again, I’m finding that the labors of love created by a smaller dev team are some of the best games to play. So far, the game’s been great. While it is indeed a Souls-like, Another Crab’s Treasure still manages to maintain a lighthearted and funny feel with its jokes and dialogue. This is definitely a unique take on the genre – from the art style and audio to the one-liner popsicle sticks. The fact you’re a tax fugitive crab that suddenly finds itself homeless doesn’t hurt, either. The combat has been fun, and still has the classic timing that souls games are known for. Different types of shells you can pick up provide different umami abilities to keep the fights spicy, not to mention the fact a hermit crab using a soda can or bottle cap as a shell has its own kind of comedic charm, as well. ## Nathaniel Kelly ### Star Wars The Old Republic I've been on a bit of a Star Wars kick lately, realizing that the far reaches of the franchise's force choke extends into many of my other hobbies. Starting with the TCG that launched last year, I started watching the whole series in timeline order and got the itch to play one of the Star Wars games. While the obvious choice to satiate me might have been Jedi: Fallen Order since it would have neatly fit into my binge of the story, I chose to play the 2011 MMORPG based on Knights of the Republic, two games that I have never played. Frankly, the decision was the correct one. I'm having an absolute blast in this MMO. It offers a brilliant questing experience with meaningful decisions throughout. While these decisions don't necessarily shape the world, they shape your character and even allow you to change from the dark side to the light side if that's the story you want your character to experience. As somebody who loves Star Wars and most role-playing, this offers a unique single-player experience I haven't seen captured by many games where you play as a created character. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-19.png) Star Wars The Old Republic. Source: [swtor.com](https://www.swtor.com/info/media/screens/b3-s1-basilisk-war-droid-companion). The questing also grabs my attention, (or perhaps DOESN'T in this case) as traveling through planets to complete side quests feels very natural and doesn't overload you with too many quests as to be overwhelming. Clutter quests are very neatly kept in one area where they can be engaged with or ignored very easily and the repeatable quests also have a separate symbol to let you know that you need not bother with them if you don't want to. My favorite MMORPG of all time is certainly still Final Fantasy XIV, however for the casual player balancing work, family, friends, and other responsibilities, Star Wars The Old Republic has to be my favorite offering and I can't wait to keep playing. ## Alexander B. Joy This month I’ve been playing [Paper Planes](https://store.steampowered.com/app/2301500/Paper%5FPlanes/), an early-access arcade-style flight sim from Creekside Interactive. At its heart, Paper Planes is a freeform air combat game in the vein of a stripped-down [Ace Combat](https://en.wikipedia.org/wiki/Ace%5FCombat). You fly around, you blow up targets or other aircraft, and you have a grand time doing it. But the game’s main hook is its aesthetic: Instead of fighter jets, you pilot planes of folded paper or balsa wood; instead of seas and skies, you skirmish in bedrooms, backyards, and city parks. It’s an extremely appealing setup. Like the [Army Men](https://en.wikipedia.org/wiki/Army%5FMen) games of yesteryear, Paper Planes captures that childhood sense of imagining great battles in one’s quotidian surroundings, using whatever toys are to hand as allies and enemies. Accordingly, you’ll spend your time in Paper Planes fending off things like wind-up robots, garden gnomes, model ships, and teddy bears. This pervasive sense of playfulness throughout Paper Planes makes the mundane magical. There are a lot of rough spots, however. Its default control scheme is uniquely terrible. The left stick controls thrust, while the right stick steers; meanwhile, face buttons govern your camera, and the control pad fires your sub-weapons and power-ups. It makes no intuitive sense whatsoever, and remapping your controller is a chore. The game is quite unoptimized at this early juncture. It’s tricky to judge titles like Paper Planes that are still in their infancy; given that they’re works-in-progress, one should evaluate them not in terms of what they are, but what they might someday be. In that spirit, I see Paper Planes as a fun proof-of-concept that shows great promise but doesn’t yet have the juice to hang with the best of its genre. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments and check back next month for more of what our team is getting into. May you all have a safe, happy, and healthy New Year! ### The Cosmic Significance of Outer Wilds URL: https://www.superjumpmagazine.com/the-cosmic-significance-of-outer-wilds/ Last updated: 2025-02-03T00:08:11.000Z **It’s 6:00 PM on a Saturday, one day in May 2019, and I’m going to play the puzzle game everyone says is good.** My head and body are bathed in the fuzzy glow that only a light hangover from a cold Friday night of drinking can provide. Having just had some dubiously made dinner (likely consisting of low-quality carbohydrates and a fruity vape), I sink into the armchair that I had ‘taken’ from the street last month. “That girl had helped me move it”, I think to myself — the same one who no longer wants to see me or do anything with me, let alone clumsily drag upholstery through the winding pavements and steep slopes of Bristol. We’d seen her at the bar last night and I had told everyone it was mutual. It is on Game Pass, so I’ll probably do the usual, play for ten minutes, admit it’s not for me, and go back to losing to 13-year-olds on FIFA. I look over to the small, single-glazed window perched over my bed. Contained within its frame are an array of stars, pins of light, nailed firmly into the fabric of the universe, holding up the deep black tarp of night for me to hide under. I look back to the fluorescent mirage of my monitor and open ‘Outer Wilds’ for the first time. I’m never going to be the same again. --- Outer Wilds is a game that I am reticent to talk about. I’m even afraid to play it again. For a piece of art to have this much of a hold over me is unprecedented. No game, no book, no piece of music has ever became so intrinsically linked to how I go about consuming media after I have absorbed it. Some of the most critically acclaimed pieces of interactive entertainment released in the last decade can feel as if they are shackled by their medium. The specific narrative and technical qualities they aim to provide the player can be achieved to the most exemplary standard, and many would consider the ongoing burst of creativity from this once juvenile and nascent art form currently among the best in the entertainment industry. However, oftentimes, these achievements feel as if they are created in tension with being a video game rather than in tandem. It can feel as if the essential elements these works provide are separate from the unique experiential aspects only a game can offer. Take The Last Of Us Part I and The Last Of Us Part II for example. A seamless, cinematic, and character-driven narrative may not be the optimal approach when aiming to have gameplay mechanics align with overarching themes and motifs. This challenge is perhaps most evident in ‘The Last Of Us Part 2’, where Naughty Dog sought to utilize gameplay to implicate and extend the theme of guilt within its narrative. The reliance on dialogue and deliberate characterization, central to emotional dramas, hasn’t yet evolved into a compelling gameplay feature. Given that combat is the primary gameplay element in ‘The Last Of Us’ series, it needs to be enjoyable; but, the discord between the fun derived from its play mechanics inadvertently betrays the intended feeling of guilt it is attempting to evoke in the player. Outer Wilds is a perfect example of fiction excelling in its medium. Every facet of its creation and gameplay feeds into wider ideas of ambition, curiosity, existential awe, and confusion at the seemingly unknowable depths of knowledge we are faced with when we stare into the deep. Exploration flows through your fingers as worlds are examined. As you peel back the layers of mystery through deliberate actions, growing an understanding of the solar system’s underpinnings, you are welcomed by the game's own reverence of the cosmos. I could gush about this game all day. But I truly do think that, as of now, it is the pinnacle of the video game medium. No game has taken on this vastness. Many games are BIG. Fewer are deep. None are as all-consuming as Outer Wilds. Yet, it manages to express these ideas in both macro and micro, whilst giving the player agency to participate with a tact and elegance that may never be matched. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-72.png) Source: Press Kit. --- > For a piece of art to have this much of a hold over me is unprecedented. --- There is a moment in Stanley Kubrick’s 2001: A Space Odyssey that I only *felt* the third time I watched it. I was under a spell. The film's beautiful serenity begs people to watch it in a mind-altered state, but I had previously voyaged through sober, foolishly hoping to grasp some deep academic or intellectual undertone that only a mind free of intoxication could grasp. I originally watched it aware of its place in cinematic canon – lionized as the best science-fiction film of all time and one of, if not, the greatest films ever made. Previously, though, I had thought this only the heady pretensions of a cinematic vanguard with a preference for the mechanical precision of a director who knew how to compose slow and methodical sequences of moving artwork. My earlier thoughts on the film were primarily of admiration at its sheer aesthetic accomplishment. Yes, I thought; it was a wonderful film, but not one that ever really pulled beyond abstraction to present a vision that matched its technicality. For my money, it contains the greatest establishing shot in cinema. In the same way that you may frame a bank in a heist movie or a villain’s lair in a spy thriller, if Kubrick’s ambition is to tell the story of mankind from apes to magic space-embryos, then what better place to start than the Earth and its celestial companions locked in their gravitational waltz through the dark. It can be confusing to comprehend what is happening in the film when it begins. A few minutes of a black screen and some strange music until we are thrust floating into space, observing the Sun rise above our home with the moon’s dark crest peaking out the bottom of the frame. The magisterial proportion of a simple and ever-present process occurring throughout the universe – a planet and its moon rotating around their star. It makes me feel cold. Breaking down the safe haven of humanity into its purely material being, the sobering reality that our species and its history are all contained in this orb that is slowly rotating around another point in space-time. Kubrick is showing us he understands the cosmic. He knows how fragile we are. He has stared up at the night sky and not seen a future with worlds to be discovered, galaxies to be explored, friendly aliens to meet – no! He has seen that we are contingent beings with the ability to create tools that we can’t control, and you are right to be frightened. --- I am 12\. I trudge from my campus along the tree-lined path that seems to (in the opinion of my adolescent legs) stretch on for miles to the vast expanses of fields that my school had bought from the local council. It’s 4:00 PM November 2012 and the day has all but set. The last vestiges of sunlight are being smothered by clouds casting silhouettes as large as any structure man dare build. They watch over the pre-teen boys about to engage in ritualistic and structured violence. The aimless slurs and gossip brush off my pale skin. The cold is getting to me though. I spy what might as well be a full moon peak out from behind a whispy behemoth, only to be engulfed by it once again. ‘Crouch, bind, set!’, my coach shouts as I slam my shoulder into another, my legs pumping against the soft, manicured ground. Nothing is giving way. I am not feeling it today. I end the training with bloody knees and mud crusted on my shorts and the clouds have gone and I see the others walking back down the path. It is pitch black except for the celestial spotlight now freed from the behemoth’s jaws. I could go over and speak to them; I could be nice, kind, friendly, and… I lay on the ground for a bit so I can’t see them leave. I’ll just lay here a bit longer. Under the sky. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-73.png) Source: Press Kit. --- > Breaking down the safe haven of humanity into its purely material being, the sobering reality that our species and its history are all contained in this orb that is slowly rotating around another point in space-time. --- Outer Wilds has a very different approach to the cosmic. When presented with the game’s opening frame, you wake up looking at the planets dancing around above– the existential dread of infinite space and time consuming your vision – yet, with a flick of a stick or a drag of a mouse downward – you are transported. A welcoming fire and a friendly-looking creature greeting the screen. The vast indifference of eternity is replaced with the familiarity of life and its centrality. Outer Wilds does not cast you as a newly awoken ‘stranger in a strange land’, rather, you are already home. You begin the game on Timber Hearth an established member of the ‘Hearthian’ community. These blue, four-eyed lizard inhabitants lovingly refer to you as a ‘hatchling’ and speak of shared history. Young children feel safe enough to play hide-and-seek with you; older members of your bite-sized world remember when you were a child and speak of how proud they are that you now get to journey off as a new member of their fledgling space program, Outer Wilds Ventures. On your journey to acquire launch codes at the local observatory, you encounter the quantum shard. In Outer Wilds, certain objects never stay put. Turn your head away from these shards and they will wriggle away, to a corner of the universe where no one dares look. The quantum moon lazily orbits on the river of your sun's gravitational highway only to be turned away from and eased out of existence as quickly as it came to sight. In most games where a simulation or simulacra of orbital bodies and scientific principles are supposed to underpin a player's experience, these rules and mechanics are often implicit. In Starfield, a convincing image of planets and moons orbiting each other is presented to the player, but these are digital illusions merely putting on a convincing marionette performance. Similarly, in games like No Man’s Sky or Star Citizen, there are gravitational and flight models designed to imitate the feeling of traversing distances through a vacuum, but ultimately games set in space are selling a feeling, not simulating a distinct set of defined physical relations. In Outer Wilds these rules are explicit. If you overshoot a planet you will fly into the sun; you can lock yourself in the gravitational orbits of planets and sail around them; the center of Timber Hearth allows you to float in zero gravity because the forces acting on you are equal in all directions; and, yes, if you are not looking at a quantum object, it exists in multiple positions at once. --- I’m in my third year of senior school and it is the coldest winter of my life. I sit at one of the single-person desks laid out on the mezzanine of my school library. The windows that usually afford me a pleasant view of the arboretum are frosted over. My earphones are blasting the score to Interstellar. I like sitting up here at my perch in the Library, away from the stinging winds of England and the cutting words from the rabble of sixth-formers down below. I need to pick an extra-curricular activity for next term. Instead, I’m playing Clash Royale on my baby blue iPhone 5c. I decide to take Astronomy. Some friends are taking Japanese but the disastrous memory of French lessons coupled with a new alphabet sends my head into a spinning linguistic vertigo. I know the teacher as well, he covered for my math teacher when she took a two-month leave after mysteriously turning up to school with a nasty bruise under her left eye. He seemed smart. He was smart and astronomy was fun. The two other boys that joined me were nice and pleasant and every Wednesday evening in spring 2015, I sit face to face with the cosmos. I learned about gravitational waves; that the burning ball of fire in the sky that gives every human life is mortal; particles can exist in multiple positions at once until observed; that Europa has water oceans under its ice, capable of supporting life; and, that… at the end of everything… is nothing. The universe dies. The days pass and I finish the astronomy course. My astronomy teacher, a gateway to the cosmos, leaves my school to spout hate at people less fortunate than him. Luckily he didn’t win the county election. He comes third though and I feel less safe that year. Maybe he isn’t as smart as I think. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-74.png) Source: Press Kit. --- > ...and, yes, if you are not looking at a quantum object, it exists in multiple positions at once. --- Outer Wilds' use of the quantum is incredible insofar as it understands the quantum world is a problem not just for physical systems but for meaning itself. If quantum theory is in principle supposed to be universal it should be applicable to all physical systems. This includes physical systems that are large and complicated. The mathematical object that quantum mechanics represents for physical systems is a wave function. These representations are complete (everything there is to say about a given physical system is contained within the wave function). In the examples of simple single-particle systems, the wave function can manifest as a straightforward function of position. A particle's wave function located in region A would have a nonzero value and a value zero everywhere else (the same being true for a hypothetical particle located in region B). A particle's wave function that is in a superposition of being in regions A and B has nonzero values in both and a value of zero everywhere else.[1](#sdfootnote1sym) As quantum mechanics formulates, laws of physics are only interested with regards to the wave function of physical systems' evolution through time. For this reason, it is strange that standard versions of quantum mechanics have two extremely different types of physical laws, one when the physical system is not being observed and one when it is. In the former category, the laws usually manifest as linear differential equations of motion. All experimental evidence points to the understanding that such laws govern how the wave function of all isolated microscopic physical systems evolves. However, one may doubt that such laws make up the true equations of motion for the totality of the physical universe. The reason is twofold: (i) Physical laws are completely deterministic. Yet, this is not the case for quantum particles that are in a superposition – there appears to exist an unavoidable element of chance. (ii) Linear differential equations of motion predict that the measuring devices will also be in a superposition. When including the role of an observer (one who views a measuring device to see the result) what should occur is that this observer will also exist in a superposition – believing that the measuring device records both region A and B. This is not the case though. The absence of such a superposition state when measuring quantum mechanical phenomena is the ‘measurement problem’. After all, what is at stake is the incongruity of fundamental physical laws. Both physicists and philosophers should consider it deeply unsatisfactory.[2](#sdfootnote2sym) Outer Wilds knows this is unsatisfactory. It knows that there are contradictions and there are missing gaps in different theories and theorems and that no one civilization will understand it all and even with the weight and history of ‘pre-cursor’ races and appeals to the divine, people will disagree on what is and isn’t certain and even what’s important. People will create conspiracies and misread the intentions of those just as confused as them and things might not go well, we might not reach the summit of our ambitions, and this, all of this, the fear, the doubt, the frustration, will exist in perpetuity like the planets that harbor the conscious universe, dissatisfaction circling around again and again and again… What Outer Wilds understands even better is that playing music around a campfire is a good way to pass that time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-75.png) Source: Press Kit. --- > Outer Wilds' use of the quantum is incredible insofar as it understands the quantum world is a problem not just for physical systems but for meaning itself. --- I am nestled in warm sand listening to the waves caress the shore. It is the summer before I leave home and I am between a sand dune and the person I love. Some ways behind me I can hear the joyful laughter of teenagers sitting around a makeshift barbecue, the light from its fire providing enough illumination that I can see her face through the night. We lay under the black tarp of night but I’m not hiding anymore and the stars seem brighter than usual. --- [1](#sdfootnote1anc) Omnès, R., 1994, *The Interpretation of Quantum Mechanics*, Princeton: Princeton University Press. [2](#sdfootnote2anc) Albert, D., 1994, *Quantum Mechanics and Experience*, Cambridge, MA: Harvard University Press. ### 2024 Games of the Year URL: https://www.superjumpmagazine.com/2024-games-of-the-year/ Last updated: 2025-02-07T22:02:41.000Z **Welcome to SUPERJUMP's annual Games of the Year celebration.** As always, I like to introduce these awards by expressing gratitude for the year gone by. ***Thank you game developers.*** You are creating marvels of art and science - important cultural artifacts - under increasingly difficult circumstances. Whether you work for a large studio or you're a solo developer: *thank you*. We are all living in an increasingly dangerous and intolerant world, where the moral pendulum appears to be swinging in a violently regressive and hostile direction. Your creative talents not only give many of us a brief escape from this reality, but importantly, you remind us of the importance of human creativity and connection. **Thank you SUPERJUMP team.** It is truly the honour of my life to work with so many extremely talented people who, aside from being brilliant creative minds, are also truly outstanding human beings. Our organisation is fuelled by talent, passion, and *love*: love for video games, love for the people who make them, and love for each other as friends and colleagues. Every year, more exceptional people join our creative endeavour, and every year we expand our circle of gratitude and creativity further and further into the world around us. ***Thank you special guests.*** We are joined every year by special guests from across the games industry - whether game development/publishing or media - who give up their time to craft GOTY reflections to share with our audience. I'm deeply grateful for all the special guests who have joined us since the first edition (we're now up to our fifth!) Amidst all the horrors this industry can bestow (especially in the form of layoffs and rampant job insecurity), I'm pleased to see that a sense of solidarity and community still exists. ***Thank you to our Backers.*** Our ability to create that authors' coop environment is heavily influenced by our incredible Backers. Thanks to you, we are able to pay authors every single month. And thanks to you, we have avoided any need to gate our work behind pesky paywalls. On behalf of the entire team, I want to thank you for believing in us and supporting our hard work. ***Thank you to our Editors.*** Without our brilliant Editors, I couldn't keep this publication humming so smoothly. They also contribute an enormous amount of their time to edit this unbelievably large Games of the Year feature every single year. Thank you to Bryan, Rachel, Briana, and Cat. You are true superstars! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/1080_1080.gif) We are purveyors of wonder, imagination, and insight from the world of video games. Finally, I'd like to make one final point, just in case there is any doubt: **at SUPERJUMP, we believe video games are for *everyone*.** Everyone. Everybody deserves dignity, respect, and - above all - safety. No exceptions. Nobody left behind. And now, on with the show. Please enjoy this extraordinary and comprehensive celebration of 2024's best video games. And if you like what we're doing, how about [buying us a coffee](#/portal/support)? [**James Burns**](https://www.superjumpmagazine.com/author/jamesburns/) ***Founder and Editor in Chief*** ## 2024 GAMES OF THE YEAR We have very deliberately titled this feature *2024 *Games* of the Year*. The plural matters. [As per our tradition](https://www.superjumpmagazine.com/tag/games-of-the-year/), SUPERJUMP does not award an overall “Game of the Year” trophy to any single game. Rather, **each contributor can select up to three of their favourite games released in 2024** to discuss. Naturally, some games have more contributions than others (so, if you like, you *could* deduce a “winner” on that basis). In order for a game to be considered for this piece, it must have been released in 2024\. This is a *slightly* rubbery criterion that also includes: - Games as a service experiences that have seen substantial updates in 2024. - Games that originally released in a previous year but were ported to a new platform this year or saw some form of new release. ## SPECIAL GUESTS This is our fifth Games of the Year feature, and as has become tradition, we've invited several special guests to join us. As always, our guests are people we love and admire from around the games industry. We're honoured that they took the time to join us in celebrating the best games of 2024. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Guests-2.png) [**Jamie Galea**](https://bsky.app/profile/jamiegalea.bsky.social)is a producer and social media specialist. His works include [SBS' New Game Plus](https://www.newgameplus.tv/), and [Couch Warriors League](https://www.couchwarriorsleague.com.au/). [**Matt Hewson**](https://bsky.app/profile/hewso.bsky.social)is the founder and editor of [Player 2](https://www.player2.net.au). Player 2 has repeatedly featured as a finalist for Best Independent Media at the Australian IT Journalism Awards, receiving [highly commended](https://www.thelizzies.com/winners) status in the 2024 awards. [**Jörg Tittel**](https://bsky.app/profile/newjorg.bsky.social)is a creator of both games and film, and is the founder and CEO of [RapidEyeMovers](https://bsky.app/profile/rapideyemovers.bsky.social). Jörg directed and wrote The Last Worker and SKEW and is producing A Winter's Journey for Sony Pictures Classics. [**Leah J. Williams**](https://bsky.app/profile/legenette.bsky.social)is content lead at [GamesHub](https://www.gameshub.com). Leah has been featured as a finalist for Best Games Journalist at the Australian IT Journalism Awards. Her previous works include Kotaku Australia and Gizomodo Australia. ## THE GAMES ### Select a game to begin #### - [1000xRESIST](#1000xRESIST) - [Abiotic Factor](#AbioticFactor) - [Astro Bot](#AstroBot) - [Balatro](#Balatro) - [Banishers: Ghosts of New Eden](#Banishers) - [Black Myth: Wukong](#BlackMyth) - [Buckshot Roulette](#BuckshotRoulette) - [Caverns of Mars (Atari 2600+)](#CavernsofMars) - [Conscript](#Conscript) - [Crow Country](#CrowCountry) - [Destiny 2: The Final Shape](#Destiny2) - [Dragon Age: The Veilguard](#DragonAge) - [Dragon's Dogma 2](#DragonsDogma) - [Dread Delusion](#DreadDelusion) - [Duck Detective: The Secret Salami](#Duck) - [Elden Ring: Shadow of the Erdtree](#EldenRing) - [Eiyuden Chronicle: Hundred Heroes](#Eiyuden) - [Emotional Flow](#Emotional) - [Fields of Mistria](#FieldsofMistria) - [Final Fantasy VII: Rebirth](#FFVII) - [Frenzy (Atari 7800+)](#Frenzy) - [Harold Halibut](#Harold) - [Hatch Tales](#Hatch) - [Helldivers 2](#Helldivers) - [Indiana Jones and the Great Circle](#Indiana) - [Kunitsu-Gami: Path of the Goddess](#KunitsuGami) - [Like A Dragon: Infinite Wealth](#LikeaDragon) - [ManorLords](#ManorLords) - [Metaphor: ReFantazio](#Metaphor) - [Mouthwashing](#Mouthwashing) - [Nine Sols](#NineSols) - [Prince of Persia: The Lost Crown](#Prince) - [Princess Peach Showtime](Princess) - [Silent HIll 2 Remake](#SH2) - [SKALD: Against the Black Priory](#SKALD) - [Sonic X Shadow Generations](#Sonic) - [Tetris Forever](#Tetris) - [Thank Goodness You're Here!](#TGYH) - [The Plucky Squire](#Plucky) - [UFO 50](#UFO) - [Unicorn Overlord](#Unicorn) - [Wild Bastards](#Wild) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/1000xRESIST.png) ## 1000xRESIST *By* [*Sunset Visitor*](https://www.sunsetvisitor.studio/) ### [Antony Terence](https://www.superjumpmagazine.com/author/antonyterence/) Hubris. Few have evaded its touch in their pursuit to better themselves and the world around them. It’s simple to play an armchair think tank, disagreeing with governments and corporations, questioning their motivations. But what if you raised a simulated society where you could see how far your hubris could take you? By exploring the fallout of Hong Kong’s turbulent Umbrella Revolution, 1000xRESIST gives you the power to shape a future. After hours of understanding characters across eras, the game had me deep in thought over who would get left behind. Drawing from the generational trauma and religious apocalypse fest of Neon Genesis Evangelion, developer sunset visitor 斜陽過客 does a phenomenal job of displaying the cost of resistance right from minute one. As a Watcher, one of six sister clones, you’re responsible for interpreting the memories of the ALLMOTHER, a divine being you stab in the prologue. As you discover the cracks in the alien Occupant and pandemic-fearing society made in the ALLMOTHER’s image, you learn she was once a teenager whose identity was constantly in flux. With clear inspirations from Nier: Automata and Millennium Actress, 1000xRESIST uses the lens of a Chinese immigrant child to set up one of gaming’s best-written stories of bandaged pasts and their consequences. As you peel away the false stories your sister clones have been fed, revisiting poignant moments and navigating time skips show the ALLMOTHER’s once-perfect choices in a new light. In the end, you decide which of her decisions were mistakes. Faith, tradition, chaos, responsibility, hope. What will you leave behind? Sure, it has no bombastic action, button-mashing combat, or labyrinthine progression systems. It’s a hard sell for players who aren’t keen on a walking sim. 1000xRESIST’s story is told via interactive set pieces with basic puzzles sprinkled between them. That leaves it to the storytelling to carry the weight of your expectations. And boy, does it deliver. Great art doesn’t always present answers. And even greater art leaves you with questions that weigh on you long after its credits roll. 1000xRESIST made me bear witness to how human society’s puzzle pieces fit and graze against each other, leaving me with questions I could spend a lifetime pursuing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-14.png) 1000xRESIST. Source: Press Kit. --- > "If you are a fan of video games as a storytelling medium, then this is required playing for you, and I hope we see more games really try to explore darker and more high-concept storytelling in the future." > > **Josh Bycer** --- ### [Jamie Galea](https://bsky.app/profile/jamiegalea.bsky.social) There's not a lot I can say about 1000xRESIST. It's very much one of those games where the gameplay is more or less a delivery mechanism for its story, and the best way to experience the story is by going into it mostly blind. It's also the one video game story this year that I couldn't really stop thinking about. It weaves together generational trauma and resistance to fascism in a sci-fi tale that feels confident in its ability to tell a story. It's the closest we've gotten to a new Yoko Taro game in years in terms of tone and feel, and it's one I've sorely missed. If you love yourself a good video game story, please go check this out, you won't be disappointed. ### [Josh Bycer](https://www.superjumpmagazine.com/author/joshbycer/) The surprise entry for my list is one that I only played in December. 1000XRESIST is one of the few narrative-driven games I've enjoyed, and what a narrative it was. 1000X RESIST is one of those games that makes it difficult to elucidate just what makes it stand out. It comes the closest in some time to telling a truly dark sci-fi story out of the '70s and '80s. With a heaping load of generational trauma and murder, the story is both very large in scope and yet still personal. While the gameplay stays on the basic side, it does allow everyone to appreciate and see the narrative. If you are a fan of video games as a storytelling medium, then this is required playing for you, and I hope we see more games really try to explore darker and more high-concept storytelling in the future. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Abiotic_Factor.png) ## Abiotic Factor *By* [*Deep Field Games*](https://www.deepfield.games/) ### [Taylor D. Levesque](https://www.superjumpmagazine.com/author/taylorlevesque/) Abiotic Factor originally struck me as a meme riffing on '90s games. I tried it because I wanted a laugh, but it turned into so much more than that, involving crafting for survival and fighting off aliens in a research facility that took science experiments too far. The workers left amidst the carnage are tasked with surviving the lockdown and escaping the facility in one piece. Hungry? Cook up some of the aliens you’ve been killing. Make sure you also get enough sleep, find sources of clean drinking water while you’re at it, and manage your body temperature. Oh, right, and ensure you get to a toilet in time, all while destroying anything you can to find resources and parts to come up with your next big invention. Weapons, new furniture, defenses, new appliances; the amount of crafting in this game is quite impressive. On top of this, every time there is a major update to the game, a significant amount of content is added. The linear story goes from lighthearted and humorous to dark and ominous as you progress. Lore is dispensed via emails found on computers throughout the facility, from fellow scientists you may come across as you press forward, or scenes that play during your excursions through portals. The more you learn, the more inventions you come up with – and the clearer your path out of the facility becomes. This game is definitely great to play by yourself, but it is way better to play with other people. Whether you go the co-op route or play with a whole dysfunctional group of the 6-player total for maximized chaos, this game is hours upon hours of fun. Even as an early access game (with a dev team highly receptive to any feedback), Abiotic Factor feels complete, and very quickly became one of my favourite games to be released in quite some time. As a side note, while the game doesn’t technically have a Linux version available, it still runs very well with Proton. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Astro_Bot.png) ## Astro Bot *By* [*Team Asobi*](https://www.teamasobi.com/) ### [Bryan Finck](https://www.superjumpmagazine.com/author/bryanfinck/) Following on from the delightful PlayStation 5 pack-in game, Astro's Playroom, Astro Bot is a fully realized delight for fans of platformers and great game design everywhere. This game is great… really great. It does so many things right, while avoiding practically all missteps, that it easily qualifies as one of the greatest games ever created in its genre. A wonderful sense of awe and discovery permeates every corner of every stage, and mere words cannot convey the simple truth - you must play this game. As a PlayStation lifer, lucky enough to own every mainline console Sony has ever created, I feel like this game was made for me. Not for gamers like me, but specifically for me. I see that as a critical point because what Team Asobi has accomplished here is to create an almost RPG-like experience in how it will be different for each person who plays the game. Not that the game itself will play out differently, but each person will feel something different owing to the all-important nostalgia factor. Few will have experienced every Sony game referenced here, but the personality built into each character will evoke something unique and special for each person who has played those particular games. I actually yelled out loud with joy when I found the post-apocalyptic survivors from my favorite franchise, and I suspect I won’t be alone in those kinds of reactions. I could go on and on about Astro Bot but I want you to discover as much of it as possible for yourself. Go play the game, or watch someone play it and enjoy their reactions. Whatever you do, just experience Astro Bot in some manner. It is one of the best PlayStation games and platformers ever created and one of the happiest times I’ve ever had with a controller in my hand. During increasingly dark times in the gaming industry, Astro Bot is a desperately needed ray of sunshine, so get out there and bask in it. ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) Astro Bot is a delightful and fun 3D platformer, a celebration of the PlayStation brand that has been going on for the last 30 years. As someone who enjoys a good platformer, I was excited to see what Team Asobi was cooking up after experiencing the pack-in PS4 game Astro's Playroom. When I finished Astro Bot, I knew I had found my personal Game of the Year winner for 2024\. The developers have made an honest-to-goodness platformer with no paywalls, microtransactions, or excess filler to extend the playtime. Each world was so charming, colorful, and exciting to play through that I constantly smiled throughout my enjoyment of the game. I wanted to make sure that I was getting all of the puzzle pieces and special VIP bots to satisfy the completionist part of my brain. Many of the VIP bots are characters featured in iconic PlayStation titles like Uncharted and God of War, where you even get to play certain levels based around those franchises that include specific themes styled within the Astro Bot world. Some of the bots I found were from games I never played. Certain levels include powerups that change your movement and fighting abilities, like having frogs for hands that let you swing off of sticky surfaces and a mechanical bulldog that lets you blast through rigid materials. The speedrun courses even have some challenging levels that test your platforming abilities. While some might have been designed unfairly, I knew when I made a mistake that I had to push myself in order to get that one VIP bot. While the story is relatively simple, with you having to guide the title character in finding his robot pals, what matters is the gameplay. It's tight, responsive, and easy to pick up for hours of enjoyment. I was so happy to play it even as it came out near my birthday this year. I felt like a kid reliving my childhood again by playing something that didn't consume my time. That game is easily Astro Bot. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Astro-Bot-key-features-screenshot-02-en-24may24.webp) Astro Bot. Source: Press Kit. --- > "Team Asobi's game is pure delight, a constant party, a celebration of games and what makes them tick - and what makes us tock along to them." > > **Jörg Tittel** --- ### [Harel Cohen](https://www.superjumpmagazine.com/author/harelcohen/) What can I say about this gem of a game that everyone's already raved about? Probably not much, but I'm going to say it anyway because this game deserves it! I had been looking forward to this game since the day it was announced and it didn't disappoint. Astro Bot reminded me why I love video games, platformers, and the PlayStation in general. Tight design, creative platforming, a simple but effective character with a lot of charm, every level is fun and engaging and I just can't put it down! Seeing this little robot take over the world is one joyous occasion because it definitely won my heart this year. He's Astro Bot and he's number 1. ### [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/) Team Asobi’s release of Astro Bot for the PS5 is an unstoppable tour de force of joyful celebration and nostalgic legend. The amount of happiness Astro Bot brought to my household this year can’t be overstated. The art style is whimsical and gorgeous. The platforming controls are tight and satisfying. The soundtrack is so good I’ve been checking constantly to see if it’ll get a vinyl release. The animation quality is top-of-the-line. The level design is ingenious and effortlessly charming. If there’s any fault to be found within Astro Bot, it's that there just isn't enough of it, which is being rectified by consistent updates and DLC. It’s one of the very few games that I took time to intentionally Platinum. It’s so refreshing to see Sony actually do something big to recognize the impact they’ve had on so many lives. The pure excitement of finding a bot and feeling that few seconds of bewilderment before recognition hitting you is an amazing way to celebrate 30 years of accomplishments in Sony’s rich history. A lot of these characters haven’t been seen for decades, and while it can be quite the bummer realizing this may be the last time any of these industry legends will be seen in an official capacity, it warms the heart every time Bot Jak runs across the screen or PaRappa is seen rapping into his microphone. My hope is that the success and subsequent acclaim (like winning The Game Awards Game of the Year!) Astro Bot achieved will invigorate Sony to actually do something with so many of these beloved IPs that have been rotting in the graveyard for the past 20 years. Astro Bot and the interest it has garnered is irrefutable proof that these beloved franchises never really died, and that there is a lucrative future for so many of these characters. If this ends up not being the case, and Sony lets the opportunity of a lifetime slip through their fingertips, at least we have Astro Bot to save the world. That satisfaction will be more than enough as we wait for a sequel to this one-of-a-kind celebration of the history of an industry titan. ### [Jörg Tittel](https://bsky.app/profile/newjorg.bsky.social) I know, I know, naming Astro Bot is the least original choice one could make, but then it's also the most deserved one. Team Asobi's game is pure delight, a constant party, a celebration of games and what makes them tick - and what makes us tock along to them. Every level is special and has at least one "wow" moment and tons of surprises that compel you to see what may be around the next corner. Astro Bot is also a loving reminder of all we've lost in recent years with AAA's pursuit of realism and bloated budgets - and Games as a Service becoming a de facto death sentence for our beautiful, fragile medium. Ironically, while Astro Bot celebrated 30 years of PlayStation (and some other franchises), it has shunned its own roots: the game started as a PS VR (1) title, Astro Bot Rescue Mission, which I still consider the best 3D platformer I've ever played. The fact that Astro Bot didn't come with at least one PS VR2 level - or an HD remake of Rescue Mission - is beyond me. It would have sold PS VR2 like hotcakes. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Balatro.png) ## Balatro *By* [*LocalThunk*](https://www.indiedb.com/company/localthunk) ### [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/) How do you make a viral hit indie game as a first-time game developer? It's simple. You start by having what surely must be one of the greatest ideas for a game anyone has ever had - one that takes a universally understood card game and tweaks it in ways both dramatic and straightforward. You then guide your player, seemingly effortlessly, through your intricate scoring structure, trusting that the player will, over time, unlearn everything they know about how poker usually works. You build a deck of jokers that balance and synergize, and then you create a progression model and scoring structure that is so elegant, so phenomenally well thought-out, that no two games feel the same, where players must re-write their own rules and ambitions in every game, or sometimes every few hands. You design the game in such a way that all the rules are presented upfront, but growing to understand them – to really figure out what's possible – involves experimentation and inquisitiveness, one that is naturally borne out over the multiple sessions your players will feel compelled to play. You pay such attention to your user experience design that players are excited by every shake, rattle, and sound effect as points rack up. You wrap it all in a light vaporwave aesthetic that inexplicably ties the whole thing together. Then you give it a name that everyone pronounces slightly differently and release it at a surprisingly low price point. See? It's easy! You just need to make the right decision 10,000 times in a row. ### [Lucas Di Quinzio](https://www.superjumpmagazine.com/author/lucasdiquinzio/) I am not one to use much modern slang. I’m quite hesitant to introduce a new term unless I feel I can find a use for it. I say all this because I don’t have any better way of summing up Balatro than it has the juice. It has more juice than any other game this year. I don’t know if I’m using that right. Maybe I shouldn’t use new slang. Any way you put it, Balatro is the best pure gameplay experience this year. Solo dev Localthunk takes a simple concept - what if poker but it’s a deckbuilder - and executes it so perfectly that it manages to stand alongside Slay the Spire in the very top tier of the genre. It’s a real dopamine machine, but it’s also mechanically deep. It is a true devourer of time, albeit one that’s hard to describe exactly why it does that. Apart from, of course, to say that it has the juice. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Banishers.png) ## Banishers: Ghosts of New Eden *By* [*Don't Nod*](https://dont-nod.com/en/) ### [Bryan Finck](https://www.superjumpmagazine.com/author/bryanfinck/) The game industry, lately dominated by every kind of re-release and remaster, is in desperate need for new ideas and IP. That was one factor that made the release of Banishers: Ghosts of New Eden in 2024 even more exciting. An underutilized setting and time period combined with new, interesting characters made the game feel like a breath of fresh air in a stale, musty room. French studio DON’T NOD, best known for the Life is Strange franchise, leverages its trademark choice-based narrative adventure chops with surprisingly good combat to bring this ghostly Action-RPG to a higher level than it might have achieved in different hands. Engaging stories, fantastic acting performances, a large open world with secrets galore, and enjoyable combat make for an excellent experience. Sony supplied much of the marketing push behind the game, which makes sense as it fits PlayStations’s near-patented 3rd-person action specialty like a glove. True to the choice-based narrative roots of the developers, you’ll face many points in the story where you must decide how to deal with the various people, living and dead, that you encounter along the way. Will you blame or spare the living, banish or ascend the ghosts? It all plays into the central story between main characters Red mac Raith and Antea Duarte, and it all works very well. There is also a healthy amount of haunting cases outside of the golden path of the story, and these are well worth the time to experience them as those action scenes and story bits rival the high quality of the main story itself. The central game mechanic lies in the ability to switch between Red and Antea at (almost) any time you wish, and it makes the God of War-lite combat better than it would have been otherwise. Satisfying melee combat combines with oft-rewarding exploration around the semi-open world map, all tied together with the story, overarching and single vignettes alike, that keep you pushing through to see where it all goes. I can’t say enough good things about Banishers: Ghosts of New Eden, and it was always going to be on my short list for Game of the Year. The story is an emotional masterpiece, owning some of the best writing and vocal performances I’ve experienced in many years. The open world sports a ton of activities and collectibles for completionist runs, along with multiple endings for those who want to exercise (or is it exorcise?) their freedom of choice. No matter which path you choose for Red and Antea, I hope you enjoy your time in New Eden as much as I did, for this brand-new IP deserves all the flowers it will hopefully receive. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Black_Myth_Wukong.png) ## Black Myth: Wukong ## *By* [*Game Science*](https://www.gamesci.com.cn/) ### [Julia Hu](https://www.superjumpmagazine.com/author/juliahu/) For context, I’m a second-generation Chinese-American immigrant, and I work at a Chinese company, with frequent business trips to China. I always felt that though I knew a lot about China and Chinese culture, but there's even more that I do not understand. Now, Black Myth: Wukong, with its AAA interpretation of Journey to the West, has opened my eyes to the sheer depth that I do not understand about the country and culture that my ancestors grew up in. This game’s release was unfortunately a controversial one, marred by the studio leader’s behavior and attitude both in China and its translated versions for the global audience. Even separating art from artist, this game misses GOTY for many due to its excessive use of invisible walls, inaccessible combat difficulty, and an incomprehensible story for anyone not Chinese or extremely well-versed in Journey to the West. But there were many things that Wukong did right, and I found the overall experience of this game to be a breath of fresh air in today’s world of gaming. Wukong’s playtime was shorter than many other AAA games, but it didn’t feel like it due to how densely packed it was with secret areas and collectibles. Nearly all enemies and bosses were unique, with few palette swaps that many other games lean on like a crutch. The music videos and interactive tapestries that bookended each chapter radiated the developers’ passion, and they were easily my favorite parts of this game. I completed my Wukong experience by going on Reddit after each chapter and reading the writeups explaining the story context behind each chapter. I learned just how much Buddhism influenced an era of Chinese history, and I learned that Chapter 2’s setting is based on Shanxi province. It finally clicked for me that the narrative was an imaginative, What If?-like sequel to Journey to the West, where Sun Wukong died and his enemies returned home changed after their defeat at Wukong’s hands and their repentance with Buddha. For me, the setting and worldbuilding of Black Myth: Wukong represent one of the most unique entertainment experiences this year. As one Chinese gaming leader summarized it, “This game understands me.” I hope to understand this game too. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Buckshot_Roulette.png) ## Buckshot Roulette *By* [*Mike Klubnika*](https://mikeklubnika.itch.io/) ### [Jörg Tittel](https://bsky.app/profile/newjorg.bsky.social) Initially released in December 2023 and just updated with an insanely fun multiplayer mode, Buckshot Roulette is an exquisitely dark and morbidly funny game of "Russian roulette" with crazy power-ups, set in the back room of a dodgy nightclub. The game is also refreshingly short, although it will make you come back for more torture and lucky escapes. Oh, and it also costs less than a latte. Worth a shot. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Caverns_of_Mars.png) ## Caverns of Mars (Atari 2600+) *By* [*Greg Christensen*](https://www.mobygames.com/person/8781/greg-christensen/) ### [Jahanzeb Khan](https://www.superjumpmagazine.com/author/virtuamuser/) Atari have been on a roll under their new leadership. They have made excellent releases on modern hardware, but the real highlight has been the new hardware and all new cartridges. Launching just in time for the holidays, Caverns of Mars is as good as a classic arcade shooter can get. It's a dive into deep caverns, where you blast through obstacles and navigate mazes, all to chase a high score while traversing the depths. The gameplay execution is simple and effective. Oh, and the packaging is just stunning. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Conscript.png) ## Conscript *By* [*Jordan Mochi*](https://www.conscriptgame.com/developer) ### [Leah J. Williams](https://bsky.app/profile/legenette.bsky.social) Solo developer Jordan Mochi created something devastating and special with Conscript. This game explores the nature of war as it's rarely seen in games: it's war as horror, as bone-chilling survival, as skin-crawling disgust. With its grimy world and tight, claustrophobic corridors, Conscript impactfully explores the journey of one soldier, beset by all manner of terrors – from roving rats to steel-plated enemies wielding clubs and guns. As you run through Conscript, you feel an icy chill in your bones. Your pathway is often shrouded in darkness, and a moody soundtrack is punctuated by distant bomb blasts and panicked shouting. You can’t always see ahead, and that adds to the sense of uncertainty and fear that dogs your every step. In creating his unique tale, Mochi leaned heavily into the mechanics of Resident Evil, and it's this comparison that's most apt. This is a well-designed homage to Resident Evil that uses the mechanics of that series to underline just how awful real-world war is – and why we should avoid it at all costs. Months on, I'm still thinking about Conscript. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Crow_Country.png) ## Crow Country *By* [*SBF Games*](https://sfbgames.com/) ### [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) Crow Country is the latest and greatest from SFB Games Limited, a partnership of brothers Tom and Adam Vian. Their first foray into classic survival horror, Crow Country, feels like a natural successor to games like Resident Evil and Silent Hill, with impressively artistic visuals replicating the blocky style of early PlayStation titles a la Final Fantasy VII. Crow Country is survival horror down to its bones, from its arresting visual style to its gameplay and characters. Exploring the theme park is downright fun, the puzzles are intelligent, and the backtracking is thoughtful with enough interconnected passageways and keys to make any survival horror fan's head buzz. As with many of 2024's hit indie titles, Crow Country feels like it was pulled fully-formed from an alternate reality, a spectacular example of inspiration clashing with modernity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Destiny_2_The_Final_Shape.png) ## Destiny 2: The Final Shape *By* [*Bungie*](https://www.bungie.net/7) ### [Matt Hewson](https://bsky.app/profile/hewso.bsky.social) The Final Shape did something I thought was *near impossible*, and that was making me care about Destiny again. While the content since its launch has been a hit-or-miss, the initial big slab of new story missions and maps brought me back into the fold in a significant way. The crazy story that has been unfolding over the years often felt directionless and lacking in purpose, but somehow, that all came together in a satisfying way with The Final Shape. Forget the Season stuff that has come after it. I firmly believe that The Final Shape is the best Destiny has ever been, and it was such a welcome addition after a few years of mediocrity. When this current run concludes, I will be very interested to see Destiny’s next direction; however, Bungie will face a challenge topping The Final Shape, whenever that may be. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Dragon_Age_The_Veilguard.png) ## Dragon Age: The Veilguard *By* [*BioWare*](https://www.bioware.com/games/) ### [Matt Hewson](https://bsky.app/profile/hewso.bsky.social) Is Dragon Age: The Veilguard a groundbreaking experience? Not really. Does it do anything we haven’t seen before? Once again, not really. What it does is perfect a style of game I have loved since BioWare burst onto the scene with KoToR all those years ago. I know that the change in pace has upset a few long-time fans of DA, but the move to a more Mass Effect style has me smiling from ear to ear. The game also tells a more personal story in a lot of ways when compared to the world-shattering grand fantasy style of Inquisition. Don’t get me wrong, the big end-of-the-world stuff is still there, but by focusing on a core group of people and their personal experiences, BioWare has made the story one that resonates on a more emotional level. Props to BioWare for also making The Veilguard one of the most inclusive AAA games to date with wonderful representations of people from all walks of life, including a heart warming story of one companion struggling with their identity from the confines of a strict upbringing. It could be argued that BioWare should have innovated more, but for me, going back to what they do best was absolutely the right call. Don’t listen to the anti-woke clowns on the net; this one is a banger. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-2.png) Dragon Age: The Veilguard. Source: Press Kit. --- > "Props to BioWare for also making The Veilguard one of the most inclusive AAA games to date with wonderful representations of people from all walks of life, including a heart warming story of one companion struggling with their identity from the confines of a strict upbringing." > > **Matt Hewson** --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Dragons_Dogma_2.png) ## Dragon's Dogma II *By* [*Capcom*](https://www.capcom.com/) ### [Anselmo Jason](https://www.superjumpmagazine.com/author/mojason/) After more than ten years, Hideaki Itsuno has found a way to re-implement his unique take on the RPG genre in Dragon's Dogma II. The world of Dragon's Dogma may not be for everyone, but those who manage to waddle past its pushing winds will find a masterwork underneath. In Dragon's Dogma II, the series' unique pawn system has been expanded with more useful interactions. The combat, while more streamlined, manages to retain the previous game's weight and impact. Combat synergy is more encouraged, which leads to beautifully catastrophic encounters. It is a game that takes extra steps to add levels of immersion in its world-building. The game world can be challenging and unforgiving but nevertheless rewarding. Not only in successful combat encounters but as it rewards players with exploration and experimentation through the game mechanics. Undoubtedly, Dragon's Dogma II is one of Capcom's most visually impressive games thanks to the utilization of the RE engine. Although this lends itself to performance issues, there is no denying that the world looks visually breathtaking, especially with stupendous lighting effects. Despite its title, Dragon's Dogma II is not a direct continuation of its predecessor, but rather a re-imagining of its vision. As a result, this is a Dragon's Dogma role-playing experience created to its most refined scope; a punishing but immensely satisfying action RPG, warts and all. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/-DD2-_Golem.png) Dragon's Dogma II. Source: Press Kit. --- > "It is a game that takes extra steps to add levels of immersion in its world-building." > > **Anselmo Jason** --- ### [David Cole](https://www.superjumpmagazine.com/author/coledone/) I played Dragon’s Dogma: Dark Arisen for about ten hours before bouncing off. The learning curve and difficulty were just too steep for me at the time. I always viewed it as something of a cult game, a piece with a passionate audience somewhere that I just didn’t fit into. Then came the unlikely sequel. Dragon’s Dogma II is, by and large, a better version of Dragon’s Dogma. It’s bigger, content-rich, and beautiful. Capcom used the RE Engine to build this one which means fantastic graphical fidelity on top of smooth gameplay. DD2 didn’t come out of the gate swinging so well on that second front, especially on PC. But even as a PC settings stickler, I found so much joy in building a fantasy version of Colonel Sanders and dishing out hot justice upon the monsters of the land. For those unfamiliar with the series, Dragon’s Dogma is kind of a cross between the Dark Souls school of stamina management and the Monster Hunter school of WOAH THAT’S A BIG CREATURE. Combat involves a lot of positioning and tactical thinking in order to operate effectively. The rich class system allows for varied builds and playstyles, from the typical fantasy classes to fun additions like a spear-focused caster. It won’t replace Elden Ring for anyone, but it’s an arguably more accessible version of those vibes while still coming across as its own thing. The plot was nothing exceptional, but there were enough monumental moments to make the journey worthwhile. Fighting a Harryhausen-esque colossus as it rampages across a volcanic isle stands out as one of my favorite sequences this year. It was not just a wonder to behold visually, but a fun thing to play! That's something that doesn’t always happen and, frankly, deserves more credit when done “right.” Also fun? The pawn system. Essentially, you craft two characters: your character and a second, called a “pawn.” Pawns roam the open world and can be summoned from any of the numerous rifts. The pitch is that every pawn is something somebody created and their time with you will help them grow and collect information about the game world that they can take back to their own player’s game. It admittedly became a little annoying when a well-versed Pawn would constantly alert me to nearby chests, hidden and not, but the system as a whole was executed so much better this time around. Despite some rough edges, Dragon’s Dogma II is so experimental and unashamed of itself that I couldn’t help but fall in love with it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Dread_Delusion.png) ## Dread Delusion *By* [*Lovely Hellplace*](http://lovelyhellplace.com/) ### [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/) Dread Delusion is a game I’ve been waiting to sink my teeth into for quite a few years. I’ve had the pleasure of attending the last few PAX West shows in Seattle, and I saw ads for Dread Delusion at practically all of them. The ads always showed vast expanses of pixelated landscape, covered in disturbing and unsettling creatures, interesting locations, and an overall twisted aesthetic that seemed right up my alley. I was lucky enough to get a code from developer Lovely Hellplace, and it proceeded to take over my whole year. Dread Delusion focuses heavily on its world building, and it succeeds in its endeavor more so than games with budgets ballooned well beyond its humble trappings. It is the definition of the saying "more than the sum of its parts" – every aspect of it is executed in service of another. This creates one of the most cohesive and fun RPGs I’ve played in a long time, and I can already tell it will be one that I revisit often as time goes on. I wrote an article earlier this year talking about why Dread Delusion is so fantastic, so if you’re interested, I highly recommend giving it a read. It’s an amazing RPG with one of the deepest horror atmospheres I’ve seen in a very long time. If you like horror, you have to give it a shot! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Duck_Detective.png) ## Duck Detective: The Secret Salami *By* [*Happy Broccoli Games*](https://www.happybroccoligames.com/) ### [Leah J. Williams](https://bsky.app/profile/legenette.bsky.social) Duck Detective: The Secret Salami is an absolutely delightful game that rightfully deserves an accolade as one of the best of 2024\. It may have flown under the radar of mainstream noses, but that doesn't make it any less warm, funny, or brain-ticklingly satisfying. For those unfamiliar, this release from Happy Broccoli Games puts you in the shoes of the titular Duck Detective, a down-on-his-luck duck, who's tasked with solving the mystery of stolen salami in a workplace where nothing is as it seems. While only 2-3 hours in length, Duck Detective makes the most of its run time, for a silly, joyous, and occasionally dark adventure filled with charming puzzles, and intriguing set pieces. This game is an excellent, bite-sized adventure that takes light cues from The Return of the Obra Dinn and The Case of the Golden Idol, for a tale that is very quirky, and memorably sweet. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-4.png) --- > "This game is an excellent, bite-sized adventure that takes light cues from The Return of the Obra Dinn and The Case of the Golden Idol, for a tale that is very quirky, and memorably sweet." > **Leah J. Williams** --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Eiyuden_Chronicle.png) ## Eiyuden Chronicle: Hundred Heroes *By* [*Rabbit & Bear Studios*](https://rabbitandbearstudios.com/) ### [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/) To my shame, I managed to miss the PSX era of RPGs - sprawling, epic, ambitious games packed full of absolutely everything that the developers could dream up. The recent JRPG revival has strongly favored a more focused, streamlined style of game over the more expansive RPGs, but Eiyiden Chronicle demonstrates that there are still people working on those massive titles of old. Eiyuden Chronicle is the kind of game where one can ignore the central plot, wander around for hours picking up stray side quests and chatting with potential recruits, and never feel bored by the experience. A big part of that is the scope and spectacle. Whether watching your roster grow to an absurd number or witnessing the development of a new home base, it's a game that gives a real feeling of its size. Beyond that, it's just a wild ride in general. Eiyuden Chronicle is very much a game designed with a philosophy of "That sounds cool, put it in." It's another throwback to an older set of principles, and it really work well. Between the tremendous variety in character design and personality and the surprisingly robust minigames, there's no end to what might show up, and it gives the whole package a feel that's rare in the modern market. It's likely that this style of RPG will remain rare. I don't think there are a lot of groups with the resources or the temperament to tackle games this expansive. Even so, I do hope we get one from time to time. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Elden_Ring.png) ## Elden Ring: Shadow of the Erdtree *By* [*FromSoftware*](https://www.fromsoftware.jp/ww/) ### [Ignas Vieversys](https://www.superjumpmagazine.com/author/ignasvieversys/) It's bittersweet to write about my favorite game of the year when one's relationship with video games is on the rocks. Reader: it feels like penning a farewell letter to a dear old friend, afflicted by an incurable disease... After playing countless games released this year, both indie and triple-A – from Lorelei and the Laser Eyes (didn't finish) to Anger Foot and Prince of Persia: The Lost Crown – I managed to finish only one game and that is Shadow of the Erdtree. Technically speaking, it isn't a stand-alone game, but an additional content to one of my favorite video game experiences of the past decade. But when it has more heart and is more complete than some games I played this year, disqualifying Shadow of the Erdtree for the sake of its DLC nature would be the same as saying remakes aren't allowed either. What a maidenless thing to do. I didn't have high hopes that Shadow of the Erdtree would deliver me the dragon I've been chasing since beating the OG Elden Ring, but how wrong I was...it delivered, and did so in spades! I think RPS's Ed Thorn summed it up best when he wrote: "Erdtree, you see, is nails. The map may look titchy in comparison to the Lands Between, but it's home to more fu\*\*ery per capita." The Land of Shadow is denser – one of them, shrouded in fog, actually features an insta-kill sneaking section that is pure nightmare fodder – and it's more punishing, somehow. Another area, the Hinterlands, is so well hidden and optional that, if not for one trinket needed to bring down the final boss, I would have missed entirely – and it's like one-quarter of the whole map! Unlike Elden Ring, too, a few of the bosses in the DLC actually demanded that I go grind Scadutree Fragments and Revered Spirit Ashes, which required watching a guide and dedicating a good couple of hours to doing. I'm not a fan of the grind, see, but doing so in The Land of Shadow was something I didn't mind. I think the reason why Shadow of the Erdtree is my favorite game of 2024 is because, just like Elden Ring, it reminded me how great playing a game upon its release can be. It was great watching streamers getting stuck on the same bosses, people sharing tips on a dedicated Reddit sub, everyone collectively (!) flipping bird to the Promised Consort Radahn - the fight that took around 300 attempts and still haunts me in my dreams. In 2024 I tried Sekiro, I tried Dark Souls and Black Myth Wukong, but there's something magical, child-like, about feeling like part of the movement, before the game is beaten to death with all the secrets unearthed. There is nothing like playing a game like Shadow of the Erdtree on its release date. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image.png) Elden Ring: Shadow of the Erdtree. Source: Press Kit. --- > "The grand scope of a breathtakingly magical land bursting at the seams with a seemingly endless amount of discovery to be had..." > > **PJ Walerysiak** --- ### [PJ Walerysiak](https://www.superjumpmagazine.com/author/pjwalery/) Whenever a DLC has so much game that it can be a standalone sequel on its own merit, it stokes a blend of emotions within me. Happiness, disbelief, and most of all gratitude. To be able to experience so much more of a beloved thing is a gift of grace. And boy did FromSoftware spoil us all this year. Elden Ring: Shadow of the Erdtree reminds the player of all the aspects that make the base game shine. The grand scope of a breathtakingly magical land bursting at the seams with a seemingly endless amount of discovery to be had; a cryptic divine plot that you are woven into and must find your place within; incredible weapons, armor, and items that are a delight to experiment with; intense combat that rewards patience and skill – this DLC takes all these characteristics and expands upon them, just as truly as any great sequel would. And they do it over the course of a monumentally huge expansion that added at least 50 hours of playtime for me. And that’s a conservative estimate. It felt like playing the game for the first time again. Hell, I got my ass thoroughly kicked by the first enemy I saw. And to make me experience that after I put 300+ hours into the game already is a total triumph. FromSoftware has built an incredible legacy over the past 15+ years. They always iterate upon their previous designs, a vital part of their continuous success. Knowing what works and having the awareness of what can be done better allows them the freedom to consistently grow onwards and upwards. They can safely throw a few risks in there to see what sticks. And while every risk doesn’t pay off, the whole package still coalesces to form this golden experience that eclipses any lingering bruise. I’ve seen Elden Ring and Shadow of the Erdtree referred to as FromSoftware’s “Magnum Opus”, though studio president Hidetaka Miyazaki has said he still hasn’t created his “ideal fantasy RPG.” His desire to create even greater adventures is inspiring and, frankly, almost baffling. How do you go even higher when you’re at the pinnacle of your game?! Perhaps when you paved the road to the top yourself, continuing onwards is not only feasible but the only way to grow further. I’ve no doubt that whatever comes from Miyazaki and FromSoftware next will be a banger, even if Shadow of the Erdtree does cast an amazingly long – forgive me – shadow. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Emotional_Flow.png) ## Emotional Flow *By* [*Stellar Mythical*](https://store.steampowered.com/search/?developer=Stellar%20Mythical) ### [Priya Sridhar](https://www.superjumpmagazine.com/author/priyasridhar/) Indie games are always full of surprises. Emotional Flow shows what happens when you take the elements of Celeste away from the mountain and into a traumatized mind. To help save a friend, you have to face bosses like Depression, Anxiety, and so forth while navigating dangerous platforms with no save points. Despite the game's frustrating levels, there is a great payoff when you face a boss and finally defeat it with the power of memory, quick thinking, and keyboard warrior strength. I hope more people play this one, especially if 2025 gets darker. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Fields_of_Mistria.png) ## Fields of Mistria *By* [*NPC Studio*](https://www.fieldsofmistria.com/team) ### [David Cole](https://www.superjumpmagazine.com/author/coledone/) Let me pitch this game to you: it’s Stardew Valley by way of BioWare. You take possession of a plot of land on the outskirts of a rural village and must, as they say, get back to nature. As you go about this, you will slowly come to know and build relationships with the twenty-eight currently implemented characters inhabiting Mistria. Like any Harvest Moon-alike, there is a relationship building mechanic that involves the daily gifting of favored items, constant conversing, and participating in special events that unlock as you progress. Where Mistria stands apart from its contemporaries is in its art style. Many of these so-called “cozy” games kind of blend together. Mistria meanwhile has taken its relatively simple sprite-based characters and given them expressive full-body character art inspired by '90s anime (namely Sailor Moon). This gives the effect of a more fulfilling and rounded interaction, even when just casually talking with them. You can read parts of the characters’ personalities based on their clothing and body language. Things open up remarkably fast while still guiding you effectively through the wide range of day-to-day activities you can partake in as you go about your endless quest to have a peaceful life. The gameplay loop in Mistria is as satisfying as any I’ve experienced in the genre, though it does not break the mold in this regard at all. Minute-to-minute, the game feels remarkably like Stardew Valley, with tweaks here and there to improve quality of life. But in all honesty, I don’t see this as a weakness. Fields of Mistria does not reinvent the wheel, but it does push the genre forward with a greater emphasis on storytelling. Stardew’s roster has its fans, and rightfully so, but where that game has a cast, Mistria has characters. Scenes involving these people talking about their specific hopes, their fears, even their shortcomings, are frequent. Despite its early access state, there are satisfying notes of character development throughout! Like March, a blacksmith, who defiantly pushes back against the player when they first move into town and slowly begins to warm up to them. It’s a charming game with a wonderful soundtrack, a clear sense of identity, and it’s very friendly to a wide range of expressions and sexualities. Romances are open and believable, without queer options being an afterthought. Something else that’s wonderful to see in the genre! Choosing a “game of the year” can be a tough task. But for me? Fields of Mistria is that game. Even after playing through most of the content on offer and setting the game down for now, I still think fondly of its characters from time to time. Imagining which ones will expand in what ways. Perhaps the potential is part of the appeal, but I won’t apologize for being an optimist. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Final_Fantasy_VII_Rebirth.png) ## Final Fantasy VII: Rebirth *By* [*Square Enix*](https://www.square-enix.com/) ### [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/) Final Fantasy VII: Rebirth improved on all of what made Remake great, with graphical improvements, an expanded battle system, and deep party-relationship dynamics. It’s a game I kept coming back to even after I finished the main campaign, because the richness of a familiar 2D world realized in full 3D makes for compelling exploration, with things like chocobo racing, various mini-games, and a system of map completion that involves scaling towers and finding shrines to unlock summons. It’s a game that occupied most of my gaming time this year, and I ran through it with a fervor of joy. It’s extremely successful on multiple levels – but what hit home the most for me were the characters. In and out of combat, their personalities shine, and the shared hardships and a focus on deepening our bonds with them helps frame not only the journey at large, but Cloud's despondence and increasing instability throughout it. The emotional core of the entry is rooted in exploring the original’s most resonant moment, and while this might be for better or worse, the hanging threat of it creates stakes that feel higher and darker, even as the game exudes – and celebrates – hope beyond it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Frenzy.png) ## Frenzy (Atari 7800+) *By* [*Bob DeCrescenzo*](https://atariage.com/programmer%5Fpage.php?SystemID=7800&ProgrammerID=344) ### [Jahanzeb Khan](https://www.superjumpmagazine.com/author/virtuamuser/) Atari revived the 2600 console in 2023, and in 2024 they revived the 7800 platform in style complete with a line up of launch titles and even wireless controllers. Berzerk is one of the best games on the 2600, and the sequel now all revamped and repackaged for 2024, presents one of the most satisfying roguelike maze action games. The shooting is crisp and relentless, and it's just an easy one to come back to for one more run. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Harold_Halibut.png) ## Harold Halibut *By* [*Slow Bros.*](https://slow-bros.com/harold-halibut) ### [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/) Harold Halibut is what we in the industry like to call a "James pick", because it was made specifically to appeal to me, James O'Connor. It's a game set in a small, handcrafted world - in that all the materials in the game were literally crafted by hand and scanned in - where you play as an unassuming janitor aboard a crashed space station who finds himself reluctantly becoming a key player in a larger narrative - one that puts the fate of the colony in his hands. Harold Halibut is largely a game about running back and forth, having conversations, poking around new environments and trying to get a sense of what every individual character's deal is. It's a game about a man who never becomes a hero, per se, but who realises that he's a bit more capable than anyone was giving him credit for - even if he is, and perhaps always will be, fundamentally an outsider. It's not everyone's cup of tea - this is a slow, sedate experience - but I think it's beautiful and lovely, with a sort of squishiness to it that makes the whole game glimmer with humanity. The intentional artificiality of the environments make the whole thing feel more "real", which is a lovely contradiction. It's a rare, wonderful game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-1.png) Harold Halibut. Source: Press Kit. --- > "Harold Halibut revels in exploring these themes, sparking renewed ambition, curiosity, and hopefulness in players. That's all we can hope for in our video games – that they allow us escape, while opening a window to new beauty and light." > > **Leah J. Williams** --- ### [Leah J. Williams](https://bsky.app/profile/legenette.bsky.social) Harold Halibut is an artful and emotive exploration of the meaning of life and individual purpose in the world. It should rightfully be applauded for its uniqueness, its warmth, and the talent of its construction – if you didn't know, the entire game was built by 3D-scanning miniatures, and then animating them digitally. What results is a game that looks and feels like a living work of art. You can see fingerprints on clay models, and feel the care in their creation. You can sit back and marvel at each set piece, knowing you're wandering within a space that once existed. It's beautiful. It's phenomenal. The game deserves so much praise, and then more. And that's even before we get to the story, which is poignant and moving in ways that last well beyond its runtime. The titular Harold, as the avatar of the player, doesn't know where he fits in the world – like an extra puzzle piece in a box. But then, the mundanity of his life is interrupted by the arrival of a strange creature, which reveals a whole new world much bigger than Harold's own. Harold Halibut revels in exploring these themes, sparking renewed ambition, curiosity, and hopefulness in players. That's all we can hope for in our video games – that they allow us escape, while opening a window to new beauty and light. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Hatch_Tales.png) ## Hatch Tales *By* [*Atooi*](https://www.atooi.com/) ### [Priya Sridhar](https://www.superjumpmagazine.com/author/priyasridhar/) What does it take for a flightless bird to save a kingdom? A grappling hook! Though having platforms with no monsters also helps. Hatch wants to save a kingdom and discover ancient relics. With a trusty grappling hook and allies wishing to help him, this game is just pure fun and adventurous while navigating different levels. It does require skills, especially for water levels where it's easy to sink or run into painful obstacles, but Hatch Tale maintains a fair difficulty spike where the player's learning can only improve. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Helldivers_2.png) ## Helldivers 2 *By* [*Arrowhead Game Studios*](https://www.arrowheadgamestudios.com/) ### [Gavin Annand](https://www.superjumpmagazine.com/author/gavinannand/) There’s a mysterious formula behind the explosive, viral success of Helldivers 2\. I’m not sure anyone has ever quite nailed it down, but whatever it is, Helldivers 2 has it. Helldivers 2 is more than a successful game – it’s a meme factory, a viral hit, a cultural touchstone, an indelible part of the current zeitgeist. Helldivers 2 managed to strike a chord with gamers in a way that few games do, arriving at just the right time, in just the right market conditions, and achieving just the right level of market exposure. Overwatch managed it back in 2016\. Call of Duty 4: Modern Warfare achieved it in 2006\. Among Us and Fall Guys did it in 2020, spurred on partially by a world locked indoors with nothing to do except play online games. In the case of Fall Guys or Among Us, COVID was obviously a major factor, but the factors contributing to viral success aren’t always clear. We live in an increasingly polarised world where democracy is perpetually under threat, and selectively interpreted by those who seek to undermine it. Perhaps it was Arrowhead’s biting satire of “democracy at all costs, even democracy itself” that struck a chord. In Helldiver’s parody of the world we live in, perhaps we saw glimpses of our own reality. And in a world of increasing strategic competition between major global powers, where opposing power blocs are increasingly defined by their “otherness”, perhaps there are snippets of reality in the fortress mentality of Super Earth, carrying out its pre-emptive war against the outsiders, fuelled by blind patriotism and paranoia. Helldivers 2 is an absolute blast to play, full of cheeky humour and chaotic battlefields, but beneath it all, I think there is a game that will become culturally and historically significant as an artifact of the times we live in. Even beyond the game itself, the drama that unfolded between Arrowhead Studios and Sony over the requirement for a PSN account (and subsequent back-down by Sony), offers an intriguing insight into the increasingly adversarial relationship between corporate elites and every-day people. Cultural touchstone aside, Helldivers 2 is simply a bloody fun game. I’m reminded of games like Left 4 Dead or Serious Sam, the feeling of standing shoulder-to-shoulder with my buddies while we fight off hordes of enemies. There’s a real sense of camaraderie with your fellow gamer when you make it through a particularly difficult battle, and there’s been more than one occasion where I’ve been screaming into my microphone lines reminiscent of Arnie’s famous “Get to the chopper!” from the film Predator (1987). Helldivers 2 doesn’t just deserve a GOTY position for it’s cultural significance – it is also, quite simply, a damn good game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Indiana_Jones.png) ## Indiana Jones and the Great Circle *By* [*MachineGames*](https://www.machinegames.com/) ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) I will admit that I haven't finished Indiana Jones and the Great Circle. But what I have played so far makes it one of the best licensed video games ever made. I'm sure that some reviewers have said this, but as you play the game, you really do "feel" like Indiana Jones. Just how it's presented to you in first-person makes you decide how you should approach certain situations. It's the kind of game where you can't solely rely on a firearm like your revolver to clear out enemies, as they will be alerted to your position. You must use stealth to get past sections by grabbing whatever is around you, like a shovel or a broom, to knock out as many guards as you want. The puzzles in the main game didn't feel too difficult as I had to look at my surroundings to complete them. Some puzzles in the open-ended levels however did make me have to use a guide on YouTube to find the solution. Some of my favorite moments in the Great Circle came from side quests called fieldworks that feel like natural extensions to the main story. It made me get to know some of the side characters in the game from a personal point of view that was rewarding to experience. Most of my playtime came from finding collectibles through activities called discoveries, which I just naturally found from roaming some of the levels, like finding an ancient tomb in Egypt. Indiana Jones and the Great Circle is a game that gave me plenty of surprises at every turn where I felt like I was watching a newly discovered Indy movie from the 1980s. I definitely will want to finish it so that I can witness many more twists and turns as the most famous fedora-wearing archaeologist. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-6.png) Indiana Jones and the Great Circle. Source: Press Kit. --- > "Indiana Jones and the Great Circle is a game that gave me plenty of surprises at every turn where I felt like I was watching a newly discovered Indy movie from the 1980s." > > **CJ Wilson** --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Kunitsu_Gami.png) ## Kunitsu-Gami: Path of the Goddess *By* [*Capcom*](https://www.capcom.com/) ### [Antony Terence](https://www.superjumpmagazine.com/author/antonyterence/) There’s a special place in my heart for games that lets you leave a place in a better state than when you first found it. And sure, almost every role-playing game has you work towards a favorable outcome. But few games let you clear a path of cleansing through lands defiled by demons of Japanese folklore. Kunitsu-Gami: Path of the Goddess is among 2024’s most underrated gems, a curious oddity between tower defense and locking swords with ghosts. It doesn’t take long for Kunitsu-Gami’s rhythm to set in. Scout out the map during the day, rescuing villagers and repairing defenses as the warrior Soh. As night approaches, your villagers can take on combat roles that range from rifle-wielding Marksmen to demon-taunting Sumo Wrestlers. Issue commands and lock their positions on lanes that lead to Yoshiro, a divine priestess who purifies the Torii gates that spawn Seethe demons. After some base-building once you clear a stage, you’re back to midday planning and late-night executions. In an industry that inches towards unwavering uniformity when it comes to monetization, Kunitsu-Gami’s real-world currency-free approach is genuinely refreshing. Most studios don’t make games like these anymore. Its linear stages keep you going with twists and bosses to outwit as you unlock villager roles, Mazo Talisman perks, and Tsuba Guard combat powers. Add the fact that the game’s on PC Game Pass and there’s barely a barrier of entry to the stunning kaleidoscopic colors oozing through its clothing, architecture, and monsters. Outside combat, repairing structures gives you resources, woodblock prints that preserve your exploits, and delicious confections that took me back to my first encounters with Japan’s cuisine. Carving a path to the Torii gate leads to a ceremonial Kagura dance sequence where Yoshiro and your villagers dispel the corruption, culminating in a visual spectacle that sanitizes the stage’s otherworldly limbs and creeping evil. Each victory gave me a rush of exhilaration, a feeling that I was making a difference. In a world that’s changing at an unprecedented pace, one that puts profits and corporations over the sanity of its people, being able to push the needle back is a welcome reward in a fictional setting. But it also left me with a conflicted sadness as Yoshiro stows the corruption within herself. If you lean towards unique experiences, you owe it to yourself to try Kunitsu-Gami: Path of the Goddess. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Like_A_Dragon.png) ## Like A Dragon: Infinite Wealth *By* [*Ryu Ga Gotoku Studio*](https://rggstudio.sega.com/en%5Fau/) ### [Anselmo Jason](https://www.superjumpmagazine.com/author/mojason/) The ninth mainline entry of the Like a Dragon series deserves a shout. Playful but profound, broad yet bottomless, this game is the closest I can think of to this year's jack-of-all-trades gaming experience. Infinite Wealth presents a gripping story with extra care towards its characters and their relationships compared to previous titles, especially on the legacy of protagonist Kazuma Kiryu. The game's excellent story beats and presentation more than makes up for its at-times uneven plot. It will make you laugh, and it will make you cry; par for the course for a Like a Dragon game. As if the story is not gripping enough, Infinite Wealth offers an opulent experience for all fans old and new. The turn-based RPG element introduced in Yakuza: Like a Dragon is refined and expanded. The new sun-baked locale of Hawaii is full of exciting activities and charming side quests. The familiar cities of Isezaki Ijincho and Kamurocho offer heartfelt trips down memory lane. And who can forget Infinite Wealth's take on Animal Crossing, Dondoko Island? There is much to love in this game for both series newcomers and veterans. Topped off with visually stunning graphics and a stellar soundtrack, Like a Dragon: Infinite Wealth deserves more of your love and attention. With a pirate-themed spinoff slashing its way in early next year, Infinite Wealth serves as a testament of Ryu Ga Gotoku Studio's trailblazer status in the modern open-world genre. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-7.png) Like A Dragon: Infinite Wealth. Source: Press Kit. --- > "I love how RGG dares to pull off the most ingenious tonal acrobatics, going from melodrama to vicious brutality, from dry social criticism to absurd surrealist humor, and marries "AAA" action adventure gameplay with delightfully simplistic arcade interludes." > **Jörg Tittel** --- ### [Jörg Tittel](https://bsky.app/profile/newjorg.bsky.social) RGG's ninth entry in the series may the best one yet, though I have been replaying Yakuza 0 on Steam Deck and can't believe how these games either don't age or simply defy the concept. In Infinite Wealth, Ichiban Kasuga and Kazuma Kiryu experience more craziness in Japan and...Hawaii. I love how RGG dares to pull off the most ingenious tonal acrobatics, going from melodrama to vicious brutality, from dry social criticism to absurd surrealist humor, and marries "AAA" action adventure gameplay with delightfully simplistic arcade interludes. Magically, this eclectic mix never feels out of place. Like Astro Bot, Like a Dragon: Infinite Wealth is a celebration of video games - and reminds us that, in the end, we shouldn't take ourselves too seriously and find fun in the most unexpected places. ### [Lucas Di Quinzio](https://www.superjumpmagazine.com/author/lucasdiquinzio/) Like A Dragon: Infinite Wealth is probably the funniest RPG I have ever played. Over the course of its vast runtime there never cease to be something worth at least a chuckle. Sometimes it’s a small interaction, sometimes an extended bit, sometimes you ride a dolphin to the island housing a fully-fledged Animal Crossing-esque mini game. The new direction of Yakuza/Like a Dragon still has the big tonal shifts of the previous games but stays in the light and comedic zone for much longer. For that alone, it would be one of my top games of the year, but there’s much more to it than that. Ichiban Kasuga, the new series’ protagonist, is probably the biggest, most lovable goofball in games. Yes, he’s a former Yakuza who solves problems with a baseball bat, but he’s near-childlike in some ways - his levels of optimism, the in-game reasoning for the switch to turn-based battles being his love for Dragon Quest, and belief in the power of friendship. It’s that last point that really forms the emotional core of Infinite Wealth - it’s a game about adult friendships. Ichiban and his pals aren’t just a motley crew who have assembled due to a common goal like many party-based RPGs - they are friends. They gain new combat abilities by going for drinks and hanging out, they all support each other no matter what. Yes, it’s a bit corny, but it is earnest and really does hit that part of you that thinks “hey, how do you make friends when you’re thirty-plus?” We could all use a friend like Ichiban Kasuga. ### [Matt Hewson](https://bsky.app/profile/hewso.bsky.social) Where do I start? Firstly, I have to say it was a little disappointing to play my 2024 GOTY in January, and what's worse is I said to myself, "I am not going to play anything better this year" while reviewing the game. Turns out I was right, I didn't play anything better this year. Ichiban and Kiryu teamed up in a game that took the sold JRPG foundations laid out by Like A Dragon, fixed the issues in that release, added a great new map, a story that is pure high drama and sprinkled it all with some of the best mini games ever to appear in a video game. For the longest time, the Like a Dragon games (aka Yakuza) have always been developed under the philosophy of "Why not? It's a Video Game", and Infinite Wealth took that to the next level. One minute I was dealing with the shocking news of Kiryu's cancer diagnosis and the next I was playing an insanely fun Crazy Taxi clone. Most games would give a player whiplash with that sort of thing, but somehow Infinite Wealth makes it work. Sure, I might be biased. I have been a long-time champion of the series, but in all honesty, I can't remember a game that has brought a bigger smile to my face and that, in my mind, is something worth championing. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Manor_Lords-1.png) ## Manor Lords *By* [*Greg Styczeń*](https://www.linkedin.com/in/grzegorz-stycze%C5%84-336126259/?locale=en%5FUS) ### [Gavin Annand](https://www.superjumpmagazine.com/author/gavinannand/) I’ve [sung the praises of Manor Lords already this year](https://www.superjumpmagazine.com/manor-lords-the-cosy-game-ive-been-waiting-for/), and since its release into early access the game has only improved, with additional tweaks to balance and mechanics. At time of writing, a significant update lies on the horizon that will expand the game to more maps, as well as add additional mechanics further enriching this already impressively rich experience. In my mind, Manor Lords is a good example of what the modern games industry has become. Large AAA studios spend tens of millions of dollars putting together games that ship with endless issues and fail almost instantly. These same studios have been ravaged by job losses, and the relentless corporatisation of the games industry over the past 20 years pushed gamers away from traditional big-studio releases. Meanwhile, game development has been vastly streamlined over that period, and is more approachable than ever thanks to easy access to game engines and assets. A single developer (in this case, Greg Styczeń), has managed to achieve what only large studios could have achieved in the past. Approachable game development, combined with sclerotic corporate structure in AAA studios, has seen unique opportunities arise for small and independent developers with unique ideas and a bit of passion. And Manor Lords is undoubtedly an incredible work of passion. The detail, aesthetic, considered design and attention to detail is the result of Styczeń’s dedication and hard work, and if sales figures and reviews are anything to go by, that work has paid off in earnest. Manor Lords appeals to a very particular type of gamer, and if you’re one of those people, then you’ve probably already played Manor Lords, or are waiting for the right opportunity to pick it up. Manor Lords scratches the same itch that titles like The Settlers, Knights & Merchants, Banished or the Anno series does. Any time I feel cynical about the direction the games industry has taken over the past few decades, I think of Manor Lords and remember that those games still exist – they’re just being made by people like Greg now. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Metaphor.png) ## Metaphor: ReFantazio *By* [*Atlus*](https://atlus.com/) ### [Benjamin Macready](https://www.superjumpmagazine.com/author/benjaminmacready/) Atlus has a track record of releasing some of the best RPGs in the industry. Metaphor: ReFantazio stands out as something truly special, even when held against the high standards set by the rest of this publisher’s output. Metaphor's story, about a fantasy kingdom gripped by a succession crisis, is at once utterly timeless and deeply relevant to today. With themes of class, race, and resisting tyranny, Metaphor deals with heavy subject matter but handles everything with delicate nuance. The plot is a warning about the dangers of utopianism, and of populist strongmen who claim to be serving their nation, while in fact only serving themselves. Louis Guiabern, the game’s main antagonist, is as charismatic and suave as he is morally bankrupt and detestable. He is a once-in-a-generation villain, Atlus’s very own Sephiroth. His presence animates the story, and he constantly drives the action forward encouraging the player to resist and rebut the dreadful influence he holds over the kingdom. The playable cast is a diverse and complex group. They are each dealing with their own struggles, which they gradually overcome together. From the scarlet-haired knight errant Hulkenberg, out to redeem her tarnished honour, to the chiropteran rogue Heismay who slowly rediscovers the joys of life after a past tragedy caused him to isolate himself from society. Metaphor really lets you know your party. All of their individual stories come together to make you truly care about the world you’re saving, and the people you’re saving it with. It’s not only Metaphor’s story which excels. The gameplay combines the best of the press turn system from Shin Megami Tensei and Persona’s calendar management and social elements. It’s far too easy to get lost in the world of Metaphor: ReFantazio and to find large chunks of your day swallowed up delving into dungeons or roaming the realm in your gauntlet runner. 2024 gave us some great games, but Metaphor: ReFantazio stands in a tier all its own. Every second of this 60+ hour feels lovingly crafted. The passion and creativity that went into making this standout RPG is beyond dispute. ### [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) I'm not sure what I can say about Metaphor that I haven't already said elsewhere. Developed by Studio Zero and published by Atlus and Sega, it is a transcendent turn-based RPG that proves that not only is the JRPG genre alive and thriving, but turn-based games and political narratives are here to stay. Metaphor feels as though it came along and the perfect time, blessing us during an especially tumultuous year with a plot that's thick with material philosophies about class, race, and revolution. Packed with memorable characters as well as an otherworldly score by Shoji Meguro, Metaphor might as well be considered Atlus' Elden Ring, taking every inspiration and lesson from SMT and Persona and transforming it into a new and arresting experience. Metaphor's biggest flaw is that the game eventually ends, and you are left only with a memory of the time, or perhaps ready to start a new file. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-8.png) Metaphor ReFantazio. Source: Press Kit. --- > "I never found the writing to have a scolding or condescending tone towards the audience, and I think that’s why *Metaphor’s* message has resonated so powerfully with gamers across the political spectrum, a rare achievement in today’s divided world." > > **Julia Hu** --- ### [Julia Hu](https://www.superjumpmagazine.com/author/juliahu/) All of my friends, gamers or not, will tell you that after its release, I just could not stop talking about Metaphor ReFantazio and pushing its demo onto them. And now that I have the platform of SUPERJUMP, I will continue talking about how this game is for gaming as cinema or literature are for movies and books. Its release date shortly before the U.S. presidential election made the game particularly timely for its global audience. This game has displaced my previous favorite game of all time to be not just my GOTY but favorite game of all time (so far). To me, Metaphor’s message is one of hope. The game’s fantasy setting serves as a metaphor of our own, while our real world is the setting of the in-game utopian fantasy novel. The most ugly aspects of our society are distilled and reflected in Metaphor’s setting, such as racism among the tribes, socioeconomic inequality, and even drug use and death in the neglected alleys of the capital. And at the same time, our most beautiful aspects are romanticized within the pages of the protagonist’s fantasy novel, including our modern technology, freedom of religion, and democracy. Each new companion in our journey requests to see Will’s fantasy novel and reads aloud a passage relevant to their plight while a beautiful, twinkling melody plays in the background. The utopia in the fantasy novel - a thinly metaphor of our society at its best - will have already long resolved whatever the companion is struggling with in their world, which itself is a metaphor of our society at its worst. Obviously, a perfect society where everyone is happy cannot exist, and the in-game author of the novel, More, even acknowledges this. But this does not mean that we should stop believing in the best possible versions of our societies. Throughout the plot, Metaphor shows us how the ideals of democracy evolves and twists when it is put into practice, such as political parties, corrupt bureaucrats, populism, and misinformation (my hot take is that Sanctifex Forden was a much more dangerous villain than Louis). But despite how on the nose of a metaphor that the Euchronian Kingdom serves as, I never found the writing to have a scolding or condescending tone towards the audience, and I think that’s why *Metaphor’s* message has resonated so powerfully with gamers across the political spectrum, a rare achievement in today’s divided world. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Mouthwashing.png) ## Mouthwashing *By* [*Wrong Organ*](https://www.wrongorgan.com/) ### [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/) People underestimate how difficult it is to make something truly scary. The ability to invoke fear deep into the core of a person, especially when that person is sitting cozy in their homes, takes a lot of effort, patience, and understanding to pull off correctly. That hard-to-describe feeling of being utterly horrified and disgusted while simultaneously helpless to the idea of doing anything but continuing onward into the void is such a tenuously tight rope to walk. Indie dev Wrong Organ's fantastic horror game Mouthwashing does it with straight-up pizzazz. You are the co-pilot of a deep space freighter, trying to survive after your ship crashed into an errant asteroid. You, along with your four crewmates, must navigate starvation, isolation, and insanity as your ship floats listlessly through the recesses of space's endless expanse. There are so many twists and turns in the narrative, accompanied by fantastic visuals, disturbing and depraved set pieces, and unbelievably effective sound design. It’s one of the most inventive, interesting, and discomforting horror games made within the last decade, and it deserves all the credit it’s been getting. SUPERJUMP's [Marvel Maximus](https://www.superjumpmagazine.com/author/marvel/) hit the nail on the head with [his piece covering Mouthwashing](https://www.superjumpmagazine.com/minimalism-in-mouthwashing/), and I implore everyone to go and read it. Horror lives between the lines of what’s given to you, and Mouthwashing understands this to a disturbing degree. A gripping narrative, appealingly bizarre modern-retro aesthetics, a very digestible run-time and price, and the lovingly understood ability to create true fear in the player makes Mouthwashing a must-play for any horror fan, and I was blown away by how good this little indie is. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-9.png) Mouthwashing. Source: Press Kit. --- > "I hope that Mouthwashing sets a trend for indie developers that want to delve in horror, not to copy its aesthetic or setting, but to just go wild, prioritize inventive storytelling and three dimensional characters rather than cheap jump scares." > > **Marvel Maximus** --- ### [Marvel Maximus](https://www.superjumpmagazine.com/author/marvel/) Mouthwashing really surprised me. I've played games that look like this before, with jagged polygons and distorted textures that take the form of faces. But this one...this one's different. Its non-linear storytelling took me off guard. The depth of the characters too, especially in how short of a game this is. And the approach to horror and disgust that Mouthwashing takes is on another level, terrifyingly captivating. It makes you feel for the characters, and think about life once you see the credits roll. Not a lot of short horror games are able to do that. I hope that Mouthwashing sets a trend for indie developers that want to delve in horror, not to copy its aesthetic or setting, but to just go wild, prioritize inventive storytelling and three dimensional characters rather than cheap jump scares. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Nine_Sols.png) ## Nine Sols *By* [*Red Candle Games*](https://redcandlegames.com/) ### [Josh Bycer](https://www.superjumpmagazine.com/author/joshbycer/) Nine Sols is one of my favorite metroidvanias in some time. It carries on the legacy of Hollow Knight in terms of movement and exploration, but elevates the combat with a focus on parrying right out of Sekiro. It's no surprise that this is also one of the harder games released this year, and if you're not a parry master, I would suggest playing it on story difficulty. The art is gorgeous throughout as you ooh and ah as you try to learn enemy patterns. And also like Sekiro, for fans who want to truly beat the game, there is a true final boss that will test all your skills to beat it. While it's not as focused on customization like Hollow Knight, it is still one of the best metroidvanias of 2024 and might just hold you over as we continue to wait for Silksong. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Prince_of_Persia.png) ## Prince of Persia: The Lost Crown *By* [*Ubisoft Montpellier*](https://www.ubisoft.com/en-us/studio/montpellier) ### [Harel Cohen](https://www.superjumpmagazine.com/author/harelcohen/) I've waited for a long time for Prince of Persia to make a comeback. Sometimes a long wait can end in disappointment...but this time? The game was worth the wait! [I wrote a whole review earlier this year](https://www.superjumpmagazine.com/prince-of-persia-the-lost-crown-review/) in which I gushed all over The Lost Crown's fluent gameplay, fun puzzles and intense boss fights; and I'm happy to report that nothing has changed. With additional content being released throughout the year, this is still an adventure I recommend everyone embark on. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Princess_Peach_Showtime.png) ## Princess Peach Showtime *By* [*Good-Feel*](https://www.good-feel.co.jp/en/) ### [Priya Sridhar](https://www.superjumpmagazine.com/author/priyasridhar/) Princess Peach is ready to perform (and save some lives while doing it). She enters the theaters where different plays and genres transform her into heroes or thieves alike. From stealthy ninja work to baking wizardry, Peach does it all and doesn't have to deal with Bowser once. I appreciate the game's theater kid energy (as someone who wanted to be a theater kid but didn't perform after middle school), as well as its freewheeling jumps into many different genres. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Silent_Hill_2_Remake.png) ## Silent HIll 2 Remake *By* [*Bloober Team*](https://www.blooberteam.com/) ### [Anthony Wright](https://www.superjumpmagazine.com/author/anthonywright/) Silent Hill 2 is often regarded as one of the greatest horror games of all time, so when Konami announced that Bloober Team would be developing a remake, I was quick to dismiss it. My faith in Konami had soured over the years and I had assumed that any effort made to remake such a perfect game would go down in flames. However, after reaching the end credits for the remake, I’ve never been so happy to be proven wrong. What I love most about Bloober Team’s remake of Silent Hill 2 is that it doesn’t just exist to evoke nostalgia for fans who played the 2001 classic, but also exists to expand on the haunting themes and ideas that the original game introduced without ever feeling like it's missing the point. While fans of the original will recognise the same story beats throughout, Bloober Team smartly rearranges them to stop the remake from feeling too familiar, simultaneously delivering new moments of their own to further flesh out the town of Silent Hill and the deeply troubled characters that inhabit it. Bloober Team thankfully does not shy away from the subject matter introduced in Silent Hill 2, and in fact, expands on it in ways that make it even more impactful. Sections like the Abstract Daddy fight are somehow even more shocking than they were in the original but are handled with such care and empathy that they don’t just end up being used for cheap shock value. Every single detail, no matter how big or small, has a larger purpose within Bloober Team’s remake to reflect the horrors that we face in society today, just like the original game did over two decades ago. Bloober Team’s love and passion for the Silent Hill franchise is made obvious with this game, and Konami thankfully seems dedicated to continuing pushing the series forward after its long absence. If future sequels and remakes match the same quality found here, Silent Hill has a very bright future ahead of it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-10.png) Silent Hill 2 Remake. Source: Press Kit. --- > "Bloober Team’s love and passion for the Silent Hill franchise is made obvious with this game, and Konami thankfully seems dedicated to continuing pushing the series forward after its long absence." > > **Anthony Wright** --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/SKALD.png) ## SKALD: Against the Black Priory *By* [*High North Studios*](https://www.skaldrpg.com/author/anderslauridsen/) ### [David Cole](https://www.superjumpmagazine.com/author/coledone/) This game comes recommended by Sven Vincke of Larian Studios. If someone tells me I should engage with media and is wearing plate armor, I’ll listen to them. Just look at Chappell Roan! SKALD is one of those indie games that can best be described as a “love letter,” even when such phrasing is beyond rote. Specifically, this letter is addressed to Ultima and The Bard’s Tale, among other older computer role-playing games. It’s a party-based RPG, involving management of up to six characters as you traverse the land on a quest to find a childhood friend. One thing SKALD offers is a simplified version of what its inspirations focused on. Instead of creating a party whole cloth, you really only craft your central character (though the option to create more custom characters is available). The rest of your party are named characters with pre-defined classes and quests associated with them. To me, this slow doling out of characters allows for a satisfying ramp up in combat difficulty rather than the sheer cliff of something like The Bard’s Tale or even Etrian Odyssey. This is the key. SKALD is the most accessible “old-school” CRPG I’ve encountered and that alone makes it worthy of praise. But there’s more SKALD brings to the table. The prose used to describe the sometimes simplistic and sometimes incredibly-detailed pixel art that makes up the world around you is fantastic stuff. It comes across as a gifted Dungeon Master running a campaign just for you. We don’t all get to have that experience, but SKALD offers a digital alternative. Its take on the fairly common tropes of cosmic horror, which weave themselves into the story early and often, is refreshing as well. It relies on you, the human element in that literary equation, being as confused and overwhelmed as your party is. You came to this island with a specific mission and all of these terrible, incomprehensible monsters from elsewhere are getting in your way. It’s stressful! The atmosphere feels oppressive in the best way. Your view of the world is limited to a fairly small area surrounding your character, making it very easy to stumble into a nest of beasts ready to gnash away at your bones. This is supplemented by an incredible dungeon synth score that gives the impression that the land itself is haunted. Which is appropriate, seeing as much of it is. I can’t speak to replayability, as I’m still deep into my first playthrough. But what I can say is that the game is so wonderfully crafted and assembled that I’ve been thinking about it almost constantly since beginning that playthrough. This is one of those games that will sneak into your mind while you’re at work, taunting you with the knowledge that soon you will be able to explore its forbidding world once more. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-11.png) SKALD: Against the Black Priory. Source: Press Kit. --- > "SKALD is an exceptional example of Lovecraftian and dark fantasy fiction, and has captured the attention of industry veterans like Larian’s Sven Vincke." > > **Gavin Annand** --- ### [Gavin Annand](https://www.superjumpmagazine.com/author/gavinannand/) Every now and then, a game comes along that sticks with you. For me, that was SKALD: Against the Black Priory. I approached this game fairly confident that I’d enjoy it – the retro aesthetic reminiscent of Ultima VI and VII, or SSI Gold Box games, tickled my nostalgia in a satisfying way. The trailer emulated a 1980s TV advert, as bolts of lightning hoist a faux-SKALD game cartridge into what looks like a Commodore 64, followed by snippets of old school gameplay, beautiful pixel art cutscenes, and a banging chiptune soundtrack. You might be forgiven for dismissing SKALD as nostalgic indulgence, and there’s no question that SKALD delivers in this regard. However, this game is a work of art. The pixel art during story sequences is some of the best I’ve ever seen, beautifully capturing the dark Lovecraftian horror of the setting. The interface is full of intricate detail – still functional, but decorative in a way that isn’t often seen anymore. Mechanically, this is a solid RPG – fairly minimal complexity in its mechanics, but reminiscent of rules-lite tabletop systems of the '80s and '90s. Where SKALD stands out, however, is the writing. The pacing and tone are perfect. The characters are engaging, their motivations are relatable. SKALD is a grim view of humanity in the face of crisis, and the game is a powerful commentary on the nature of, and limits of, morality. One quest sees the player travel to the town of Firgol, and even with some pretty obvious sign-posting of malevolent undercurrents in the town, the delivery of the quest’s finale is still powerful and shocking. SKALD wraps up in a way that some might find frustrating, in that not everything is explained to the player in explicit detail, but this is exactly what make’s SKALD’s writing so good. Norwegian developer Anders Lauridsen understands that good writing is often powerful by virtue of what is not explicitly stated, leaving the reader’s mind to fill in the gaps with horrors more vivid than words on a screen could ever portray. SKALD is an exceptional example of Lovecraftian and dark fantasy fiction, and has captured the attention of industry veterans like Larian’s Sven Vincke. If you’re a CRPG fan that values strong writing and world-building, this is one you can’t miss. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Sonic_X_Shadow.png) ## Sonic X Shadow Generations *By* [*Sonic Team*](https://www.sonicteam.com/) ### [Harel Cohen](https://www.superjumpmagazine.com/author/harelcohen/) On the one hand, you get a great remaster of one of the best Sonic games ever released with a few additions and on modern hardware. On the other, you're getting a new game with an emotional story, fantastic level design, and proof that SEGA has a very solid direction for the future of this franchise which they're going to keep building upon. As a long-time Sonic fan; it feels amazing to experience such an outing from the franchise and be reminded why I love this hedgehog (and his shadowy rival!) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Tetris_Forever.png) ## Tetris Forever *By* [*Digital Eclipse*](https://www.digitaleclipse.com/) ### [Jahanzeb Khan](https://www.superjumpmagazine.com/author/virtuamuser/) Part compilation, part video game documentary. There is so much to enjoy about this release; it's an absolute must for any gamer. The collection contains some rare cuts from the franchise, most importantly being the original Tetris program written by Alex Pajitnov that became the blueprint of the greatest puzzle game ever. The documentary portion is an exciting and fascinating journey into getting a game out of the (then!) Soviet Union into the hands of gamers all over the world. And no, there was no car chase sequence after all. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Thank_Goodness_Youre_Here.png) ## Thank Goodness You're Here! *By* [*Coal Supper*](https://coalsupper.com/) ### [CJ Wilson](https://www.superjumpmagazine.com/author/cjwilson/) Thank Goodness is one of the funniest and weirdest games that I have ever played. While the controls are fairly simple where you just walk around having to complete certain tasks for the townsfolk living in Barnsworth and getting to jump over obstacles, the humor is the defining element. Much of the dialogue and writing has that quirky feeling with its dry, British wit with moments that make you laugh or feeling uncomfortable at what you are seeing with your eyes. While this game will take you a few hours to play through, the things you will experience will stay with your mind for days, maybe even months afterwards. ### [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/) Any game that can make me cackle laugh over a phrase as juvenile as "slappy bum bum" deserves high praise. Thank Goodness You're Here! is a game dedicated entirely towards making you laugh, and it manages to do so consistently - what more could you ask for? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/The_Plucky_Squire.png) ## The Plucky Squire *By* [*All Possible Futures*](https://allpossiblefutures.com/) ### [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/) The one word that keeps coming to mind with The Plucky Squire is "fun," but not just because it's a fun game to play. It's the entire concept and presentation. This is, fundamentally, a fun-loving game that exists for no other reason than to celebrate its own medium. The Plucky Squire traces its lineage back to the NES and then beyond video games to the concept of "games" in general. Anything that someone might have obsessed over in their youth will have a place in the game, but what makes it special is that this is not mere nostalgia bait. The novel word-swapping and book manipulation mechanics exist to build on top of what came before. It's a game that nods to its predecessors without being subordinate to them. And of course, I have to mention the visuals because that's the same thing everyone else noticed at first. The Plucky Squire employs elegant graphics styles for its 2D and 3D sections, each of which is attractive and distinctive yet visually simple enough that it's not jarring when the player character travels between them. Visual design is still very much alive and kicking in the indie space, and this proves it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/UFO_50.png) ## UFO 50 *By* [*Mossmouth*](https://www.mossmouth.com/) *(Derek Yu, Jon Perry, Eirik Suhrke, Paul Hubans, Tyriq Plummer, Ojiro Fumoto)* ### [Jamie Galea](https://www.superjumpmagazine.com/author/jamie/) UFO 50 is a celebration of a company that never existed, comprised entirely of 50 original games that evoke the computers and consoles of the 80's. It being helmed by Derek Yu of Spelunky fame, but with an all star team including Ojiro Fumoto (Downwell) should already get you interested, but here's the actual reason why it rocks - they made 50 very good retro inspired video games. Even if you may not like all of them, there's more than a few that are really cool. After bouncing around a few of the earlier games, I found my groove in Night Stalker, a first-person adventure game reminiscent of Shadowgate or Deja Vu, and one that I couldn't stop playing until I'd cleared it fully. But it's not just Night Stalker that really captivated me. Seaside Drive is a fantastic mashup of driving and shooting. Mini & Max is a platformer with a really neat gimmick. Party House is a genuinely cool deckbuilder. Valbrace is a rad first person dungeon crawler with Punch-Out style combat. It nails the feeling of being given a massive collection of older games and discovering what's actually pretty cool and what could've been left behind. Hell, there's still plenty I've yet to discover, and knowing Yu and the way he makes games, probably quite a bit more to this experience. Just...don't start with Barbuta. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-12.png) UFO 50\. Source: Press Kit. --- > "Seaside Drive is a fantastic mashup of driving and shooting. Mini & Max is a platformer with a really neat gimmick. Party House is a genuinely cool deckbuilder. Valbrace is a rad first person dungeon crawler with Punch-Out style combat." > > **Jamie Galea** --- ### [Josh Bycer](https://www.superjumpmagazine.com/author/joshbycer/) A long-in-development collaboration to celebrate retro games and design, UFO 50 succeeds at giving us an almost alternate universe collection of games. From those that are decidedly retro, to some that feel original, there is a huge variety of games to play. While there are some that you may not like, that's kind of the point of this collection – it is a celebration of game design in its many forms. I would be surprised if there is someone out there who personally loved all 50 games, but there is a game for everyone here. If you have any interest in the act of game design – learning how gameplay can work in all of its many forms, UFO 50 is a must play. As game design enthusiast, UFO 50 is a treat to play and examine to see the inspirations and original takes in the collection and is further proof that game design is universal – you don't need expensive graphics to create something amazing and unique that resonates with people. ### [Lucas Di Quinzio](https://www.superjumpmagazine.com/author/lucasdiquinzio/) The aim of UFO 50 is to evoke the feeling of delving into the back catalogue of an '80s console you didn’t grow up with, with each game unlocked from the start, complete with a blurb of info outlining its place on the fictional console’s timeline. Mossmouth has done quite a good job with this, but there is one issue - the games are too damn good. If it was like a real retro collection there would be six so-so mascot platformers. Thankfully they didn’t commit that much to the bit. In fact, many of the games owe more to modern game design trends than you might think. My personal highlight was Party House, a genuinely great deckbuilder that would be the year’s best in most other years. Then there’s Bug Hunter, a tough-as-nails grid-based strategy game that seems to have a hefty dose of Into The Breach in its DNA. There’s Avianos, a miniature 4X game, Night Manor, which is like that Friday the 13th NES game if it was actually really good, and Zelda/idle game hybrid Pilot Quest. Then there’s a suite of platform and action games, my favourite being Mini & Max, which plays with scale in a truly inventive way. And you know what, ask someone else who’s played UFO 50, and they could very well have a completely different list of highlights. Hell, ask me another day and I might have different favourites, that’s how many great games are in this collection. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Unicorn_Overlord.png) ## Unicorn Overlord *By* [*Vanillaware*](https://vanillaware.co.jp/) ### [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/) Atlus' surprise hit from Vanillaware perhaps shouldn't have been that much of a surprise, considering the beauty and complexity of their past games 13 Sentinels, Odin's Sphere, and Dragon's Crown. Nearly ten years in development from conception to release, Takafumi Noma's team wanted to celebrate the tactical RPGs of the 1990s. With a composition by Hitoshi Sakimoto's music studio, Unicorn Overlord is much more than homage; it may well be one of the new classics in the genre, a game that expertly blends tactical RPG gameplay, charming characters, and unbelievable two-dimensional visuals with quality of life updates from a team who deeply understood and respected their inspirations. With an online multiplayer mode, a massive overworld, and a plot dripping in political strife, Unicorn Overlord may well stand shoulder to shoulder with Final Fantasy Tactics and Tactics Ogre. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/image-13.png) Unicorn Overlord. Source: Press Kit. --- > "Vanillaware remains a developer that can't stop hitting it out of the park, and Unicorn Overlord is a perfect example of systems and mechanics working together to create something really, really cool." > > **Jamie Galea** --- ### [Jamie Galea](https://bsky.app/profile/jamiegalea.bsky.social) As the follow up to the sublime 13 Sentinels: Aegis Rim, Unicorn Overlord couldn't be anymore different. Where 13 Sentinels gave players a surprisingly deep and rewarding story with a decent tactical game in between, Unicorn Overlord gives players a surprisingly deep and rewarding tactical game with a passable enough story. If anything, the game has a story just to prop up the rest of the game. Yet don't let this throw you off! There's so much about Unicorn Overlord that feels really rewarding, with the game offering so much in terms of its systems and mechanics that you're encouraged to tinker and mess around to find the perfect setup for every encounter. The same goes with just about everything else in the game too. To give you an idea, this is one of those games where you can access the final battle much earlier than you're supposed to. However, if you know what you're doing, you can probably do a lot better than you'd think in that fight at such a low level. All of this is presented with Vanillaware's incredible sprite art, their trademark for the last 20 years. It's as striking as ever, and while some of it may not be to everyone's liking, it never ceases to look stunning. It's also maybe the most available that a Vanillaware game has ever been. Unlike 13 Sentinels, a PlayStation and Switch version launched simultaneously, alongside an Xbox version, a first for the company. Frustratingly, there's no PC version, with it feeling like Vanillaware dragging their heels as the rest of the world is seeing great results on Steam. It's a move I can sorta respect, even if it drives me insane. Regardless, Vanillaware remains a developer that can't stop hitting it out of the park, and Unicorn Overlord is a perfect example of systems and mechanics working together to create something really, really cool. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Wild_Bastards.png) ## Wild Bastards *By* [*Blue Manchu*](https://wildbastards.com/buy-now/) ### [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/) In a world of uninspired roguelike games, it's nice to see that one that so perfectly nails the mechanic. Developer Blue Manchu already proved that they had a solid grip on organized chaos with Void Bastards, but its spiritual successor Wild Bastards so thoroughly surpasses that one that it's remarkable. The real magic lies in its characters. Over the past decade, we've really learned how powerful good character design can be, and that's where Wild Bastards has the edge. It's not just the each of the playable characters has unique weapons and skills that lend them to different playstyles, it's also the banter and behind-the-scenes relationships that makes them feel real. You'd think you were really wrangling a pack of misfit weirdos on a journey through space. Beyond that, the moment-to-moment gameplay of Wild Bastards is just plain satisfying. The variety in the characters means that there are different approaches to the gameplay - stealth, run-and-gun, sniping, ambushes, or raw directionless destruction. However you opt to approach any fight, it feels good. Narrowly slipping through a difficult fight using a combination of tactics and mechanical skill is as righteous as it was in Void Bastards, but with less downtime and more action. --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/02/SJ_Circle.png) *Phew! That's it for another year. We hope you enjoyed our 2024 Games of the Year celebration. Join us again next year when we'll be doing this all over again. And in the meantime, please continue to enjoy* [*SUPERJUMP*](https://www.superjumpmagazine.com/)*. Thank you for reading. Have a safe and happy 2025.* ### Indie Monthly: January 2025 URL: https://www.superjumpmagazine.com/indie-monthly-january-2025/ Last updated: 2025-02-01T11:36:06.000Z **January is conventionally a bit of a slow month.** With shopping season and the rush of GOTY lists vanishing in the rearview, it can be on the quieter side. That's not to say that there's nothing of interest, of course. Today's slate of games includes several with an odd common thread: Unorthodox detectives. Whether hunting mystical beings, investigating occult rituals, or untangling quantum paradoxes, we're flush with spec-flavored mysteries. Interested in seeing the games in action? [Check out the video versions here](https://www.youtube.com/playlist?list=PLerWTn3E-2CkTvCMDJ873hYXBAzizQa4a). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/EndOfTheSunA.jpg) The End of the Sun. Source: Author. ## [The End of the Sun](https://store.steampowered.com/app/912840/The%5FEnd%5Fof%5Fthe%5FSun/) The End of the Sun is a story-driven adventure game centered around Kupala, the Slavic festival of the Summer Solstice. It puts the player in the role of a sorceress investigator tasked with unearthing the secrets of an abandoned settlement. You are an ashter, a mystic gifted with the ability to view distant events and travel through time. You are attempting to capture a magical creature that has been causing trouble throughout the countryside. It's a job you've done many times, but this one is particularly crafty. Its trail ends in a village that shows no signs of life, save a large number of smoldering hearths. These half-kindled fires will serve as portals allowing you to reconstruct the final year of this village and, hopefully, learn how your quarry is connected to the whole thing. The story of The End of the Sun is split into many vignettes, each linked to one of the fires and presenting a small part of the greater story. After connecting with a fire, the player can view unstable fates - events from the past that went awry in some way. By solving various puzzles, the player can eventually stabilize these events and get the whole picture. These vignettes range from mundane slice-of-life tales of a Slavic village to stranger events of a more arcane nature, but they are all linked and gradually fill in the backstory. The game's narrative is largely nonlinear. After a brief introductory sequence, the player gains the ability to travel across the four seasons, encountering different vignettes and events in each. Completing certain vignettes can change what happens in the other seasons - for example, helping a worker complete the construction of a bridge will offer access to a new area in another time period. There isn't any specific sequence one has to follow, and there are enough events available from the start that the player can tackle the story in any number of ways. The signposting is also good enough that there's little risk of getting lost, and the puzzles that will take time to solve are usually obvious. Realism was a major focus for the developers of The End of the Sun. The events, traditions, and myths depicted in the story are all based on actual Slavic culture, while the buildings and artifacts were derived from actual physical objects recreated in the game world. The result is a game that can have a real spirit-haunted beauty to it. If you know anything about traditional Slavic culture or have ever been curious about it, then this game offers a little something extra. [The End of the Sun](https://www.endofsun.com/) is available for PC via [GOG](https://www.gog.com/game/the%5Fend%5Fof%5Fthe%5Fsun), [Epic](https://store.epicgames.com/en-US/p/the-end-of-the-sun-1f25f4) and Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/CatDetectiveA.jpg) Cat Detective Albert Wilde. Source: Author ## [Cat Detective Albert Wilde](https://store.steampowered.com/app/1810670/Cat%5FDetective%5FAlbert%5FWilde/) Cat Detective Albert Wilde is a surrealistic adventure game that satirizes the film noir genre with its visuals and writing. It's very much in the walking simulator camp, with a greater focus on story and dialogue than puzzles. Albert Wilde is quite possibly the worst investigator who's ever lived. Between his losing gambling habit, a torrent of lawsuits from former clients, and the Chief of Police refusing his calls, it's no wonder that he's neck deep in bills. Out of a desperate need to pay off his bookie, he takes on a case that even the police can't solve - a mysterious murder with no obvious cause of death. It's a weird case that only gets weirder as the clues lead Wilde to a world of mad science and a space-warping device that is somehow tied to the crime. The game plays out in first person, with Wilde traveling between locations, searching for clues, and interrogating witnesses and suspects. There are some simple puzzles and even the occasional action sequence, but the mechanics are overall streamlined to put most of the focus on the narrative and visual design. The aesthetics are easily the strongest element in Cat Detective Albert Wilde. The game does a fantastic job capturing the gritty, grainy, rain-soaked look of vintage film noir cinema, with lots of little details to pick out as Wilde explores the seedier (and, occasionally, prettier) parts of the city. This aspect mixes surprisingly well with the surreal, distorted character design, which has realistic animal heads mounted on disproportionately small bodies. "Weird" is the watchword, and the weirdness never lets up. That also extends to the writing; most of the dialogue is a parody of classic hardboiled detective writing, intercut with sci-fi-flavored surrealism. The humor is a bit of a strange blend, combining deadpan jokes about old-school detective stories and broad cracks about feline hygiene habits. This admixture doesn't always work as planned, but comedy is down to personal taste and you may have more affection for jokes about litter boxes and personal grooming. Ultimately, whether or not you like the game is going to come down to whether you appreciate surrealism and especially surreal humor. If the willfully bizarre is up your alley, then this just might be for you. [Cat Detective Albert Wilde](https://beyondthosehills.com/quantum-pi/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/WardensWillA.jpg) Warden's Will. Source: Author. ## [Warden's Will](https://store.steampowered.com/app/1689640/Wardens%5FWill/) Warden's Will is a third-person, co-op extraction shooter pitting the player against waves of enemies on a series of alien planets. Each level tasks the player with tracking down three transmitters hidden somewhere in the landscape. Once activated, these transmitters must be loaded with data gained by defeating enemies. Activating and loading all three opens a rift somewhere high in the map which leads off the planet. Scattered between the transmitters are upgrade terminals, enemy spawners, resource-restoring crystals, and a fistful of other traps and obstacles. There's some degree of character customization, beginning with the player's choice of Warden. Each comes with a skill kit that includes two special attacks and a movement ability. Those movement abilities - including power jumps, omnidirectional dashing, and a few versions of flight - all offer some means of vertical travel, which compliments the verticality in the level design. Wardens do not come with their own weapons but rather pick one from a selection of armaments. These range from TPS staples like submachine guns and rail guns to more exotic weapons that fire bouncing plasma orbs, electric pylons, or miniature black holes. All weapons work on a novel heat system in which the primary fire increases heat while the secondary fire consumes heat. This means a player with good game sense and timing can maintain continuous firing by switching between the two. The developers of Warden's Will claim a lineage to bullet hell games, which is most evident in the difficulty curve. The beginning of each level is a surprisingly placid experience, sparsely populated with weak, passive enemies. As the player spends more time in the level and activates more transmitters, the gloves come off, with the game spawning larger waves of higher-level enemies that aggressively seek out the player. Expect every level to end with all participants limping away from a flood of mobs constantly spawning all around. Defeating enemies provides the player with currency which can be used to purchase upgrades. These upgrades are randomly selected and are mainly offense-oriented, focused on tuning how the player's weapon handles, upgrading special attacks or even adding additional projectiles under select circumstances. Since Warden's Will plays out in real-time even when played offline, don't expect to have much time to pick out your build - usually, you'll be making a decision while taking fire. Warden's Will supports up to four-player co-op and it is clearly meant to be played that way. It is possible to play the game single-player, as I did for this review, however, the scope of the levels and the frequent attacks from all directions definitely lend themselves more to group play. Do yourself a favor and find a friend or two to watch your back if you give this one a shot. [Warden's Will](https://wardenswill.com/) is available for PC via Steam. A copy was provided for this review. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/DeadOfDarknessC.jpg) Dead of Darkness. Source: Author. ## [Dead of Darkness](https://store.steampowered.com/app/2157210/Dead%5Fof%5FDarkness/) Dead of Darkness is a throwback survival horror game combining circa-1997 design sensibilities with circa-1992 graphics design. It pays homage to many well-known horror games of the era with Alone in the Dark, Resident Evil, and Eternal Darkness being the most obvious inspirations. Miles Windham is a down-on-his-luck PI who's been adrift through life ever since he lost his family in a mysterious fire. One day, he receives a message urging him to travel to the remote Velvet Island, home to a psychiatric hospital run by a family with a long and storied history. In exchange for Miles' help, someone is prepared to offer him information on the fire. But Velvet Island isn't what Miles was expecting. The night he arrives, he watches as several of the denizens are ripped apart by walking corpses. Now, if he wants to escape, he'll need to unravel a greater mystery, one involving occult rites and strange experiments. Anyone experienced with early survival horror will feel right at home with Dead of Darkness, as it plays like a 16-bit demake of one of those games. The player must explore a series of monster-infested buildings, keeping a careful eye on life and ammo. Combat is very simple, with the challenge coming more from managing limited resources. There are also puzzles, most of which are just a matter of finding keys and combining items, though there are some more complex puzzles that are, for the most part, intuitive enough to solve them unassisted. The overall design is extremely old-school for better or worse. That means getting used to some concepts we've left behind, such as manual-only saving restricted to save rooms and a limited inventory that will require some key item juggling. On the plus side, Dead of Darkness also features some quality-of-life improvements over its precursors, including a scan feature that shows every interactable object onscreen and a color-coded map that shows which rooms still contain items and which keys are needed to unlock doors. One other addition to the game is the sanity system. In addition to physical harm, monster attacks also erode Miles' sense of self. This results in increased vulnerability to damage and status effects as well as the occasional screen-warping hallucination. Sanity-restoring items are abundant enough that this seldom becomes significant, but it is something to note when your screen abruptly flips upside down. Aesthetics aside, Dead of Darkness is a flashback to the late 90s. Give it a shot if you have any nostalgia for that era. [Dead of Darkness](https://www.deadofdarkness.com/) is available for PC via Steam. A copy was provided for this review. --- That wraps up our look at all the indie games that caught our attention in January, be sure to come back each month for more of those sweet, sweet indie games you need to know about! ### A Brief History of 3D Graphics on the Game Boy Advance URL: https://www.superjumpmagazine.com/a-brief-history-of-3d-graphics-on-the-game-boy-advance/ Last updated: 2025-01-29T14:00:02.000Z **For many modern gamers, it’s all too easy to forget the cultural impact Nintendo’s eponymous Game Boy had on not only the gaming industry, but the wider world in general.** Nearly [119 million](https://en.wikipedia.org/wiki/Game%5FBoy) of the late great Gunpei Yokoi’s little handheld wonder were sold. The Game Boy’s impressive 14 year run in production is filled with absolute classics. Donkey Kong, Kirby’s Dream Land, Super Mario Land 2: 6 Golden Coins, The Legend of Zelda: Link’s Awakening, Wario Land: Super Mario Land 3, Tetris — even the unstoppable force that is Pokémon got its start here. There’s a reason why everyone’s grandmother calls any handheld gaming peripheral they see a “Game Boy,” because it mattered that much when it was released. The Game Boy went through multiple iterations over its tenure as the handheld king. The Game Boy family includes the original Game Boy, Game Boy Pocket, Game Boy Light, Game Boy Color, and three versions of Nintendo’s last production Game Boy: the Game Boy Advance, Game Boy Advance SP, and Game Boy Micro. Like with many products under the Nintendo brand, achieving peak performance and rendering sleek graphics were not the mission for the Game Boy series, instead giving quality, addicting experiences that could be taken on the go. The Game Boy Advance (GBA) felt like a different beast when it arrived on the [market in 2001.](https://en.wikipedia.org/wiki/Game%5FBoy%5FAdvance) While still woefully underpowered compared to it’s successor (the Nintendo DS) or even to its competitor (the PSP) the colorful 32-bit graphics and 256 kB of external wRAM made everyone feel as though they had a SNES in their pockets. For 2001, that was a hell of a feat. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-84.png) The original GBA console. Source: The Gamesmen. Games on this little system were sometimes downright gorgeous. [Castlevania: Aria of Sorrow](https://en.wikipedia.org/wiki/Castlevania:%5FAria%5Fof%5FSorrow) is a beautiful 2D sides scroller with impressive animations and appropriately oppressive surroundings. [The Legend of Zelda: The Minish Cap](https://zelda.fandom.com/wiki/The%5FLegend%5Fof%5FZelda:%5FThe%5FMinish%5FCap) boasted an isometric perspective filled with vibrant colors animated in the style of Wind Waker. [Yoshi’s Island: Super Mario Advance 3](https://www.mariowiki.com/Yoshi%27s%5FIsland:%5FSuper%5FMario%5FAdvance%5F3) was essentially a portable Yoshi’s Island and took no less than a miracle to make it work so effortlessly on the handheld. One thing tying these titles together, despite their differing art styles and genres, is that they’re all rendered in retro-pixelated 2D. The GBA excelled at rendering 2D sprites on flat or isometric planes. It didn’t take long, however, for developers to realize that the GBA wasn’t limited to rendering just two dimensions, and many games were rendered in full or partial 3D to some seriously impressive varying levels of success. The GBA was never specifically designed to render 3D graphics. There’s a general misconception that the GBA used [Mode 7](https://en.wikipedia.org/wiki/Mode%5F7) graphics like its bigger brother — the SNES — but this is a bit of a misnomer. The GBA was actually only able to use modes 0–5, whereas the SNES could actually use modes 0–7\. This basically means that true 3D, even with scrolling backgrounds, wasn’t really in the GBA’s wheelhouse, so developers had to get crafty in order to have the system render what we perceived as 3D. One of these games was launched alongside the system with [F-Zero: Maximum Velocity](https://en.wikipedia.org/wiki/F-Zero:%5FMaximum%5FVelocity). F-Zero: Maximum Velocity (along with games like [Mario Kart Super Circuit](https://www.mariowiki.com/Mario%5FKart:%5FSuper%5FCircuit)) were 3D games in the same vein of 3D we had come to know from the SNES — Mode 7-esq racers comprised of scrolling, flat tracks using perspective to cast the illusion of 3D. Any assets in the games, like obstacles and sprites, were 2D. These basic 3D racers were just the tip of the iceberg when it came to what the GBA was capable was in a three dimensional space. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-85.png) Tony Hawk’s Pro Skater 2\. Source: GamePro. The big 3D standout from the launch line up, however, was [Tony Hawk’s Pro Skater 2](https://en.wikipedia.org/wiki/Tony%5FHawk%27s%5FPro%5FSkater%5F2). While not entirely 3D, the skaters are fully rendered in polygonal 3D, and while it gets a little pixelated at distance, it looks really damn good for a twenty year old game. The 3D rendered skaters blend pretty seamlessly with the pre-rendered 2D backdrops to accurately encapsulate the feeling that the Tony Hawk series invoked at the time. It also shows that right out of the gate, developers were interested in pushing the GBA hardware to its limits and showing its 3D capabilities. The GBA employs a few different techniques in order to render or otherwise emulate 3D on such a small machine. Obviously, the main hurdle when rendering 3D for the GBA is utilizing the notable lack of horsepower the console has under the hood. The most popular ones were [ray casting](https://en.wikipedia.org/wiki/Ray%5Fcasting) (a “simple” programming function that renders lines instead of full polygons to save on processing power), voxel rendering (generating surface geometry within the camera’s visibility) and utilizing specific 3D assets while pre-rendering environments (like the original Resident Evil, but much more simplified.) Shooters, sports games, and racers seemed to rule the roost when it came to 3D experiences on the GBA. The joke of “[Doom can run on anything](https://www.gamesradar.com/12-things-that-prove-that-doom-will-run-on-literally-anything/)” holds true with both Doom and Doom II being ported. The original Doom is technically here in its entirety, albeit in the form of the less-optimal Atari Jaguar version. It may be horribly bit-crushed and pixelated, but if you wanted Doom on the go in 2001, it was a very serviceable experience. Doom was achieved with ray casting — similar to the original — and is just one example of 3D first-person shooters gracing the GBA. Big names like Duke Nukem, Serious Sam, 007, and Medal of Honor all got major releases on the platform. Some of these games used ray casting, others didn’t, but they were all fully 3D first person shooters on the go. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-86.png) Doom. Source: RAMOK. Sports games also saw plenty of 3D releases on the GBA, and the implementation here makes a lot of sense. Sports titles typically take place in a set location with a specific number of assets rendered in at any given time, with very little variance. The later games in the monumentally popular Madden American Football series as well as the Fifa series were considerably impressive for handheld sports games at the time. Fifa ’07 is presented entirely in 3D, from the stadium, to the field, to the players. Some of these titles give you the ability to watch highlights, rewind the footage, and even have free control of the camera to see those 32 bits in their full glory. Despite the DS already being on the market [for nearly two years](https://en.wikipedia.org/wiki/Nintendo%5FDS), a lot of love was put into these later-life sports games to try to make them worth playing on Nintendo’s last Game Boy variant. Racing games are where the GBA shined and really utilized the ability to create 3D experiences. The most impressive of these racing games, however, has to be [VD-dev’s](https://en.wikipedia.org/wiki/VD-dev) [V-Rally 3](https://en.wikipedia.org/wiki/V-Rally%5F3), released in 2002\. A rally style racing game with big, detailed tracks and beautifully realized sprites, V-Rally 3 runs as smooth as butter and looks excellent for the GBA, even including a cockpit view. After this is probably 2003’s Top Gear Rally, developed by [Tantalus Interactive.](https://en.wikipedia.org/wiki/Tantalus%5FMedia) One of the few 3rd party 3D GBA games to be officially backed by Nintendo (in the US,) Top Gear Rally boasts fully rendered 3D models for its cars that are meticulously detailed. Somehow, Tantalus invoked the feeling of weight and resistance rally cars are designed for out of the GBA’s tiny screen and basic D-pad and A/B button combination. There’s so many examples of excellent 3D racers on the GBA: Mario Kart Super Circuit, Driv3r, Sega Rally Championship, Stuntman, Drome Racers. It’s astonishing how much time and effort were put into making these games not only play well, but look the part too. Especially when that meant simplifying the experience to fit on the GBA. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-87-1.png) Banjo Pilot. Source: Nintendo Blast. What’s more interesting than what we did get in terms of 3D titles on the GBA is what we didn’t get. Tons of tech demos and in-game engines were developed, but never released or utilized. A company called Prograph Research created a 3D engine called [DR advance](https://www.unseen64.net/2011/06/10/gp-advance-gba-cancelled/) to create GP Advance, an unlicensed Formula 1 racer. Neither saw a publisher or the light of day. There was a cancelled voxel [3D Dune game](https://www.youtube.com/watch?v=RqlRE-I7J-4) seeing you take control of an ornithopter in first person. Banjo Pilot was originally a [voxel-based](https://www.youtube.com/watch?v=Km0aspnQc6I) racer before being turned into a Mode 7-based racer. In the years since, there’s been a ton of information coming out on the various demos and builds for some incredible looking games that never saw release. On top of this, there’s some oddities that stand out. The [Max Payne GBA port](https://www.metacritic.com/game/game-boy-advance/max-payne) (an isometric top-down 3rd person shooter) is surprisingly good. [Asterix & Obelix XXL](https://en.wikipedia.org/wiki/Asterix%5F%26%5FObelix%5FXXL) is a gorgeous and competently made 3rd person action platformer. The [Crash Bandicoot GBA games](https://crashbandicoot.fandom.com/wiki/Category:Nintendo%5FGame%5FBoy%5FAdvance%5FGameshttps://crashbandicoot.fandom.com/wiki/Category:Nintendo%5FGame%5FBoy%5FAdvance%5FGames) have some seriously detailed 3D chase sequences, complete with fully rendered environments and models. Unfortunately, the vast majority of these games were either middling, or downright bad. Most of them felt more like tech demos showcasing how far the GBA’s hardware could be pushed rather than full, rounded experiences or “must-have” games. 3D on the GBA seemed to work much better when it was used simply to enhance the strong 2D 32-bit aspects of the GBA, instead of trying to replace them. Regardless of the lack of fun-factor, these games were huge triumphs for the system. The Game Boy Advance was, regrettably, the last ever Game Boy console. Over 1,500 different titles were developed for it, and interest in this platform hasn’t waned. There’s a whole market dedicated to modifying the classic handheld to better fit with modern audiences: a backlit screen, more responsive buttons, and rechargeable battery packs. Even as far as 2021 saw a Kickstarter game titled [Goodboy Galaxy](https://www.ign.com/articles/new-game-boy-advance-game-goodboy-galaxy-kickstarter) set to release physically on the GBA — the first game to do so since 2008 — smash its goal. The love for this portable remains, and because of that, it’s well worth looking into the incredible things developers were able to do with such limited hardware in the bygone era of the early 2000s. ### Inside the Arcade: "Dig Dug" (1982) URL: https://www.superjumpmagazine.com/inside-the-arcade-dig-dug-1982/ Last updated: 2025-02-01T11:36:14.000Z **It** **was marketed as a “strategic digging game”. It turns out that in 1982, digging was not just about making a hole. Not anymore!** Our guy’s name was “Dig Dug”. He was a modified-looking Smurf with a lot of moxie. He came equipped with tools to excavate the dirt and a pump to inflate enemies until they burst. He didn’t f@#k around. Our job was to help Dig Dug clear out holes, loosen boulders to flatten bad guys, and inflate any of the red goggled dudes or fire breathing dragons in sight. The bad guys would sometimes attack us, and then out of the blue, they might just run for the exit. For them, it was fight or flight and you could get either one at any time. Racing these bad guys to the top left-hand corner of the screen and trying to catch them before they escaped is something I remember well. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-82.png) Look out for the Dragon! Source: Namco Gaming, Inc. The overall job of the player was to stay cool. And then, hurry up. You could hit the “Pump” button to throw out your inflating hose. But you had to let it attach to the bad guy. If you hit the button before it latched, the hose would retract with a blinky noise. If you panicked and started slamming the button, things just got worse. When you did get your hose attached you then had to quickly hit the “Pump” button multiple times to burst the bad guy. If another bad guy was on your tail you might have to detach and run before you pumped your target enough to destroy it. Then your target would slowly deflate and both enemies would be on your tail! Yikes. The coolest way to dust these underground menaces was to crush them with a rock. I guess that’s where the strategic digging came in. Because you had to time this right and it wasn’t easy. A few times in my career I got two of them with one rock. “Two birds with one stone” was a reason to celebrate. It also amounted to a lot of points. But I didn’t spend too much time popping the champagne, as there were sure to be other dudes closing in on me. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-83.png) We got a hold of one! Source: Namco Gaming, Inc. As the levels progressed the bad guys got faster. They could dodge the rocks if you loosened them above. They could also just take off for the exit right from the start of the stage. They didn’t even bother fighting, they’d just run. I’d try to chase them down. But eventually, they just became too fast and the game would be over. Dig Dug was universally loved. People who weren’t gamers per se could get a kick out of giving this a run at the arcade or pizza parlor. I mean, who doesn’t like to dig? And who doesn’t like to pump it up? But how strategic was your digging? That was the question. There were also other questions like, “what exactly is going on?”. And the only answer to that one was, “Dig Dug”. ### IREM Collection Volume 2 Review URL: https://www.superjumpmagazine.com/irem-collection-volume-2-review/ Last updated: 2025-01-29T11:39:13.000Z **You've heard of Metal Slug, but it's a shame you've never played GunForce.** This collection of arcade gems includes both the original console and arcade versions of GunForce, GunForce II, and Air Duel, with numerous quality-of-life changes perfect for the experienced and uninitiated. Included in the collection are the original GunForce, in both the SNES and Arcade versions, GunForce II's first official worldwide console version, and the arcade-exclusive Air Duel that was only ever released in Japan. Each game includes groundbreaking additional features, making these titles more than a simple blast from the past. The DNA of Metal Slug is hardcoded into each of these titles, where you play as paramilitary mercenaries thrown into the frontlines reminiscent of the best action films of the 1980s and 1990s. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Gun_Force_II_US_resized_1.00.png) Source: Press Kit. The no-mercy, no-holds-barred approach of these titles is enhanced by console-exclusive changes, such as infinite lives and additional ammo styles. The stages are fast, frenetic, and beautiful, featuring painterly old-school pixel art that fits right in to the futuristic, apocalyptic military world. Blast your way through each stage and rack up high scores as you run'n'gun on foot or in several different vehicles. IREM Collection Volume 2 is perfect for old and new fans alike, and is the sort of anthology that has made the Switch such an endearing console. It sits strongly alongside similar collections, such as Tomb Raider I-III Remastered, Spyro Reignited Trilogy, and the numerous classic Mega Man collections available. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Air_Duel_World_M82_hardware_1.01.png) Source: Press Kit. This collection also features Online Leaderboards & Global Rankings for those who prefer a true challenge, or those gamers that prefer a more speedrun-enabled edition of each title. With plenty of challenging stages and bosses, a killer soundtrack, and updated controls, the [IREM Collection Volume 2](https://www.nintendo.com/us/store/products/irem-collection-volume-2-switch/) is well worth your time and is available on PlayStation 5, Xbox, Nintendo Switch, and PC. ### Tips for Older Gamers Who Wear Reading Glasses URL: https://www.superjumpmagazine.com/tips-for-older-games-who-wear-reading-glasses/ Last updated: 2025-07-18T01:02:41.000Z **Over the years, studies have shown that playing video games has a positive impact on our** [**brain functions**](https://www.superjumpmagazine.com/your-brain-on-video-games/). Our previous post on the subject highlighted how being an avid gamer can mean your brain may require less effort to activate and sustain attention on certain tasks — even difficult ones. The hippocampus, responsible for short-term and long-term memory, has also been shown to work more efficiently in long-term gamers. It's no surprise, then, that gaming has become a favored pastime for many, regardless of age group. A 2024 study on video gaming in older people found that [older adults](https://pmc.ncbi.nlm.nih.gov/articles/PMC11274634/) saw a significant improvement in cognitive functions when trained with video games. Improvements were also recorded for depressive symptoms, sleep quality, and anxiety. Meanwhile, other studies note that older people also experienced improved memory and attention and saw favorable effects on daily life activities as a result of video game training. Of course, gaming at an older age may feel completely different from gaming when younger. For one, older adults may need certain assistive tools, such as reading glasses, to better enjoy the gaming experience. In this post, we'll be sharing some tips for older gamers who need reading glasses: ## The importance of reading glasses If you're unfamiliar with reading glasses, they differ slightly from regular eyeglasses. These are often prescribed for older adults, as aging can lead to reduced or impacted vision and visual clarity. Unlike regular prescription glasses, readers aren't meant to be worn full-time as they can't correct your vision over time. Instead, reading glasses stop you from squinting or getting too close to the screen to see text or images that may be too small. Nowadays, there are many types of [readers glasses](https://www.fostergrant.com/reading-glasses) available on the market. Foster Grant, who specialize in readers, offer progressive MultiFocus™ reading lenses that eliminate the visible line typically seen in bifocals and conventional reading glasses. For avid senior gamers, Foster Grant also makes blue light readers, which can help reduce blue light exposure and prevent digital eye strain symptoms. While reading glasses aren't meant to be worn all the time, older gamers may need them during long gaming sessions, depending on the game they play. If a lot of text and visual details are involved, reading glasses can help you see more clearly. However, gaming with readers can take some getting used to. Below are some tips for gaming while wearing reading glasses: ## Update your prescription As with regular prescription glasses, you should still schedule regular eye exams to check if your reading glasses are still right for you and your needs. Your vision changes over time, and your readers may need updating. Signs to watch out for include blurred vision when reading in-game texts and eye strain, fatigue, dryness, or even headaches. ## Get anti-glare lenses As mentioned, reading glasses come with various features and lens upgrades available today. An upgrade you may want to consider is [anti-reflective coating](https://www.sphericalinsights.com/reports/anti-reflective-coatings-market), which can help reduce the glare from your computer screen or displays. These make the display simpler to read and improves your visual awareness. If your favorite readers don't offer anti-glare lenses, you can also consider replacing your gaming monitor with [OLED monitors](https://www.xda-developers.com/x-things-you-should-know-before-buying-an-oled-monitor/). LG's OLED displays are matte instead of glossy, which eliminates distracting light reflections. ## Take occasional breaks Finally, as previously mentioned, wearing reading glasses while gaming can take a while to get used to — even if you know you need them to be able to see clearly. Instead of giving up and gaming without your readers entirely, it's important to take things slow and take occasional breaks from the screen. After a while, you may find viewing in-game details through your readers isn't so bad or strange. If you start to feel dizzy or have headaches, take a breather and come back to the game when you're ready. **This story contains links from one or more partners.* ### The Best Cooking Games to Play on Steam URL: https://www.superjumpmagazine.com/the-best-cooking-games-to-play-on-steam/ Last updated: 2025-07-18T01:02:30.000Z **I love cooking games so much that I’m willing to spend $$$ just to enjoy a good game**. I’ve always had a heart for cooking in real life, and being able to play games where I can prep, cook, and serve is a different level of satisfaction. I believe many people relate to what I feel because cooking games are relaxing. It can ease stress and clear minds during a tough day. After all, if you’re already an adult, you know how stressful and tiring life could be. Okay, let’s get into what you came here for — my favorite cooking games on Steam that I personally think everyone should play. No bias, no promotions, just a pure heartfelt review. Some of these games require a fast [wireless service](https://wireless.planetdish.com/), kindly keep that in mind. Let’s start! ## Overcooked 2 The first ever game I played on Steam was Overcooked 2\. I played it with my friends, and I swear, we were just laughing the whole time. It’s a cutthroat cooking game that requires speed, teamwork, and communication. A maximum of 4 players can play in a game, and you all have to work together to send out orders while trying to navigate the challenges of every map. Personally for me, it’s a fun game with friends, but I tend to get bored when I play it by myself. ## Papa’s Pizzeria Deluxe Papa’s games (mobile version) became popular during the pandemic, and I was one of the people who have been recommending this to anyone looking for a chill game. You will basically be working as a pizzeria staff — taking orders, cooking pizzas, and serving them. Of course, time is still very important. If you have ever watched a TV show on [DISH TV](https://planetdish.com/dish-network-tv-packages/), for example, where one person runs an entire restaurant, that’s exactly it. You can purchase (using game money) to make cooking easier, which is great as you progress. It’s an easy game. ## Cook, Serve, Delicious! I wouldn’t say Cook, Serve, Delicious! is the best cooking game ever because for me, you don’t get to experience the “cooking” aspect of it. In most cases, you just throw ingredients in a pot, and that’s it. However, what made this fun was the challenge with time. You’re constantly racing against the clock, trying to fulfill orders before customers lose their patience. The pressure builds as the day progresses, especially when rush hours hit. It’s a fun game if you like a fast-paced cooking game. ## Kebab Chefs! I just recently started playing this game, but let me tell you, if you want to experience restaurant ownership at its best, play Kebab Chefs! Here, you’ll inherit a restaurant from your father. What I like about this is how realistic the game is. If you’ve ever watched a movie on [streaming services](https://golatinotv.com/) or cinemas about some who’s opening a restaurant from scratch, it’s literally it — but with an added challenge, of course. In the first part of the game, you need to clean the restaurant, strip the walls, and stuff like that. Then, you’ll need to buy the cooking supplies. Once you’re all set, you’ll start getting customers. You will be in charge of everything — cooking, serving, washing the dishes, grocery shopping, and more. It’s a very hands-on game, which I love so much. ## The Bottom Line If you’re looking for a new cooking game to try on Netflix, I swear by these games. They are so fun to play, and they allow you to actually live the life of a chef, a restaurant owner, and a manager all at once. I mean, that’s THE life, right? Hope you give them a try, and let me know what you think. Happy playing! **This story contains links from one or more partners.* ### Kentucky Route Zero: An Ode to David Lynch URL: https://www.superjumpmagazine.com/kentucky-route-zero-an-ode-to-david-lynch/ Last updated: 2025-01-27T14:33:29.000Z **You ride in the dead of night. The fog of the future obscures your vision.** The longer you’re road-bound, the harder it gets to see, to figure out what’s ahead. The road is a mystery. And in the darkness, your deepest subconscious rises to the surface. You confuse dreams with reality. There’s nothing in the headlights but your reflection. The world’s outermost elements are manipulating you. Your hippocampus acts up, neurons misfire, and your brain betrays your sanity. Yet despite all this assault, you feel something warm tending the temperature of your skin. In the long road after the sun has set, fire walks with you; a fire that one particular artist knows too well – the burning flame of nightmares and the sweet spark of illuminating dreams – a fire that visionary director David Lynch stoked long ago, that glow bright even still. ## Lynchian Legacy David Lynch’s [recent passing](https://www.theguardian.com/film/2025/jan/16/david-lynch-twin-peaks-and-muholland-drive-director-dies-aged-78) made me reminisce about his legacy, not only in the medium of filmmaking but also in the gaming industry. He has left behind a library of inspiration for present and future creators, and his trademark “Lynchian” adjective will be stuck in the lexicon of artistic conversation for decades to come. From his subversion of procedural television in Twin Peaks to his descent into psychosexual dreams in Blue Velvet, Lynch’s body of work never shies away from showing the macabre nature of human unwaking experience. On the contrary, he often balances the mundane appearance of suburban Americana and interrupts it with a seedy dark underbelly. To celebrate him, I would like to explore his [influences on Kentucky Route Zero](https://web.archive.org/web/20190915215327/http://gameological.com/2013/01/jake-elliott-writer-and-designer-of-kentucky-route-zero/), the episodic game of 5 acts and 7 years. ## What does it mean to be "Lynchian?" But before I begin, what is “Lynchian?” What is it that makes Lynch’s work so identifiable and influential? [Starting as a painter](https://www.anothermag.com/design-living/8255/david-lynch-on-memory-chance-and-intuition), David Lynch’s sensibilities border on the surreal, caring less about portraying how things are as they seem, and more about how things actually are underneath. This style can be found in his movies as well. In a Lynchian film, the things happening on screen don’t demarcate between dreams and reality; there is no clear delineation. He treats them both with equal weight and screen presence. His irrational juxtaposition of not only images but also a chain of events, conveys dream logic, stripping the curtains of social performance from any pretension. Lynch puts to the surface the darkness of the human condition, but he never forgets to show that there’s light too. ![Lysette and Conway discuss whether it's inevitable to lose words over coffee.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Screenshot--3931-.png) Source: Author. ## Each Route is its Own Destination Back to Kentucky Route Zero, the game is designed by Jake Elliott and Tamas Kemenczy, who both have experience in experimental art. It shows because that approach permeates every aspect of the game design, bearing more resemblance to an interactive art piece rather than a goal-driven video game. The game follows an ever-increasing cast of characters on a road trip to deliver antiques, taking place in one elongated night and ending in the morning. But to reach their destination, they must travel through the eponymous Route Zero, and along their journey, encounter a history that haunts their every step. Each act or episode is linked by intermissions as if the game is a play. These interludes explore different art pieces that some characters of the game are a part of, such as a fully fledged [art exhibition](https://kentucky-route-zero.fandom.com/wiki/Limits%5Fand%5FDemonstrations) and a [hybrid stage play](https://kentucky-route-zero.fandom.com/wiki/The%5FEntertainment). Across the whole game’s length, there is a pervading feeling of melancholy. The characters carry antiques and meet elderly people who have nothing left but stories and stored dreams. The art installations we experience are from the same people who can’t let go of their past, and in an effort to sate their obsession, turn it into art. This desperation is especially felt when we encounter Hard Times Whiskey, an underground distillery with a skeleton crew of glowing skeletal employees. They are the victims of debt and alcoholism brought to physical form, taking shape as skeletons suffering wage slavery, paying off debts that only end in death. It is a dark visual that puts regular anxieties to their artistic extremes, not out of place in David Lynch’s works, and its symbolic representation of modern reality is a gut punch, to say the least. ## Breaking into Song To balance the bleakness, let me take you through a moment in Act 3 that stood out to me as something special, not only from this game but from video games in general. Imagine you and the people you meet on the road randomly meet a pair of musicians, and in exchange for a favor, you watch their show at a bar. There, you sit on a folding chair and see the singer prepare on a small stage. Then, something happens that you don’t expect. The lights dim and the roof parts, revealing the night sky and its army of stars. The woman, who you didn’t know was an android, glows luminescent in a dress that wasn’t there before. This is what happens in Kentucky Route Zero. It mirrors similar scenes from David Lynch’s oeuvre, such as Isabella Rossellini singing in Blue Velvet or Julee Cruise in Twin Peaks. [For Lynch](https://www.theguardian.com/film/2025/jan/17/david-lynch-music-career-cellophane-memories-death-age-78#:~:text=Throughout%20Lynch's%20films%2C%20music%20often,Booth%20%E2%80%93%20into%20a%20strange%20trance.), music can speak to the heart in a powerful wordless way. ![An android woman sings about heartbreak.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Screenshot--3985-.png) Screenshot by the Author What adds to the moment is that before this point, there was no voice-over in the game, as every dialogue is text-based. Like the stories our brains tell us when we’re asleep, the voices of every cast of characters are our own. Moreover, there is no conventional decision-making in Route Zero, every path leads to the same destination. But, there are dialogue choices that players can pick, which creates different dynamic conversations, that do not alter the story, but may influence the mood of it. And when you hear the ethereal song titled “[Too Late To Love You](https://www.youtube.com/watch?v=xD3tkW%5FquTM&ab%5Fchannel=Release-Topic),” with the audience in rapt attention, you get to choose the verse, shaping the song to mean whatever you want it to mean. This makes the moment all the more personal as if you’re lucid dreaming, and in the expanse of your half-awake mind, you don’t feel alone anymore; someone else is dreaming the same dream right there with you. It’s not only darkness behind your eyelids, there are stars too, and it’s warm. Even though there are debts to be paid, and the past haunts you, when you huddle together to listen to a good song, that weight is lifted. Like any good dream, as the roof comes back to separate the sky, you wake up rejuvenated. The song is sung by a [digitally altered Ben Babbitt](https://www.factmag.com/2016/08/23/kentucky-route-zero-ben-babbitt/), who also makes the game’s soundtrack that you can hear online, including an entire diegetic album sung as the game’s character, further fleshing out the dream space and blurring its bounds. In its best moments, Route Zero accentuates the feeling that anything could happen in the shield of night; you can meet anyone, your life can change, and you may even discover yourself a little more. And after you finish the game, waking up from its mesmerizing grip, you may not understand the full extent of what happened, or what comes after, but you would have felt something then, and according to David Lynch, that’s all that matters. ![Bob, Ben, and Emily discuss a potential puzzle of symbols.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Screenshot--3892-.png) Screenshot by the Author ## Interpretation of Dreams They say art is meant to disturb the comfortable. But when the events of real life are more disturbing than fiction, it is time for surrealist art to comfort us, soothe us into a sleep of dreams, and bring us together. When wages are not equal to the disturbingly high cost of living, maybe you’ll remember a play that speaks your fears aloud. When evil sits in a house of worship and preaches power, you’ll remember a song from long ago whose lyrics reveal a relevant truth. We live in a time where people no longer hide neither shame nor decadence. Evil isn’t so subtle anymore. Evil proudly proclaims itself on the stage. They don’t bother to camouflage with lies or false pretenses. In this absurd world, David Lynch’s work is more relevant than ever. The mask has come off, structural order has broken down, and malevolent forces run amok. But in both art and dreams, we may find sanctuary, where we don’t necessarily make sense of why bad things happen, but we understand them emotionally. We can intuit when something is wrong and when the world shouldn’t be the way it is now. And what should we do about it? Maybe we’ll get our answer in dreams, or a game, or better yet, a game that feels like a dream. There, in the halfway place where we’re not quite awake enough to question things or analyze their meaning, we find a sublime supply of answers, and with them, a hope that more people will realize there is a darkness behind the safe appearance of their lives. The simplicity of Route Zero’s art style, with its faceless and voiceless characters, makes its message more ambiguous. And like any dream, what you make of it is your own. To decipher it is to strip it of its power, and to overexplain art is to take it away from its artists. But to feel it and feel it fully is to experience it as they intended. Like other Lynchian narratives, you can take the story at face value, a magical realist adventure, where there really is a giant Eagle and robot singers. Or, you can let the story take you wherever it wants to go, keeping what it represents to heart. In dreams, there are no real endings, it’s just the road, and the route taken. And after you wake up, certain images stick like cement. ![Emily asks about places of refuge as a CRT TV scrolls through credits.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Screenshot--4374-.png) Screenshot by the Author ## Waking Up How many art exhibitions exist in the world or games that no one ever plays? How many movies are no longer in circulation? Kentucky Route Zero explores characters who discover these dilapidated museums and dusty computers, knowing that they were someone’s dream, once, someone’s only way of making sense of the world. As such, all art lost and found should be celebrated. David Lynch advocates for us to not bother with puzzling out what something means, and to not be too focused on watching "ending explained" videos. We should only care to feel their emotional resonance. And as long as we get it through feeling, we don’t have to overthink the details that got us there. “[The more abstract a thing gets, the more varied the interpretations.](https://www.youtube.com/watch?v=u5BfoOrmCX0&ab%5Fchannel=BAFTA)” Lynch was frustrated by people’s obsession with analyzing his movies, digging at him to figure out some true intent. To him, art should speak for itself, and we can come to our own distinct conclusions. That is part of the fun. So to really celebrate David Lynch’s legacy, I’m afraid my words aren’t enough to give him justice. We must honor his wishes by experiencing the arts as they are, not vicariously through words. So go play Kentucky Route Zero, watch Twin Peaks, and there, in the depths of dream-filled places, you will find the sublime flame that David Lynch fanned. ### Is Stardew Valley Still Worth It in 2025? URL: https://www.superjumpmagazine.com/is-stardew-valley-still-worth-it-in-2025/ Last updated: 2025-07-18T01:02:20.000Z **Yes, Stardew Valley is still worth it this 2025 — let’s just make that clear.** Every year, I always see a question pop up on Reddit. Yep, every single year. *Should I buy Stardew Valley? Is SD still worth playing in \[year\]? Should I play Stardew Valley?* And the question goes on and on and on. There’s nothing wrong with asking, of course, that’s what Reddit is for. But to set it straight, I’ll write this blog post, as Stardew Valley is one of my favorite games that I never get tired of. Stardew Valley is timeless, so it will always be worth playing, no matter what year you’re living in. It’s a relaxing laidback farming game that allows you to live the life of a farmer. This game can be played online and offline. Just a piece of advice, if you’re going to play online, make sure you have a reliable [internet service provider](https://satelliteforinternet.com/hughesnet-gen5-internet-plans/). Let’s begin! ## Classic Gameplay The gameplay of Stardew Valley is what makes many players keep on playing the game. If you have ever played Harvest Moon before and liked it, you will love Stardew Valley even more. I can say they are on the same level, for sure, but Harvest Moon is a larger franchise compared to SD. Okay so, going back, the gameplay. In the game, you will have a variety of tasks to do. It’s not as simple as what you often see while [TV streaming](https://godirectv.com/streaming-packages/) reality farming shows. Aside from farming, you also need to fish, mine, raise animals, and forage. It’s a very hands-on game that really gives you the experience of managing a farm, earning money to buy seeds, caring for farm animals, and so much more. On top of that, you have to build your relationship with other townsfolk by talking to them and giving them gifts from your farm. During the first year, many new players might miss a lot of opportunities… unless they do some research beforehand. But no worries, that’s expected and you will still have a lot of years left in the game. ## Multiplayer Option Initially, the multiplayer feature was only available on the PC/console version. However, there was a recent update on the mobile version that allows mobile players to play multiplayer. It is still in its experimental phase, so bugs and other issues might still occur. Regardless, the multiplayer feature allows friends to play this beautiful game without any problem…well, at least for the PC/console version for now. Here’s how it works. One person would be the host and the others would be farmhands. Everyone works on the farm, just like a team. If you’re interested in marrying, you can marry another player by giving them a wedding ring. Then, you’ll start with your married life — which is why many couples also play this game for this feature. Just make sure that when you’re going to play multiplayer often, you have a fast internet connection like the one [Metronet offers](https://highspeedplan.com/deals/). This way, you’ll be able to fully enjoy the game without experiencing disconnects and lag. And now that the feature is coming to mobile, it’s more important for players to have a fast, stable internet connection. ## Final Thoughts If you’ve been thinking about getting Stardew Valley, regardless if it’s your first time hearing about it or you have been deciding to get it or not in the past years, this is your go signal to do so. Hear me out when I say this with hundreds, if not thousands of Reddit users slash Stardew Valley players, it will be one of the best game purchases you will ever make. **This story contains links from one or more partners.* ### Roblox: Hell's Kitchen Review and Game Codes URL: https://www.superjumpmagazine.com/roblox-hells-kitchen-review-and-game-codes/ Last updated: 2025-07-18T01:01:53.000Z **Roblox has come a long way since it began in 2006.** I’m not an avid Roblox gamer, but I have seen it through its different phases. Recently, I had the time to play Roblox once again and found this new game called Hell’s Kitchen. I didn’t have any high hopes as many developers in the past tried to re-create games like these only to disappoint players. But man, when I entered the game, it felt like I was on a different platform. If you’ve watched Hell’s Kitchen on cable TV or [streaming services](https://planetdish.com/dish-network-tv-packages/), you likely know how the show works. The great thing about this game is it’s completely similar to the show. There are still some areas for improvement, but all in all, it’s an entertaining game for me. Let me talk about that in detail below. ## How Hell’s Kitchen Roblox Works The game is simple since it’s mainly developed for kids. You spawn in a lobby server, then you have to go to a specific place to join the actual game. In the game, players will be divided into two teams – the red team and the blue team. I think the maximum number of players per game is 10, with 5 players for each team. If the teams are unbalanced, the system will have to balance it after an elimination. The goal of each team is to score higher. The team with the lowest total score will have to pick one chef to eliminate. And if you’re only two in the team, the lowest scorer will be automatically kicked out. ## Main Game There are two main parts and three extras. The main parts of the game are the pre-service and the dinner service. Cool, huh? Just like what we see when we watch Hell’s Kitchen on [DIRECTV](https://godirectv.com/). 1. **Pre-service** \- Here, every player will only cook one dish, usually Tuna Tartare, and you will be scored based on it. Still, the team’s score will be averaged and the lowest-scoring team loses. Speed is very important in this round because, as I’ve noticed, even though your dish isn’t cooked to perfection, you will get a high score if you finish first. 2. **Dinner Service** \- During the dinner service, every member of the team will cook as many dishes as you can within the given timeframe. Individual scores will be averaged, and the total average scores of every team member will be averaged as the team score. The same mechanics apply. The three extras are the Find the Lamb Sauce, Pass the Demon Head, and the Obstacle Course. These games just give extra XP to those who win. But for the Pass the Demon Head, if you’re the last person holding it, you’ll lose some XP. ## Power-Ups Power-ups are also available in-game (purchasable by game money). You can use them to your advantage by slowing down the star chef of the opposing team or using them on yourself to make dishes cook faster. It’s as simple as that! If there’s one thing that could make this game more realistic, it would be the punishments of the losing team. Whenever I’m watching Hell’s Kitchen on[Flex TV](https://golatinotv.com/en/flex-tv/), I literally look forward to the punishment part of the show, well, simply because it’s fun to see them struggling while the other team members are having the time of their lives. ### Hell’s Kitchen Roblox Active Codes ● GORDONRAMSAY – 50 coins ● RELEASE –60 coins ## Wrapping Up Playing Hell’s Kitchen on Roblox is one of the best ways to spend your time while enjoying healthy competition with other players. Just make sure you have a speedy internet connection when you play it because it’s an online game, and you know what happens when you partner an online multiplayer game with a slow internet connection… disaster. Yep, so there you have it. Happy playing! **This story contains links from one or more partners.* ### Hidden Gems of Game Design Volume 32 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-volume-32/ Last updated: 2025-01-25T17:47:46.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### [Way of the Passive Fist](https://store.steampowered.com/app/625680/Way%5Fof%5Fthe%5FPassive%5FFist/) (2018) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-78.png) source: Steam The indie space led to many different genre resurgences and reveals throughout the 2010s. While many will credit it for keeping platformers, adventure games, and horror kicking, it also gave us some original takes on the beat-em-up genre, including this month’s pick, Way of the Passive Fist. Taking place in a world where the sun is so hot no one can survive outside without protection for long, you play as a martial artist who learns that someone is trying to take over the planet. Having to fight out in the extreme heat, you're an expert in the way of the passive fist which uses the enemy's own exhaustion against them. The focus here is on parrying enemy attacks, with perfect parries used to build up your special meter and tire them out for a quick kill. The game features multiple difficulty settings which can tune the game to make it easier or way harder – such as only perfect parries building your special meter and reducing the timing window for those parries. The music leans towards the 80’s Saturday morning cartoon and fits the vibe perfectly. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-79.png) source: Steam After release, the game received an update adding a mini-campaign that takes place after the main story. What hurts Fist to this day is that it’s not really a beat-em-up, in the sense of what the player is doing. Looking at other examples of the genre like Fight N’ Rage or Streets of Rage 4, the player is the most active character on the screen. With Fist, since all damage, or the means of doing damage, is predicated on parrying, the player is always on the defensive and not able to initiate unless they are using their special meter. If you believe that defense is the best offense, or are looking for a beat-em-up that turns the genre on its head, you will want to check out Way of the Passive Fist. ## Antony Terence ### [Keep the Balance](https://store.steampowered.com/app/1260930/Keep%5Fthe%5FBalance/) (2000) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-80.png) source: Steam Poker-inspired puzzle phenomenon Balatro was the first game I played this year and its deceptively simple premise reminded me of a game over two decades old. Back in 2000, Item Multimedia developed Keep the Balance, a puzzle game built on a simple idea: balance objects on a pair of scales. Just like Balatro, the game hides its unpredictable nature behind understanding how objects interact with each other. Circus animals eat each other, fans blow objects away, and vacuum cleaners can suck items right in. It isn’t immediately made clear how these incredibly detailed and animated objects interact. Just as you begin to figure it out, a disruptive Joker throws in the occasional object to make your task harder. While I wasn’t good enough at the game to clear it, the manual hints at aliens split by caste, chess pieces, and even poker card combinations with more interactions to find. My sole complaint? The game took too long to add object interactions. With 10 levels per zone, this pacing stumble held it back from currying favor with critics. Despite its shortcomings, Keep the Balance’s core mechanics remain compelling in 2025\. If done right, an inspired successor could put some pressure on the deckbuilding Balatro-likes flooding app stores. --- **Thanks for reading! Come back next month for another entry and more great hidden gems to check out.* [**You can find all previous Hidden Gems stories here*](https://www.superjumpmagazine.com/tag/hidden-gems/)**.* ### Alan Wake II: The Perfect Story URL: https://www.superjumpmagazine.com/alan-wake-2-the-perfect-story/ Last updated: 2025-01-25T17:47:50.000Z **Being followed down the road by shadows that may or may not talk to you would unnerve anyone.** Combine this with the endless darkness of the night and you have the perfect formula for a world unseen and unheard: the Dark Place. Alan Wake II is the perfect blend of light and dark to drag you away from your day, offering five-star storytelling, action, and a small dose of rock and roll. It is more than a year old now, and having just finished it, this game still holds space in the dark recesses of my mind. ## Story Without wishing to delve too much into the story for fear of spoilers, Alan Wake II starts you off in the small town of Bright Falls to investigate a murder as detective Saga Anderson. From here you find a dead body, which appears to have been sacrificed in some cult ritual and so you investigate. What proceeds from here breaks down the barriers of rationality and offers our initial hero (Saga) many lines of inquiry, which you can tangibly investigate. The Mind Place is where you add all the clues you discover, from the manuscript pages littered around the dark woods to the stashes of weapons and cult symbols. Everything plays an important role and can be pieced together here. That mental space never feels as though it is intrusive or demanding. In many ways, it is a bonus, and while you can ignore it for most of the experience if you choose, I decided to engage with it. Taking five or ten minutes at the end of a session to add all the clues to the board extended play and ensured that the feature never got in the way of the actual game; being chased by the shadowy cult only to pause in your Mind Place does rather erase the illusion. The story is crafted at your own pace where you can pepper in as much or as little detail as you would like, much like the moment when you find the eponymous author, Alan Wake. Washed up on the shore he offers you a separate storyline, one that happens in the Dark Place, from which you must work together to bring light to darkness and scratch out the primary villain. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-70.png) Source: Press Kit. ## Action Having a good story is wonderful, but beyond this, you need something that holds the game in its chosen medium. The action in Alan Wake II, therefore, is measured. The atmosphere is created as you move through each new environment where a stray sound could easily be the whistle of a knife flying through the trees or a new enemy arriving to cut you down a notch or two. To combat all of these enemies, you need a decent inventory, and the game makes it quick and easy to manage, much like a more effective Resident Evil 5, without the annoying partner healing you every five minutes. If I have one gripe then it would be that the totals you could keep for each item (two painkillers) before you needed a new slot were quite stingy. Inventory managing and clunky reloads aside (I spent one battle on the beach deciding that combat simply wasn't worth it and running around to survive) the combat was fun. The need to burn an enemy's darkness shield away before unleashing lead into them was a neat addition that demanded the ongoing search for lightbulbs (a metaphor perhaps for life in that we all need to top up the light to keep the darkness away). My favourite section of combat is from the level, We Dance. It's a level I was not expecting, you are sucked into the TV and introduced to what first appears to be your own personal rock concert. Driven by the Old Gods of Asgard, it draws you in like a moth to the flame. Before long, your feet begin to tap out the beat; swiftly followed by an attack by a bunch of shadows, the level turns into a shoot-em-up. Unexpected but utterly captivating. ## Soundtrack I have played many games and can count on one hand the number of soundtracks that I consider to be first-class. This one is first class, like placing together all the incarnations of Linkin Park and squeezing them into your small screen; it was, quite frankly, the icing on the cake. Played by real-life band Poets of the Fall, it is another tick in the direction of Remedy for going that extra mile and introducing a real band to the mix. The music pushes stages like We Dance and Summoning to the next level with the songs playing a central part and offering a track to your mood. Fearful and alert at the thought of being trapped in the Dark Place again, and hopeful of bringing back a fallen hero, the music aligns with the player and provides a backdrop to this classic (at least in my mind) gaming experience. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-71.png) Source: Press Kit. ## A final thought The result of these key pillars is the creation of an unforgettable experience, one that pulls the player close to the TV, whispering as it does: '*Wake' 'Alan Wake*'. The words of the shadows still flow across my mind as I type - echoing the voices I hear when walking down a dark alley - and I question if I am still on Earth. Is it a loop or a spiral; who knows? If there is never another game in this canon then I will be sad. Alan deserves the chance to find his wife and escape the Dark Place. Remedy should be responsible enough to know that this story deserves another chapter. There are very few complete gaming experiences and I am lucky to have played; this is definitely one of them. Yes, there were some quirks, but realistically, when you look under the hood of any story, there are always areas that the writer wishes they could change in hindsight. Having said that, Alan Wake II is perfect in my eyes. ### The Games of Not This Year URL: https://www.superjumpmagazine.com/the-games-of-not-this-year/ Last updated: 2025-01-23T01:21:27.000Z **At the dawn of each new year, when I look back at my gaming journey through the previous one, there's always a common thread: most of the games I played weren't released that year.** I'd wager this is true for a lot of gamers, whether due to a lack of time, the high price of Day 1 releases, or an ever-expanding backlog thanks to copious digital storefront sales. A good problem to be sure, but one that isn't usually reflected when the annual tradition of Game of the Year awards rolls around. For that reason, I wanted to give some shine to my NoTY (Not of This Year) favorites, the best games I played last year that weren't released in 2024. ### Cyber Shadow It's no surprise that Shovel Knight developer Yacht Club Games would publish an excellent retro-styled side-scroller. Cyber Shadow is another wonderful example of classic ethos with modern trappings, a 2D actioner that plays as we remember them, not like it actually did in the 8-bit days. It controls wonderfully, with spot-on platforming, challenging combat, and levels filled with traps and enemies that are as fun to watch as to kill. The difficulty is sometimes laughable; forcing players to go several screens between checkpoints feels punitive, but I always feel that endorphin rush after getting through it on the 60th or 70th try and keep coming back for more. What could be more reminiscent of the 8-bit era than that? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-67.png) Jusant. Source: Press Kit. ### Jusant Filled with dizzying heights, meditative gameplay, and a wonderful soundtrack, Jusant quickly brings to mind Journey and Shadow of the Colossus. The gameplay mechanics live up to its billing as an action-puzzle climbing game. The majority of the game will find you climbing up sheer rock faces, finding the best (and sometimes only) path forward. It all feels very authentic to actual climbing, and the moments when you must swing across the rock faces and leap to the next handhold are quite exhilarating. It suits the game's calm demeanor and style that there are no crumbling ledges or even the possibility of death, but it doesn't drain any of the thrill away. Jusant is one of my favorite experiences, not just in 2024 but the past several years. I beg you not to just take my word for it; play it for yourself. ### Oxenfree 2 Oxenfree 2 lives up to the hype set forth by its progenitor, full stop. It takes everything that was good about the original and improves upon it, from the writing to the eerie soundtrack and effects. This game will absolutely send chills down your spine even when it isn't trying to. Even though the setting and plot are totally different from the original, playing it feels like slipping back into a comfortable pair of slippers. If walking simulators are your thing, there's a fun mystery here, brought to life by some excellent voice-acting performances. With any luck, Night School Studios will get the green light from their new-ish owner, Netflix, to make a third game in the series so the creepy vibes can keep on coming. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-68.png) Gris. Source: Press Kit. ### Gris When I'm feeling overwhelmed by life, I'm a sucker for a linear platformer, one that takes me on a journey of the developer's choosing, that tells me the story it wants to tell, letting me forget about choice and options and freedom for just a while. Craft a beautiful world, make it enjoyable to progress through, and I'm there for it. GRIS is all that and more, and once I picked it up, I thought about it every moment I wasn't playing it. As much fun to play as it is a pleasure to look at, this is one of the best arguments for the "games are art" crowd. If you haven't experienced GRIS yet, do so as soon as possible; I promise you won't regret it. ### Katana Zero When I finally plucked Katana Zero from my Steam backlog, I knew it was a well-regarded 2D platformer but nothing else. Call it Hotline Miami with a sword and you'd be most of the way there; the action is fast, intense, and bloody, though the titular katana takes the place of Hotline Miami's arsenal. The action here is 2D side-scrolling instead of top-down, but you're still bursting through doors and leaving a lot of bodies in your wake. It's a violently good time with a story that messes with your mind while making a statement on war and the cost it takes on the people who fight it. ### Planet of Lana Another denizen of my backlog was the stunningly gorgeous Planet of Lana. Playing this game makes me feel like I'm running through a Studio Ghibli movie. The world is achingly beautiful, the soundscape is incredible, you have an animal companion, and there's really tight platforming mixed with fun but simple puzzles. So basically it has everything I want from a short, interstitial experience between bigger games, and I can't recommend it enough for anyone who wants some linear 2D platforming goodness. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-69.png) Dave the Diver. Source: Press Kit. ### Dave the Diver I'd had my eye on Dave the Diver for months before it hit PlayStation Plus Essential, it was on my shortlist. I'm a 2D platformer wonk, and while there are so many more layers to this game, the main gameplay sections of scuba diving, exploring, and catching fish are sublime 2D action at its best. The management sim aspects of running the sushi restaurant never get old, and the game adds so many extra mechanics and sidequests in quick succession that you never feel like the gameplay is getting stale. I loved every minute with Dave and his cast of friends and enemies, and I feel like I barely scratched the surface with sidequests and additional goodies that developer MINTROCKET always seems to be adding. I can't recommend it more for fans of indie games. ### Death Stranding I spent the majority of the fall with Hideo Kojima's magnum opus, Death Stranding, and it was better than I ever could have imagined. Like most folks, the early talk about the "walking simulator for real" gameplay put me off from wanting to play it, but I found myself unable to stay away any longer. As a huge fan of the Metal Gear series, I love the Kojima-isms like Codec conversations and overwrought camera shots, but the actual game mechanics were way more compelling than I expected. I never would have guessed that trudging across a river or up a mountain would be so compelling, but it far exceeded the "just get through it for the next cutscene" gameplay that some parts of Kojima's epic creations were known for. If you have any love for Kojima, you don't want to miss this experience. --- Are you a NoTY gamer? Tell us in the comments about the games you loved in 2024 that came out earlier, and stay tuned to our pages for the best gaming coverage in 2025! ### Dota 2 Tournaments: What's Buzzing in the Scene Right Now URL: https://www.superjumpmagazine.com/dota-2-tournaments-whats-buzzing-in-the-scene-right-now/ Last updated: 2025-07-18T01:01:38.000Z **The world of Dota 2 never sleeps, and tournaments are the lifeblood of this legendary MOBA.** With a mix of veteran teams, fresh talent, and nail-biting strategies, [Dota 2 tournaments](https://bo3.gg/dota2/tournaments/current) today are delivering some of the most exciting moments in esports history. Let’s dive into what’s making waves in the competitive scene and why fans are more hyped than ever. ## The Current Landscape of Dota 2 Tournaments Dota 2 tournaments today are a mix of regional leagues, majors, and third-party events, each with its own flavor. The DPC (Dota Pro Circuit) continues to dominate the competitive calendar, serving as the ultimate battleground for teams to qualify for The International. While powerhouses like Team Spirit and PSG. LGD maintain their iron grip at the top, underdog teams are stepping up in ways that nobody saw coming. Outside of the DPC, tournaments like ESL One and DreamLeague provide opportunities for teams to experiment and showcase their skills in high-stakes environments. These events often bring unexpected upsets, making them must-watch for hardcore fans and casual viewers alike. ## Meta Shifts and Strategies Every patch in Dota 2 brings a new meta, and tournaments are where these changes come to life. Right now, the emphasis is on flexible heroes that can transition between roles. Heroes like Beastmaster, Tiny, and Puck are dominating the drafts, offering both utility and damage. Meanwhile, carry players are leaning heavily into late-game monsters like Terrorblade and Medusa to secure those game-ending teamfights. Supports are shining brighter than ever, with heroes like Io and Rubick making game-winning plays. The rise of position 4 roamers has added a layer of unpredictability, keeping the audience on the edge of their seats. It’s all about coordination, vision control, and capitalizing on your opponent’s mistakes. ## Iconic Teams and Rising Stars It wouldn’t be a Dota 2 tournament without the stories behind the teams. Legacy teams like OG and Evil Geniuses continue to captivate fans with their innovative playstyles and charismatic players. On the other hand, rising stars from regions like Southeast Asia and South America are proving that the Dota 2 scene is as competitive as ever. Teams like TSM and Thunder Awaken are showing they’re more than capable of going toe-to-toe with the best. One of the most exciting aspects of today’s tournaments is the clash of playstyles. Whether it’s the aggressive, kill-heavy approach of South American teams or the methodical, macro-focused gameplay of Chinese squads, every series feels like a chess match played at lightning speed. ## Crowd Energy and Production Value Dota 2 tournaments have always been known for their incredible production value, and this year is no exception. From stunning in-game visuals to hype-inducing pregame analysis, organizers are pulling out all the stops. And let’s not forget the live crowds—the energy of a packed arena cheering for their favorite teams is unmatched. Whether it’s the roaring chants at The International or the electric atmosphere at regional LAN events, the audience’s passion elevates every moment. ## The Road to The International All eyes are on the road to The International, the crown jewel of Dota 2 tournaments. With a prize pool that dwarfs most esports events, TI remains the ultimate goal for every team. Qualifiers are as intense as ever, with legendary players fighting for their shot at glory alongside up-and-coming talent hungry to make a name for themselves. The stakes are higher than ever, and every tournament leading up to TI feels like a preview of what’s to come. The strategies, hero picks, and rivalries we see today could very well define the meta for this year’s biggest event. ## Final Thoughts Dota 2 tournaments are more than just games; they’re stories of perseverance, innovation, and raw skill. From the intense rivalries to the unforgettable moments that make esports history, there’s never been a better time to be a fan. Whether you’re watching to learn, cheer for your favorite team, or simply marvel at the incredible plays, the Dota 2 competitive scene has something for everyone. **This story contains links from one or more partners.* ### Pokemon TCG: 8 Simple Ways to Build a Monster Deck URL: https://www.superjumpmagazine.com/pokemon-tcg-8-simple-ways-to-build-a-monster-deck/ Last updated: 2025-07-18T01:01:25.000Z **Building a good Pokémon TCG deck isn’t just about getting rare cards – it’s about making sure every card in your 60-card deck works together to win consistently.** With over 64.8 billion Pokémon cards produced worldwide as of 2024, including a huge demand for [Japanese Pokémon cards](https://overhauledgames.com.au/products/japanese-pokemon-cards) due to their exclusive designs and unique releases, it’s getting harder and harder to stand out. A good deck can make all the difference. Deck building takes experience, but you can get started by focusing on synergy, consistency, and smart card choices. Here are 8 ways to build a monster deck and take your game to the next level! ## 1\. Get the Right Mix of Cards A good Pokémon TCG deck has the right balance of Pokémon, Trainers and Energy. Adding too many Pokémon or Energy might seem smart but it can actually hurt your chances of getting the cards you really need. Modern decks rely on Trainer cards for consistency – think Professor’s Research or Miriam to draw or search for key pieces. A good starting point is 15 Pokémon, 12 Energy and 33 Trainers but adjust to your strategy. In simpler formats like Pokémon TCG Pocket balance matters even more since luck plays a bigger role. Too many Basic Pokémon can leave you struggling to get key attackers like Articuno ex. Keep your deck focused and make every card count. ## 2\. Plan Around a Main Attacker and Support Every good deck starts with a main attacker but it’s just as important to build a support system around it. Your main attacker should be able to set up quickly and deal consistent damage – look for Pokémon with low Energy requirements and strong attacks like Pikachu ex or Gardevoir ex. Next add Pokémon with abilities that support your main attacker, like Energy acceleration or disruption. For example pairing Gardevoir with Mewtwo ex creates a synergy where Gardevoir energizes Mewtwo while it deals massive damage. By focusing on this attacker-support system you’ll have a more cohesive deck that executes its strategy smoothly. ## 3\. Stick to Two or Three Types for Consistency In the Pokémon games having a team with lots of different types is great, but in the Trading Card Game? Not so much. Adding too many Pokémon or Energy types to your deck can make it messy – you’ll struggle to get the right Pokémon with the right Energy when you need them. And don’t forget some of your key cards might be stuck in your Prize Cards! To keep things simple stick to two or three Pokémon and Energy types. For example a Fire/Water deck can have big hitters like Charizard ex and Lapras and sneak in a Pokémon with Colorless Energy costs like Pachirisu to stay flexible. Keeping your deck focused makes it way easier to execute your strategy and get consistent wins without relying on pure luck. Less chaos, more wins! ## 4\. Add Utility Pokémon for Consistency Utility Pokémon aren’t your main attackers but their abilities provide essential support, improving draw power, card search and mobility. They make your deck more consistent and versatile and help you adapt during matches. Some examples: ● Lumineon V: Searches for a Supporter card with its Luminous Sign ability. ● Manaphy: Protects your Benched Pokémon with Wave Veil. ● Zeraora-GX: Gives free retreat to Pokémon with Electric Energy attached. ● Mew ex: Refills your hand with its Restart ability. These Pokémon will help you execute your strategy smoothly and handle unexpected situations. ## 5\. Pick the Right Trainers Trainer cards are the foundation of any deck, tying everything together and providing consistency. Cards like Professor’s Research or Quick Ball will help you set up quickly and adapt during matches. Include: ● Draw Support: Cards like Cynthia or Professor Sycamore increase your hand size for more options. ● Search Cards: Evolution Incense or Pokémon Communication to find the Pokémon you need. ● Disruption: Cards like Boss’s Orders to pull a specific Pokémon into the Active Spot to attack it directly. ● Energy Recovery: Use cards like Energy Retrieval to keep your attackers powered up. With the right Trainers your deck will be more consistent, adaptable and able to execute your strategy. Choose the ones that fit your play style! ## 6\. Test and Tune Building a deck is only the first step – testing and tuning is what turns a good deck into a great one. Play against different strategies to find your weaknesses and adjust your card choices. Use online tools like Pokémon TCG Live to test your deck in different scenarios without having to physically swap cards. You can also play with your friends decks to practise to get the hang of different types of decks. By testing you’ll find out which cards work consistently and which ones hold you back and you can fine tune your deck for maximum performance. Don’t be afraid to adjust your ratios or swap cards as you learn what works for your playstyle. Testing is key! ## 7\. Play to Your Strengths Everyone has their own play style and the best decks are the ones that fit to it. Some players like aggressive, fast paced decks while others like control oriented. Find what works for you and build your deck around it. If you’re an aggressive player, focus on cards that allow you to attack fast and deal big damage. If you’re a control player, prioritize cards that disrupt your opponent’s game plan and slow them down. There’s no one size fits all solution when it comes to building a deck. Try different play styles and card combinations until you find what works for you. ## 8\. Keep up with the Meta The Pokémon TCG meta is always changing and it’s important to stay up to date with the current top decks. Follow competitive players, watch tournament streams and read online articles to learn new strategies and card combinations. The meta changes with every new set release and introduces new strategies and powerful cards. Right now aggressive decks with Pikachu ex are dominating with their fast and hard hitting gameplay while control players are using Supporters like Sabrina to disrupt their opponents. Staying up to date with these trends will help you build decks that can compete in the current meta. ## Conclusion Building a good Pokémon TCG deck takes time, patience and experimentation. Don’t be afraid to try new things and tune your deck as you learn what works for you. And always keep up with the meta so your deck can keep up with the competition. With time and practice you’ll be mastering your deck in no time! Go out there, have fun and catch ‘em all! **This story contains links from one or more partners.* ### Here are 5 Things You Need for an Ideal Gaming Setup URL: https://www.superjumpmagazine.com/here-are-5-things-you-need-for-an-ideal-gaming-setup/ Last updated: 2025-07-18T01:01:02.000Z **Whether you’re an amateur or pro gamer, creating a dedicated setup can be challenging.** Here’s a list of five gaming essentials you need to enhance your experience: ## High Processing Gaming PC Gaming PCs provide high-quality graphics, faster load times, and advanced cooling mechanisms. Intel and AMD are the two major suppliers of CPUs for PCs. Intel Core i7 and i9 offer higher clock speeds and core performance, while the AMD Ryzen series is known for its multi-threaded applications and cost-effectiveness. You should also consider the graphics card of your gaming PC. Look for a graphics card with high clock speeds and an efficient cooling mechanism. Remember to consider the RAM and storage capacity of the PC. Lastly, choose a case that can incorporate all the components of your gaming PC while leaving enough space for cooling. A high-processing [gaming PC](https://www.ibuypower.com/gaming-pcs) offers immersive gameplay with minimal lagging. ## Comfortable Gaming Chair If you’re planning to use your gaming PC for extended hours, a simple office chair won’t do. You need a chair that offers lumbar support to minimize neck or wrist strain. Make sure the chair has a comfortable cushion to reduce pressure points. Choose a chair made of premium-quality materials, such as breathable mesh, high-density foam, and high-quality leather. The chair should also be height-adjustable for maximum comfort. Here are four factors you should consider when choosing a gaming chair: - Neck and back support. - High backrest. - Reclining features. - Comfortable armrest. ## Standing Desk Despite using a comfortable and premium quality chair, many gaming enthusiasts face back pain and muscle tension after [prolonged sitting](https://www.uclahealth.org/medical-services/spine/patient-resources/ergonomics-prolonged-sitting). In such situations, a standing desk can be the perfect solution. Standing encourages better spinal alignment and takes the pressure off your backbone. It can also improve blood flow and increase mental alertness. A standing desk allows you to change hand positions without putting much pressure on your wrist. All of these features can enhance your gameplay. With a standing desk, you can set the ideal height with a push of a button. You can also switch between standing and sitting at your convenience, extending your gaming hours. ## Noise Cancelling Headphones When you’re [gaming with your friends](https://www.superjumpmagazine.com/top-pc-games-to-play-with-your-friends-in-2023/), every detail matters. A subtle shift in the background noise and the sound of footsteps can signal enemy threats. However, these sound cues become impossible to hear when you have background noise. Noise-cancelling headphones block all background chatter and distractions. Consider buying headphones with an Active Noise Cancellation (ANC) feature, which offers complete silence. As a result, you can fully immerse yourself in the game’s atmosphere and landscape. Make sure the headband and ear cups fit comfortably. Buy headphones with extended battery life to avoid disruptions during long gaming sessions. ## Webcam Video game streaming has become increasingly popular. A good-quality webcam allows you to share live reactions with viewers and enhance multiplayer gameplay. Choose a high-resolution webcam with a built-in microphone to ensure smooth and clear streaming. Many webcams offer background replacement and light control features. Enhance the visual quality of your streams and connect with fellow gaming enthusiasts from all over the world. **This story contains links from one or more partners.* ### A Console You've Never Heard of Kickstarted Gaming in the Middle East URL: https://www.superjumpmagazine.com/a-console-youve-never-heard-of/ Last updated: 2025-01-21T00:52:18.000Z **Everyone remembers their first console. If you’re in your thirties or forties, you’re part of the first generation to have grown up with consoles, witnessing their evolution over time.** *What was your first game console?* I do remember owning an Atari 2600; I have vague memories of playing it with my siblings and cousins. But the console that stands out the most in my memory was called *Sakhr صخر*. It represented the very best gaming memories from my childhood. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-61.png) Sakhr AX170\. Source: msx.org. Sakhr was developed by the Kuwaiti Sakhr Software Company (CEO: Mohammed Al-Sharekh) in the 1980s. Sakhr was an Arabic version of the [MSX](https://en.wikipedia.org/wiki/MSX) computers developed by Microsoft for Eastern markets. Sakhr Software Company developed the Arabic Keyboard, which is still used today, as well as converted the Basic language to Arabic. There are many versions of Sakhr Computers. But the most popular version is AX170. Even though Sakhr and MSX devices are classified as computers, one can argue that they were consoles; you connected them to a TV, they came with two cartridge-slots, one of which was for a game master, and one can connect two controllers to the system for two players. It was an incredible gaming console for the time. Sakhr Software Company released multiple games for the Sakhr computer. Their focus was mainly on educational games, which ranged from English teaching games to trivia, math, and programming. They teamed up with Konami and other game developers from Japan to release some games in Arabic as well. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-62.png) Trivia game. Source: [Nostalgic Shadow](https://www.youtube.com/channel/UCVExiien2sC7SgLdWmXhwtA). MSX and Sakhr Computers had a port to connect a data recorder device, which played cassettes. The cassettes contained video games or software. Games on tapes were cheaper than cartridges. I owned only one game as a cartridge, and the rest of my games were cassettes. To start a game from a cassette, you needed to rewind the cassette and play it from the start — kids today will never understand the effort it took to play video games in the ‘80s. Sakhr computers were very popular in the Middle East. More popular, in fact, than even the mighty Nintendo Entertainment System. One reason for this — aside from the obvious effort to localise the hardware and software for the region — was that Sakhr computers were used widely beyond gaming at home. They were also utilised by schools to teach kids Basic, as well as typing. The Sakhr computer became ubiquitous across the Middle East. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-63.png) Sakhr AX170\. Source: msx.org Sakhr was discontinued in the 1990s. After the first Gulf War, Sakhr Software Company relocated to Egypt — but in doing so, its lost a significant amount of its talent. Sakhr Software’s CEO recently stated in an interview that although Sakhr computers were highly popular with families and schools, numerous companies and governmental offices refused to use the machines for largely bureaucratic reasons. There was, perhaps, an ironic disinterest in purchasing a “home grown” machine. Sakhr Computers’ CEO was often faced with the question “why should we purchase *made in Kuwait* computers if we can buy the *originals*?” In the end, Microsoft discontinued the MSX series and switched over to Windows PCs. The Sakhr Software Company stopped developing its Sakhr computers and in doing so, gave up its hardware business entirely to focus exclusively on software. The company is still active today. Their main goal is to continue to build Arabic software and to enrich Arabic content online. Now that you have some context around the machine and the company that manufactured it, let’s look at the games. Here are just a few of the games I really loved — it’s been a good 30 years since I’ve played some of them, but I still fondly remember them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-64.png) Knightmare. Source: [Nostalgic Shadow](https://www.youtube.com/channel/UCVExiien2sC7SgLdWmXhwtA). **Knightmare (1986):** was a vertical scrolling shooter. The player played as a knight on his way to defeat Hudnos. The game was released by Konami and was considered very sophisticated for its time with its top-down view. Konami later re-released the title as a mobile game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-65.png) Penguin Adventur. Source: . **Penguin Adventure (1986):** Another game by Konami, this was considered the best Sakhr game at the time. This action-adventure platform video game was the first game that Hideo Kojima worked on. It has been re-released on many platforms later on, including PlayStation and Sega Saturn. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-66.png) King’s Valley. Source: generation-msx.nl. **King’s Valley (1985):** Is another game released by Konami for the MSX and, therefore, also for the Sakhr computers. King’s Valley is a platform game that takes place in Egyptian pyramids. The goal is to collect multiple gems while running away from mummies. The puzzles in this game were challenging. I used to play this with my cousins as well; we tried collectively to solve the levels. You might be wondering where Middle Eastern gamers went after Sakhr computers disappeared from store shelves. Many people switched either to the Sega Mega Drive (Genesis in North America), the Super Nintendo, or a bootlegged NES. Video games were slowly gaining greater popularity, but without Sakhr, gaming in the Middle East lost a degree of its stability. One reason for this is because, across the board, most products like TVs and VHS players were based on the [PAL](https://en.wikipedia.org/wiki/PAL) format (like Europe, China/SE Asia, much of Africa, Australia, and New Zealand). However, game consoles available in the Middle East were not always PAL format — they could be either PAL or NTSC. It wasn’t until the arrival of the PlayStation 2 and Xbox that the sector saw greater standardisation across the region. When we look back at gaming history, we tend to think of the big names from Japan, Europe, and North America. But let’s not forget Sakhr Software Company, and its incredibly influential Sakhr computer range. This was the company — and the device — that brought gaming to the Middle East well before the NES (or any other device) could. Sakhr allowed gaming culture to flourish across the region. And it will always remain my favourite console (albeit a machine that played video games from cassettes that I had to rewind first…) ### The Importance of Losing URL: https://www.superjumpmagazine.com/the-importance-of-losing/ Last updated: 2025-01-18T21:31:59.000Z **There are a lot of emotions that go into a Game Over screen.** Maybe we’re frustrated — we’re mad that we lost or failed whatever task that got us to this screen. Maybe we’re apathetic because we know we’ll have to wait a while before we can get back into the action. They get wrapped up in each other so tightly that it’s hard to pick them out, but we know the feeling of losing because it’s a near-universal constant across all genres of video games. Whether it be getting shot, hearing the quiet buzz of rejection in a puzzle game, or falling to your death in a platformer, it’s implicitly understood that with the possibility of success, there’s also a possibility of failure. But what does it do for the player’s immersion and game experience? Losing possesses curious properties. It can both increase and decrease player immersion and shape a player’s opinion of the game as a whole. We want the positive aspects of losing — how it motivates us to play better and make us pay attention to the little details — without the negatives — getting frustrated or disengaged with the game. What are the boundaries of this perfect mixture, and how do games try to reach it? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0_lCMLwRsyR9mmxGKJ.webp) Dark Souls game over screen. Source: Fandomspot. --- > Losing possesses curious properties. It can both increase and decrease player immersion and shape a player’s opinion of the game as a whole. --- ## Why it can be great… In terms of gameplay, the concept of losing presents real stakes for the player. We want to win because winning feels good, but we also want to avoid losing because losing feels bad. Whether it be losing your progress, some items, or even just having to wait to get back into the action, there are often negative repercussions associated with losing. How frustrating it feels depends on how hard the game punishes you. Dying to something random in an RPG overworld only takes a couple of seconds to readjust, but dying at the end of a challenging boss with no checkpoints is enough to require a ten-minute break before coming back to try again. Similarly, dying in a more linear, narrative-focused game often means only losing a couple of minutes of progress, while losing in an RPG or adventure game means losing items, experience, and various other impermanent objects. The joy of winning is not just completing the objective or goal but avoiding the negative consequences of losing. At first, it can look like a massive problem. Frustration disrupts immersion by bringing the player outside of the experience and, in most cases, is not a feeling the game intended to invoke. But small, harnessed doses of frustration can draw the player into the experience. Not just any frustration — it’s only useful when directed at the player’s performance. Becoming frustrated at the game for its difficulty or poor handling cannot be remedied by anything other than taking a break or turning down the difficulty, both of which aren’t particularly good for immersion. But when the player becomes frustrated with themselves, performing better by focusing more both makes them more likely to succeed and more immersed. Positive frustration encourages us to pick up the controller and go at it again, along with making the reward so much sweeter when we get it. Certain games specialize in harnessing frustration. From rogue-likes that feature losing as a central mechanic to just plain difficult games, getting frustrated is an essential part of the experience. Gamers attracted to these kinds of challenges seek them out with the knowledge that they’ll be frustrated but will enjoy it all the better in the end as a result. Frustration is also why difficulty levels are practically an industry standard to make the game enjoyable for as many people as possible. Incorrect levels of intended frustration, whether too high or too low, can make the game unenjoyable through boredom or anger. Hardcore and casual players can feel the same amount of satisfaction when finishing a game if their difficulties are matched appropriately. As a mechanic synonymous with challenge, losing is a unique tool available to video games to create immersion. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0_vsdtgFJ_yz0FEhDN.webp) The iconic screen from Metal Gear Solid. Source: YouTube. --- > Certain games specialize in harnessing frustration. --- ## And why it can be awful But in other areas of immersion, particularly narrative, losing presents several problems. Technical issues become immediately apparent — the player must physically wait for the game to restart, a break from the action they were focused on, and the visual and auditory environment in which they were immersed. Constant repetition of voice lines, cutscenes, and other assets is also a valid concern, as moments that might have been engaging the first time around become grating and annoying the third or fourth. For highly-scripted moments like boss-fights, which rely on a well-defined sequence of moments to be emotionally effective, losing and then playing through everything again can kill any mood or atmosphere. The issue is much larger than general repetition though. When a game is happy to let your character ragdoll whenever they die or cut to black and then show a quick gameplay tip before respawning you at a checkpoint, it leads to an uncomfortable reminder that the game is still a game. They have as many tries and as long as they want to get the action just right, and the game will gently put them back to where they should be every time. Imagine if a movie paused in the middle and asked the viewers if they feel comfortable in their seats, or if a book reminded you to keep reading. Good media immerses us by making us look past the strangeness of staring at stacks of inked paper or sitting in a dark room with strangers and focusing entirely on the narrative or experience at hand. Death reminds the player of their fundamental disconnection from the media they’re experiencing, which, in most cases, is an undesirable effect. Games designed around constant failures, such as rogue-likes, work some immortality or time-loop into their narrative to explain the repeated sequences. But for more linear and realistic games, death is often a massive point of dissonance. Sitting through something already experienced not only reminds you of the distance between you and the media but is just plain boring. This issue only gets amplified when considering the ludological implication of losing as well. Not only will we get pulled out of the experience, but the frustration we have towards the gameplay consumes our attention. The same thing that drives up the challenge and intensity of the action for the player can also make them forget or ignore the context behind that action. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0_MkXEu5BwKqNq8Xij.webp) From the Resident Evil series. Source: Vice. --- > Death reminds the player of their fundamental disconnection from the media they’re experiencing, which, in most cases, is an undesirable effect. --- ## Finding balance Conflict in media draws people in because of uncertainty. We don’t know what will happen if characters act or interact with their environment the way they do, so we stick around to find out. If we know what will happen — how we beat the boss, the path we take to get there, and who we might meet or lose along the way — then the mystery is gone. Death or losing is a necessary potential option that the game can lead to for conflict to be possible or realistic. If we know we will succeed every time or face no consequences for failing, there is much less suspense involved in those tense narrative or gameplay moments. The only excitement or joy we can derive from the game is the joy of simply playing or existing in its world. There’s nothing fundamentally wrong with that — plenty of games are enjoyable without death or loss, and some even benefit from it. But for a similarly large amount of games, they’re helpful tools for adding immersion. Losing is like a seasoning that brings out the flavour of the main dish — when done just right, it accents the highs of the experience, but when done wrong, it can overpower the rest of the game or not be present at all. The invisible hand of this concept is found and considered everywhere. We invented checkpoints to avoid constant repetition, and they’re now a fundamental feature in games across all genres. In certain moments of high intensity or excitement, like a chase sequence, some games remove the possibility of losing entirely, sacrificing a little bit of realism and continuity with the rest of the game in favour of keeping the hype and momentum up. In other moments where the narrative takes to the backseat for a bit, games might amp up the difficulty to push or frustrate the player and get them more engaged in the gameplay. It is, like all things, a unique tool applied according to artistic intent. When games are careful about how they use and apply it, they can turn a Game Over screen from a moment of frustration into a powerful motivating force. ### The Game Dev Over-Design Trap URL: https://www.superjumpmagazine.com/the-game-dev-over-design-trap/ Last updated: 2025-01-17T00:06:44.000Z **I have played plenty of video games at this point and have noticed that - when it comes to originality in game design - you're often guaranteed to find it in the indie space (especially from first-time developers).** It's understandable that many game designers want to be "the first to create X" or "take Y genre in a new direction". But there are risks associated with these goals, especially in relation to something I call *the over-design trap*. ## Building a triangular wheel What do I mean by "over-design"? Let me contextualize this by calling out two major categories. The first category relates to a desire for originality, where (understandable) desire leads to unnecessary complication and unfocused design. This is best explained by looking at game design through the lens of *genre*. Game genres - no matter which ones we're talking about - have foundational elements to them. For example: a platformer is typically about some kind of jumping or character motion, shooters are about shooting, and so on. While it's true that you can bend some of these elements to create an original spin on an established genre, there are also some elements you can't break without actually breaking the entire game concept. This is also where the concept of over-design comes in. Let's say I'm making a first-person shooter and the focus is on flying around to collect gems in first person. Well, in that case, I didn't exactly make an FPS, right? It's not just that I didn't make an FPS though; it's that I potentially combined multiple genres (in this case, maybe I'm combining platformer and FPS). The challenge here is that developers don't often realize they aren't making a game for fans of *platformers* on the one hand and *first-person shooters* on the other. They are, in fact, making a game for fans who want to see these two genres combined into a *first-person shooter platformer*. That's actually an entirely different audience. ![](https://cdn-images-1.medium.com/max/1062/0*KIxGtTNmJ_8VkRD2.png) Metaphor’s subtle brilliance is streamlining and making SMT’s gameplay and JRPG design as approachable as possible. Source: Steam. It's difficult for any developer to work in a genre they don't understand. This is why I harp on designers to play as many examples of a genre as they can find; all the good, and all the bad. Remember that complexity isn't the same as depth. A complex game isn't necessarily a deep one. Some of the most successful games of 2024 have been those that figured out how to sell either a simple, focused concept or create an experience that appears simple but carries significant depth under the surface. None of this is to say that a developer *can't* create a *first-person shooter platformer*. But taking this approach is fraught with risks and challenges that require some prior mastery (or at least deep understanding) of both genres (akin to mastering the rules before breaking them). A desire to be original - resulting in this kind of approach - can lead to this first kind of over-design problem that may create more challenges than it solves. The other way developers can over-complicate their games is simply by adding too much scope. An easy to understand example is with the bloat we've seen around action commands in games. What I mean here is, for example, something like Super Mario RPG where the player can press a button - with certain timing requirements - mid-battle in order to trigger some extra action (this feature is added to increase interactivity in turn-based combat). In this case, the action delivers a tangible benefit/incentive to the player: they can use it to reduce incoming damage or increase the damage they deal to an opponent, which also speeds up combat. This is an example of a well-designed implementation. But there are many examples of poorly-designed implementations. Some developers try to elevate action commands in turn-based combat by adding many more layers, with more and more systems and interactions available during combat encounters. When I played games like Keylocker and Ikenfell, I noticed that, despite being charming experiences, they had very high churn rates because they fell victim to this kind of systems/interaction bloat. Source: YouTube. One of the toughest lessons game designers must learn is that *more is not always better*. Both of the examples described above illustrate this point. It's often very easy to say 'yes' to everything, or to believe that the solution to a design problem is to increase scope in some way. It's far more difficult to understand the root cause of why the game isn't working from the player's point of view; there will always be the temptation to solve a problem by adding one or more new features. Remember, again, that depth is not the same as complexity. Asking more of the player can come at a significant cost. Here's an example of what good looks like: in Metaphor: ReFantazio, the designers have done a great deal to speed up combat encounters in various ways. The game even rewards players for dispatching enemies without taking any damage. The key point here is that - compared to other turn-based RPGs - Metaphor empowers its players to zip through combat while also retaining the strategic depth that makes combat interesting in the first place. Other RPGs sometimes create artificial depth by adding more and more bloat - more and more stuff to do, more things that slow down the experience - which only have the effect of "taxing" the player rather than providing genuine strategic depth. One other way to think about this is to ensure that fundamental actions/movements are intuitive and simple, where good/useful depth is about adding interesting and rewarding rulesets on top of a fundamentally intuitive underlying design. None of this means that complex games are inherently bad. Some games deliberately introduce forms of friction that represent pleasurable challenges (for example, the "good jank" in Getting Over It or the interesting plethora of options available in Pacific Drive). There's absolutely nothing wrong with crafting a more involved experience. But these elements must be added to the core gameplay loop with great care, and the core gameplay loop itself should deliver on a clear and understandable design thesis. ![](https://cdn-images-1.medium.com/max/1062/0*B5TL3LSnm6xhepzo.jpg) Balatro is proof that it’s better to provide depth under the surface of your game rather than hit the player all at once with it. Source: Author. ## Balancing design It's important to point out that none of what I've described above is easy to achieve from a game designer's point of view (if it were, then everyone would have a hit game, right?) But effective game design - game design that works for an audience - involves some combination of a clear vision combined with an understanding of your team's capacity/capabilities. The gaming market has become far more competitive these days for a variety of reasons; many players will just use the two hours allowed for a Steam refund, while most gamers will judge your game within its first 5-10 minutes. One of the key strategies/approaches for increasing your chance of success - or, increasing your confidence that your game is delivering on its value proposition - is continuous play testing. In the end, it doesn't matter if *you* love your idea and think it's perfect, especially if players can't figure out how to play it or they're getting frustrated for some reason. It's important to identify and assess these product risks as early in development as you can to avoid spending effort on things that ultimately won't deliver on your vision. **If you enjoyed my piece and want to follow me,* [**I'm posting on Bluesky*](https://bsky.app/profile/gwbycer.bsky.social) *and you can find links to all my other works from there.* ### The Marvelous Monetization of Marvel’s Contest of Champions URL: https://www.superjumpmagazine.com/the-marvelous-monetization-of-marvels-contest-of-champions/ Last updated: 2025-01-14T00:51:37.000Z **Digital Extremes, Grinding Gear Games, and Hoyoverse are just a few of the big names in mobile and live service that I have covered.** Yet, a single mobile game stands out for its enduring popularity, continuous evolution through new content, and yearly revenue in the millions. In terms of gameplay and monetization, Kablam’s Marvel Contest of Champions is exceptionally unique. ## A multiverse of fighting Contest of Champions is an early mobile game that showcased evolving mobile design trends of the 2010s and capitalized on the Marvel hype. There have been other Marvel games, and even DC ones as well, but it is this one that dominated the market. Our story is that all the Marvel heroes and villains have been brought to the multiversal arena of Battleworld by the force of the Collector. The Collector compels them to fight each other across time and space, and as “the summoner,” the player battles with their own roster of characters. As the story progresses, the game introduces new characters; most betray the player, and these characters continue to grow in power. The Contest's gameplay set it apart from other games, even among DC and Marvel variants available at the time. This is not a turn-based game but one of the first examples of the mobile fighting game genre. You fight your opponent in real-time using light, medium, and heavy attacks, along with the ability to block and parry. Each character has up to three levels of special moves, the third being a cinematic attack that players cannot block. The game assigns different classes to characters, creating strengths and weaknesses between them in line with mobile RPG mechanics. ![](https://cdn-images-1.medium.com/max/1062/0*DGLqoCgjIPaNMIPF.png) The strength of the game lies in its sheer variety of gameplay and styles between characters. Source: Press Kit. If that were all the game offered, it wouldn’t be so complicated to play. However, this game introduces layers of complexity that rival even the most intricate fighting and RPG games. Every character has unique passives and abilities tailored to their playstyle. For example, Venom gains randomized buffs every few seconds and can consume the opponent’s buffs for health regeneration. The Immortal Hulk (yes, every Marvel variant has its own character) can become immortal when he’s about to die, allowing him to keep fighting. And there are a lot more rules—*a lot*. As the game progresses, an array of passives that radically alter how you approach battles will continue to influence gameplay. When you first start encountering them, the passives are basic — enemy hits harder, enemy has more health. For those doing the high-end challenges, passives become a short novel to read to understand everything that they affect. ## Bang for your buck The unique selling point in terms of gameplay for Contest of Champions is its progression. Mobile and live service games often feature a never-ending grind, with new challenges requiring players to constantly improve their numbers to keep up. While leveling up is a big part of this game (and part of the grinding), the real focus for players is completing the story. While the story may not win any best narrative awards, it provides account-wide rewards and progression to keep players engaged. Each "milestone" earned through gameplay upgrades the player’s account, granting access to better deals, enhanced shop rewards, and improved event rewards during holiday or anniversary events. This is one of the best implementations of story and account progression tied to player rewards I’ve seen in a while. This piece will explore elements influenced by the player’s milestone progress. This additionally connects to the many events in the progression (in which there are a lot of them). ## Continued contesting While the game modes center on a linear set of missions, players can also participate in events, PvP, guild battles, and more. The game ties everything together by offering resources and currency for character recovery and progression items. Developers also introduce limited-time, highly challenging content to test the skills of players who think they’ve mastered the game. This connection ties directly to the monetization we’ll discuss next. Outside of the story missions, events feature difficulty settings based on account progress. The intent is to ensure that, regardless of an account’s overall level, there are comparable rewards for participation. For instance, completing an event with four-star champions will yield rewards suited to that tier. However, there’s a catch: account growth requires ambitious actions, often revealing some devious monetization mechanics. ## Marvel’s mega multiverse monetization Having analyzed mobile games for over seven years and authored a book on F2P design, I can say with absolute certainty: **Contest of Champions is one of the greediest live-service games I’ve encountered.** This isn’t just about the potential money spent—it’s also about the amount of items available for purchase with real money or in-game currency. Every single service, resource, and game mode has a scheme designed to get players to spend money—maybe a little, maybe a lot, but it’s there. The game’s premium currency, Units, acts as a universal “skip the grind” feature and is also used to purchase summoning crystals. Oh, and I haven’t even mentioned the gacha system yet. ![](https://miro.medium.com/v2/resize:fit:929/1*vkE8UuRuZQ43DLyS_0WDqw.jpeg) Meet the arbiter of all the rewards, progression, and options in the game. Source: Author. There are currently up to seven-star versions of characters in the game. Keeping with the focus on progression, if someone is going through the game’s story acts, you will start with two–three stars, work to unlock four stars, and continue to push up. Players can buy multiple summoning crystals, or they can find shards through questing to build one. Basic crystals will offer a range of stars — with the higher rewards having a far lower drop chance. Typically, for finishing an act, the player will get a free crystal of either the star rank or higher to help them move forward. The game features crystals for specific character backgrounds or for a character’s introduction year; the best crystals are the “nexus” crystals, offering players three or more randomized reward choices. There are also crystals for acquiring random amounts of resources and free daily crystals based on the player’s story progress. Unlike other live service games, spending units on summoning is the worst-case scenario for an account, and this gets at one of the sneakier aspects of this game. With spending units to buy crystals, the quality of the crystal has no bearing on the cost per unit. Attempting a five-star summon costs the same as pulling for a two-to-four stars. More specialized summoning crystals cost even more units. As a free player or light spender, you can progress much faster, and the game’s developers have tuned progression over the years to improve the early acts’ questing and rewards. For example, there are no more class gates in the main quest that require the player to have specific classes to go down those routes. However, there is a catch. Once your progress stalls, the game slows to a crawl in several ways. The most apparent is with energy. Given all the different events, stories, and daily resource grinding, the game barely gives you enough energy. Additionally, tackling harder challenges and story maps demands increasingly *more* energy. When you start, it costs one energy a step; eventually, it will go to two, and some quests will cost four energy to take a single step. But wait, a 4.99 monthly subscription gets you bonus energy or units to refill your energy bar. Let’s say you reach a point where your champions are not leveled enough, and you need to rank them up to increase their stats — starting from four-star champions, you can rank each character up to five times (seven stars go up to six). At higher star levels, each rank-up requires three different resources, which must be farmed from various mission types, besides gold (the game’s currency) and ISO-8 (the experience resource). The game doesn’t give the player the rarest resources in whole units; you have to grind repeatedly to get enough material to equal one unit, and often you will need four or more for a single rank-up. And this is in addition to the every-rising resource demands for leveling up characters before ranking (though using units bypasses this). There is also another form of character grinding. Once you pull a duplicate of the same character at the same star rating, you “awaken” them, which unlocks a character-exclusive perk. For some characters, these perks are just okay. For others, it’s the defining part of their kit that makes them worth using. However, unless you buy or get a reward of a free awakening gem, you must keep pulling to unlock and level up their masteries. There are gems that can also add mastery points, but getting them is going to depend on completing harder quests and the luck of the gacha. ![](https://cdn-images-1.medium.com/max/1062/0*xPOLYxyqXwYwKsfP.jpg) The summoner’s sigil is one of the most overt P2W options I’ve seen in a mobile game. Source: YouTube. In-game, higher-ranked, lower-star characters frequently outperform lower-ranked, higher-star characters in terms of stats. This lets players use their best lower-star characters for current content. However, since your character unlocks are going to be completely RNG, new and free players will probably have a diverse but unpredictable selection of characters. The power disparity between bad, good, and great characters is very wide. This becomes a factor when you deal with fights that have different damage over time (or DOT) attacks. Champions have different resistances or immunities to status effects such as bleed, poison, and shock. Without them, your characters will take constant unrecoverable damage during a fight. Then there are conditional fights that actively punish/reward certain strategies. When characters are KO’d or you need to heal them, you need to use up your healing potions and revives. This requires grinding the content to earn more or spending units. Units also allow you to purchase character and account boosts that offer more ways to help your characters. Once the stat disparity gets high enough, you can easily lose a character from one full combo from the opposing enemy, sometimes within half a second of loading up the fight. Due to the resource grind, investing time, energy, and money into fully ranking up a few four-star champions isn’t ideal for progression once you have access to five- and six-star champions. The game addresses this with yet another daily grind in the form of co-op maps and arenas. In these modes, characters used must “rest” for 24 hours before they can be used again—unless you spend units to speed up the process. These game modes generate their own currencies, which players can use for purchases, as well as special items available exclusively through guild (or “alliance” in Contest) activities. You might think this covers every possible way to spend money, correct? Nope—we’re not done yet. The game will generate limited-time offers based on your progress or what you’ve done. If you pull a four-star character, the game will immediately give you a one-hour promotional deal for five-star summoning shards. Funny enough, the cost per unit for this deal decreases as your milestone rank improves. Hitting certain achievements may result in a pricey mega-deal that unlocks access to one of the game’s best characters and offers more summoning chances. While it’s great to have a high-star character, it’s crucial to reiterate that without the ability to upgrade them, how they can be used is limited. ***But wait, there’s more!*** You can now purchase a $24.99 season pass, as well as take advantage of multiple daily, weekly, and seasonal deals, with two more purchases I have yet to reveal. Among the monthly subscriptions that boost your energy and gold, the most significant one is the summoner’s sigil. For $9.99 a month (with it going up after the first month), you get access to special daily quests to obtain better resources, faster energy recharge, a fancy title, and the biggest pay-to-win aspect of the game — the black ISO market. This shop is only available to those who purchase the sigil, providing easier resource access and special offers that you cannot find anywhere else (this is not a hyperbole). Some exclusive events are only available if you have the sigil at that time. You may be thinking that all these purchases are just there as an optional deal, but I *still* have one more monetization angle to bring up. As you level up, you’ll gain mastery points that allow you to unlock perks. The advantages can be anywhere from 'meh' to necessary, like the chance to gain invincibility when back dashing to avoid enemy attacks. If you want to invest more, you must buy different varieties of another resource with units to unlock those nodes (a fixed number of rewards for the side content), and then spend additional units per level mastery of them. Until your account is sufficiently secured in terms of mastery and story progression, you do not want to be spending units on rolls. Given the nature of the game and the reward system, it is often best to play heavily during major events and holidays to get the best daily rewards and free resources. ![](https://cdn-images-1.medium.com/max/1062/0*7B9Ew6eyNYlJNdq0.jpg) You will feel like Wolverine here when you run out of resources. Source: Press Kit. The entire monetization ofContest of Champions *is* intertwined with the progression of the player’s account, and the game entices players to spend units. As you move further up in terms of story missions, the frequency and amount of units earned gets smaller, as the number of things you can spend them on goes up. Running out of units is like running out of gas in your car. If that happens to you and there are no more missions to complete for additional resources, your chances of gathering sufficient amounts will be go down. On top of that, every promotional deal and shop purchase is further influenced by what milestone rating the player is on. If you are a lower story rank, sales in the shop will give you fewer resources compared to being at a higher rank, ***but still charge the player the same amount***. Those who understand the game can accomplish much without using units excessively or smartly spending them. Purchasing the wrong things can lead to account ruin for new players and those unaware. Most players will never reach a point where grinding is complete, even the luckiest ones will still have to invest time or money to progress their characters. This brings me to the dichotomy of this game and the reason for its continued success after a decade of development. ## The skill threshold If Contest of Champions was just a simple game to play, none of the extensive monetization I discussed would matter, as most people would not play it. However, what makes it so intriguing is that there is a lot of depth to this game in terms of character progression, building teams, and the advanced challenges are some of the most complex you will find for this kind of genre. Every character feels different to use, despite the simplified control scheme of playing on mobile. The developers continue to add in new forms of progression and challenge on top of everything else you can do in it. Since the last time I played it, the developers added a new feature called relics, which offer further customization and introduce a new additional attack that players can trigger during combat. If you were to ask any veterans of the game if spending money replaces skill, they would say no. Once you get to the higher challenges in the game, the power disparity between the highest your characters can reach will not even come close to what the enemy can do. I’m talking 8 to 10 times *higher* in terms of power rating. If you don’t learn how to build a team or deal with the AI, no amount of money will save you. If you are good at this game, it is possible to do content that would take an average player weeks to achieve in a few days. With all of this considered, I am sure that fans will come to argue my points about the game being pay-to-win. However, pay-to-win is not a binary option. The tuning of different game aspects either subtly encourages or forcefully requires players to spend money to continue playing. With that said, Contest of Champions is heavily “tuned” to get money out of its player base. In mobile gaming, it’s common to categorize a game as either a main game or a side game based on the daily dedication required to play. Contest of Champions is definitely a main game if you want to fully experience everything it offers—story mode, limited events, arena play, alliance maps, battlegrounds, excursions, and likely more that I’m forgetting. This means if you want to play one or two mobile games and nothing else, you are set. Between other games, indie games, writing, and creating design videos, there is not enough time to invest in another daily. That limits me in terms of resources unless I spend money or units to overcome that. At the moment, there is just a wide gap between those who can spend and those who cannot. You might not feel it at the start, but once you reach that point where your resources run out, you’ll feel it, *trust me*. As I am typing this, I’m in an awkward position in terms of power. I have six-star characters who are all ready to rank up, but I’m half an act away from reaching the rank of cavalier (which is the next bump in terms of power and unlocking the resource I need to farm to rank up). If I rank up five-star units, I’m burning through energy and resources that will eventually reach a cap in terms of what I can do with them. So, I need to complete three quests using under-stat characters where the bosses of each could just sneeze on my characters to finish them. The game Contest of Champions is a prime example of how a game can fully use its platform and monetization system for high profit, highlighting the potential and limits of monetization design. I’m hard-pressed whether to recommend you check this one out, as it will come to steam soon. In terms of recommendations, I think the game needs to improve the daily play for mid-level accounts (which begins around Act 5). There should be better ways to keep up with the resource spend and grind that doesn’t involve arena and coop modes. I also think there needs to be some kind of trimming of the monetization, especially around healing and retrying content. Wasted resources won’t sting veteran and skilled players, unlike new and developing players who face punishment from irreplaceable resource loss. While they made the beginning of the game far better, the jump from early to mid-progression still feels terrible unless you get lucky with good champions. Part of the problem is that once you get into the mid-ish game (Act 5 and beyond) the passives become more specific in terms of their solutions. For example: an enemy who is immune to all debuffs heals every few seconds, and the only way to actually beat him is to do enough damage to burn him down. But if you lack a champion who meets that criterion, there is nothing you can do. Some of the worst RPG design examples come to mind: enemies that are designed to counter specific builds, but you cannot get a new character whenever you need one. It’s funny looking at the monetization of Contest of Champions compared to more recent entries, like the aformentioned HoYoverse. Eastern-based mobile games are far more designed around their gacha/characters being the primary driver for money and downplay the spending on other aspects of the design. You are supposed to show off your cool new characters whenever you can. Here, while characters are important, it’s more vital for a player to have a “healthy” account of champions upgraded and have enough units to keep going. There needs to be a way for a free or unlucky player to gradually earn sufficient resources to rank up their characters after reaching the five/six-star requirements. Contest of Champions is a game that offers a lot of content, but the paywall is the size of Mt. Everest or *\[insert Marvel reference here\]*. **For more on monetization design, you can check out my book on the topic (as well as the* [**entire Deep Dive Series*](https://www.routledge.com/Game-Design-Deep-Dive/book-series/CRCGDDD)**).* ### How To Stay True To Your Vision URL: https://www.superjumpmagazine.com/how-to-stay-true-to-your-vision/ Last updated: 2025-01-12T14:00:28.000Z ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/Spoilers_Ahead.png) This story contains spoilers for Kingdom Hearts 3 DLC, Final Fantasy XV, and Final Fantasy VII Remake. **For many Final Fantasy and Kingdom Hearts fanatics, the mysterious and contradictory nature of the relationship between Nomura and Square Enix has been going on for some time** — not only is it apparent from interviews but also the games themselves. From rumors that Nomura was forced to make the Final Fantasy VII Remake, to him being kicked off the Final Fantasy Versus XIII release to focus on the third installment of Kingdom Hearts, we can all see why fans have settled on this opinion. However, analyzing Nomura’s relationship with each of these games can tell us a lot about our interaction with our creations. While we can learn from some of Nomura’s mistakes, we can also learn from some of his successes and achievements. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-36.png) Kingdom Heart’s Sora and Chirithy. Source: Press Kit. ## Kingdom Hearts 3 *What happens when you allow others to influence your work in ways you don’t want?* The overall production of Kingdom Hearts is something Nomura has discussed more openly than his Final Fantasy counterpart. Kingdom Hearts 3 is a game that, while successful, left many fans wondering how much creative freedom the team had. Nomura has expressed in interviews that due to the increased popularity of the franchise, gaining approval for the use of characters and plot became increasingly problematic. As the game’s prominence heightened, Disney’s investment in the franchise did as well. > [“That feedback process just has been a little bit more difficult than before. And each team would have a different set of rules and guidelines and they would say different things, or they would look at different things… I can say that it has actually been increasingly difficult to get approvals from Disney.”](https://www.usgamer.net/articles/tetsuya-nomura-kingdom-hearts-3-interview) > > **Tetsuya Nomura** This hindrance in terms of game development went on to affect an array of things including time management — something Nomura is constantly critiqued about — plot and most importantly, his overall vision for the game. This was readily apparent in Kingdom Hearts 3, as many felt the Disney worlds and their interaction with the KH characters were almost entirely pointless. Sora no longer affected these worlds in any way and became more of a minor character in terms of the Disney storylines. He behaved like a character with his own distinct story and journey. Whereas prior to release it was hinted that Kairi would finally become a playable character, she once again became the driving force for Sora’s motivation but not an active character herself. However, while the main game felt restricted, the ReMind DLC expressed ideas that the main game could not. As the DLC had little to no interaction with Disney characters, those previous guidelines no longer applied and, therefore, allowed for a more advantageous and interesting development of the story. Kairi became a playable character with her own unique battle style and abilities, while the plot was explained more thoroughly and had an enigmatic air. The DLC incorporated what the main game could not — Nomura’s unfiltered ideas, edited and improved by those around him. For many of us, we cannot escape the guidelines and restrictions others give us over our projects, and while they can be helpful, some are inherently harmful to our intent. We, like Nomura, should find ways to express our ideas, even if it means incorporating it into a separate project like a DLC. Nomura didn’t give up on his concept and that’s an important lesson we can implement into our own projects. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-37.png) Final Fantasy XV’s Prince Noctis, Prompto, Ignis, and Gladiolus. Source: Press Kit. ## Final Fantasy Versus XIII *Proof that success does not guarantee your satisfaction.* When Final Fantasy XV was first released, there was a clear divide between critics. While some praised the relationship between Noctis and his three best friends, others criticized the relationship between Noctis and Lunafreya. The game’s directorial change created a strange disconnect between certain elements of the game. XV was originally going to be Final Fantasy Versus XIII and was directed by Nomura for six years before he was taken off the project. Director Hajime Tabata took up the mantel, creating Final Fantasy XV out of the ideas and work Nomura left behind. While it is debatable whether Nomura left the project willingly, he has hinted in interviews that he isn’t satisfied with how the game was handled. > [“Currently looking at the newer Final Fantasy titles, to be honest, I don’t think it really incorporates that idea of having everything.”](https://www.gamespot.com/articles/kingdom-hearts-3-creator-discusses-dealing-with-ex/1100-6459917/) > > **Tetsuya Nomura** While Final Fantasy XV is regarded as a decent edition to the franchise, especially in comparison to games like Final Fantasy II, it is clear that Nomura isn’t happy with it. As something he worked on for six years, we can all see how he could be frustrated because his idea was not being portrayed in the way he wanted, regardless of its commercial success. He hasn’t given up on his depiction of the story, however. The trailer for Final Fantasy Versus XIII was released before the new director was appointed and there are uncanny similarities between this trailer and the two different endings of the Kingdom Hearts 3 DLC. The new character, Yozora, has a name and character design similar to the Noctis seen in the Final Fantasy Versus XIII trailer. Yozora’s name means “Night sky” whilst Noctis means “Of the night” and Sora means “Sky”. The final scene also shows more similarities, as the way in which Yozora is driven in a car is almost identical to that of the Noctis in the trailer. Nomura is still determined to make his original idea known. Many of us might be tempted to throw away the idea entirely if faced with these kinds of obstacles, but Nomura knows that this feeling of dissatisfaction won’t go away. Members that worked with him on the project have commented that [“He looks at the game at its completion; it’s already there in his head.”](https://www.gamepur.com/news/final-fantasy-versus-xiii-failure-not-nomura-fault?fbclid=IwAR0vzEiE5mJudpKck8j28-B5v0yCchkjzkq%5FLUYUVjIrmxn7AKrTkIPLl1A) An idea so thoroughly understood and thought out will be hard, if not impossible, to let go of. No amount of success or adaptation will replace that initial joy of developing an interesting plotline for a game. As such, he is doing what he can to bring that idea to light. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-38.png) Final Fantasy VII’s Roche (Remake). Source: Press Kit. ## Final Fantasy VII Remake *How to use other people’s advice without making your idea something else entirely.* Having sold millions of copies already (and seen at least one sequel released), it is clear that the new edition to the Final Fantasy VII universe is a success. Part of the beauty of this remake is that it is truly a *remake*. The characters, plot, and locations all interact in a way that we remember, but the way the story plays out and how it looks is just different enough. For example, fans are currently debating whether Aerith will survive in this version of the story, or how Zack’s presence will change things. This mystery around Aerith’s survival is what made her death so infamous in the first version of the game. In maintaining the possibility of her survival in the new version, it creates the same effect. Even though Square Enix and Nomura were criticized for taking a long time to release the game, the trailer was consistent with the game-play. Without the hindrance of strict guidelines like those Kingdom Hearts 3 was under, the plot and world-building flowed much better. Given the fact that Nomura and Yoshinori Kitase (a producer that has worked on a number of the original Final Fantasy games) both got to work from beginning to end of the development process could have also influenced the quality, especially since they both worked on Final Fantasy VII together. Unlike Final Fantasy XV, there were no major directorial changes. That doesn’t mean that they weren’t working with a new team, though. Like most development teams, there is a constant change of people involved in the development of the game. As such, new ideas can be implemented and recognized, but Nomura has the final say on whether it works with his concept. One of the advantages of game development, or any project, is that it very rarely ends up as planned, but it can still have that final overall effect they wanted and only its inventor can know if that was achieved; only they know what effect they wanted to create. It isn’t difficult to see the love that Tetsuya Nomura has for his creations, and it will be interesting to see what new creations come of this passionate director. ### Revisiting The Elder Scrolls II: Daggerfall URL: https://www.superjumpmagazine.com/revisiting-the-elder-scrolls-ii-daggerfall/ Last updated: 2025-08-03T09:11:54.000Z **Thanks to Skyrim, The Elder Scrolls (TES) needs no introduction.** The series is today known as the best-selling RPG franchise of all time and is fairly unique as a game that has transcended beyond ‘core gamers’, despite being about warriors and dragons. To many people, Skyrim might as well be the only game in the series, despite the words The Elder Scrolls V hiding sheepishly above its much larger subtitle. As I’m sure many of the people reading a site like SUPERJUMP know, the series has a fascinating history, with each main entry bringing a unique flair. But it’s no secret that each Bethesda game is more casual and accessible than the last, and the further back you go, the nerdier the fanbase gets. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-32.png) Source: Author. Enter Daggerfall, which was created long before crushing financial pressure forced Bethesda to reinvent their flagship series with Morrowind in order to avoid bankruptcy. Daggerfall presents a completely different interpretation of The Elder Scrolls and can feel completely alien to fans of the more recent entries. Many commentators have described the game as less of an open-world RPG and more of a fantasy life simulator. Just like the later games, the main quest is there but can be entirely ignored in lieu of other adventures. Unlike later games, you could instead decide to take out a loan from the bank, skip town to avoid paying it, use the money to buy a ship, sail to a faraway kingdom, find a quaint hamlet to settle in, buy a house, and spend the rest of your days dungeon crawling and doing odd jobs for the locals down the tavern. This is all because Daggerfall prioritises freedom over scripted events. The game is a sandbox built for your own role-playing stories to unfold. The downside to this is that, in order to create this sprawling sandbox (famously bigger than real-life Britain!), everything is procedurally generated. Everywhere looks more or less the same, with the only differences coming when you travel to distant kingdoms — and that’s only because the procedural generation is slightly altered depending on where you are in the game world. A village in High Rock looks different from one in Hammerfell but that village looks very similar to every other village in High Rock. This extends to the dungeons, which, due to the nature of their haphazard generation, are impossibly huge, labyrinthine, and very repetitive. Dungeon-crawling can be brutally hard and you can spend hours of real-time in just one, but it’s ultimately not the focus on the game (something they clearly forgot when coming up with the idea for the dungeon-crawling spin-off Battlespire). The real meat of the game is interacting with people — exploring countryside farms and sleepy hamlets, hanging out in taverns, getting chewed out by some racist Breton because your scaly Argonian skin flaked off into his beer. You know, classic high fantasy stuff. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-33.png) Character creation in Daggerfall. Source: Mod DB. --- > Daggerfall presents a completely different interpretation of The Elder Scrolls and can feel completely alien to fans of the more recent entries. --- To make up for the lack of narrative, Daggerfall instead focuses on sheer scale and freedom. Guilds have less going on in them (quests are randomly chosen from a selection of pre-created jobs — no storylines here), but there are far more of them, with countless knightly orders, witches' covens, and temples to join alongside the more typical guilds found in later games. Or you can just do odd jobs — either for the most blue-blooded nobles or the seediest criminals. What role you play in this sandbox is largely defined by the person you decide to be, when faced with the game’s detailed character creator. Some characters get on better with the upper class, some prefer dealing with criminals. Some can levitate, some can speak to spriggans and convince them to fight alongside them. Sure, it’s not groundbreaking to have a character creator with so many options in a CRPG, but the difference is that so many competing games in the genre can’t compete with this level of openness. Games like Baldur’s Gate and Disco Elysium may offer similar levels of character customisation, but you are railroaded into following the main storyline. Imagine that level of roleplaying freedom combined with the sandbox design of The Elder Scrolls. It’s true freedom to be any person you want to be, and live out exactly the life best suited to that person. Then, when you get bored, you can roll an entirely different character and do it all again. Of course, Daggerfall is an old game, and that comes with its own issues. It can be brutally hard, and the opening dungeon is infamous for being a trial by fire. Attacks only have a percentage chance to deal damage, and when your skills are low, you will miss more often than you hit. Some stronger or enemies (or spellcasting ones) can’t be hit at all unless you have the right kind of equipment. Some of this will be familiar to those who have played Morrowind, but the game certainly isn’t forgiving for those who are only familiar with Oblivion or Skyrim. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-34.png) Source: Kotaku. --- > It’s true freedom to be any person you want to be, and live out exactly the life best suited to that person. --- It’s hard to recommend the game to everyone, but it’s a damn shame to think that not everyone could experience it. Luckily, there are some talented Youtubers out there like [Indigo Gaming](https://www.youtube.com/watch?v=nqbBw6%5FnYpk) and [Zaric Zhakaron](https://www.youtube.com/user/Zhakaron), creating playthroughs of the game to give new players an idea of what kind of character they can create. Or, possibly, more importantly, give new players an idea of what they should do. There is a lot to do in Daggerfall, but the game doesn’t bother to tell you about any of it. And even if you do know how much there is, the sheer amount can then be overwhelming. PC games in the Nineties were built for hardy sorts. Daggerfall just subscribes to a different philosophy altogether. Beginning with Morrowind, Bethesda frontman Todd Howard would push his vision for a series that was more focused, more narrative-driven, and more action-heavy. Of course, he made the right move. The modern games are all-time classics worthy of the highest praise, but they are entirely different. I often wonder what would have happened if Bethesda had stuck with the focus on a huge sandbox. What would the procedurally generated worlds look like today? Would we have a huge-scale Tamrielic life simulator, like some kind of cross between Kingdom Come: Deliverance and No Man’s Sky? Interestingly, we might find out soon enough. A sizeable chunk of the people responsible for the original Elder Scrolls games have banded together to form Once Lost Games and are working a spiritual-successor-of-sorts named [The Wayward Realms](https://www.waywardrealms.com/), with their website boldly declaring that they aim to create a whole new genre: the “grand RPG”. It’s early days, but the possibilities excite me immensely. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-35.png) Screenshot for The Wayward Realms. Source: PC Gamer. If I’ve somehow convinced you to play this beautiful, mad, incredible game, there’s never been a better time to play it. The fan-made engine overhaul [Daggerfall Unity](https://www.dfworkshop.net/) has modernised the controls, freshened up the graphics, and encouraged a burgeoning modding community. Those modders are making the game prettier and more interesting, adding more quests and more depth to the world, offsetting the procedurally generated drabness. The game is more active than it’s been for the best part of twenty years — there’s never been a better time to jump in. [And it’s free!](https://elderscrolls.bethesda.net/en/daggerfall) Bethesda made Daggerfall free a long time ago, alongside its older brother The Elder Scrolls: Arena. I can’t vouch for that one, but the original game does feature the entirety of Tamriel in a quaint, barebones, MS-DOS form, which is interesting in its own way. Still, it can’t hurt to give them a try. It’s not like a new TES is going to drop any time soon. ### Colonial Power Relations and Totalitarian Mass Communication in Half-Life 2 URL: https://www.superjumpmagazine.com/colonial-power-relations-and-totalitarian-mass-communication-in-half-life-2/ Last updated: 2025-01-11T02:56:56.000Z **Twenty years have passed since Half-Life 2 was released, and today we can safely say that this is one of the most influential FPS games of all time and one of the most important video games of the 2000s, alongside ICO (2001) and Braid (2008), in a decade that was a turning point in independent and personal video game development in the industry.** In this context, Half-Life 2 is also a game with personality and innovation, although not an "[auteur's work](https://medium.com/super-jump/auteur-theory-and-video-games-5716dac5625e)", but the result of "collective design", which corresponds to Valve's principles (their works usually don't even have detailed credits). Its impressive game design stand out in so many aspects that it would be impossible to cover them all in sufficient depth in a single essay, so it seems a good option to dedicate this space to its narrative design, which, unlike its physical and level design innovations, remains unparalleled and timeless in its way of immersing us in a carefully crafted totalitarian colonial science fiction setting. The narrative design includes a frequently silent, occasionally propulsive, and sometimes atmospheric sound experience, along with gameplay whose spaces of possibilities are narratively coherent, and whose linear plot is at the same time engaging and non-intrusive in terms of controls. > "The two key words of *Half-Life 2*, oppression and invasion, come from the dictatorial regime of my native Bulgaria. For me, when I was young, the militia and the army meant the forces of evil." > > **Viktor Antonov, Half-Life 2 art director (interview with Antonov in French, *L'1nterview*, 2019)** > "From my first visit to Valve, I had many conversations with people who shared my vision of integrating narrative and level design - specifically, how you would make that architecture do your storytelling. I only wanted to think about the FPS experience. It just seemed the most involving and interesting for narrative, because it put you right into the middle of a story the way a novel did." > > **Marc Laidlaw, Half-Life 2 writer (interview with Laidlaw, *Rock Paper Shotgun*, 2023)** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Sofia.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-51.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/city.webp) From left to right: The monument in front of Sofia Central Train Station, Bulgaria; the Citadel concept art by Viktor Antonov; the Citadel and some apartments in City 17, Half-Life 2\. Sources: [Reddit](https://www.reddit.com/r/Minecraft/comments/jzd4hn/minecraft%5Fhl2%5Fcitadel%5Foc%5Fbased%5Foff%5Fof%5Fsecond%5Fimage/?tl=pt-br); [Combine Wiki](https://combineoverwiki.net/wiki/Citadel%5Fdesign%5Fevolution); Valve. After the events of the first Half-Life, several space-time rifts similar to the one that began the Half-Life series appear on Earth and allow aliens from Xen to invade and start the Seven Hour War. Among these alien forces are the Combine, an intergalactic empire that eliminates almost all other invading aliens (with a few exceptions, such as the antlions that built underground structures) and establishes a colonial agreement with Earth mediated by Dr. Breen, who was the former administrator of the Black Mesa Research Facility in the first game and afterwards became the UN representative to negotiate peace. About twenty years later, Gordon Freeman awakens from stasis and returns to City 17 on Earth, one of the numerous cities controlled by the Combine forces. For those who have not yet played Half-Life 2, you will not find much more in this essay about the events of its plot other than what is in this paragraph. Only in the third section of the essay are there some minor related spoilers, but they generally concern the context and only to a lesser degree the specific points of the narrative. Unlike the Portal series, in which the player has constant, direct and personal communication with GLaDOS, its antagonist, the Half-Life series is characterized by inconstant and indirect communication with the antagonist, the Combine, which is not even clearly identifiable, except through social mediators: in the case of Half-Life 2, mainly through Dr. Breen, who is inspired by the sociopathic prophet Father Karras from Thief II: The Metal Age (interview with Laidlaw, [Rock Paper Shotgun](https://www.rockpapershotgun.com/the-narrative-had-to-be-baked-into-the-corridors-marc-laidlaw-on-writing-half-life), 2023), who communicates to the player through radio shows as he sneaks around on solitary missions. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/T2_KarportS.GIF.webp) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Wallace_Breen_breencast_bust-1.webp) Left: Father Karras, Thief II: The Metal Age; right: Dr. Breen, Half-Life 2\. Sources: [Thief Wiki](https://thief.fandom.com/wiki/Karras,%5FFather); [The Half-Life & Portal Encyclopedia](https://half-life.fandom.com/wiki/Wallace%5FBreen). Based on this principle of mediated antagonism, the game design of Half-Life 2 mainly discusses power relations and mass communication. This essay is dedicated to examining how these two aspects can be identified and understood within the general rhetorical objective of Valve's game designers. #### Table of Contents ****I. Choices, Antagonisms and Power Relations** I. i. Freedom to choose and freedom to oppose I. ii. Power to act and power to influence I. iii. Playable character and acting character I. iv. Rebel forces vs. Combine forces ****II. Power, Persuasion and Game Design** II. i. Outcome power and social power II. ii. Second-order relations: which power relations are allowed? ****III. Mass Communication and Miscommunication** III. i. Dialogues, media and communication concepts III. ii. Dr. Breen's discursive strategies ****IV. Final thoughts** ## **I. Choices, Antagonisms and Power Relations** ### I. i. Freedom to choose and freedom to oppose The mainstream antagonism concept can be traced back to Ancient Greek tragedy. The word “*antagonistēs*” is derived from *anti-* ("against") and *agonizesthai* ("to contend for a prize"), i.e., an “opponent” or a “competitor for a prize in dispute”. For example: Antigone vs. Creon, in Antigone, by Sophocles, who compete with each other for the right to decide whether or not to bury Polynices (which reflects an underlying debate between divine laws and human laws). Although there is an asymmetry of power in this play, both Antigone and Creon are "free", which means that Creon cannot completely control Antigone, and so she can choose to oppose his orders. Freedom plays a fundamental role in a theatrical production, as it does in a game (electronic or otherwise), since a completely controlled or submissive individual is a mere supporting character. A peculiarity of video games is that they combine these two types of "freedom": *the freedom of the player* (the freedom to choose) and *the freedom of a protagonist or antagonist* (the freedom to oppose). The first type of freedom offers playability, the second one, unpredictability. In the following subsections, we will see how these concepts relate to each other in Half-Life 2. ### I. ii. Power to act and power to influence Aristotle's definition of “choice” (*prohairesis*) seems appropriate to gameplay: Aristotle, in Nicomachean Ethics, defines choice as a deliberate desire for the means to an end (for example, the deliberate desire to finish Chapter 6 of Half-Life 2 using only the gravity gun, in order to get an achievement on Steam); and he defines "power" as a capacity (or *dunamis)* that is connected with change (for example, the skill and other elements needed for a player to complete Chapter 6 using only the gravity gun). Note that the above examples are metanarratives, but we can adapt these concepts to a fictional context in which we represent characters immersed in *power relations*. Power relations involve actors that, instead of acting on *objects* (such as when someone tries to break a supply crate), act on *subjects*, or, more precisely, act on other possible actions, compromising other actors or denying them the effectiveness of their alternative choices (such as when someone blocks you from going through a door or convinces you to use a new weapon). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/crate.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/action-1-1.png) Acting on objects (left) vs. acting on possible actions (right), Half-Life 2\. Source: Valve. When there are choices and power relations between two or more actors, and they can communicate (reciprocally or not), we enter the realm of persuasion and manipulation, which is the topic of analysis in this essay. *Manipulation*, unlike *persuasion*, typically exploits a person's weaknesses. On the other hand, influence that is not manipulative is generally viewed as something "harmless" regardless of whether it's accepted or rejected. Both persuasion and manipulation will be the subject of the third section of this essay. However, first we need to detail the structure of power relations in Half-Life 2. The player chooses, the fictional character acts; in order to choose, there must be different options for action, and, in order to act, there must be power. In this framework, we can take Half-Life 2's context of choice and action into consideration, the context in which the player and the main characters decide the future of Earth. If we use game theory to define the scope of gameplay (noting that this is just one possible approach), we can say that gameplay only exists where there is choice. In each case, game designers will define the scope of gameplay for their game. In the case of Half-Life 2, it is certainly not in its plot; in fact, the only possible plot choice in the entire Half-Life franchise is a decision at the end of the first Half-Life, between two possible endings, where only one of them is canonical. ### I. iii. Playable character and acting character In video games, the narrative experience is not just about the plot, but how the player interacts with it, and in this sense the Half-Life series is more narratively interactive than many adventure RPGs. In the game, the player can not only deliberately interact with NPCs, requesting some response from them, but, while this dialogue is taking place, the player is free to move and look around. In some cases, he will only become aware of certain interactions by deliberately going to a specific place or using some item, e.g., binoculars. The gameplay with the protagonist, Gordon Freeman, essentially consists of two choices: exploration and combat, both of which are always limited. The former is never denied to the player, while the latter is only denied when in front of friendly NPCs, since the player does not have the power to interfere with any of their actions, unlike in the first Half-Life, where, with some exceptions, it is possible to block their passage or even kill them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-65.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/scientist2-1.png) Left: Gordon aiming his gun at an ally in Half-Life; right: Gordon aiming his gun at an ally in Half-Life 2\. Source: Valve. This means that the protagonist, as a *playable character*, is susceptible to power relations in these two domains: exploration and combat; but Gordon, as a *fictional character*, is presumably also subject to power relations inherent to his role in the plot, as a young and skilled theoretical physicist with legendary feats of survival who carries the high expectations from a rebel human faction to lead them. Although the fact that the protagonist is silent and always controllable blurs the line between this duality, it persists, because there isn't any plot choice. ### I. iv. Rebel forces vs. Combine forces The plot of Half-Life 2 can be interpreted as a civil war between two coalitions of actors: the rebel forces and the Combine forces, each with their own internal power relations. In the next section, we will specifically discuss Half-Life 2's game design strategies for power relations and persuasion involving Gordon (both as a playable character and as an actor, in the fictional sense) and also other fictional characters, but first it is useful to establish a map of the relations between them. In this story, we will consider a simplified model with three main human groups of actors on Earth colonized by the Combine: 1. **Rebel faction**: a group of humans who rebel against the Combine forces in order to gain independence for Earth, but who may be captured by them and, after highly intrusive lobotomy and biomechanical surgeries, be turned into "stalkers" (involuntary Combine forces), serving as slaves for maintenance work; 2. **Passive civil subordinates**: a group of humans who resign to Combine rule and submit to totalitarian laws and a ration-based diet, with the hope of survival, but at the risk of going extinct due to a suppression field deployed by the Combine that inhibits the human reproductive cycle; 3. **Active combine subordinates**: a group of humans who, in order to gain rewards and social benefits, choose to join a volunteer police force (metrocops), who are subordinate to the Combine, and, to obtain even more benefits, can undergo biomechanical surgeries and join the Combine transhuman forces. Other groups involved in the dispute include (1) the vortigaunts, an alien race who survived from the first Half-Life and who ally with the human rebels; (2) synthetic Combine forces, which are highly-modified extra-terrestrial beings used for battle and transport; and (3) the G-Man, a mysterious character who we will leave out of this analysis. Below we offer a summary of the power relations within the framework we proposed for the groups of actors and the possible choices for humans after the colonization of Earth, that is, after the surrender of Earth negotiated by Dr. Breen that ended the Seven Hour War. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/power_relations.jpg) Diagram of the opposition between Civil Society and the Combine Empire in Half-Life 2 and the colonial power relations between humans and their colonizers. Source: Author. The reason the diagram above focuses on civilian humans and distinguishes their voluntary or involuntary subordination to the Combine versus their chance of survival or independence is because we are trying to model power relations around the notion of *rational choice*. It should be noted that this is an idealized approach, and is not the most natural way of understanding implicit power relations such as those studied by Michel Foucault, and it may also not be the best choice for the vortigaunts and other aliens present in the game, which is why they are not included in the diagram. However, this approach is accurate, elegant, and especially useful for games. ## II. Power, persuasion and game design ### II. i. Outcome power and social power In his book, Power, Keith Dowding defines power in a game theory framework, modeling human individuals or groups as “actors” who choose, based on a calculation of reward and probability, one option from a set of possible choices of actions in order to try to achieve a desired outcome. Naturally, an actor’s “incentive structure” comprises their interpretation and beliefs about the probability that each action will lead to the desired outcome and about the costs associated with these possible actions in the choice set. In this context, we will consider from now on two types of power: - **Outcome power**: the power of an actor to bring about or help bring about outcomes; - **Social power**: the power of an actor to influence the incentive structure, that is, to change the incentives of other actors to bring about outcomes. In these terms, we say that an actor is "relatively powerful" when he can (1) reduce options in another actor's choice set; (2) change the costs of his options; (3) change the probability of the effect of his actions; or (4) persuade him to change his beliefs. Half-Life 2 teaches us this concept at the beginning of the game, when a metrocop throws a soda can on the ground and orders Gordon to pick it up and throw it in the trash. In this example, it is a power relation by coercion in which the metrocop does not limit Gordon's options (he can decide whether or not to throw the soda can in the trash), does not effect his ability to successfully put the soda in the trash can (if he chooses to do so), and does not try to change his beliefs about whether or not he should do so, but increases the cost of his decision if he chooses to not throw the soda can in the trash: if this is Gordon's choice, he will get beaten by the metrocop, because, at the beginning of the game, Gordon does not have any weapons to defend himself, and he can only try to run away. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-22.png) Gordon's choice in front of a metrocop, Half-Life 2\. Source: Valve. Next the game shows us a "friendly" or *contractual* example of power relations within the rebel faction, when Barney Calhoun, a rebel infiltrator among the metrocops, helps you escape and introduces you to Dr. Isaac Kleiner, who leads Barney's risky mission. These and other forms of power relations permeate the narrative experience of Half-Life 2 and its sequels Episode One and Episode Two, but the most interesting power relations we find are indirect, unlike these last examples involving metrocops. Indirect power relations establish the hierarchies of subordination within the rebel forces and within the Combine forces: the more valuable you are to one of these forces, the higher you may be in the hierarchy, having greater internal social power within your group and possibly gaining more benefits, but potentially foregoing extra protection. ### II. ii. Second-order relations: which power relations are allowed? There are many power relations, some of which may be considered legitimate within the group while others may not be; someone with legitimate power is what we call an "authority", but even an authority can establish illegitimate power relations, which may be condemned within their own group. Presumably, the rules of power relations among the rebels arise from tacit agreements, such as "do not harm an ally", which applies even to Gordon. On the other hand, it is not easy to discover the source of the Combine's power relation structure. Apparently, the Combine's authority, instead of emanating from a "civil consensus" within their forces, is sustained by a military hierarchy, whose superiors are unknown to us. In fact, this is one of the most interesting features of the narrative experience of Half-Life 2: the player is immersed in a game whose masters he does not know; we only know some of the scientific leaders who coordinate the rebels. Dr. Breen answers to Combine advisors, who possibly answer to other beings that are unknown to us. The "chess board" is even more complicated: we know that G-Man is also involved with both forces. However, although the player cannot see the higher authorities behind the game, the pro-human game design choices constantly persuade him to sympathize with the rebels and never with the Combine. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-54-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-55-1.png) Left: Dr. Breen and a Combine advisor; right: seen through binoculars, G-Man and a civilian inside a house. Both from Half-Life 2\. Source: Valve. Edit: Combine advisor and G-Man identification. Half-life 2 is not a "neutral description" of a civil war between humans colonized by extra-terrestrial forces. Its narrative consists of an interactive process carefully designed with the aim of persuading the player to side with one of the forces in this war and the preservation of "(social) freedom" and "(physical and mental) humanity", even if these terms are not rigorously defined. This rhetorical aspect of Half-Life 2 is not unique, but is in fact a common and perhaps unavoidable aspect of video games as technological media. Ian Bogost, in his 2007 book Persuasive Games: The Expressive Power of Videogames, coined the term "procedural rhetoric" (or "simulation rhetoric") specifically to encompass this characteristic of video games, which can be observed in many aspects of game design, such as the design of controls, sound, art, interface, and narrative. In the next section we will explore Half-Life 2's procedural rhetoric as it relates to the communication established between its actors. ## **III. Mass communication and miscommunication** ### III. i. Dialogues, media and communication concepts Since the principles of power relations among the rebel forces are presumably governed by civil consensus, communication between its members is *horizontal* and *dialogical*, meaning that it is based on the broad possibility of dialogue, that is, on the reciprocal possibility of individuals in different positions to disagree or diverge in terms or nuances, as long as they share the common principles necessary to understand each other and be part of the same group. On the other hand, since the principles of power relations among the Combine forces are governed by a military hierarchy, communication between its members is *vertical* and *imperative*, that is, based on a unilateral channel of communication without the possibility of the recipient questioning its sender, when the latter is in a hierarchically superior position. The only exception in the Combine forces is the diplomatic dialogue between Dr. Breen, as the Earth representative, and the Combine advisors; however, it is an asymmetrical dialogue in which Dr. Breen seems to have little or no success in having any of his opinions accepted by the colonizing aliens. The developers of Half-Life 2 make this difference in communication between the two forces clear, but the narrative design is highly focused on communication with a passive recipient, starting with Gordon Freeman himself, both because the player cannot make any decisions in the plot and because the protagonist does not speak, but merely follows orders; similarly, this is the situation of most of the civilians who are passively subordinate to the Combine forces. Like the other civilians, Freeman will only be able to truly be a "free man" if the rebels win the war. Both the protagonist and other civilians are passively exposed to Dr. Breen's persuasive and manipulative rational discourses in mass media, particularly via television. In Episode One, which immediately follows the events of Half-Life 2, we see a counterpoint to this discourse via the same medium, by Dr. Kleiner, but in order to limit ourselves to Half-Life 2 as originally released, we will not study this counterpoint discourse. Inactive channels of communication in Half-Life 2 include newspapers, public telephones, and computers: the press was abolished (we only find newspapers published during or shortly after the Seven Hour War), telephone wires were cut, and the internet became inaccessible (we learn more about this in Half-Life: Alyx). In the next subsection, we will analyze Dr. Breen's discourse strategies. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/graffiti-1-1.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/phone.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-29.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/radio.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-30.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-28.png) Some means of communication or expression in Half-Life 2: graffiti, public telephone, old newspapers, radio, computer without internet (only with local connections) and television. Source: Valve. ### III. ii. Dr. Breen's discursive strategies Dr. Breen is undoubtedly part of a totalitarian project on a global scale. Unlike an *authoritarian regime*, which is typically concerned with maintaining its political power and, so long as it does not feel threatened, offers society some degree of freedom and does not aim to change the world or human nature; on other hand, a *totalitarian regime*, as Hannah Arendt observed, aims to control virtually every aspect of life in society, and promotes official ideologies with the aim of completely controlling the thoughts and actions of its citizens. There are a number of references in Half-Life 2 to the German totalitarian experience (such as the logistics of the trains, and the appearance and function of stalkers) in a setting deeply inspired by communist post-war Eastern Europe (interview with Antonov, [*L'1nterview*](https://afjv.com/news/9560%5Fun-mook-dedie-a-viktor-antonov-half-life-2-dishonored.htm)), so it is tempting to compare Dr. Breen's discursive strategies to those of Joseph Goebbels, Adolf Hitler's Reich Minister of Propaganda. However, there are important differences to be considered beyond *totalitarianism*, such as the issues of *transhumanism* and *colonialism* related to the Combine. We summarize these three components of Dr. Breen's strategies below: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-33.png) Dr. Breen on one of the many monitors in Half-Life 2\. Source: Valve. - **Totalitarian component**: Some aspects of human life seem to be of no interest to Combine politics, such as education and art, but these traces of human culture have been virtually obliterated; children no longer seem to exist, because for about two decades humans have been unable to reproduce, and the only remaining means of artistic resistance seems to be graffiti. All other aspects of society seem to be severely controlled, restricted and supervised, such as the economy, science, privacy, and moral values. Because of this totalitarian component, many players and critics draw parallels between Half-Life 2 and George Orwell's 1984, as in Paused Thoughts's essay [The Narrative Freedom of Video Games: Orwell, Half-Life and Bioshock](https://pausedthoughts.weebly.com/feed/the-narrative-freedom-of-video-games-orwell-half-life-and-bioshock). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/9.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/1.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/6.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/2.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/7.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/8.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/5-1.jpg) Dialogues in architectural interiors that reveal the social context of City 17, Half-Life 2\. Source: Valve. - **Transhumanist component**: Similar to the Nazi eugenics ideology advocated by Goebbels, the transhuman ideology advocated by Dr. Breen involves discriminatory attitudes and a physical ideal for the human species, as Dr. Breen gives benefits to those who voluntarily undergo "cyborgization" surgeries, and even more to those who accept to intensify this process. However, ironically Dr. Breen seems to be completely human; perhaps this changed after Half-Life 2, judging by one of the scenes in Episode One. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-43.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-50.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-36.png) Left: Prison cells where prisoners who are transformed into stalkers are held; middle: graffiti with a human evolutionist theme; right: body of one of the soldiers of the transhuman forces. Sources: Valve, [Otvet](https://otvet.mail.ru/question/169222681). - **Colonialist component**: A modern state project is based solely on what Foucault called *biopolitics*, that is, a set of political technologies for population management, such as public health, regulation of heredity, and regulation of societal risks, among many other mechanisms that go beyond literal physical health. A colonial project, on the other hand, typically involves (at some point in time and in a foreign territory being exploited by the colonizers), what Achille Mbembe called *necropolitics*, that is, a set of political technologies for the creation of death zones where death becomes the maximum exercise of domination (through the systematic choice of who will die and how) and also the main form of resistance; in this sense, Half-Life 2 takes place from beginning to end in a death zone. Another characteristic of colonialism can be seen in the fact that the Combine have practically suppressed human culture, i.e., human powers to express itself in art and entertainment. Typically, we would also expect the colonists to use slavery or exploited labor, but the Combine do not seem to need humans to exploit Earth's resources, although transhumans have proven useful in military support, as Dr. Breen tries to demonstrate to the Combine advisors. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/10.jpg) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-56.png) The contrast in Half-Life 2 between the isolation inside the structures (left) and the violence in the streets (right). Source: Valve. Evoking these three components, Dr. Breen's strategies mix persuasion and manipulation, in a way that not always makes it easy to distinguish the line between his selfish antisocial behavior and his ideological prosocial behavior, but in his public speeches he seems genuinely convinced of his ideology to protect and perfect the human race at a crucial moment for the survival of the species. **Excerpts of speeches to Gordon:** > "A man of science, with the ability to sway reactionary and fearful minds toward the truth, choosing instead to embark on a path of ignorance and decay. Make no mistake, Dr. Freeman. This is not a scientific revolution you have sparked… this is death and finality." > > **Dr. Breen addressing Gordon Freeman (Broadcast in front of the Overwatch Nexus), full transcript at** [**Combine OverWiki**](https://combineoverwiki.net/wiki/Breencast/Quotes#Half-Life%5F2) > "\[...\] Well, I am nothing if not pragmatic. Well, Dr. Freeman, under other circumstances I like to think we might have been able to work together in an atmosphere of mutual trust and respect. \[...\] Tell me, Dr. Freeman, if you can: you have destroyed so much. What is it, exactly, that you have created? Can you name even one thing? I thought not. I have laid the foundation for humanity's survival, and not as we have narrowly defined ourselves, but as something greater than we could ever imagine. Something we can only now begin to glimpse." > > **Dr. Breen to Gordon Freeman (Broadcast during Gordon's journey through the Citadel), full transcript at** [**Combine OverWiki**](https://combineoverwiki.net/wiki/Breencast/Quotes#Half-Life%5F2) In the public speeches in which Dr. Breen opposes Gordon Freeman, he addresses either the civilian public or the transhuman forces through unanswerable commentary. His communication apparently fails to convince the civilians not to help Freeman. It fails due to the ideological noise of the civilians, their distrust of Dr. Breen, and the growing popular charisma of the rebel movement. The diagram below is an adaptation for this case study of Roman Jakobson's model of communication. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/diagram-2-1.jpg) Communication theory model adapted for Breen's public speeches in Half-Life 2\. Source: Author. **Excerpts of public speeches:** > "We now have direct confirmation of a disruptor in our midst, one who has acquired an almost messianic reputation in the minds of certain citizens. His figure is synonymous with the darkest urges of instinct, ignorance and decay. Some of the worst excesses of the Black Mesa Incident have been laid directly at his feet. And yet unsophisticated minds continue to imbue him with romantic power, giving him such dangerous poetic labels as the 'One Free Man', the 'Opener of the Way'. Let me remind all citizens of the dangers of magical thinking. We have scarcely begun to climb from the dark pit of our species' evolution. Let us not slide backward into oblivion, just as we have finally begun to see the light. If you see this so-called Free Man, report him. Civic deeds do not go unrewarded. And contrariwise, complicity with his cause will not go unpunished. Be wise. Be safe. Be aware." > > **Dr. Breen on Gordon Freeman (Broadcast in the APC garage, in the Canals), full transcript at** [**Combine OverWiki**](https://combineoverwiki.net/wiki/Breencast/Quotes#Half-Life%5F2) > "I have been asked to say a few words to the transhuman arm of Sector Seventeen Overwatch, concerning recent successes in containing members of the Resistance Science Team. \[...\] This brings me to the one note of disappointment I must echo from our Benefactors. Obviously I am not on the ground to closely command or second-guess the dedicated forces of the Overwatch, but this does not mean I can shirk responsibility for recent lapses and even outright failures on their part. I have been severely questioned about these shortcomings, and now must put the question to you: How could one man have slipped through your force's fingers time and time again? \[...\] The man you have consistently failed to slow, let alone capture, is by all standards simply that—an ordinary man. How can you have failed to apprehend him? Well… I will leave the upbraiding for another time, to the extent it proves necessary. Now is the moment to redeem yourselves. If the transhuman forces are to prove themselves an indispensable augmentation to the Combine Overwatch, they will have to earn the privilege. I'm sure I don't have to remind you that the alternative, if you can call it that, is total extinction – in union with all the other unworthy branches of the species. Let's not allow it to come to that. I have done my best to convince Our Benefactors that you are the finest the species has to offer. So far they have accepted my argument, but without concrete evidence to back it up, my words sound increasingly hollow even to me. The burden of proof is on you. As is the consequence of failure. I'll just leave it at that." > > **Dr. Breen addressing the Overwatch (Broadcast in Nova Prospekt's cell block B4), full transcript at** [**Combine OverWiki**](https://combineoverwiki.net/wiki/Breencast/Quotes#Half-Life%5F2) Dr. Breen's solution to miscommunication is to capture the rebels and turn them into stalkers, a process that involves lobotomizing them and giving them brain implants that seem to take away their freedom of opposition and ideological noise, preventing them from having linguistic subcodes appropriate to their thoughts, thus practically becoming machines that respond to a common code. This solution is extreme and complicated to execute, and it is not fully efficient, because there can still be physical noise in the communication (as we note at times in the final chapters of Half-Life 2) and because the understanding (among perhaps other mental abilities) of stalkers is more limited than that of transhumans, which severely reduces their outcome power and nullifies their social power. This seems to be the reason why Dr. Breen keeps the transhumans' minds essentially intact. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/communication_with_stalkers.jpg) Communication theory model adapted for communication with stalkers in Half-Life 2\. Source: Author. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/diagram-4.jpg) Communication theory model adapted for communication between machines in Half-Life 2\. Source: Author. In addition to his opposition to Gordon Freeman, Dr. Breen is dedicated to ideologically persuading civilians through mass media. In these public speeches, Dr. Breen maintains a collaborationist discourse between humans and the Combine and presents himself as a rational mediator, and a unifier and protector of humanity with ambitions to evolve a globally organized species in the Universe beyond Earth. > "It has come to my attention that some have lately called me a collaborator, as if such a term were shameful. \[...\] In our current unparalleled enterprise, refusal to collaborate is simply a refusal to grow—an insistence on suicide, if you will. Did the lungfish refuse to breathe air? It did not. It crept forth boldly while its brethren remained in the blackest ocean abyss, with lidless eyes forever staring at the dark, ignorant and doomed despite their eternal vigilance. \[...\] In order to be true to our nature, and our destiny, we must aspire to greater things. We have outgrown our cradle. It is futile to cry for mother's milk, when our true sustenance awaits us among the stars. And only the universal union that small minds call 'The Combine' can carry us there. Therefore I say, yes, I am a collaborator. We must all collaborate, willingly, eagerly, if we expect to reap the benefits of unification. And reap we shall." > > **Dr. Breen on collaboration (Broadcast at the start of the City 17 uprising chapters, on the Trainstation Plaza), full transcript at** [**Combine OverWiki**](https://combineoverwiki.net/wiki/Breencast/Quotes#Half-Life%5F2) The only time Dr. Breen supposedly responds to any of a citizen's concerns he does not address their immediate material problems, showing a complete lack of empathy in his speech in the face of an extremely violent and oppressive scenario. The question addressed to him is anonymous and written in a manner as unemotional as his answer. In any case, it is interesting to note how his answer reveals his greatest challenge in justifying the Combine's extreme measures, particularly the decision to prevent human reproduction. Dr. Breen's persuasive strategy at this point is systematic and focused on the opposition between instinct and reason, the rejection of instinct in favor of reason, and combined with the promise that the reproductive suppression field will be deactivated soon. > "Let me read a letter I recently received. > > "Dear Dr. Breen. Why has the Combine seen fit to suppress our reproductive cycle? Sincerely, A Concerned Citizen." Thank you for writing, Concerned. Of course your question touches on one of the basic biological impulses, with all its associated hopes and fears for the future of the species. I also detect some unspoken questions. Do Our Benefactors really know what's best for us? What gives them the right to make this kind of decision for mankind? Will they ever deactivate the suppression field and let us breed again?" > > Allow me to address the anxieties underlying your concerns, rather than try to answer every possible question you might have left unvoiced. First, let us consider the fact that for the first time ever, as a species, immortality is in our reach. This simple fact has far-reaching implications. It requires radical rethinking and revision of our genetic imperatives. It also requires planning and forethought that run in direct opposition to our neural pre-sets. I find it helpful at times like these to remind myself that our true enemy is Instinct. Instinct was our mother when we were an infant species. Instinct coddled us and kept us safe in those hardscrabble years when we hardened our sticks and cooked our first meals above a meager fire and started at the shadows that leapt upon the cavern's walls. But inseparable from Instinct is its dark twin, Superstition. Instinct is inextricably bound to unreasoning impulses, and today we clearly see its true nature. Instinct has just become aware of its irrelevance, and like a cornered beast, it will not go down without a bloody fight. Instinct would inflict a fatal injury on our species. Instinct creates its own oppressors, and bids us rise up against them. Instinct tells us that the unknown is a threat, rather than an opportunity. Instinct slyly and covertly compels us away from change and progress. Instinct, therefore, must be expunged. It must be fought tooth and nail, beginning with the basest of human urges: the urge to reproduce. We should thank Our Benefactors for giving us respite from this overpowering force. They have thrown a switch and exorcised our demons in a single stroke. They have given us the strength we never could have summoned to overcome this compulsion. They have given us purpose. They have turned our eyes toward the stars. Let me assure you that the Suppressing Field will be shut off on the day that we have mastered ourselves... the day we can prove we no longer need it. And that day of transformation, I have it on good authority, is close at hand." > > **Dr. Breen on instinct (Broadcast in the train station's food hall, on the plaza, and the apartment buildings), full transcript at** [**Combine OverWiki**](https://combineoverwiki.net/wiki/Breencast/Quotes#Half-Life%5F2) The main weakness of Breen's communication strategy seems to be his deliberate disregard for human sensitivity and empathy. Unlike Goebbels, who included specific measures for the educational system and artistic production in his Nazi communication strategy, and who added vocal and gestural emphasis with emotional suggestions to his speeches, Dr. Breen and the Combine seem equally ignorant of human nature and human needs beyond their capacity for reason and self-preservation. On the other hand, this weakness in communication is effective as a rhetorical game design strategy in order to clearly show the player which side they should be on throughout the narrative, and to ensure that there is no other acceptable option other than a revolution for freedom. The pro-rebel turning point of this revolution, probably in reference to the Storming of the Bastille prison in the French Revolution, is the storming of the prison Nova Prospekt, where Freeman's heroism, the Combine's greatest hidden horrors, and the subversive potential of the uprising are publicly demonstrated. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-41.png) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-39.png) Left: The Storming of The Bastille represented in "Prise de la Bastille", by Jean-Pierre Houël; right: the storming of Nova Prospekt, the invasion of the prison Nova Prospekt by antlions tamed by rebel forces in Half-Life 2\. Sources: Wiki Commons, Valve. ## **IV. Final thoughts** Through historical parallels and concepts of game theory, political philosophy and communication theory, we have seen in this essay the colonial power relations between humans and the Combine forces in Half-Life 2 and the game design choices around Dr. Breen's totalitarian mass communication. We have discovered how this game teaches, while respecting the player's freedom, different types and hierarchies of power and how it silently builds its pro-human and pro-rebel rhetoric through the weaknesses of Dr. Breen's strategies. It should be noted that many aspects of Half-Life 2's narrative design have not been discussed, such as the role of the vortigaunts (key allies of the rebels), and the ambiguous and contractual role of the G-Man during Gordon Freeman's journey. Our analytical approach for this story reveals only part of what makes the game interesting even to this day; if you haven't played Half-Life 2 yet, you'll find mysteries in the plot and reflections of themes that go beyond the issues we chose to analyze. Half-Life 2 is the leading example to date of an FPS with a quietly oppressive urban aesthetic and a persuasive, organic linear narrative design, which is a result not only of its gameplay innovations, but also of Viktor Antonov's visionary art direction and Marc Laidlaw's careful writing, as demonstrated throughout this story. Far from being a "mere" precious relic of the past, this dynamic and engaging video game narrative created in the early 2000s should remain among the most notable as far as the subjects of this story are concerned for a long time to come. Special thanks: The diagrams were designed by my boyfriend Felipe Canever Fernandes, the biggest Half-Life fan I know, who was also a valuable source for my reflections in this essay. If you enjoyed the subject of this essay, you might also be interested in my essay [Shin Megami Tensei III: Nocturne as a Political Philosophy Experiment](https://www.superjumpmagazine.com/shin-megami-tensei-iii-nocturne-como-um-experimento-de-filosofia-politica/). ### Hitman, System-Driven Design and Patio Heaters URL: https://www.superjumpmagazine.com/hitman-system-driven-design-and-patio-heaters/ Last updated: 2025-01-10T03:46:19.000Z **I was walking into a runway show in Paris.** I’d been tasked with eliminating the owner of a world-renowned fashion brand, as well as his model-turned-spymaster partner. It was my first experience of Hitman’s episodic reboot from 2016, and I had little to no idea what I was doing. Passing through the courtyard on my way into the event, I noticed rows of large patio heaters either side of the doors. A tiny, white-outline square indicates this might be something I can interact with. However, to loosen the valves on each, I’d need a wrench. I didn’t have a wrench, and loosening the valves in the middle of a crowded patio would have been extremely suspicious. So what was the point of these patio heaters that were presumably social-stealth-suicide to mess with? Before I answer that question, let me set the scene. Sometimes game logic can be a little convoluted, and usually we find that we’re forced to suspend our disbelief when a certain item works only once and in one place, or when a door that used to be open is now locked tight forever. Perhaps you’re walking down a shopping street in Grand Theft Auto V, but you can only walk into one or two stores. The rest are painted-on, or are real enough storefronts, replete with NPCs, but can’t be entered and browsed (or robbed, *sigh*). Maybe you’re paying a visit to Kakariko Village’s graveyard in The Legend of Zelda: Ocarina of Timeand realise you can break open *some* graves and descend into their crypts for treasure, or a less pleasant surprise. The player can’t reliably open each grave and expect to find a crypt to explore, nor can they immediately tell which ones have that capability to be explored. To be clear, I am not criticising this kind of game design at all, particularly in the case of ambitious but hardware-limited titles like Ocarina. Often these kinds of choices reflect a commitment to maintaining story flow. In Ocarina’scase, the Nintendo 64 was already struggling to keep up with the game’s beefy technical demands and making a full crypt for every grave would likely introduce further unnecessary strain on the hardware. Also, adding that feature wouldn’t have added anything in terms of plot or enjoyment *anyway.* The Grand Theft Auto Vexample works here, too: do you *really* need an entire street of functional shops and businesses that you’ll never actually want to use? Probably not. Game developers constantly make judgement calls based on the time and resources it would take to implement features as compared against the potential value or function that feature would really have in a finished product. The fleshed-out shopping street or the comprehensive network of grave-digging sites would have taken a lot of time and would have added very little. The cost of these decisions — if there is one — is that the player is forced to buy into a game’s internal logic rather than being limited only by their own creativity. Might it initially be weird to the player that you can’t enter every grave in Ocarina*,* and which ones you can and can’t is completely arbitrary*?* Maybe. Is it a problem? Absolutely not. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image.png) Source: Press Kit. --- > The Grand Theft Auto Vexample works here, too: do you *really* need an entire street of functional shops and businesses that you’ll never actually want to use? Probably not. --- What does grave-digging in a Legend of Zelda game have to do with patio heaters in Hitman? Everything. Every single patio heater in Hitman can be tampered with, provided you’ve got a wrench handy. With a screwdriver, you can puncture the oil tank of every scooter you find parked up — there’s loads of them in Marrakesh, the game’s third level. You can shoot out every security camera, or find the room where the tapes are stored and destroy them. In short, if you find an instance of an item that you can interact with in any level, you will be able to interact with *every instance of that item* that you come across. You might not need to, or want to, but you *can.* If Kakariko Village was a Hitman assassination playground, you can bet there would be a crypt under all of those graves (Dampé would probably be an enforcer, too). Playing any one of Hitman or Hitman 2’s levels, you’ll notice that you won’t interact with 90% of the items you see. It’s possible you’ll even pick something up with no idea what use it has, leaving it unused in your inventory of crushed soda cans, coins, and fibre wire. So, even when I chased the ‘Mastery’ rank for the Paris level (I’m referring to Hitman’s per-level progression system that pays out new items, starting locations and disguises), I did not use those patio heaters once. Not the ones at the entrance, or outside the bar, or anywhere else that I noticed them. About five levels after Paris, a glitzy fashion show is traded for a state-of-the-art medical facility in Japan. There are two targets again this time. I dealt with the first relatively easily, but, even with my experience of the previous levels, I am a bit stuck as to how to eliminate ex-Yakuza lawyer Yuki Yamazaki. I overhear a tidbit that she smokes, and is infuriated that the hospital has a strict no cigarettes policy. I remember seeing the patient one room over from my starting location smoking on his balcony. Intriguing. After some shimmying along the balcony rails and skulking around his room, I came upon a pack of cigarettes. Score! With the right disguise, I could at least blend in with Yuki’s studious guards and at least get a little closer to the target. Yuki’s scripting in the hospital involves her mostly circling the lobby, restaurant and courtyard, and occasionally dipping back into her own room. If the cigarettes aren’t there, she’ll curse, and simply leave, returning to her routine. This time, they were, and naturally she steps onto the balcony for a smoke. She asks her guard to leave, and a sudden moment of opportunity presents itself. I scan the balcony for anything useful. *There’s a patio heater.* I’d picked up a wrench earlier, and the target was preoccupied smoking. Moments later, the kill was set up. I lure the cigarette-smoking Yuki over by flicking a coin within earshot, and, well, you can probably guess what happened next. It’s not the only way to use the patio heater, of course; such is the nature of Hitman’s system-driven design. For a less risky strategy, the player might loosen the valve and then snipe the heater from a distance, or even shoot it with your silverballer from one balcony over. But the point is that it’s simply another patio heater. And, suddenly, all of those seemingly useless heaters lining the entrance of that fashion show in Paris five levels ago make sense. Within levels and across them, Hitman is constantly teaching you. In particular, it drives home two things: both exactly *what* you can do, and *how* you can do it. I don’t mean this in the tutorial sense: Hitman has one of those too, giving a basic once-over of how to subdue, put on a disguise, and set up clean kills. Rather, this is a evolving learning experience made entirely possible by the presence of the prompt, and the information it contains. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/image-1.png) Source: Author. --- > And, suddenly, all of those seemingly useless heaters lining the entrance of that fashion show in Paris five levels ago make sense. Within levels and across them, Hitman is constantly teaching you. --- When you’re relatively close to an object or specific NPC, a small white outlined square will appear. This alone signals to the player that this object is something they can interact with. On closer inspection, this will morph into a button prompt, along with what that action will cause. This itself is perhaps not especially interesting. However, what’s underneath it in this screenshot is at the heart of how Hitman introduces the player to the wealth of tools and options available to them; and how it never tells them what to do beyond who they must kill. The player is told exactly what is needed to perform the action, but not where or how they might acquire the tool or key they need. Button prompts are part and parcel of videogames, especially when it becomes part of player direction. Contextual prompts, such as the now infamous [‘press X to Jason,’](https://www.youtube.com/watch?v=OYQDnV092hI) can advance quests or plots in game. Countless games dedicate a single button simply for interacting with in-game objective items. Oftentimes, though, these prompts directly advance player progress: pushing the button opens the door to the next room, for example. It can even reach a point where players simply search around for a prompt to appear and move things along rather than playing through instinct or intuition. In Hitman, these prompts don’t do any work for the player or directly help their progress along. They don’t even fully explain the effects of the action: though it’s not a great logical leap on the player’s part to assume that creating a gas leak leads to some explosive opportunities, it is noteworthy that the prompt simply says ‘create gas leak’, rather than something less ambiguous like ‘create gas leak \[BECOMES EXPLOSIVE!\]’. Ambiguity also bleeds into, say, the size of the explosion, or the radius that an NPC with a naked flame needs to be in to trigger it. Returning to my Yuki Yamazaki cigarette accident, it took a few tries to ensure Yuki triggered the explosion in such a way that her guards were not also caught in the blast (Hitman, like other stealth-based games such as Dishonored, rewards clean kills without bystander injuries). Even this example assumes that the player has figured out a way to intercept their target on their usual path, or has lured them toward their trap. In the case of the patio heater, you won’t be making much headway if you rig a trap somewhere that the targets don’t visit. Tampering with level furniture might even hinder player progress if bystanders see a suspicious looking man — in an admittedly dashing suit — messing with a gas valve. It may do nothing at all: I lost countless times where I simply lost interest in my half-baked assassination idea, leaving an array of poisoned food, jimmied-open doors and abandoned disguises in my wake, pursuing a different idea instead. The Hitman series (perhaps with the exception of 2012’s Absolution, which was comparatively linear) has always been about trial-and-error, charting the player’s journey from a messy, mistake-laden first run to a level mastery a few hours later. The point, though, is that the game never instructs you how to be great, but simultaneously does not leave the player to fumble around or work out an obscure ‘solution’ to its assassination puzzles. Everything is out in the open in terms of what can be done, but how easily is a different matter. At the core of that trial-and-error structure is how Hitman’s contextual prompts tell you so much about the options available to you and simultaneously obscure any clues as to how to take advantage of those options. This feature is so ubiquitous and, at its best, unnoticeable, that players perhaps don’t even consider that Hitman is always teaching them. When games are announced, advertised, and reviewed, we as consumers often gravitate towards those flagship features that really make a title stand out from the rest. Dark Souls wore its punishing difficulty as a badge of pride, and it might be the first thing you associate with the series. Survivors of the Wii generation will remember every gimmicky control scheme under the sun. I personally remember rejoicing when Mario Kart 7 became what felt like the first 3DS game to not have ‘3D’ shoehorned awkwardly into the title somewhere. Oftentimes, though, these flagship, meal ticket features are closer to shrewd advertising fodder rather than what really makes a game great. Sometimes what makes a game fantastic is something pretty rudimentary: well executed fundamentals, elegant systemic design, or a well-fleshed out story and characters. The problem is presumably that you can’t write ‘precise controls!’ on the box or on the store page, even if that’s exactly what made platformers like Super Meat Boy so critically lauded. Hitman 2’s advertising spiel reads as follows: > Travel the globe and track your targets across exotic sandbox locations in HITMAN™ 2\. From sun-drenched streets to dark and dangerous rainforests, nowhere is safe from the world’s most creative assassin, Agent 47 in the ultimate spy thriller story. Don’t get me wrong, I loved those *sun drenched streets* and *exotic sandbox locations*, but they ultimately weren’t what kept me playing. It was the learning, the experimentation, and the feeling that just when I’d figured out every plausible way to eliminate a target, another cue from the game’s button prompts got me thinking again. The most effective way to enhance Hitman 2’s sales through reference to its excellent contextual button prompts is a problem for IO Interactive rather than me to solve; I’m too busy trying to take out every target in the game with patio heaters. ### An Apology To My Forgotten Classics URL: https://www.superjumpmagazine.com/an-apology-to-my-forgotten-classics/ Last updated: 2025-01-07T22:53:24.000Z **This story was originally published on our Medium site back in 2021\. We loved it so much that we decided to migrate it to our new site. We hope you enjoy reading!* **My** **first foray into gaming wasn’t entirely fruitful.** At the age of 4, in a small room decorated with the best ‘80s decor had to offer, I noticed an odd looking device with large, chunky keys. It appeared to have a cassette deck attached to it, and looked rather serious. A contraption that your Dad used to calculate household heating expenditure. Spreadsheets, charts, formulae — that sort of thing. Black, monolithic, far too many buttons. The more granular details are fuzzy now, but I do remember the word DATACORDER embellished with a spectrum of colour behind. It didn’t take too long to discover that this was also a games machine of sorts, the ZX Spectrum II. If I am to be entirely honest, to say that this was my first foray into gaming is stretching the truth. It was my first foray into gaming by proxy. I’d watch my brother play Jet Set Willy, R-Type, and Arkanoid. The learning curve was too steep without his help. “What are those colours, and why does it make that noise for 10 minutes before you can do anything?” Reassured that I wasn’t having a seizure, this was the ZX Spectrum II loading data from tape, to machine, before the game was playable. It was all very interesting. But I wasn’t entirely convinced, and found that gaming on the Spectrum wouldn’t hold my attention for very long. Was it the BASIC commands you had to type in to load a game? The long and noisy loading process? The basic gameplay, or the fact that I was just 4? Maybe it was a combination of all the above, but I can only hypothesise that the damage had been done at that point. It would be some time before I’d look at games as a form of entertainment again. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0-lFadvtLQruZTwbwV.webp) ZX Spectrum II. Source: [Amazon](https://www.amazon.co.uk/Sinclair-ZX-Spectrum-2-computer/dp/B004DIZJQU). ## Do not underestimate the power of PlayStation In actuality, gaming would define my younger years, in part by Sega and Nintendo — but mainly Sony. Almost exclusively so. I owned a NES, a Master System and a Mega Drive. I do have fond memories of those consoles, however, the memories they created are a distant little speck lodged in my hippocampus, filed under “pretty neat”. That changed in 1996\. The Sony PlayStation, and all its iterations since, would dominate my free time. Having a limited budget for a number of years would ensure that games outside the PlayStation domain would have to be overlooked. If it didn’t exist on a PlayStation, it just didn’t exist. As a result, I’ve rather embarrassingly overlooked some incredible experiences that lived on other consoles, and on the PC too. So sit back, relax, and grab yourself a beverage. Let’s take a trip down random access memory lane. ## Doom ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0-hQslQea0m6JDdD5h-1.webp) Source: [The Inmost Dens](https://inmost-dens.tumblr.com/post/172501666839/name-hangar-author-john-romero-game-doom). It seems right to start with Doom, probably one of the most influential games of all time. That seems like an understatement. It really is very difficult to articulate just how much Doom would influence the gaming industry. A household name, even until this day, the hype around its release was astronomical. Somehow though, I escaped the hype entirely — completely unaware of the impact it was having on the home PC market, and on University networks in particular. > *"Since today’s release of* Doom*, we have discovered \[that the game is\] bringing the campus network to a halt… Computing Services asks that all* Doom*players please do* not *play* Doom *in network-mode. Use of* Doom *in network-mode causes serious degradation of performance for the player’s network and during this time of finals, network use is already at its peak. We may be forced to disconnect the PCs of those who are playing the game in network-mode. Again, please do* not *play* Doom *in network-mode."* > > **Carnegie Mellon University, just after Doom was released** With no real means to play Doom on our meagre 25Mhz PC, coupled with my parents probable disapproval of such a violent game, it would be years before I could experience Doom. 28 years in fact. Sure, it came out on the PlayStation eventually, but I was preoccupied with other titles then. Thankfully, common sense prevailed in 2021, and I purchased the Ultimate Doom on Steam for a very reasonable price. I’m happy to announce that I managed to complete all episodes. No, I won’t tell you on what difficulty I completed the game. After 28 years from its initial release, I can confirm that Doom is an exceptional experience that is a hell of a lot of fun to play. While I do feel level design has moved on since it’s inception, it didn’t detract from mowing down squads of hell spawn with my trusty shotgun. ## Halo: Combat Evolved ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0-vKMzRrfqAwX97KRS.webp) Source: [Gamerheadquarters](https://gamerheadquarters.com/news/halo-combat-evolved-new-skulls-added.html). From one classic first-person shooter, to another. If you’re following me on Twitter, you’ve maybe seen my tweet on how [I only played Halo online](https://twitter.com/Kernatron/status/1354526693776617473?s=20), and never played through the campaign. Quite ridiculous really, given how it took the foundation that Doom created, and modernised it further. Again, it’s difficult to articulate the impact this game had on the industry. Standing on the shoulders of giants indeed! Not being able to play this at the time hurt. I couldn’t help but peek over the wall in jealously when it launched with the Xbox in 2001\. Thankfully, I was eventually able to play it, albeit only multiplayer mode, on PC. Not long after, the media would begin to hype that Sony themselves were working on a “Halo killer”. Then, this was too lofty an ambition, and even more so when we look back at the eventual release of Killzone. Killzone eventually released, and rather predictably came up short against the sublime gameplay of Halo. Thankfully because of Xbox Gamepass, I am enjoying the spoils of Halo some 20 years later. A promise to myself, and to [Joey ST](https://medium.com/u/9d8710bfee31?source=post%5Fpage---user%5Fmention--d82b0757d07--------------------------------), to complete the campaign because he was so dismayed that I had only played the multiplayer mode. An enjoyable experience so far, it is absolutely dripping in atmosphere, and I’m keen to progress to discover more. Thankfully, even though so much time has passed since release, I know little about the main story. Favourite moment so far? Marines shouting “How’s it feel to be dead?!” after killing multiple Covenant. The work that Bungie carried out to get Halo released just in time for the Xbox launch seems nothing short of a miracle. A ridiculously short development push coupled with executives suggesting the aesthetic quality of the game be changed, could have made for a very, very different title. I and many others are glad it released as Bungie intended. Fun fact: Bungie had settled with the name Halo, but Microsoft executives weren’t so keen. The solution? Add two words to the title — Combat Evolved. ## Bioshock ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0-iqbotZHEPkIbAnD_.webp) Source: [Steam](https://www.google.com/url?sa=i&url=https%3A%2F%2Fstore.steampowered.com%2Fapp%2F7670%2FBioShock%2F&psig=AOvVaw1UyagERhrMjTYWq8x0%5FKxG&ust=1614282431485000&cd=vfe&ved=0CAMQjB1qFwoTCJihzuqkg-8CFQAAAAAdAAAAABAD). > “No Gods of Kings, only Man.” At this point, you’re probably noticing a trend. Aside from the last title (No peeking!), all the games so far are first-person shooters. They’re also first-person shooters which did predominately well on Microsoft hardware. When this game also released on the PlayStation 3, which was notoriously hard to develop for, it ran somewhat poorer than the more optimised 360 version. I didn’t want to purchase a version that was “inferior”, and would ultimately dampen the experience. Bioshock has an incredible art-direction and a compelling storyline which takes inspiration from famous author, Ayn Rand. Philosophical Objectivism interwove throughout makes for the perfect narrative driven first-person shooter. Players assume the role of Jack. After crash landing in the Atlantic Ocean, Jack manages to find a lighthouse. Finding a Bathysphere within the lighthouse, he makes his way to Rapture. This would mark the beginning of an amazing three part series — and I haven’t played a single one. Why have I not given Bioshock the chance it deserves? Of all the games listed in this piece, this is my biggest why. “Why have I not given Bioshock the chance it deserves?” There’s ample opportunity now, especially with the release of Bioshock: The Collection. I intend to purchase Bioshock: The Collection for my ageing PS4 and enjoy every single moment of it. ## The Elder Scrolls V: Skyrim ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0-sDsJMvPR1z3my49a.webp) Source: [USgamer](https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.usgamer.net%2Farticles%2Felder-scrolls-skyrim-switch-review-analysis&psig=AOvVaw0qkE%5F1hNd%5Fnvy9HAiqyac5&ust=1614282520236000&cd=vfe&ved=0CAMQjB1qFwoTCLi1pJWlg-8CFQAAAAAdAAAAABAD). > “You’re finally awake.” Yes, I am aware of the meme — painfully so at times. I am aware that there’s also a running joke that Skyrim will likely be available on Samsung fridges to play in between meals, as it’s constantly being updated and released on emerging platforms. A beautiful looking game for sure, and one that gamers hold close to their hearts, but it has just never appealed to me — outside of the crazy memes spawned on the internet. Perhaps it’s just too overwhelming. I get a little stressed, the cognitive load on my brain too much even considering this one. Maybe I just don’t have enough time to dedicate to this classic, knowing that I won’t get the best out of it? I’m not entirely sure. Or perhaps, and most likely, I’m just not fond of the medieval inspired setting of Tamriel, the odd NPC dialogue or the seemingly clunky nature of the combat. I’ve always found more traditional, JRPGs more enjoyable, more engaging and inviting. Am I wrong about this? I don’t feel compelled to give it a go, but I’m happy to be proven wrong. ## The Legend of Zelda: Breath of the Wild ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/0-AUXgXFBlCIjkF5vJ.webp) Source: The Verge. There are many Nintendo games that I haven’t had the opportunity to play, but The Legend of Zelda: Breath of the Wild is the only title that has made it here. The word masterpiece is so often used with great abandon that it has lost all meaning over time, but not when applied to Breath of the Wild. By all accounts, this is a truly exceptional game. Could this be Nintendo’s magnum opus? My goodness does it look beautiful running on the Switch. Trust Nintendo to be able to produce something so breathtaking on severely underpowered hardware. It just looks so captivating, artistically charming and, well, fun — could this be Nintendo’s magnum opus? I can’t vouch for the game myself, but this quote from GameSpot was certainly enough to whet my appetite, “\[Nintendo\] takes designs and mechanics perfected in other games and reworks them for its own purposes to create something wholly new, but also something that still feels quintessentially like a Zelda game … It’s both a return to form and a leap into uncharted territory, and it exceeds expectations on both fronts.” I have a Switch, so I have no excuses. I’ve never played a Zelda game. This will be my first. What a great time to be a gamer. ### Once Upon a Time, Grocery Barcodes Unlocked an RPG World URL: https://www.superjumpmagazine.com/once-upon-a-time-grocery-barcodes-unlocked-an-rpg-world/ Last updated: 2025-01-05T22:40:30.000Z **Barcodes have become ubiquitous objects in modern life. The first grocery product to be scanned, a 10-pack of Wrigley gum** [**in 1974**](https://www.chicagotribune.com/business/chi-bar-code40-years-old-wrigley-gum-20140626-story.html)**, would signify the creation of a standardized storage method for pricing information.** Nor did this technology remain limited to the commercial arena. In the early ’90s, a Japanese company would create a handheld console that would presage technological developments. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/1-GZemuy-vSCYqnhift3mAyg.webp) An advertisement for the Barcode Battler in Play Time magazine (1994). By Kantenflimmern from [Flickr](https://www.flickr.com/photos/32940945@N05/3074990775) (CC BY-SA 2.0). ## Battling barcodes Epoch, a Tokyo-based toy company, sought a way to gain a larger foothold in the entertainment industries. The company’s Cassette Vision became one of the first successful programmable consoles when it had been released in 1981\. A decade later, they would introduce an innovative handheld console — the Barcode Battler. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/1-FxxE4CKtDE0ytdPG6zZl3w.webp) The Epoch Game Pocket Computer. Edited by the author. By Chester from [Wikimedia Commons](https://commons.wikimedia.org/wiki/File:Epoch,%5FBandai%5F%26%5FHello%5FKitty%5Fgame%26watch-style%5Fgames%5F%289174344735%29.jpg) ([CC BY 2.0](https://creativecommons.org/licenses/by/2.0/deed.en)). The company’s previous handheld console, the Game Pocket Computer, had been a disastrous failure, with only a couple of games created before its discontinuation. With the release of the Barcode Battler in 1991, Epoch did not want to repeat history. Its design, with an in-built barcode scanner that could read cards, meant it stood out from the crowd. Barcode Battler’s gameplay premise was exciting: The player could scan barcodes, even those attached to grocery items, which would unlock a character, item, or power-ups. After the player scanned the code, they could train their characters to grow stronger. ## A world of possibilities Since the console itself wasn’t easy to understand, the manual had to provide a lot of information. One such topic was the story. The [Epoch Tomy Barcode Battler User Guide](https://archive.org/details/epoch-tomy-barcode-battler/mode/2up) provided some background: > And so began ‘The Commerce Conflict’ fought throughout the four Eras Barcode Nebulan time. This interstellar war has been raging for hundreds of our earth years — a conflict so brutal, so terrible that it has transformed the once peaceful inhabitants into hardened warriors, warring wizards, and mutated fighting machines… There wasn’t much on-screen representation of this story, though. Characters, of either Wizard or Warrior class, only made appearances as numbers (Life energy, attack power, and defense power). This was a theatre of the mind. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/1-n-cjIcdql4O48QT_dnzOWg.webp) A Barcode Battler with its booklet, cards, and packaging. By Manuel Sagra from [Flickr](https://www.flickr.com/photos/manuelsagra/379116822) ([CC BY 2.0](https://creativecommons.org/licenses/by/2.0/)). Players could test their characters against each in a two-player mode or two single-player modes — against in-built enemies or enemy cards. The story mode had four Battle Eras, each with five Light Worlds. To progress, the player had to find three hidden keys in each Battle Era as well as defeat the various opponents. When a player defeated the Emperor Boss, the ability to fight against enemy cards (mode C2) became available. ## In the hands of the player After its 1991 release, the Barcode Battler became popular in Japan. Special edition cards, with characters from The Legend of Zelda and Super Mario franchises, illustrated the merchandising potential of the device. Certain cards also allowed one to engage in themed battles against famous Nintendo enemies such as Ganon. The craze would come to the rest of the world in 1992, in the form of the Barcode Battler II. Excitement ran high as consumers imagined the possibilities of the product. Advertisements, which promised amazing experiences, fed the hype. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/1-cv06ZEaGXHpfb-4B2ti0gw.webp) A closeup photo of a Barcode Battler system. By [Laura Ohrndorf](https://commons.wikimedia.org/wiki/File:Barcodebattler.jpg) ([CC BY-SA 3.0](https://creativecommons.org/licenses/by-sa/3.0/deed.en)). Once in the player's hands though, the console left some people cold. Its major selling point, the barcode scanner, was a bit temperamental. With only one game, the handheld console offered little replayability as well. Within the handheld console market, the Barcode Battler had to compete against the Nintendo Game Boy upon its worldwide release in 1990\. In contrast to the Battler, the Game Boy could represent dynamic, moving scenarios on-screen. Even with discounts, sales of the Barcode Battler didn’t soar in the West. ## A hint of future developments Japan would go on to make greater use of the expanded abilities of the Barcode Battler II’s abilities. With its [output port](https://www.eurogamer.net/articles/2019-07-10-not-even-mario-and-zelda-could-make-the-barcode-battler-any-good), the handheld console could be attached to a Famicom and Super Famicom, much like how the Game Boy Player or e-Reader would connect with the GameCube. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2025/01/1-rIOYMh-msYQfYOuh08Xsug.webp) A Japanese Barcode Battler II. By Manuel Sagra from [Flickr](https://www.flickr.com/photos/62128026@N00/15414615186) ([CC BY 2.0](https://creativecommons.org/licenses/by/2.0/)). Released in late 1992, Epoch published the game Barcode World for the Famicom, which expanded the handheld original premise in several ways, including giving the game graphics. The Amazing Spider-Man: Lethal Foes, released in 1995 for the Super Famicom, allowed additional content to be unlocked with a Barcode Battler II. Although it wasn’t a worldwide sensation, the Barcode Battler presaged the future of pervasive games. Collectible characters whose stats grow with progression would become a major feature of handheld consoles — Pokémon being a prominent example. Scanning, in the form of QR codes, would also be a significant innovation in the mobile phone sphere. In the end, Epoch’s console would be a weathervane for the winds of change. The Barcode Batter’s ideas were exciting enough to initially catch the attention of consumers, though the device itself didn’t have enough capabilities to fulfill these heightened expectations. Gamers would have to wait for technology to catch up with the ambitious concept. ### Prince of Persia's Accessibility Is Inaccessible to Some URL: https://www.superjumpmagazine.com/prince-of-persias-accessibility-is-inaccessible-to-some/ Last updated: 2025-01-04T13:00:35.000Z **At the Game Awards, it was easy to blink and miss the award for the best accessibility feature in a game for 2024, with the winner going to Prince of Persia: The Lost Crown.** You may be hard-pressed to know what it did, as the award show did not highlight any of the accessibility features being nominated. Although I completed the game, I’m hesitant to call it the best example of accessibility in 2024, despite understanding the developers’ intentions. ## Picture-in-platforming This will not be a review of the entire game, but I want to talk specifically about the use and implementation of its most advertised and original accessibility feature: the ability to create in-game screenshot notes. The design aimed to provide players with the means of recording a room to either mark notes for a puzzle, needed powers, or an item that they need to come back to. PC fans could simply use their digital platform of choice to take screenshots, but *this* was the first time such an option was available to everyone—including console players. Part of the problem with metroidvania and open world design is that it can be very easy to forget where the player needed to use an ability or missed something. Going through La-Mulana, a feature like this would have been very useful. With that said, what’s my problem with it? It’s not that the feature is bad or doesn’t provide utility, but that it became a part of playing the game regardless of whether you want to use it. ## Accessibility tokens Good accessibility features in games are those that are layered on top of a balanced experience and provide the means for more people to experience a game who may not have been able to do so without it. When you look at titles that use assist modes as an optional feature, the game in question tends to be unbalanced, or the experience is not predicated on these features. In my opinion, the problem arises when games, seemingly balanced or ignoring balance, use accessibility features as band-aid fixes for poor accessibility design. This isn’t a problem if the player can just disable it or ignore it with an options tweak. This differs from having a sandbox or free play mode in survival/crafting games, as those games draw an audience of people who just want to use the tools to create. One of my most controversial points that has earned me ire from people is that accessibility features do not fix a game’s problems. Time and again, I’ve observed accessibility features failing to save games from plummeting player interest and high churn rates, and Prince of Persia: The Lost Crown is no different—[more than half its Steam players quit](https://steamcommunity.com/stats/2751000/achievements) before reaching the one-hour mark. ![Prince Of Persia The Lost Crown ](https://game-wisdom.com/wp-content/uploads/2024/12/prince-of-persia-the-lost-crown-2-1024x576.jpg) The memory shard feature is good, but the game feels designed and paced around its use, not as an optional feature. Source: Author. I was surprised to discover, while playing the game, that an accessibility feature functions as a consumable resource. The player only has a limited number of “pictures” they can take before they must delete some. This left a bad taste in my mouth as it reminded me of when NetherRealm implemented the option for “easy fatalities” that allow someone to push just one button and perform the character’s fatality. On paper, this sounds great and a way of providing accessibility for someone who can’t remember those combinations or struggles to put them in...*right?* Instead, it became a consumable resource that players could spend money on to gain more tokens if they run out. Returning to Lost Crown: As a reward for completing some of the harder and optional platforming challenges, it was possible to find more memory shards/screenshot charges. This theory sounds acceptable, but it ties the game’s challenges and reward system to an accessibility option. If someone doesn’t use the feature, tying a challenge’s reward to it feels like a slap in the face for someone who just did all that and is not getting rewarded for their effort. Accessibility should not be a “consumable” or a resource; it should always be available if someone needs to use it. Therefore, game balance and design should not depend on its use if someone doesn’t want it or need it. For an expert metroidvania fan of Prince of Persia, or an expert fighting game fan for Mortal Kombat, these options mean nothing to them; they will not need them to play. However, for someone who genuinely would need or want them to enjoy the game, tying them to a resource isn’t right. Consider the outrage if a video game gated colorblind mode behind an experience point cost and subtitles behind significant gameplay progress; accessibility advocates would be up in arms. ## When accessibility works If your game’s design is being balanced under the assumption that people can just use an accessibility feature to “fix” any problems, you’re going to find people quitting your game out of frustration. They may not know that the option exists, or feel that the game is not providing them with a carefully crafted experience. The cases when I had to use an assist feature or accessibility option to finish a game did not make me appreciate their inclusion, but made me wonder just how many ended up quitting the game before they even knew about those options. This feature improved accessibility in Prince of Persia: The Lost Crown. However, the game’s demanding pace and level design caused significant accessibility issues (a topic requiring extensive explanation, explored later). I haven’t played it yet, but The Last of Us 2’s extensive accessibility options, offering fine-tuned gameplay difficulty instead of simple presets (i.e., *easy, medium, hard*), are great and also featured in The Lost Crown. ![prince of persia the lost crown](https://game-wisdom.com/wp-content/uploads/2024/12/20241201224006_1-1024x576.jpg) Sadly, no matter how efficient the memory shard system is, when **more than half* of the playerbase on a platform does not give your game **more than an hour* of their time, it’s not fixing the other issues with the game. Source: Author. Remember, if someone finds your game bad, annoying, or poorly designed, no amount of accessibility or approachability options is going to save it, nor is there a perfect itemized checklist of all options that fits every game. Accessibility and approachability work best when built on top of a balanced game as a way to open it up for more people to enjoy. This requires the designer to understand who the market is for their game, and what pain points or frustrations exist for newcomers. It’s not about simplifying the game; it’s about enabling a grandmaster of games to enjoy your title their way, while also allowing someone who finds it challenging to experience it on their own terms. However, treating accessibility and approachability options as duct tape for your game’s design will lead to more problems. This frequently causes designers to overlook fundamental problems or player frustrations, leading to churn. It’s your responsibility to deliver a well-designed title for players to enjoy, not to leave them with the task of fixing it themselves. **If you enjoyed my piece and want to follow me,* [**I'm active on Bluesky*](https://bsky.app/profile/gwbycer.bsky.social)**, where you can also find links to all my other works.* ### Factorio Space Age: A Whole Universe to Explore and Automate URL: https://www.superjumpmagazine.com/factorio-space-age-a-whole-universe-to-explore-and-automate-2/ Last updated: 2025-01-02T23:57:30.000Z **In October 2024, the long-awaited** [**Factorio Space Age expansion**](https://factorio.com/space-age/content) **was finally released.** [First announced in early 2021](https://factorio.com/blog/post/fff-365), the developers took their time to implement and polish the new features to release a masterpiece. The DLC has an unbelievable amount of new challenging content. The base game takes place on an alien planet, but even though the goal is to launch a rocket, you can never escape. As the name might suggest, the Space Age expansion allows just this: You can launch into space, build moveable space platforms with asteroid mining, and travel to 4 new planets with unique mechanics. The already impressive logistics system of the base game now also extends into space and you can design complex interplanetary supply chains to ship items between your different bases. Alongside the DLC, the base game was also updated to version 2.0, which introduced new features, improvements, and quality-of-life changes for all players without the expansion. Almost two months into the expansion, I’m still on my first playthrough because there are so many things at your disposal for exploration and experimentation. ## Space platforms Before the DLC, launching a rocket meant “winning” the game and therefore was near the end of the tech tree. In Space Age, however, the rocket tech unlocks earlier and building rockets is cheaper because the new content only starts from there. You can build [space platforms](https://wiki.factorio.com/Space%5Fplatform) in orbit around Nauvis (the original planet), but all building materials have to be launched up via rockets with limited capacity. Just like the rest of the game, space platforms are fully customizable and you can create interesting and unique designs. On them, you can mine small asteroids and manufacture space science to continue in the tech tree. This is only the beginning because space platforms can move; you can add engines and make rocket fuel to leave the safety of Nauvis’ orbit and travel to other planets. I went into the DLC with minimal spoilers, so my first attempt to reach another planet ended in disaster because I didn’t know that the way was filled with bigger asteroids that damage your ship if they aren’t destroyed fast enough. I have since designed a few different space platforms and have seen screenshots of other players with very creative designs including pretty much every famous sci-fi spaceship you can imagine. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/20241220231751_1.jpg) My space platform design to reach Aquilo. Source: Author. --- > Alongside the DLC, the base game was also updated to version 2.0, which introduced new features, improvements, and quality-of-life changes for all players without the expansion. --- ## New planets With your fully-fueled and heavily-armed space platform, you can travel to your first of the four new planets included in the expansion. Every planet has unique mechanics and a science pack that can only be assembled there. You have to visit all of them and build at least a decently-sized factory powerful enough to create enough science to ship back to your main base. ### Vulcanus [Vulcanus](https://wiki.factorio.com/Vulcanus) is a volcanic planet with lava lakes and sulfuric acid geysers. You can find calcite and tungsten ore deposits, but besides coal, no other basic resources like iron or copper can be found. You can, however, pump lava into the new foundry building and extract molten iron and copper from it, which can be cast into plates and start your production lines from there. The planet is also home to a new terrifying enemy: [Demolishers](https://wiki.factorio.com/Enemies#Demolishers). They are very large and hard-to-kill worms, but they live in clearly marked areas on the map and don’t venture outside unless provoked. Vulcanus is generally intended to be the first planet you go to, but it’s not enforced by the game and you can choose any of the first three planets. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/20241220232110_1-1-1.jpg) The map view of my Vulcanus base. You can clearly see the Demolisher territories. Source: Author. ### Gleba [Gleba](https://wiki.factorio.com/Gleba) is a moist, agricultural planet with fungal hills and swampy lowlands. Only stone and water exist as basic resources, while everything else can be farmed from alien plants. I like farming games and mixing agriculture with Factorio sounded fun, so I chose Gleba as my first planet: It was a rough choice. In normal Factorio, you can store all items indefinitely. It’s totally fine to create 10,000 engines because you might need them later. On Gleba, however, all native products - including science packs - spoil. This means you have to rethink your whole approach to the game and design completely new assembly lines that can deal with the spoiling items. In addition to the difficult production lines, Gleba has also the most difficult enemies of all planets: [Pentapods](https://wiki.factorio.com/Enemies#Stompers), which are large five-legged creatures that can walk over walls and deal AoE damage. Vulcanus’ Demolishers are technically stronger, but since they don’t leave their areas you can ignore them until you want to take them on. Gleba’s enemies, however, are attracted by spores, which are released from biological processes in your factory, similar to how Nauvis’ enemies are triggered by pollution. Once you decide to go to another planet and drop down to the surface, you are stuck there until you can build a new rocket to launch back up to your space platform. I barely managed to cobble together a rocket and escape. While I went to the other planets, most of my base on Gleba was overrun by enemies and I had to rebuild when I returned. However, after playing on Gleba a bit more, I have to say it’s my favorite new planet. It’s very unique and once you get used to the spoiling mechanic, it’s fun to come up with designs that can handle it. I also generally play on the Death World setting in normal Factorio (although I’m playing on default settings for my Space Age discovery run), where you get a lot more enemies, so the constant threat of the enemies on Gleba adds excitement. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/20241220232019_1.jpg) A section of my Gleba base with a heavily-armed wall around the entire perimeter. Source: Author. ### Fulgora [Fulgora](https://wiki.factorio.com/Fulgora) is the third new planet. It’s a barren red desert planet with islands in a heavy oil ocean. While it has no native enemies, it’s frequently ravaged by lightning storms and everything has to be close to lightning rods to be safe - but at least you get free electricity from them. Fulgora’s unique mechanic is scrap and recycling. Everywhere else in the game, you start with basic items and assemble them into more complicated products. On Fulgora, however, you mine scrap from the ground and then put it into recyclers to get intermediate products directly. If you need basic items, you have to keep recycling other items down to their base ingredients, so a large part of the production chain is reversed. Because of the distribution of items you get from recycling scrap, you inevitably end up with hundreds of thousands of certain items while you are missing others. At some point, you have to start destroying some items, which, as a bit of a hoarder, feels a bit wasteful. Therefore, I don't like Fulgura as much as the other planets, but I want to come back and build a larger factory before I form a final opinion. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/20241220231906_1.jpg) A part of my Fulgora base with some elevated rails. Source: Author. ### Aquilo The fourth and final new planet is [Aquilo](https://wiki.factorio.com/Aquilo), a very cold ammonia ocean planet with a few floating icebergs far away from the sun. Most buildings don’t work unless they are heated. Besides water and oil, no basic resources exist and almost everything has to be shipped in. You can only unlock Aquilo with the science packs from all of the other planets, so it's the last planet you will get to. The route to Aquilo is more dangerous too because bigger asteroids start appearing that can only be destroyed with rockets. Like Fulgora, Aquilo doesn’t have any native enemies either. Instead, the difficulty comes from the heating mechanic because you cannot use any of your designs from the other planets. In my opinion, this is what makes Aquilo great. Creating production designs is the most fun aspect of the game even though it can take a while to come up with a good solution. ## Solar system edge and the shattered planet Beyond Aquilo are two more locations on the space map: The [solar system edge](https://wiki.factorio.com/Solar%5Fsystem%5Fedge) and the [shattered planet](https://wiki.factorio.com/Shattered%5Fplanet). Nauvis, Vulcanus, Gleba, and Fulgora are 15,000km apart from each other and Aquilo is 30,000km away from Gleba and Fulgora. Getting to the solar system edge requires traveling 100,000km and on the way you will encounter even bigger asteroids that can only be destroyed with rail guns. Successfully reaching the edge of the solar system is the win condition of Space Age, but just like launching a rocket in the base game unlocks a final science pack, so does reaching the solar system edge. From there you can start flying towards the shattered planet and on the way, Prometheum asteroids start appearing, which are used to craft Prometheum science packs required for infinite research. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/20241220231829_1.jpg) My small Aquilo base with warm copper heatpipes adjacent to all buildings. Source: Author. --- > Getting to the solar system edge requires traveling 100,000km and on the way you will encounter even bigger asteroids that can only be destroyed with rail guns. --- ## Quality The Space Age DLC also introduced new [item qualities](https://wiki.factorio.com/Quality). Items can have five different qualities from common to legendary and with higher quality comes better stats. For example, a common asteroid collector has only one collection arm, while a legendary one has six alongside other improvements like storage size, arm speed, and health. Stats that benefit from quality upgrades are marked with a blue diamond in the UI. To get higher-quality items, you have to add quality modules to the production machines, although there’s only a small chance to create an upgraded item. The exact math depends on the number and quality of the quality modules used, but the chance to create a legendary item directly from common materials is something like 0.01%. However, you can also use higher-quality input materials and have a higher chance of getting a legendary result. With the recyclers from Fulgora that can recycle items back into their ingredients, you can also build setups that slowly accumulate higher-quality items by recycling the non-desired results. I've only experimented a bit with item qualities thus far. Item quality is mostly a late-game feature if you want to build a highly optimized factory for infinite research, but I think it's a great feature because it opens up unique and powerful options for interesting and efficient contraptions. ## Elevated rails Another new feature is elevated rails. Trains have always been one of my favorite elements in the game and the ability to bridge over existing tracks, other buildings, and natural features opens up a lot more possibilities for designing interesting rail logistics systems. The 2.0 update also introduced train schedule interrupts, which can add temporary stops based on conditions. The most common use case for this is train refueling: If the fuel is below a certain level, go to a specialized train refueling station, which is so much better than before when you always had to worry about distributing enough fuel everywhere. --- The only way to summarize the Factorio Space Age expansion is that it's absolutely amazing. It’s one of, if not the best, DLC for any game I have ever experienced. It’s basically another full game on top of the already amazing base version. Four new planets, each with unique mechanics, and fully designable spaceships, alongside many other improvements, is so much new content to explore. Another example of how much new content has been added: Factorio 1.0 had an achievement to win the game in 8 hours. In Space Age, this has changed to “win the game in 40 hours”. Building bases on 5 planets and the interplanetary logistics system required to ship items between them is complicated and takes a long time; my discovery run is already a lot longer than that and it’s not even complete yet. The DLC has the same price as the base game, but in my opinion, it’s absolutely worth it because it adds so much new content and depth. And for the players for whom 100,000 km of dense asteroids on the way to the solar system edge to win the game isn’t enough, there is the ultimate challenge of getting to the shattered planet: 2,000,000 km of even denser and stronger asteroids. Designing a ship powerful enough to get there will be an extremely difficult challenge and only the most dedicated players will ever make it. Are you one of them? ### Dragon Age: The Veilguard Feels Like a New DnD Campaign, For Better or Worse URL: https://www.superjumpmagazine.com/dragon-age-the-veilguard-feels-like-a-new-dnd-campaign-for-better-or-worse/ Last updated: 2025-01-02T00:49:00.000Z **The Dragon Age franchise has been in a tight spot for what seems like forever.** Once an undeniable force in the game industry, Bioware's fantasy epic has recently been relegated to "what-if" status and a general sense that the next game would never come to fruition. It's been nearly a decade since the last Dragon Age game hit store shelves, and Bioware has seen few wins in that time. This, along with the seemingly endless staff changes within the studio, caused the gaming world to become pretty skeptical about seeing their beloved franchise ever actually continue. Then, the seemingly impossible happened. Dragon Age: The Veilguard was released on October 31st, 2024, almost 10 years to the day since the last installment, cementing the next chapter of the Dragon Age empire. Being a long-time lover of the series myself, I jumped at the opportunity to give it a go and see if the new Bioware was able to create something that lived up to the legends of old. Dragon Age: The Veilguard had a [notoriously rocky development.](https://en.wikipedia.org/wiki/Dragon%5FAge:%5FThe%5FVeilguard) Starting development all the way back in 2015, Veilguard saw constant leadership turnover, as well as resources diverted from it to supplement Bioware's two most infamous flops – Anthem and Mass Effect: Andromeda. Not only were the people who finished Veilguard almost entirely different than the people who started it, but Bioware itself has effectively become a wholly different company. The fact that Veilguard was released at all is a miracle. Due to these difficulties, however, the game has an offputting air about it that's difficult to explain. Playing Dragon Age the Veilguard feels like sitting down for the first time to play Dungeons and Dragons with a group you barely know and has all the trials and tribulations that come with it. Dungeons and Dragons has seen a resurgence in the past ten years, unlike practically anything modern culture has seen thus far. Playing DnD is no longer something to be mocked and ridiculed, with millions of people around the globe sitting at tables and enjoying this role-playing pastime. Ask anyone who plays DnD regularly and they'll likely all give you the same answer in regards to what is the most difficult aspect of the game itself: scheduling. Trying to get a group of four to five people together routinely enough to carry out a fully fledged campaign can be difficult at the best of times. To help curtail this, many people will sign up for games with strangers, either online or in person, to get their tabletop fix. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-71.png) Source: Press Kit. --- > The fact that Veilguard was released at all is a miracle. --- A common practice for DnD campaigns with people who haven't met before (and even people who have) is a list of "untouchables" that the Dungeon Master will send out before finalizing the campaign. This is typically a document that helps the DM specify what topics are alright to include in their games and what ones would trigger or upset their new players. Untouchable lists are commonplace because they're correct and courteous, ensuring that everyone in the group has a fun and safe time while they sit at their respective tables. The interactions between the characters of Veilguard feel very much like the beginning of one of these new games – everyone gets along, everyone respects each other, and everyone seems hesitant to confront anyone else. This may be proper etiquette for a new DnD table, but there's just one problem: it's entirely paradoxical to the very core of the Dragon Age series. Bioware games are remembered by their characters and the interactions they have together. The conflicts that arise between the cast members of classic Bioware titles feel real and earned, and regardless of how they're resolved, the resolutions feel absolute. In Veilguard, the most you can do to instigate conflict is to "be slightly passive-aggressive," and it feels like the choice to be a right bastard is taken away from you. In previous Dragon Age titles, you could essentially be a sociopathic tyrant, caring as much or as little for the people around you as you feel fit. In Veilguard, it's difficult to get your party to react in any way beyond emphatic enthusiasm. Even when the iconic "*party member* disapproves" pops up, it doesn't seem to have any really palpable consequence on the interactions themselves. This is the crux of Veilguard's problems – the safety of the party's personalities creates flawless and stagnant characters with nowhere to go. They have stories to tell, but none of them really seem to have any lessons to learn or to teach. While being a borderline sociopath sounds like an odd thing to champion, it's more about having the choice taken away from you than it is the choice itself. Veilguard has a distinct "no bummers allowed" vibe when it comes to character interactions that make the entire thing feel bizarrely tone-deaf. Early on in the game's main storyline, your party stumbles upon a town that's currently being strangulated by the Blight. It's a ghastly scene with the entire town covered in corpses, blood, and delusional, shell-shocked citizens. You have stumbled right into the center of an ongoing blood ritual. Potentially hundreds of innocent citizens are dead, sacrificed to a cause that they didn't even know existed. It's a heavy moment, but it lands with a dull wet thud due to the tonal whiplash caused by the happy-go-lucky quippy dialogue being touted moments before (and after) and the disturbing implications of something like a mass humanoid sacrifice. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-72.png) Source: Press Kit. --- > The conflicts that arise between the cast members of classic Bioware titles feel real and earned, and regardless of how they're resolved, the resolutions feel absolute. In Veilguard, the most you can do to instigate conflict is to "be slightly passive-aggressive," and it feels like the choice to be a right bastard is taken away from you. --- These sorts of experiences add to the feeling of this being a new tabletop session, as there has to be some sort of conflict in order for games to work, but it can be hard to gauge the reaction of players if you aren't sure what their limits are. The difference is that a DnD game has real people who can adapt, discuss their differences, have real and honest conversations, and talk out of character to solve the issues presented in-game. It's incredibly difficult to not lose these sorts of moments in translation, and this has always been a problem adapting a tabletop game like DnD into video games as a whole. Larian Studio's unbelievably good Baldur's Gate 3 has shown that this feat is technically possible, but unfortunately for the gaming world, it's incredibly difficult. Games like Veilguard could potentially mark the beginning of a new trend of games trying to capture the magic of sitting around a table, and it will inevitably have varying results. Baldur's Gate 3 lets you be whatever you want to be and do whatever you want to do, no matter how dastardly and depraved, whereas Veilguard's stale safety causes it to feel unambitious and, worst of all, boring. It may be a little unfair to compare a game like Dragon Age: The Veilguard to something like Baldur's Gate 3\. The size and scope of each experience are completely different, as are the characters and their motivations. Regrettably, it feels like EA wanted their own Baldur's Gate 3, without understanding what made that game great in the first place. The frustrating thing is that Veilguard, as a lone experience, works really well. The environments are beautiful and vibrant, the action RPG elements are fun and appropriately frantic, and the exploration is straightforward and enjoyable. But as the first follow-up in a decade to one of the most beloved fantasy gaming franchises in the world, it simply doesn't work. The character interactions feel too much like strangers never really getting to know each other to feel legitimate, with the characters themselves embodying a shell of what their potential otherwise says they could be. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-73.png) Source: Press Kit. --- > The frustrating thing is that Veilguard, as a lone experience, works really well. The environments are beautiful and vibrant, the action RPG elements are fun and appropriately frantic, and the exploration is straightforward and enjoyable. --- I want to reiterate that this has nothing to do with the game itself or the characters being too "woke." To say Veilguard's weak points are because of inclusivity is a reductive stance. It dismisses any merit the game has by making baseless claims on its faults being the result of the audacity to have strong female characters or LGBTQ+ representation. The fact that these characters are written poorly has nothing to do with these factors. Bioware games live or die by their characters, and Veilguard's fall short. Nothing more, nothing less. I played Veilguard for roughly 30 hours, desperately waiting for the "aha!" moment everyone claimed I would get. Despite dedicating more than a full calendar day to this game, I never felt engaged with the characters. Regardless of the setting, it never got past that awkward "first few sessions" feeling, and the game suffers greatly for it. Dragon Age: The Veilguard is not an unpleasant experience, but rather a disappointingly safe one. You can almost see the suits at EA standing behind the developers as they crafted this fantasy experience. You can *feel* the corporate interference in how the characters interact with each other. It seems to have worked though, with Dragon Age: The Veilguard [selling well](https://thatparkplace.com/bioware-is-on-the-hunt-for-dragon-age-whistleblower/) and having mass appeal. While the widest net may catch the most fish, it's also stretched as thin as can be, and Dragon Age: The Veilguard is an appropriately shallow character study as a result. ### Now Playing at SUPERJUMP, Issue 28 URL: https://www.superjumpmagazine.com/now-playing-at-superjump-issue-28/ Last updated: 2025-01-01T14:19:05.000Z **We're back with the end of the year wrap-up issue of Now Playing at SUPERJUMP!** We knew our team would be busy with holiday things so we gave everyone a bit longer to get in with their recent gaming adventures. As usual, there's a bit of everything from the gaming spectrum represented by our team, from visually unique indies to Star Wars. Enjoy all the gaming goodness and Happy New Year to each of you! ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-67.png) Black Myth: Wukong. Source: Steam. ### Gohan Dutra I recently finished [Black Myth: Wukong](https://store.steampowered.com/app/2358720/Black%5FMyth%5FWukong/) after also reading the book, Journey to the West, upon which the game's story is based. I'll be honest - I really was expecting to be disappointed considering the book was so good and I didn't even know if the game had any relation to it, but I was very much surprised with one of the best games I've played this year. It's very clear that the developers love the book, with the game constantly bringing characters and locations from it while also managing to tell brand-new stories using them. I left the game not only satisfied but with a deeper love for the book itself seeing how much its contents could be used to fuel new ideas. ### Priya Sridhar I just [played my review copy of Miniatures](https://www.superjumpmagazine.com/miniatures-and-the-wonders-of-memory/), so here's a bit from my write-up. Childhood ends when we realize we've lost something we cannot recover. Whether it is as small as a sentimental trinket or as large as a family member, we can feel the absence strongly. That is not to say that my childhood ended when the ceramic piggy bank that I played very carefully with got shattered when a sibling knocked it over, but it feels like the world irrevocably changed when my dad died. There is a dividing line where I feel we all became more bitter and resentful of how things are. an pays homage to the time before all that and reminds us of when life seemed simpler, and magic could happen just five feet away at home. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-66.png) The Legend of Zelda: Echoes of Wisdom. Source: Nintendo. ### Cat Webling I've been playing Echoes of Wisdom since it came out and I'm still loving every second of it months later - I only play it in little fits and bursts but I love how cutesy and simple it is! ### CJ Wilson I recently bought myself a Steam Deck as an early Christmas gift, and I've been messing around with it for a couple of weeks now. So far, I have been enjoying my time playing a variety of titles like Spider-Man Remastered and Donut County to test its capabilities. It has helped me enjoy games more consistently as I manage my work/life balance, even if just for a couple of hours at a time. I plan to get an SD card for the Deck so I can see how it performs with emulated games. My only complaint is with the ergonomics; they aren’t exactly perfect as my hands begin cramping after a while. However, I am trying to get used to the feeling of the device even after buying a case for it that I will get soon. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-68.png) SKALD: Against the Black Priory. Source: Steam. ### David Cole The end of my year has been very suddenly dedicated to games emulating the yesteryear of computer role-playing games. [SKALD: Against the Black Priory](https://store.steampowered.com/app/1069160/SKALD%5FAgainst%5Fthe%5FBlack%5FPriory/) (one of my Games of the Year) and [Caves of Qud](https://store.steampowered.com/app/333640/Caves%5Fof%5FQud/) have been dominating my attention for weeks now. It's actually made regular productivity an issue! I think what I like most about these games is how dedicated they are to their aesthetics, specifically how they craft them. SKALD feels more like The Bard's Tale than The Bard's Tale 4 does. Qud is the successor to Rogue that I never knew I needed. The visual styles are limited, but the worlds these games create through their words are what's most special about them. It's not just about genuinely good CRT filters and sick music--though these are present to be certain--it's about the *writing.* Both games capture the feeling of playing Dungeons & Dragons as well as anything I've experienced, and that includes Baldur's Gate 3\. They may not have the budget nor the bombast, but their poetic prose creates rich scenes of adventure that keep me coming back for more. ### Jahan Khan This holiday season I'll be asking people: Have you played Atari today? Atari has launched the 7800+ in time for the holidays, and it's just a fun console that brims with passion and enthusiasm. It plays all the old dusty cartridges and the lineup of new cartridges are beautifully packaged. The wireless controller is ideal, and playing games like Frenzy and Asteroids Deluxe has been good for my motor skills. Atari has been a real highlight for me these last two years, whether it's their new hardware or even their mainstream releases like Tetris Forever. I'm always looking forward to what they release next. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-69.png) Phoenix Springs. Source: Steam. ### Marvel Maximus I recently finished [Phoenix Springs](https://store.steampowered.com/app/1973310/Phoenix%5FSprings/) from [Calligram Studio](https://www.calligramstudio.com/). It’s a neo-noir point-and-click mystery with a beautiful, one-of-a-kind art style. The protagonist’s voiceover is perfectly monotone, with an added edge and sense of world-weariness, fitting for this type of narration-heavy game. I can’t really explain it, but playing the game makes me feel at ease; its dreamlike atmosphere and inscrutable dialogue comfort me in a way few games can. Maybe it’s the choice of colors that strikes me or the aforementioned voice, but all of it in action made for an out-of-body gaming experience, perfect for the year’s end. Hopefully, as I come out of this game’s surreality, I’ll be able to wake up in a new year that makes more sense than Phoenix Springs’ world. If not, at least I discovered myself a little more. ### Ben Macready I’m closing out 2024 by playing two very different, but very fun, games. Chants of Sennaar is a game about language and culture. The player climbs a vast tower, each tier of which is inhabited by a radically different society. Each of these societies speaks a different language, and the player must learn these languages to solve puzzles and progress upward. The game's excellent world-building is what makes it so compelling. As you climb the tower, you’re given fragmentary, fascinating glimpses of several radically different societies. All of this is delivered in a very minimalistic style. Every line of dialogue is delivered purposefully, to help you gradually piece together the complexities of the game’s world and people. Marvel’s Midnight Suns, in contrast, has perhaps a bit too much dialogue. For better or worse the game captures the energy of a Marvel movie very well. There are almost constant quips and one-liners from the characters, to the point where it can be difficult to truly engage with the narrative and its stakes. Nevertheless, there is a riveting underlying story buried beneath the quips. The gameplay is also superb, featuring tactical card-based combat where every character offers something novel. Midnight Suns is great at tying gameplay and characterisation together. Iron Man’s ego and difficulty working with others is shown through his cards powering for every other Iron Man card in your hand. Captain America tanks attacks aimed at others, demonstrating both his famous shield and his selfless nature as a leader. Games are a truly diverse medium, and sometimes it’s great to enjoy two radically different offerings as a reminder of that fact. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-70.png) Othercide. Source: Steam. ### Charlotte Huston I have been playing [Star Wars Outlaws](https://www.ubisoft.com/en-us/game/star-wars/outlaws) lately, for better or worse, as I catch up on many of 2024's notable releases. Unfortunately, the game feels bland and uninspiring. Lately, Ubisoft has been critiqued for delivering just that in all of their games, but I don't think Outlaws feels typically Ubisoft-y. There are no towers to unlock points on the map nor are there territories to conquer. No endless amount of collectibles. Despite that, the open world in Outlaws feels like a waste of time, at least on Toshara. I've constantly seen objective markers placed on a cliff with no clear way to get up there, so I drive around the cliff in circles to find a way up, and many times I don't succeed. Navigating Toshara feels like a chore, so why bother with the side content it holds? The first city you reach on Toshara is also confusing to navigate and I've constantly gotten lost, so I've just fast-traveled out of it several times already rather than walking back out to my speeder. Gameplay-wise, Outlaws is actually solid. It feels surprisingly smooth to play, but the animations felt like they were on a budget. It's very obviously inspired by Rockstar's games - with the Deadeye, the Wanted Level, paying off bounties, etc. It lacks the same amount of polish, of course, but it's not bad. As for Kay, as a character, I *really* want to like her more but she feels bland as well so far. I'm hoping the game picks up after Toshara because so far most of my 10 hours have been spent fixing a ship in a story and game that comes across as flavorless (but not bad) drivel. Otherwise, I've messed with a [game called Othercide](https://store.steampowered.com/app/798490/Othercide/) \- which I've seen reviewers on Steam describe as "goth girl XCOM". And yeah, it's kind of that - but it's not nearly as good, unfortunately. The art style and visuals are absurdly stunning, and that's honestly the main appeal. I can't tell you what's happening in this game or what it's a metaphor for, because it's simply that confusing. The lack of Classes outside of a standard 3 also makes it rather uninteresting to play once you get a handle on the combat. It's just an okay tactical game mixed with a rogue-like. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-74.png) Hogwarts Legacy. Source: Press Kit. ### Bryan Finck I've spent the majority of the fall with Hideo Kojima's magnum opus, Death Stranding, and it's better than I ever could have imagined. Like most folks, the early talk about the "walking simulator for real" gameplay put me off from wanting to play it, but I found myself unable to stay away any longer. As a huge fan of the Metal Gear series, I love the Kojima-isms like Codec conversations and overwrought camera shots, but the actual game mechanics are even better than I could have hoped too. I never would have guessed that trudging across a river or up a mountain would be so compelling, but it far exceeds the "just get through it for the next cutscene" expectation that I expected. I've also dipped back into Hogwarts Legacy for some cozy gaming in the Wizarding World. Just wandering around the castle and exploring the grounds (which I've already spent 70+ hours doing) is such a warm and welcoming way to spend time, and it has me contemplating a whole new run through the entire game. --- A big thank you to our writers for dropping by and to all our loyal fans for being here to check it out! Be sure to tell us what you're playing in the comments and check back next month for more of what our team is getting into. May you all have a safe, happy, and healthy New Year! ### Is Starcraft 2’s Strategy Design Still a Winning Formula? URL: https://www.superjumpmagazine.com/is-starcraft-2s-strategy-design-still-a-winning-formula/ Last updated: 2024-12-30T14:00:57.000Z **I recently played through all of the Command & Conquer games while researching my new book on real-time strategy games.** It made sense, of course, to also check out the other equally-famous RTS series: StarCraft. Though I didn't have time to make my way through the entirety of the original game, I did play through its sequel (as both the Terrans and the Zerg on the highest difficulty). This was my first time analyzing a StarCraft game; it's easy to see how it became one of Blizzard's top games and how few other studios (including EA LA, creators of Command & Conquer), actually learned from it. ## The StarCraft design strategy Although there are only two StarCraft games (compared to Command & Conquer's impressive *seven* main games), fans certainly got more than their money's worth with StarCraft 2\. While players did have to purchase each of the game's three campaigns, each of these campaigns/expansions was its own full-length experience (more on that in a moment). This structure differs from Command & Conquer and other multi-faction games where all missions (across all factions) are bundled into the same game/purchase. StarCraft 2's approach not only gave Blizzard three times the revenue, but it allowed them to fully embellish each campaign well beyond what any RTS designer has done (at the time, or since). The campaigns provide players with an expansive area to discover, packed with lore, Easter eggs, cinematic and in-game cutscenes, and a more diverse selection of missions than than Command & Conquer games. What the game truly exceptional is that the developers simply said "screw it" and abandoned the idea of balancing single and multiplayer modes. StarCraft 2 - like the Mortal Kombat revival - understood that the players seeking single-player experiences differ from those who are keen on competitive gaming experiences (and vice versa). Instead of trying to create gameplay that would act as a bridge between the two, the creative team went all-in on creating a 100% unique single-player experience. ![](https://cdn-images-1.medium.com/max/1062/0*SmiDoqpNzxJrKl1L.jpg) Unique units and upgrades give the single-player campaigns far more life than any other RTS out there. Source: Author. Apart from the mission design (which I'll discuss next), all three factions have unique upgrades, units, and progression that are absent in multiplayer. Although players can research some tech upgrades and bonuses, many of the "spicy" units and features simply aren't included in the multiplayer modes. At first, this might sound like a bad idea: *why would you remove cool stuff from a large portion of the game experience?* The reason is that it would throw Blizzard's trademark balance out of the window. Many of the advanced upgrades explicitly aim to break the traditional balancing rules: for example, Terrans enabling the construction of two SCVs at a time (which then enables players to have multiple SCVs working on a single project, thus speeding up base building). Anyone who has played or watched professional matches knows that being able to build your base faster offers a huge advantage in a competitive game. Players will also find powerful mutations transforming the Zerg (with Kerrigan taking the role of a prominent hero unit through the campaign). I like the way the developers went beyond the creation of a single unique campaign and instead designed three truly unique experiences. Since players can decide which upgrades to chase, these campaigns and their structure provide a rare example of strong replayability built into the design of a real-time strategy game. Blizzard's mission design and unique features *still* set it apart from other RTS games on the market. ## StarCraft vs Command & Conquer The sharpest difference between Blizzard's approach to RTS games and Westwood/EA's is mission design. In Command & Conquer, almost every base-building mission requires the player to destroy the enemy's base. Fundamentally, it's a battle between the player base and the enemy base. In StarCraft 2 (and in earlier incarnations of the series as well), the player and AI are on two entirely different planets in terms of their goals on the map. Blizzard focuses on highly unique once-off missions where objectives rarely involve destroying the enemy base. And the missions that do require you to destroy the enemy base tend to have very different conditions compared to the typical base-destroying mission in other RTS games. ![](https://cdn-images-1.medium.com/max/1062/0*PGr-b0giMimDVqa_.jpg) Mission variety is nice, but it does strain against the scripted nature of the gameplay. Source: Author. In my recent [Command & Conquer retrospective](https://www.superjumpmagazine.com/command-conquer-through-the-years-a-retrospective-analysis/), I discussed the idea that earlier RTS games could be seen as "RTS puzzles", but the structure that Blizzard established in StarCraft 2 is much more impressive by comparison. Each mission not only unlocks a new unit, but also pulls double duty in challenging the player and seamlessly integrating the new unit into their repertoire. Every mission has one or more unique conditions that the player must abide by. This is further expanded by making the new unit the "star" of the map. The challenge is that the player must figure out how to achieve their goal given the specific objectives and behaviors of the enemy. In one map, for example, the player must rush out and destroy buildings by day because they spawn infected by night (this could also have been the inspiration for "They Are Billions"). Normal units are not fast enough to cover the map and deal with them, but thankfully, the mission introduces hellions to the mix as a counter to the enemy's capabilities. Playing these missions on brutal difficulty also highlights just how much map and unit knowledge are key to winning. If you try to play these maps in the same way as you'd play a competitive multiplayer session, you are going to lose. This is primarily because time and resource limitations impact many of the map conditions. Tier 3 units are slow to build up to (let alone making an army out of them). Many maps enforce a specific time limit on how long you have to complete an objective (or before the challenge escalates in some fashion to punish dawdling). On a later Terran map, for example, the player has to defend a giant laser from waves of Protoss units. Given the frequency of units and number of attacks, you don't really have the luxury to just "tech up". And on the highest difficulty, you may not even have enough resources to build a large enough army that guarantees your defense. In yet another level, you're literally being chased by a wall of fire; so good luck trying to set up a base somewhere. Now that I've discussed some of the ways StarCraft 2 stands out from the competition - especially Command & Conquer - it's time to deal with the biggest question of all: which of these two iconic franchises holds up better today? ## Finding the balance When looking at both designs, the question is really what two completely different schools of thought around mission and unit design means for both franchises. Command & Conquer's design has some clear and obvious advantages. Defensive units and structures are simply pound-for-pound *better* in Command & Conquer. Every faction has the means to lock down an area of the map pretty effectively unless the enemy is throwing an entire army at them. StarCraft 2 has a totally different focus. Base defenses are band-aids, more or less, intended to keep matters from getting worse. But they will fail quickly in any serious confrontation (especially when an enemy throws a full army at you). The reason for this is because all three factors gain easy access to siege units that can simply bombard defenses without reprisal (and even Tier 1 units can overwhelm every static defense out there). If you're going to defend an area on the map, you'll need *units*; specifically, a broad diversity of units. StarCraft's design incorporates a rock-paper-scissors balance. In Command & Conquer, you'll face extreme consequences for bringing the wrong army composition to a confrontation; these consequences are less extreme in StarCraft. As a result of this, StarCraft 2 can feel more exhausting to play than Command & Conquer. Even though StarCraft 2 removes the single player specific elements from the multiplayer balance and structure, it still requires far more micromanagement compared to anything Command & Conquer throws at the player. Since you can never rely on defenses to do the job of holding territory, you need to be highly reactive to attacks across multiple fronts (and you must keep a stream of units in production at all times). ![](https://cdn-images-1.medium.com/max/1062/0*VK4gbn5zafKemyZY.jpg) No jokes or puns here. I genuinely hated this mission and I will remember it as one of my least favorite of all time. Source: Author. One of StarCraft 2's biggest UI/UX fails - and perhaps its most surprising - is that, compared to other RTS games, you don't have universal control over unit production. There's no "select all barracks" option. I do like that you can set rally points for individual units, but I prefer Command & Conquer's vertical command bar for easy unit construction no matter what I'm doing. Comparing mission design is a tall order, as both series have fundamentally different approaches to mission structure. StarCraft 2's missions are, on the whole, more unique. While Command & Conquer lets the player pursue multiple strategies to achieve their goal. You simply don't have the flexibility of unit design and rules set in StarCraft 2 to do something "off script" (at least not without going against the intended design of the missions). While I do appreciate the uniqueness of StarCraft 2, I ultimately prefer the looser and more fluid structure of Command & Conquer. One of the side effects here is that Command & Conquer is more relaxing to play by a large margin. Mission design in StarCraft 2 is more varied, but this also means that the quality spectrum is much wider than in Command & Conquer. I can't think of a single bad mission out of all the Command & Conquer games (not counting the original, C&C4, and the ones that were altered due to balance patches as in C&C3). I *can* think of multiple missions in StarCraft 2 where the only word I can use to describe them is *ugly* (in terms of gameplay). While the missions aren't designed for multiplayer matches, the game seems to expect players to control them like professional players (requiring them to split forces and perform precise micromanagement). Many of them will surprise players with unexpected challenges. I was able to beat all of Red Alert 3 on the highest difficulty; I had to tone things down in a few places for StarCraft 2\. One common complaint about baseless missions is that the general gameplay approach of an RTS doesn't lend itself well to controlling just one (or a small group of) units at a high level. This problem is on full display in the Zerg's campaign, with missions that feel like you're playing with masochistic Pikmin. ![](https://cdn-images-1.medium.com/max/1062/0*JaP9_C0jOLP0r_1L.jpg) With everything said and done, Starcraft 2 still has yet to be bested in terms of content and value. Source: Author. ## Is there a perfect RTS? Looking at both StarCraft 2 and the Command & Conquer games, there is definitely an interesting dichotomy at play. The greater focus on progression and upgrades - along with the high-quality story - makes StarCraft 2 the deeper game, while Command & Conquer offers the player a more intuitive and approachable experience along with some fun unit design. There's a fantastic RTS lying in wait somewhere between the two design philosophies of these series. There's a great opportunity here too, given that both Command & Conquer and StarCraft are apparently retired franchises at this point. Although both of these series achieve high marks in terms of some aspects of their game design, I believe we've yet to see the a true evolution of the RTS genre. If you're curious about RTS games and want to learn more, make sure to pre-order my upcoming book: [Game Design Deep Dive: Real-Time Strategy](https://www.routledge.com/Game-Design-Deep-Dive-Real-Time-Strategy/Bycer/p/book/9781032756974) **If you enjoyed my piece and want to follow me,* [**I'm posting on Bluesky*](https://bsky.app/profile/gwbycer.bsky.social) *and you can find links to all my other works from there.* ### How to Add Captions and Subtitles to YouTube Videos URL: https://www.superjumpmagazine.com/how-to-add-captions-and-subtitles-to-youtube-videos/ Last updated: 2025-07-18T01:00:51.000Z **More and more gamers and game developers are creating their own YouTube videos.** Success on YouTube requires continuous learning and improving your craft. As you think about the type of videos you want to create, it's also worth considering various ways to enhance the experience for your viewers. Captions are a great example of this, not only as an important accessibility feature, but because they can directly contribute to increasing watch times, improving SEO, and even making videos easier to find in the first place. Captions also help you to broaden your audience, especially if you want to surface your creative work to audiences in different parts of the world. CapCut’s desktop video editor is a free [video editing software](https://www.capcut.com/tools/desktop-video-editor) that is an excellent tool for creating high-quality, AI-driven captions effortlessly. With its advanced customization features and support for various languages, CapCut allows creators to generate professional, polished subtitles that align with their brand style. This article will explain what makes CapCut’s AI YouTube subtitle generator unique and how it can elevate your video content, enhancing both accessibility and engagement. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-75.png) Source: CapCut. ## Why choose CapCut's AI subtitle generator for YouTube YouTube is a highly competitive space; every creator is vying for viewer attention. CapCut’s AI [caption generator](https://www.capcut.com/tools/auto-caption-generator) stands out as a valuable tool for improving video accessibility and engagement. CapCut offers a simple one-click solution that automates subtitle generation, ensuring they are accurate and synchronized without requiring manual tweaks. This is particularly beneficial for creators looking to save time and optimize their editing process. Moreover, CapCut’s AI technology generates subtitles word by word, matching the natural rhythm of your speech, which helps maintain viewer interest by keeping the subtitles perfectly aligned with what is being said. CapCut also supports various languages, making it easy for YouTube creators to connect with global audiences. Whether your content is in English, Spanish, Mandarin, or Hindi, CapCut’s multilingual capabilities ensure that your videos are accessible to a wide range of viewers. Additionally, the tool provides [video background remover](https://www.capcut.com/tools/video-background-remover), allowing you to modify the background of your video and also relevant captions to fit your brand’s aesthetic. ## 3 simple steps to add captions to YouTube videos using CapCut Creating engaging captions for your YouTube videos using CapCut’s AI-powered subtitle generator is a simple process. Here’s a step-by-step guide: ### Step 1: Import your YouTube video Launch the CapCut application on your desktop. On the main screen, click “New Project” to begin a new editing session. Hit the “Import” button to upload the YouTube video file you wish to edit. You can choose from various video formats, allowing for flexibility with different content types. Drag and drop the video onto the editing timeline for easy access. Once your video is in the timeline, check its quality and ensure it’s trimmed to your desired length. Editing a high-quality video can significantly enhance subtitle clarity and accuracy, especially if the video features complex visuals or rapid transitions. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-76.png) Source: CapCut. ### Step 2: Generate captions with AI In the CapCut editor, navigate to the “Text” section in the toolbar and select the “Auto Captions” option. This will open CapCut’s AI subtitle generator. CapCut supports a wide range of languages, so pick the one that corresponds to the spoken content of your video. This choice will help ensure accurate speech recognition and proper subtitle alignment.After selecting your language, click the “Generate” button. CapCut’s AI will analyze the audio and create precise, time-synced captions. The process is quick, but the length of your video will affect the exact processing time. Once the captions are generated, CapCut will show a preview in the timeline. Review the captions to make any minor edits needed for accuracy, particularly if there’s industry-specific terminology or unique pronunciations. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-77.png) Source: CapCut. ### Step 3: Customize your captions for a polished look To enhance the visual appeal of your captions, consider customizing their look. CapCut provides a variety of font styles, sizes, colors, and backgrounds. Choose options that align with your brand’s aesthetic, making sure the captions are easily readable on any device. You can also add animations to your captions, allowing the text to appear word by word or with other engaging effects. After you’ve tailored your captions to your liking, review the entire video to confirm that everything is in sync. Once you’re satisfied with the final result, click “Export” to save the video with captions. CapCut supports exporting in multiple formats suitable for YouTube, making the upload process straightforward. ## Tips for making effective captions with CapCut Creating captions for your YouTube videos is more than just writing down what’s said. Here are some essential tips to make your captions both effective and engaging: ### Choose the right style and color Make sure your captions reflect your brand’s identity by selecting the right font, color, and size. CapCut allows you to customize these elements for better readability and visual appeal. Opt for a clean font and colors that stand out against your video’s background to ensure captions are easy to read, particularly on mobile devices. ### Adjust for word-by-word appearances Using CapCut’s word-by-word caption feature can enhance readability, especially in fast-paced or intricate videos. This function makes each word appear as it’s spoken, allowing viewers to follow along without being overwhelmed by too much text at once. You can also customize the timing to match the speech perfectly. ### Preview across devices Always check how your captions look on various devices. CapCut’s preview feature helps ensure your captions are visually appealing on mobile phones, tablets, and desktops. Adjust the font size and spacing to maintain legibility without overcrowding the screen. ## Conclusion Adding captions to your YouTube videos with CapCut’s AI-powered caption generator brings numerous advantages, such as enhanced accessibility and greater viewer engagement. Captions allow your videos to reach a wider audience, including those who are deaf or hard of hearing, as well as viewers who speak different languages. Well-timed and visually appealing captions can help keep viewers focused and boost retention rates for your videos. If you haven't yet tried CapCut for your captioning needs, now is a great time to explore it. With its user-friendly interface, AI-driven features, and customizable options, CapCut is a fantastic tool for YouTube creators aiming to elevate their content. Give CapCut a try today and see how it can enhance your videos' accessibility and engage your audience! **This story contains links from one or more partners.* ### WordPlayer: I’m Still Thinking About The Diploma In Unpacking URL: https://www.superjumpmagazine.com/wordplayer-im-still-thinking-about-the-diploma-in-unpacking/ Last updated: 2025-01-01T02:45:06.000Z ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Spoilers_Ahead-1.png) This story contains spoilers for Unpacking. If you have not played it yet, set aside three hours to do so before delving into this story. It's still on Game Pass, if that helps! **In the 2010 chapter of Unpacking, Witchbeam's wonderful little game about the ritual of unpacking your possessions in a new home, the unnamed protagonist moves in with her boyfriend.** If you've played the game, you almost certainly remember this level, even if some of the other moments in the game have started to blur in your memory. It's the only level in the game with a villain, after all. As you unpack the protagonist's boxes in this new guy's house, it's immediately apparent to the player - a relative outsider to the relationship - that these two are not compatible. Their styles clash. The man has not put enough effort into opening up his space for her. You are not permitted to move any of his things. There's a creeping sense of dread throughout the level, a feeling that your character is making a mistake. When the next level is her moving back into her family home two years later, there's relief in the backslide - here's a chance for our character to recoup and figure out how to build towards a life she's happier in. There's one object in this level that really sells the awfulness of this man, though - and it's such a good moment that even if I hadn't mentioned it in the name of this story, I think most people who have played Unpacking would know exactly what I was talking about without me needing to say it. Your character's college diploma, framed and ready, cannot be proudly displayed within this house. It can be hung in the bathroom, it can be packed under the bed, but it cannot be hung in the living room or the bedroom or anywhere where it might make aesthetic sense. It's at this moment that it becomes clear that our protagonist is trying to fit into someone else's space rather than being allowed to cultivate her own. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/unpacking2.jpg) Source: Press Kit. --- > It's at this moment that it becomes clear that our protagonist is trying to fit into someone else's space rather than being allowed to cultivate her own. --- Unpacking came out three years ago now, and I've thought about this section, by my estimate, one million times since. For my money, it's the most elegant piece of narrative design I've seen in a game this decade, a powerful reveal tied into mechanics, a deep story told without a word being spoken. Searching all over the house for a good space and eventually realising that there *isn't* one is extremely powerful. There's a wrinkle here, one that has complicated my reverence for this moment. My heart broke for this woman, and yet, in my own life, I've never cared about how my degree is displayed. After finishing my Masters, I tucked the piece of paper into a cheap K-Mart frame. It has, in my last few homes, been tucked away, never placed anywhere with much pride. I've tucked it away wherever it will fit, never thinking much about whether it's worth displaying. My Master's thesis was about narrative in games, which is sort of my *whole thing* now. I specialise in narrative design, writing about story-rich games, and consulting with developers to improve the writing and storytelling in their games. My degree is a piece of paper certifying my expertise in this field, one that I worked hard to earn, and yet I've been far more emotionally invested in this pixelated piece of framed paper. There's levels of irony here that are difficult to untangle. But I had a day recently that gave me more perspective on all of this. In early December, I had a particularly busy work day that happened to fall on my birthday. I was out of the house first thing in the morning and did not get back until 10pm, having spent almost the entire day in meetings. I was exhausted, but my fiancée, Lisa, had promised that there was a surprise waiting for me at home. I was too busy all day to even speculate on what this might be, but I knew that it was something that she had been working on, and that it had been something time-consuming and labour-intensive. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/unpacking3.jpg) Source: Press Kit. --- > My degree is a piece of paper certifying my expertise in this field, one that I worked hard to earn, and yet I've been far more emotionally invested in this pixelated piece of framed paper. --- When I came home, she guided me to the home office. Lisa had spent part of her day putting up a shelf above my desk, and setting up a series of frames above the shelf; she'd filled the frames with posters she'd bought me in the past, magazines I'd written in, and photo frames that I'd had positioned rather awkwardly on my desk. She had redesigned the space better to let me display the things I care about more effectively. Now, as I write this, my Master's degree - which had, until recently, been wedged into the thin space between my office desk and the wall - is framed on the wall above me. It was put there by someone who loves me. And now, the piece of paper matters to me more than it did before. When Lisa and I moved in together, it was important to both of us that we found somewhere new to live rather than having her move into the place I was renting (which was not a ridiculous thing to do in the Adelaide rental market back in early 2020, pre-lockdown: admittedly, things have changed a lot since then). Every decision I'd made to keep my degree tucked away had been fully my own. But I also always knew that if I'd wanted to treat it more seriously, I would have been supported in that. Decisions in a shared home are often a matter of light negotiation, but there's always a central overriding question: is this something the other person cares about on a deeper level than I do? And if the answer is "yes", then that needs to factor in. Putting away the diploma in Unpacking carries a lot of weight not because the diploma must mean so much to the protagonist, but because it clearly means *nothing* to the person she's moving in with, and yet by not making any space he's still the one ultimately deciding where it needs to go. Whether she wants to hang it on a wall or not, he's not giving her the option. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/unpacking4.jpg) Source: Press Kit. --- > Decisions in a shared home are often a matter of light negotiation, but there's always a central overriding question: is this something the other person cares about on a deeper level than I do? --- Part of the power of Witchbeam's game is that envisions a good home as a place that you fit into, that doesn't just accommodate your physical presence but which shifts to reflect the lives of the people in it, and where the objects and aesthetics that are most important to them are proudly displayed: their action figures, their clothes, their walking cane, their toothbrush, the piece of paper they got at the end of a degree. In the game's final level, the protagonist is setting up the home where they'll live with their partner and baby - and for the life of me, I can't remember what happens to the diploma in that level. Under happier circumstances, the diploma on the wall is just part of the tapestry, rather than the symbolic linchpin of the whole relationship. The piece of paper hanging on *my* wall claims that I'm particularly qualified to comment on it, but I have to tip my cap - I think Unpacking's diploma demonstrates a deeper understanding of narrative in games than the diploma on my wall does. ### Metaphor: ReFantazio and the Power of Fantasy URL: https://www.superjumpmagazine.com/metaphor-refantazio-and-the-power-of-fantasy/ Last updated: 2024-12-29T17:55:39.000Z **I knew Metaphor would be one of my favorite games of the year.** I hadn't considered that it might be one of the greatest JRPGs I had ever played. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Spoilers_Ahead-2.png) This story contains extensive spoilers for Metaphor: ReFantazio. Atlus knows how to make them. The Persona developer has taken to heart From Software's winning philosophy: there's no reason to reinvent the wheel when the car is cruising. In the first dozen or so hours of playing Metaphor, I couldn't help but compare it to Elden Ring—not that the games are anything alike, but because I could see Persona and SMT in Metaphor the way I could see Dark Souls in Elden Ring. By building upon the past, Atlus has crafted a strong future. Studio Zero has buffed the "Mega Ten" design history to a mirror sheen. But Metaphor is more than another entertaining turn-based role-playing game from the genius minds behind Persona and SMT. It joins a collective of games whose narratives pursue a noble meaning. Full of material ideas about race, class, and society that are all too necessary in our tumultuous times, Metaphor is an experience that stays with you long past the credits. ## The power of the proletariat RPGs have long been obsessed with monarchy, class, and revolution. Final Fantasy XV dedicated the bulk of its narrative to royal ascension, and more recent titles like Triangle Strategy center their stories around real-world parallels to slavery and oppression. Metaphor defines its purposes with verve, and in the vein of titles like Disco Elysium or Kentucky Route Zero makes it clear to the audience that the core of its story is a material lesson. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/bafkreianfe2gbrsxhj6klgyposwhyaa5csurfzmu2i3zpd2baxhf5e5txm.jpg) Source: Author. Heismay, our bat-like "eugief" party member, says: "You cannot pretend at diversity without acknowledging individual differences. Some will be judged as strong, while others marked as weak. Equal competition doesn't mean equal footing. Their very aims of freedom and balance could spell doom for the striving weak." Our current political discourse, especially in America, has been marked by the differences between equality and equity. Equality means very little when there is no unified starting line for a populace separated by race, birth, and income. You can provide every person with a foot-tall box to see over the fence, but that means little when height differentials will continue to obscure the sights. Characters in Metaphor are more than mouthpieces for politics and philosophy. The game integrates characters and races into a world that feels fully realized, one in which the struggles of the common folk are accurately reflected by their woes and hardships. "I just can't fathom dyin' to earn a living!" says Catherina, our Robin Hood-esque rival turned comrade. "And the fat cats are all too happy when the paripus take 'em up on it!" Metaphor takes great care to describe a society whose struggles are defined by their racial traits and identities. As with our real world, the illusion of this struggle is mounted by those in power to disguise the truth: it's the proletariat versus the bourgeoisie, as it always has been. "You should know better than most," says Catherina, hand on her hip. "Those who can act gotta take action. If they don't, nothin' in this bloody world's gonna change. It'll stay as rotten as it is!" ## Pretty words and prejudice > "But if everyone's free to do what they want, they'll work out their own reasons to be prejudiced." > > **Fidelio** One of the core elements of Metaphor's narrative is the strange book clutched by the protagonist (I named mine "Hiero" after both *hero* and Hieronymous Bosch). When the character Fidelio first reads this book, he's nearly irate at the ludicrousness of the world described, a place that's free of oppression, racial strife, and inequality. He counters with the most obvious critique: a place of infinite freedom opens the gates for fascism, where power will eventually become the tool used against the weak. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/bafkreid6i6qywnuvfjxyxyyeefqrhmh6cvdmpu3pwcnfhwtf5v3n7zrm74.jpg) Source: Author. Metaphor is rife with plot twists and surprising moments, though perhaps none is as simultaneously shocking and expected as the truth of the world. When our party reaches the gates of the once-lost sanctum, the Old Hermitess paints for us a bleak reality: "In every age, the cause and effect are the same. People learn fear, become slaves to their anxiety, suffer, and thus the power of magic is born." The great truth is that the people's collective anxiety and fear give rise to the power of magic, which is the power of change. In the same way, the populace must clash to elect proper leaders, their anxiety in an ever-changing world creates the very magic that splits them apart. "Magic is a natural process, and anxiety is its invaluable, irreducible fuel." While magic is necessary to defend the weak from the grotesque Human monstrosities, they are both borne from the same unconscious anxiety. A populace afraid of the future, who must live together in uncertain times, births the same fears, frustrations, and pains. And in doing so, they open themselves up to the advantageous cruelties of kings and tyrants eager to fill the gulfs in a disparaging proletariat. ## Demagogues and demons Demagogues are leaders of passion. American society, especially American politics, is needlessly complex and rooted in a system designed to confuse and disorient the working class that spends its time worrying over groceries and medical bills rather than who will be their next representative. It is the very purpose of the demagogue to sidestep political issues and speak to the lowest common denominator: fears and desires. By definition, a demagogue appeals to desires, prejudices, and worries in place of making rational arguments, wielding a knife-like charisma that can cut through bureaucracy and exploit ordinary people. They ensure their place in history by creating calculated arguments that lean on modern pressures and anxieties experienced across race, class, and worldview. > "The more anxious the people grow, the more they choose blind fanaticism over confronting their fears. This was no fault of yours. Simply their nature." > > **Louis** The American journalist and essayist H. L. Mencken is one of many throughout history who had his thumb on the pulse of the American people. As a culture critic, Mencken was one of the most influential voices of the 1920s, and one hundred years later his words are sharp, resonant, and frustrating. > “As democracy is perfected, the office of president represents, more and more closely, the inner soul of the people. On some great and glorious day the plain folks of the land will reach their heart's desire at last and the White House will be adorned by a downright moron.” > > **H.L. Mencken, On Politics: A Carnival of Buncombe** In Metaphor, society is ruled by a monarchy, but with an unusual twist: after the death of the current monarch, a political contest decides the next ruler. Even though a King rules the land, the people get to cast their votes in a magical system dictated by the populace. On the surface, this is a free and fair system—whoever earns the heart of the people earns the seat and the scepter. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/bafkreicvtduyv344ag76is5cnflrjkrpcqnep6p4k4kzo7fjfeqmnndi5e.jpg) Source: Author. Metaphor does address the issue of populism and why "giving the people what they want" isn't necessarily the correct answer in politics and government. As Mencken states in the above quote, the "heart's desire" of the people is, uniformly, to be ruled by a moron. In his book Ur-Fascism or Eternal Fascism: Fourteen Ways of Looking at a Blackshirt, Umberto Eco identified the features of fascism and how this overused cult issue has telltale signs among a population. A cult of tradition, rejection of modernism, disagreement as treason, fear of difference, shifting the rhetorical focus of a common enemy, selective populism, and contempt for the weak all fall under the umbrella of fascism's signs. Louis, the political archrival and enemy of both protagonist and party in Metaphor, is philosophically and materially obsessed with power. His contempt for the weak is a defining trait centered on a traumatic past that blinds him to any path but one where the mighty rule. He is a demagogue by definition, a despot who moves the heart of the people with charisma, speeches, and an appeal to the systemic weaknesses that exist throughout the disjointed society. > "That has been the country's crime for too long. Those in power exact the price of their greed from the people, then preach that such pain is a natural trial to be overcome." > > **Louis** By appealing to the shared fear of the proletariat, Louis can manipulate their weakness by driving them towards a single charismatic voice, overlapping the spheres of populism and fascism as he centers himself into the position of an autocrat. Louis, to that end, presents himself as an enemy of injustice and a firm believer in equality, even if his actions would directly impact the most vulnerable. These necessary sacrifices would be remembered in his ideal world, but in lieu of an actual democracy, as an autocrat, he would demand the deaths of his enemies. > "An entire tribe does not become so derided to the point of genocide by authority figures alone, but by the vice of society in which that ignorance is born." > > **Louis** Louis' solipsistic intolerance of intolerance creates a vacuum in which only power can decide society's fate, governing the ignoble populace who have become lambs. While he might hate the divisions between race and class as much as the protagonist and party do, his course of action is enormously flawed. ## Oh, power of kings While the technology in Metaphor is a fantastical blend of dieselpunk and futurism, as with many magical settings it inevitably falls back on the conservatism of sorcery. Cities do not have televisions, but each King's Rock shows the running of popular candidates striving to become king, and the townsfolk regularly hear new information from criers and hold their heated debates. The protagonist seeks society's consciousness through noble actions, while Louis holds the reins of power through his commanding military might and noble presence. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/bafkreiaaszp2omik4ttozzsxbmcht4pdc7u373xpn7jodlruoiygap5gzi.jpg) Source: Author. For much of Metaphor's runtime, I remained unconvinced that the game could stick the landing of its policies by steering unflinchingly into a tale of monarchy. As mentioned, previous games like Final Fantasy XV failed narratively because their structure demanded the ludicrousness of birthright, entirely negating the agency of the populace or the meaning of free will or fate. > "You refuse to believe in dreams. That's why you can't believe in anything that's gradual, complicated, and slow to change." > > **Gallica** For some time, we have been a society afflicted with the pursuit of instant gratification. This is compounded in Metaphor by a society whose pain points are built on inherent distrust between races, creating a class system in which the meager must contend for scraps while the ruling class breaks bread in golden towers. Our real world has doomed itself because we no longer build generational bridges. Never mind the distrust between races and classes, families are now split down the middle because of political beliefs that seriously endanger the most vulnerable among us. > "...it’s difficult not to think of current “television dictators,” in which politicians exercise a selective populism instigated by xenophobia, and in which the same political class is chosen from an elite of charismatic and photogenic people. This is presented without any preparation in critical thinking nor in the art of governance. Fortunately, the rise of any new form of totalitarian power has always arrived accompanied by renewed forms of resistance, and in which difference and collaboration predominate (in place of indifference and collaboration-ism). We hope there’s time to learn from the past so as not to repeat its mistakes in the future." > > [**Umberto Eco**](https://www.faena.com/aleph/umberto-eco-a-practical-list-for-identifying-fascists)[**: A Practical List for Identifying Fascists**](https://www.faena.com/aleph/umberto-eco-a-practical-list-for-identifying-fascists) Metaphor's power of kings, in all its celestial glory, belongs to a longstanding contextual tradition in which monarchs wield the power of gods to cull a scattered populace. Christian and Zoroastrian traditions metaphorically and directly call God a "king" dedicated to fighting evil, controlling history, and ultimately fashioning a paradise. Where the protagonist ([canonically, Will](https://megamitensei.fandom.com/wiki/Megami%5FTensei%5FWiki?file=Metaphor%5FWillName.jpg)) differs from the archetypical ascension via birthright is through the influence of his comrades. Metaphor structures the "Power of Friendship" stereotype differently, instead regularly showcasing the clash of purpose, ideals, and political stances. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/download--3-.jpg) Source: Steam. ## There but for the grace of my comrades, go I Role-playing games live and die by their supporting cast. One of the consistent illusions (and misunderstandings) of the genre is that the audience cares primarily about the protagonist's course. While this might be true in some situations and for some people, this solipsistic agenda is a grave error when viewing a game's narrative in totality. Fiction's contemporary trend has sloped toward the importance of the self. The importance of the group is waylaid by the necessity of the individual, with plots sacrificing perspective for a narrower lens. Final Fantasy X, nearly twenty-five years old, contains a tongue-in-cheek criticism of this error. While Tidus triumphantly proclaims that "this is my story," it's ultimately Yuna's pilgrimage, supported by a robust cast of friends and comrades dedicated to the cause. Metaphor's cast represents the game's structure and adherence to a cornucopia of lived experience and social/political perspectives. The protagonist, Will, exists as a bystander to the story in the vein of your average Persona hero, but instead of remaining silent he interjects his own experience and reflects the truths and morals of the world around him. > "I am glad to see more optimism in the world. Still, it will take more than that to effect true change." > > **Will (Protagonist)** ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/download--1-.jpg) Source: Steam. While JRPGs often have similar plots and cover similar stereotypes, they differ in delivery. Metaphor doesn't believe in a temporary return to the status quo but remits a narrative bent around real, radical change in an anxious society. The plot doesn't adhere to its political trappings either, acknowledging how often people vote with their fears and emotions. Anxiety, trauma, and a growing communal apprehension over the future lead to a conservative populace that wants to reinforce the familiar, and even when aspersions are cast over the efficacy and reality of the young prince, Louis' populism can only stoke existing fears, a thin and temporary solution to systemic issues. Heismey and Strohl are spurred onward by traumatic losses, and their desire for change is radicalized by violence. Hulkenberg and Eupha are motivated by duty, while Junah and Basilio must contend with a reality shattered by inconvenient truths and nefarious betrayals. Our characters know pain. Each one fantasizes about a world in which they can live without political strife, bureaucratic destruction, and violence against class and race. ## Dreaming of a better world As I continue to write this, the world changes around me. A few mornings ago, a healthcare insurance CEO was gunned down in the streets of New York City. While some folks express sadness at a seemingly senseless loss of life, celebrations erupted across social media. While I cannot condone violence here, it's not difficult to see why so many view this CEO's death as an act of vigilante justice: health insurance companies throughout the nation chronically deny claims, throttle resources, and make lives for the ill and disabled a living nightmare. We are not immune to the political leanings of the world. Global changes spark actions that fan the flames of revolution and consequence. What does it say about a nation when it's the shared fantasy of millions that a CEO be gunned down in the street? It's not a rot at the heart of society, but a desperation for things to be better. The fantasy of action wins out over inaction, and the downtrodden fly banners of justice and change. Role-playing games like Metaphor are built on the concept of violence *as* change. They allow us to safely inhabit a fantasy world where our words are not the sole resource to set the future's course. Again, I am not here to condone violence but to widen the bounds of fantasy alongside this tremendous game. Our party's final contest is not one of wills but of sordid combat against Louis and his dark ambitions. When great injustice rears its head, heroes meet it with decisive action. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/download--2-.jpg) Source: Steam. In South Korea, the president faces impeachment calls after a martial law attempt. In Georgia, social fury forces crowds into the street. In Palestine, genocide continues unabate. Our world is consistently split by political unrest, and if history is set to repeat itself (as it does), 2025 will be a year of mass protests and state violence once Trump takes office. Fantasy by itself does nothing, but *it is* this yearning for change that becomes a driving force for explosive, living revolutions. Metaphor came along exactly when we needed it, in a year in-between years when the tinder box is ripe for a flame. The tribulations and upheavals in Metaphor can be adhered to any number of issues that plague our times. It's in the name of the game itself, *metaphor*, that this fantasy lives in, and without completely spoiling the end of the game, it breaks the fourth wall just enough to remind us that the barrier between fiction and reality is thinner and muddier than we wish to believe. Games like Disco Elysium, Metaphor, and even Xenosaga instilled in me a belief that a single human thought can change the world, and each one of us is just a step away from being a revolutionary, even when it feels like the oppressive heavens are crashing down around us. We may not have the Power of Kings, but we have each other. ### Hidden Gems of Game Design Volume 31 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-volume-31/ Last updated: 2024-12-29T04:33:09.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh bycer ### Ebenezer and the Invisible World (2023) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-58.png) Source: Steam. Since it’s the holiday season here, I have the perfect game for my entry this month. Ebenezer and the Invisible World is one of the strangest games I’ve played story-wise in some time, but has a good heart and interesting gameplay to go with it. Following A Christmas Carol, Ebenezer Scrooge is now a master of swordplay, as agile as a ninja, and can summon spirits to perform a variety of tasks. When an evil ghost threatens to corrupt an industrialist and throw the city into chaos, it’s up to Ebenezer to save the day, and the holidays. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-59.png) Source: Steam. The entire plot of this game is essentially Jojo’s Bizarre Christmas Carol, as Ebenezer even gets the power to freeze time on command. The gameplay is pure metroidvania, as you’ll explore the city to find upgrades and new spirits to aid Ebenezer. You can equip multiple spirits to Ebenezer at a time and they function like the soul system of Bloodstained. If you keep using the same spirits enough, they’ll level up which will enhance their abilities. The different weapons also provide some strategy for combat, as the enemies do get more diverse as you get further in. The game is more on the linear side, as the upgrades do limit where the player can go at the start with a bit of backtracking here and there. There are bonus quests, passive artifacts to find, and a variety of bosses and enemies. The difficulty can get a bit high despite being for the holidays, as later bosses do get some punishing attacks, but with enough Christmas cheer (and healing items), you should be able to overcome them. Ebenezer doesn’t quite stand out in terms of gameplay – if you’ve played any metroidvania over the past 20 years, you’ve seen this all before. However, I did like the art style and the gameplay was solid all the way through. If you’re in the holiday mood and wanted to know how Jotaro would save Christmas, then this is a fun game to enjoy over the break. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-60.png) Source: Steam. ## Antony Terence ### Fish Tycoon (2004) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-61.png) Source: Steam. Back in the heyday of tycoon games, developer Last Day at Work released Fish Tycoon, a casual sim that became one of the top-selling downloadable games of 2004\. The number one objective in the game is profit outside the narrative goal of breeding seven magic fish. It’s a relaxing game that you can keep in the background as you go about your day. One key differentiator that sets Fish Tycoon apart is its reliance on your device’s clock. Even outside the game, your fish will have needs that can cause sickness or death if left unattended. Fortunately, there’s a pause function that kept my in-game fish from ending up like my pet goldfish after I took a long trip. Keeping an eye on your fish turns into a quest akin to the daily missions you’ll find in a gacha game. As your fish create more offspring, you’ll be able to sell them for a tidy profit on a store screen, letting you invest in research and supplies to raise rarer fish eggs. To make progress on the main task of getting seven magic fish, you’ll need to crossbreed species of fish. Drag one grown fish over another and the result will share some characteristics with its parents, determining how valuable it is. Working towards the magic fish is easier now thanks to the internet. But back in the day, it wasn’t uncommon for players to use spreadsheets to keep track of breeding combos. There are over 400 species to find with varying levels of health and desirability, giving collectors plenty to do outside decorating their tanks with treasure chests. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-62.png) Source: Steam. Checking in from time to time had me invested in Fish Tycoon’s little surprises. From new kinds of food to fixing white specks on generations of fish with the ink dropper-like Ick treatment, I enjoyed my time with the game. It might not have had a lot of bite but its initial difficulty and real-world timer kept me on the magic fish hunt. The developer hands the game out for free on their website so you can try this childhood classic out before committing to its tasks. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-63.png) Source: Steam. **Thanks for reading! Come back next month for another entry and more great hidden gems to check out.* [**You can find all previous Hidden Gems stories here*](https://www.superjumpmagazine.com/tag/hidden-gems/)**.* ### The Unexpected Joy of Revisiting Oblivion URL: https://www.superjumpmagazine.com/the-unexpected-joy-of-revisiting-oblivion/ Last updated: 2025-05-05T02:20:04.000Z **In the cool, uncaring dark of a Cheydinhal midnight, the normally lively town feels like a place out of time.** Windows cast amber light onto the streets, patrolled by guards under the command of corrupt guard captain Ulrich Leland. Their foreboding faces are ready to cast judging eyes on any wanderer in the streets, eager to exact another fine and line their pockets with other men’s gold. Seeking refuge for the night in a town like this is almost begging for trouble. But that’s the life I signed up for. Revisiting The Elder Scrolls IV: Oblivion is like running into an old lover in a bar. You sit and sip the night away, talking about what was and maybe what could have been. There’s some kind of promise hanging in the air between you, something that speaks of a different life. If you weren’t committed to what you’ve found since the time you spent together, maybe you’d even take a chance and go home with The Elder Scrolls IV: Oblivion. But 2006 was so long ago, and now things are quite different for both of you. You’ve seen Fallout reimagined and refined. You’ve explored the frozen north of Skyrim. And Oblivion? Still, the same old Oblivion you knew and loved all those years ago. ![Screenshot of the game. A tall, gothic church with a statue in front of it during the day.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Screenshot-2024-12-15-12-59-17.png) Source: Author. I rolled a simple character this time. I wanted a build that would allow me to engage with my favorite parts of The Elder Scrolls, namely the emergent adventures away from central questlines that allow you to find a place in the larger world of Tamriel in which to inhabit. I’m a thief. A sneaky little guy who enjoys lifting treasures out of people’s pockets and plundering tombs, specifically Ayleid tombs. Dotted across the game world are ruins of a civilization of elves from millennia ago who once ruled over the heartlands of Tamriel. Their brutal reign involved outright enslavement of the races of men, one of many fascinating chapters of Elder Scrolls lore that makes the fictional world feel simultaneously alive and ancient. These ruins are often rigged with booby traps or patrolled by the undead. Skeletons, perhaps the ancestors of my own character, patrol the hallways of outright alien architecture. Their vigil is endless, reanimated bones grinding along worn stones again and again and again until time stops. Many of these places have remained unexplored by the less daring citizens of Cyrodiil. Perhaps they are afraid to face the horrors of their collective past. They are content to walk about quaint hamlets like Cheydinhal, dealing with more mundane problems like corruption among city officials, pretending that the enslavement their own ancestors participated in as either oppressed or oppressor never happened. It is best to leave the past firmly rooted somewhere unseen and unexplored. My bones cannot stand the monotonous pace of a life lived endlessly retreading the same pathways, a solemn truth that led me to the profitable world of grave robbing. ![Screenshot from the game. The ruins of a stone building on a wooded mountainside.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Screenshot-2024-12-15-13-05-56.png) Source: Author. --- > Dotted across the game world are ruins of a civilization of elves from millennia ago who once ruled over the heartlands of Tamriel. Their brutal reign involved outright enslavement of the races of men, one of many fascinating chapters of Elder Scrolls lore that makes the fictional world feel simultaneously alive and ancient. --- Across a stream from where players first emerge into the world of Oblivionis one of these Ayleid ruins, a place called Vilverin. For many players, it may be the first place off the beaten path they dare to explore. Bandits watch the entrance and mingle with the skeletons guarding the interior. Essentially, in Bethesda’s classic environmental storytelling style, your entrance into Vilverin is an interruption of a currently in-progress tomb raiding. Deep within the innermost chambers, however, is a peculiar treasure hidden amongst the star-like Welkynd and Varla stones that I have come to recognize as profitable trinkets ripe for selling in the Imperial City. This statue does nothing to decry its nature, and even looks plain compared to some of the other treasures that will gradually fill your pack. Yet it stands out all the same. Should you choose to sell this bauble, as I did, you will soon be approached by a messenger speaking on behalf of an Imperial City aristocrat. This well-off patron of the artifact-stealing arts is Umbacano, an Altmer fascinated by the very ruins left behind by his Ayleid ancestors so long ago. He is seeking not only the statue you recovered but nine identical ones hidden in other ruins across Cyrodiil. He is less than forthcoming with what his ultimate plans are, something to always be suspicious of in the adventuring trade, but his offer of gold and good faith seems legitimate enough. This interaction, one I admit I’d never encountered in the game before, has influenced the entirety of the play through that has followed. Though it is difficult to narratively reconcile the fact that I’m ignoring the delivery of a necklace entrusted to me by my own slain emperor, I have left the Amulet of Kings to gather dust deep in the innermost bowels of my adventuring pack. The fact of the matter is I’m eager and ready to find these statues. To gather them for this rich elf and take his gold gladly. I’m also curious in what way this will ultimately play out. What possible need could Umbacano have for these statues? Why is he so eager to gather the set? I refuse to believe he plans to fill a shelf with them and let that be that. His interests must be more than academic. Tempted as I am to turn to the [Unofficial Elder Scrolls Pages](https://en.uesp.net/wiki/Main%5FPage) (the only resource for true Elder Scrolls information fiends) for quick answers, I’ve decided to sit back and exercise my patience. ![Screenshot of the game. A dark, ruined stone building interior lit eerily green and blue.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Screenshot-2024-12-15-13-21-36.png) Source: Author. --- > Essentially, in Bethesda’s classic environmental storytelling style, your entrance into Vilverin is an interruption of a currently in-progress tomb raiding. --- Did I mention how many Ayleid ruins there are? I’ve already been spelunking through five of these decrepit pits and all I’ve gotten for my trouble is an overflowing coin purse. Not a single other statue to be found, despite the nine of them still out in the wild. But I refuse to seek quick answers as to their whereabouts, which has pushed me into this world of really walking in my own character’s shoes. Ruins are full of loot, which quickly fills up my carrying capacity. It’s already limited as I’m more adept at walking quietly than swinging around massive swords or even lugging them around. This has caused me to be selective as I navigate the ruins, choosing only the more valuable items to take with me back up into the embrace of sunlight. My pack is often filled with the aforementioned Varla and Welkynd stones, which stored magical energy for the Ayleids to power their ancient technologies. Merchants go crazy for this stuff. Selling items involves engaging more thoroughly with the persuasion system. It’s the mini-game where you choose one of four general courses of action in a conversation and affect the NPC disposition. The higher the disposition, the more they like you. For merchants, who I’m interacting with frequently as I gather all this treasure, that has a side-effect of allowing you to sell higher and buy lower. Basic economics: the other person likes you so they cut you a deal. Something any thief has to be both keenly aware of and ready to exploit. As I stride out of Jensine’s “Good as New” Merchandise (quotes required), I realize that I’ve crafted a bit of a story for myself already. [Here I am, again in this city, with a fistful of Septims.](https://www.youtube.com/watch?v=DXeeY9D9u94) Making way for the gates and my next adventure, there’s no doubt in my mind where I’m going. As high up as I can, looking down upon the valleys of Cyrodiil, in hopes of spotting the crumbling remains of the world that once was. Much like the character I’ve unwittingly invented for this playthrough of Oblivion*—*and the lovelorn wanderer meeting an old flame once again—I have found myself eagerly seeing where the evening will take me. This, my friends, is the magic and joy of a role-playing game. And if there's anything that Oblivion has an abundance of, despite its age, it's magic and joy. ### 2024 Was A Banner Year For Comedy Games URL: https://www.superjumpmagazine.com/2024-was-a-banner-year-for-comedy-games/ Last updated: 2024-12-25T01:31:29.000Z **It’s safe to say that 2024 has not been a barrel of laughs, to put it mildly.** Even if you just think about the year from a games industry perspective, it’s still been a grim one. But as always, the games have been good. In particular, this has been a great year for proper laugh-out-loud comedy games, and those are very [much](https://www.superjumpmagazine.com/salamander-county-public-television-is-an-absurd-good-time/) [my](https://www.superjumpmagazine.com/the-history-of-monkey-island/) [jam](https://upload.wikimedia.org/wikipedia/commons/9/9a/3%5FSrawberry%5Fjam%5F%28single%5Fcut%293.jpg). Not only has there been a bounty of funny games, but in a variety of genres, too, such as a traditional joke dispenser point-and-click adventure, a Souls-like, a first-person shooter, and a surrealist dystopian cooking sim. So I would like to celebrate the class clowns of 2024, and perhaps give you some mirthful ideas for how to spend any upcoming Steam gift cards. ### [Thank Goodness You’re Here](https://store.steampowered.com/app/2366980/Thank%5FGoodness%5FYoure%5FHere/) From Yorkshire, UK, developer Coal Supper has managed to make a rapid-fire joke machine of an adventure game that manages to be both broad and highly specific in its humour. In this game, you play as a mute little guy sent to Barnsworth, a town that lovingly sends up the North of England, as he bumbles along and tries to help many of the town’s strange residents. Your only form of interaction is slapping, and it’s amazing how far that seems to get you. Over its 3-hour playtime, it’s gag after gag with a very high strike rate as you slap your way through Barnsworth. It is my pick for the funniest game of the year. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/ss_5b30e20935577fce25ecbbc5de88de4e90360ba1.1920x1080.jpg) Source: Steam. ### [Cryptmaster](https://store.steampowered.com/app/1885110/Cryptmaster/) I’ve [already covered ](https://www.superjumpmagazine.com/ra-cryptmaster-evolves-the-text-parser-adventure-game/)Cryptmaster and its inventive take on the text parser-based dungeon crawler. Thinking back, I still recommend it heartily as a dungeon crawler and a comedy game. The droll Cryptmaster himself carries the game, and it's probably my second-favourite game character this year behind our next entry. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/ss_ad2153f58a12f63d7e1a05cf8c895e97a7c73b96.jpg) Source: Steam. ### [Like a Dragon: Infinite Wealth](https://store.steampowered.com/app/2072450/Like%5Fa%5FDragon%5FInfinite%5FWealth/) Ah, Ichiban Kasuga. I don’t think there has ever been a more lovable doofus in gaming. He's just an infectiously goofy, kind-hearted guy trying to make up for lost time and make life-long friends while he’s at it. The two Ichiban-starring Yakuza/Like a Dragon games have moved from the wildly shifting tone of the Kiryu-led games, to, well... it still shifts a lot, but the tone is comedic a lot more of the time. This is not just because of Ichiban and his crew, but the turn-based combat that allows for more imaginative fights (and a fully-fledged Pokémon parody sidequest where you collect weird dudes). Very likely the funniest RPG ever made, at least until Ichiban and Co. appear again. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/ss_b45521ff0f42ad4c3ac57d0b37fee51364f543c1.jpg) Source: Steam. ### [Another Crab’s Treasure](https://store.steampowered.com/app/1887840/Another%5FCrabs%5FTreasure/) Another Crab’s Treasure, the bright, underwater Souls-like from Aggro Crab, has a great sense of humour throughout. It also provided me with my most satisfyingly funny gaming moment of the year. You see, Another Crab’s Treasure has some inherent challenge, but it also has accessibility and difficulty options. One of them is ‘give Kril a gun,’ which gives your character, Kril, a gun. I decided to try it out on a boss, and Kril’s shell turned into a human-sized pistol that blew away the boss in one hit. Did I feel like I cheated myself out of a sense of achievement or whatever? Hell, no. It was great. Give The Tarnished a gun. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/ss_10836c42549d86386bdae21c997a58630137d603.jpg) Source: Steam. ### [Death of the Reprobate](https://store.steampowered.com/app/1739900/Death%5Fof%5Fthe%5FReprobate/) I was eagerly awaiting Joe Richardson’s final entry in his trilogy of point-and-click adventure games made out of Renaissance-era art and had such a blast playing it that I finished it in one sitting. As with the previous two games, Four Last Things and The Procession to Calvary, it’s very British, very Pythonesque in its humour, and there are quality gags in every nook and cranny that make good use of the art. The whole series is a must for point-and-click fans. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/ss_4b81a9d51da016855a6b2e2c873cde72342573b9.jpg) Source: Steam. ### [Arctic Eggs](https://store.steampowered.com/app/2763670/Arctic%5FEggs/) Arctic Eggs is a surrealist game where you cook eggs (among other things) for people in an icy dystopia, who seem to be pretty relaxed about the whole thing. To see if the game’s sense of humour will jive with you, just read its Steam description: > *“Eggs: perfection in two parts. The simple whites. The sublime yolk. Each the lesser without its partner. Chorus and verse. A symphony of flavor. The catchy tune reminding us of warm baths and late-night movies. The elevator music to whatever lies beyond.”* Personally, it may be the best Steam description out there, and that vein of humour remains throughout. But your mileage may vary on this one. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/ss_2945eb56125ebb5541d6a661cea7b260c1014a9e.jpg) Source: Steam. ### [Tiny Terry’s Turbo Trip](https://store.steampowered.com/app/2238040/Tiny%5FTerrys%5FTurbo%5FTrip/) Tiny Terry has one goal — he wants to drive to space. No, it’s a solid idea, don’t worry about it. The good news is that he was able to obtain a car and there is a new monument in the centre of town that looks suspiciously like a big, steep ramp. This is a Short Hike-alike, that is to say, a small but open area where you explore and find side quests to do so you can give yourself upgrades. In this case, the upgrades are more turbo for Terry’s car. It’s a very fun world to inhabit for a few hours and Terry is a great deadpan protagonist that lets this game’s humour shine. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/ss_17b1d9754690e67ed1526dc2afd5d303c15a6b4c.jpg) Source: Steam. ### [Bears in Space](https://store.steampowered.com/app/1309620/Bears%5FIn%5FSpace/) Imagine if Ratchet and Clank was a first-person shooter and had jokes that were actually good (I’m a Ratchet and Clank fan, but they are written for children); that is Bears in Space in a nutshell. This game from Australian developer Broadside Games takes the PS2 mascots’ upgradable, sometimes goofy weapons and adds in some bullet hell elements, all the while frequently throwing your character into extended comedic bits. Not every joke lands, but the pacing is good and there are enough winners for a strong recommendation. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/ss_a7428824b777cb40be37bb2e28e685f7d10a2ad0.jpg) Source: Steam. There are a few other honourable mentions that just missed the big list. The final instalment of the [Sam & Max remasters](https://store.steampowered.com/app/2648050/Sam%5F%5FMax%5FThe%5FDevils%5FPlayhouse/), which isn’t a new game per se, is worth a mention because it holds up and I need enough people to buy this series so Skunkape Games make a new one. The clever yet unsettling horror-comedy [Anthology of the Killer](https://store.steampowered.com/app/3212530/Anthology%5FOf%5FThe%5FKiller/) has made the leap from Itch to Steam. And finally, [Yellow Taxi Goes Vroom](https://store.steampowered.com/app/2011780/Yellow%5FTaxi%5FGoes%5FVroom/) is a fantastically creative take on the collect-a-thon 3D platformer that has some decent jokes to boot. These are my silly games for the silly season. Here’s to a better, or at least somewhat tolerable 2025\. ### Reroll: Looking Beyond D&D and Pathfinder URL: https://www.superjumpmagazine.com/reroll-looking-beyond-d-d-and-pathfinder-2/ Last updated: 2024-12-24T13:17:22.000Z **I'm somewhat of a late bloomer when it comes to role-playing games, both in video game form and their tabletop origins.** My early gaming experiences mainly consisted of first-person shooters, strategy games, adventure games, and space sims. My first glimpses into the world of RPGs came from the Ultima series with Ultima VII: Serpent Isle, though this was only in passing, as I was too young and impatient to appreciate the incredible depth and complexity of the golden era of Origin's long-running series. Then, in 1997, I experienced demos for both Fallout (Black Isle Studios) and Diablo (Blizzard North). It was a magical confluence of the right games at the right time - Fallout utterly gripped me, and I knew I wanted more of whatever that rush was. Not long afterward, I became truly engrossed in BioWare's incredible Baldur's Gate series (1998, 2000), then Planescape: Torment (Black Isle Studios, 1999), and before long I was digging deep in search of more games that could scratch my newly discovered gaming itch. I went back and devoured both contemporaries and classics, and to this day no genre captures my imagination so completely. Similarly, my love for tabletop role-playing games was born quite late. Before Baldur's Gate, I had only briefly heard of the name "Dungeons & Dragons." I thought it was some sort of board game, but the Infinity Engine RPGs forced me to learn common D&D parlance like "hit dice" and "armour class". It was in 2001 that I was first introduced to D&D around an actual tabletop, and like many novice players, my first character was a horrendously clichéd attempt at a power fantasy self-insert. I only played a handful of sessions before setting the game aside. Back then, it was difficult to find a D&D group. Unlike today, both video games and tabletop RPGs were a pretty easy way to paint a big "nerd" target on your back that would invite no shortage of schoolyard bullying. I picked the somewhat more accepted form of lameness and stuck with computer games. In early 2019, at the height of D&D 5th Edition's meteoric rise, I was invited to join a game with a group of workmates. I finally had a chance to dig into the hobby that had lived in the back of my mind since I'd first rolled a d20 all those years earlier. And I've played almost weekly ever since. By immersing myself in the TTRPGs, I've learned a great deal about the origins of many RPG video games and earned a far greater appreciation for the long-running, symbiotic relationship between the tabletop and the video game. ## A brief history of tabletop and video game RPGs The commonly accepted history of tabletop RPGs generally venerates Dungeons & Dragons as the undisputed originator of the hobby, though the true history is (as always) far more complex. Tabletop RPGs originally grew out of the tabletop wargaming scene, with groups of gamers increasingly devoting time and effort to creating personas for the generals that would lead their armies around on the mock battlefields. This was where Dave Arneson, colleague of Gary Gygax and co-creator of D&D, began his gaming RPG journey. The documentary film [Secrets of Blackmoor](https://www.secretsofblackmoor.com/) is an excellent introduction to the groups that would form a template for what would eventually become a core part of Dungeons & Dragons. Video games emerged almost in tandem with tabletop RPGs - in the very same year that Dungeons & Dragons was first published (1974), University of Illinois student Reginald Rutherford created pedit5 for the [PLATO computer](https://en.wikipedia.org/wiki/PLATO%5F%28computer%5Fsystem%29). This was [*probably* the first ever RPG video game](https://crpgaddict.blogspot.com/2023/10/m199h-new-findings-both-solve-and.html), though tracing the origins of the genre is difficult due to the somewhat unsanctioned nature of these proto-CRPGs. Felipe Pepe, author of [The CRPG Book](https://crpgbook.wordpress.com/) writes: > "When Dungeons & Dragons came out in 1974, it unleashed the perfect storm: powerful computers, bored programming students, and a statistics-driven game that was begging for automation. The result was the birth of Computer Role-Playing Games. [Recent findings](https://crpgaddict.blogspot.com/2023/10/m199h-new-findings-both-solve-and.html) indicate that the first of these CRPGs was likely The Dungeon (AKA pedit5), created in about 4-6 weeks in the fall and winter of 1975." As explained in the article linked above, PLATO was an educational platform, and system administrators were quick to delete anything not of strictly educational value. Thus, these early CRPGs were frequently given inconspicuous names to avoid drawing attention. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image-35.png) pedit5, aka The Dungeon, for the PLATO. Source: [MobyGames](https://www.mobygames.com/game/100614/the-dungeon/screenshots/terminal/1126836/) Within a few years, CRPGs exploded in popularity. Tabletop gamers were undoubtedly overrepresented among the initial adherents, as they sought to replicate the buzz of the tabletop without the hassle of finding a group of friends and a convenient block of free time. ## Symbiosis The close relationship between tabletop and video game RPGs meant that the mechanics of many CRPGs closely resembled their tabletop inspiration, or were in some cases explicitly designed to be compatible with tabletop systems. Dunjonquest: Temple of Apshai, for example, used the same core stats as Dungeons & Dragons, allowing players to import their tabletop characters. However, it was officially licensed products that began to formalise the relationship between tabletop and video game RPGs. As with many firsts, the true first is hard to nail down - 1982's Advanced Dungeons & Dragons: Cloudy Mountain (Mattel Electronics) was an officially licensed TSR product, though it was an action game rather than a CRPG. Conversely, 1985 CRPG Autoduel was based on the non-RPG Car Wars boardgame by Steve Jackson Games. SSI's Pool of Radiance in 1988 marked a significant moment in the move towards officially licensed CRPGs, and SSI followed it with a plethora of the most beloved AD&D licensed CRPGs of the era, such as Eye of the Beholder (1990), Forgotten Realms: Unlimited Adventures (1993) and Dark Sun: Shattered Lands (1993). SSI also released two titles based on the Buck Rogers tabletop setting, a pulp sci-fi spinoff of AD&D: Countdown to Doomsday (1990) and Matrix Cubed (1992). ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-13.png) Pool of Radiance (SSI, 1988). Source: [MobyGames](https://www.mobygames.com/game/502/pool-of-radiance/) Other tabletop publishers followed suit. Tunnels & Trolls, a 1975 tabletop RPG lighter on the crunch than D&D, saw a licensed video game in 1990 with Crusaders of Khazan. Traveller, a tabletop game beginning in 1977, saw two licensed games - MegaTraveller 1: The Zhodani Conspiracy and MegaTraveller 2: Quest for the Ancients, both based on the rules of Traveller's second edition MegaTraveller line. Fantasy-cyberpunk game Shadowrun saw two very distinct releases in the 1990s for the Super Nintendo and Sega Genesis. Each game took a different approach to interpreting the tabletop rules. Das Schwarze Auge (The Dark Eye), a popular German tabletop RPG, had the Realms of Arkania trilogy between 1992 and 1996 and this system would go on to be one of the more prominent examples of tabletop RPGs being represented in video game form outside of D&D's omnipresence. ## The next generation Advanced Dungeons & Dragons had its final hurrah at the turn of the century with some of the most beloved RPGs to ever grace the PC - Baldur's Gate (1998), Planescape: Torment (1999), Icewind Dale (2000) and Baldur's Gate II (2000). All four titles used BioWare's Infinity Engine, and the games struck a chord with the real-time strategy-obsessed games industry of the late 90s. In 2000, Wizards of the Coast (the new owners of D&D) released Dungeons & Dragons 3rd Edition (dropping the "Advanced" naming), and licensed video games soon followed suit. The first 3rd Edition game was the rather lacklustre Pool of Radiance: Ruins of Myth Drannor, but things rapidly improved from there, with Neverwinter Nights and Icewind Dale II (the last hurrah for the Infinity Engine) in 2002 and Temple of Elemental Evil in 2003\. D&D 3rd Edition also made an appearance in BioWare's Knights of the Old Republic (2003), based on the Wizards of the Coast's 3rd Edition-based Star Wars Roleplaying Game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-14.png) Icewind Dale II (Black Isle Studios, 2002). Source: [MobyGames](https://www.mobygames.com/game/7583/icewind-dale-ii/) Outside of D&D, a new tabletop player entered the video game market with Vampire: The Masquerade - Redemption in 2000, based on the long-running World of Darkness RPG. It was soon followed by Troika's Vampire: The Masquerade - Bloodlines in 2004\. Shortly thereafter, the Shadowrun RPG returned to video games after a long hiatus with 2007's Shadowrun, while Das Schwarze returned after a similar hiatus with Drakensang (2008). One of the interesting phenomenons to emerge in this era was the reversed relationship of influence, as video games began to increasingly inspire tabletop versions of games. The Witcher, Dishonored, Dark Souls, and Pillars of Eternity have all inspired tabletop RPG systems. Even Fallout, originally based loosely on the GURPS tabletop system, subsequently inspired a tabletop version based on later games in the series, using the 2d20 system by Modiphius. Today, the interrelation between tabletop and video game RPGs remains strong thanks to several well-regarded games of recent vintage. D&D's 5th Edition has produced two CRPGs in Baldur's Gate 3 and Solasta: Crown of the Magister while, Pathfinder, D&D's closest tabletop rival in market share terms, has had two incredible CRPGs with Kingmaker and Wrath of the Righteous. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-15.png) Pathfinder: Wrath of the Righteous (Owlcat Games, 2021). Source: [Steam](https://store.steampowered.com/app/1184370/Pathfinder%5FWrath%5Fof%5Fthe%5FRighteous%5F%5FEnhanced%5FEdition/) --- > One of the interesting phenomenons to emerge in this era was the reversed relationship of influence, as video games began to increasingly inspire tabletop versions of games. The Witcher, Dishonored, Dark Souls, and Pillars of Eternity have all inspired tabletop RPG systems. --- Unfortunately, a consequence of the commercialisation of the games industry has seen publishers move towards more risk-averse projects. D&D and Pathfinder games are seen as safe and desirable projects for publishers due to their broad brand recognition. Beyond tabletop-inspired video games, the RPG genre has vastly matured over the past several decades, establishing many design trends and conventions not so directly tied to tabletop gaming and the concept of dice rolls. ## Points of inspiration As with RPG video games, tabletop has matured and evolved over the past several decades, growing more popular and diverse than ever before. The tabletop industry is ripe with potential inspiration for video games, and studios taking a dip into RPGs outside the established safety net of D&D and Pathfinder may be surprised by the potential opportunities to attract new fans. ### Basic Roleplaying ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-16.png) Basice Roleplaying. Source: [Chaosium](https://www.chaosium.com/basic-roleplaying/). The Basic Roleplaying system, known commonly as BRP, is one of the oldest tabletop systems on the market. It was released in 1980 by Greg Stafford and Lynn Willis as the underlying mechanical system for their tabletop game RuneQuest. BRP was soon adapted for the Call of Cthulhu tabletop game, as well as Pendragon, another Greg Stafford game based on Arthurian tales of chivalric virtue. One of BRP's great advantages is its adaptability to almost any setting - the core stats are broadly applicable and a game's theme is largely determined by the list of available skills and items. The game system can also be easily tweaked depending on the sort of lethality a designer might seek - Call of Cthulhu is well known for its lethality, promoting role-play over combat, but the BRP core rule book provides several options for running high-powered player games. The system is also based on 10-sided (d10) and 100-sided (d100) dice rolls - intuitive for players and simple to implement for designers. ### Dungeon Crawl Classics ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-19.png) Dungeon Crawl Classics. Source: [Goodman Games](https://goodman-games.com/store/product/dungeon-crawl-classics-role-playing-game/). Dungeon Crawl Classics (DCC) by Goodman Games was one of the earlier systems to emerge during the [Old School Renaissance](https://en.wikipedia.org/wiki/Old%5FSchool%5FRenaissance) (OSR), a style of tabletop gaming that sought to emulate the spirit and/or mechanics of the hobby's origins in the 80s and 90s. There is some debate over whether DCC is truly an OSR game - it is originally based on the D&D 3rd Edition [Open Game Licence](https://en.wikipedia.org/wiki/Open%5FGame%5FLicense), though gameplay tone and lethality are certainly influenced by early tabletop games. DCC is a potentially challenging system to implement in a video game format, though there is much inspiration that could be taken from its magic system, which provides an opportunity for some chaotic game mechanics. Together with the chaotic madness of a typical DCC session, the system seems perfectly tailored to the sort of irreverent and freeform design that a studio like Larian has built a reputation for. ### GURPS ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-20.png) GURPS 4th Edition. Source: [Steve Jackson Games](https://warehouse23.com/collections/gurps/products/gurps-basic-set-characters-and-campaigns). Given GURPS' influence over CRPGs, it is surprising that there haven't been any licensed GURPS products. GURPS is most notable for being the initial system for Fallout (1997), but after a licensing disagreement between Interplay and Steve Jackson Games, Fallout adopted its own SPECIAL system. The influence of GURPS on SPECIAL is most apparent in Fallout's Perks system, which has echoes of the Advantages/Disadvantages mechanic of GURPS. Many games since Fallout have implemented similar systems to GURPS' advantages and disadvantages, a mechanic that encourages a player to take negative traits in exchange for certain benefits. It's a system that encourages roleplaying, while also catering to the kinds of players who love to min-max. Like BRP, GURPS is also a system readily adapted to any setting. ### Traveller ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-18.png) Traveller, Mongoose Publishing 2nd Edition. Source: [Mongoose Publishing](https://www.mongoosepublishing.com/products/traveller-core-rulebook-update-2022). Traveller is the original science fiction tabletop system and has seen many iterations over the years, along with two video game adaptations. The system itself is straightforward, approachable, and with some tweaking, could be adapted to other settings. Where Traveller truly shines, however, is the character creation, and I would love to see more video games go all-in on character creation like Traveller does. The infamous Traveller lifepath system offers the player a series of choices and dice rolls that determine their eventual character. For players who love roleplay, the system is brilliant, but perhaps less so for the min-max types. ### Classic Dungeons & Dragons ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-17.png) Advanced Dungeons & Dragons 2nd Edition, Revised. Source: [DriveThruRPG.com](https://www.drivethrurpg.com/en/publisher/44/wizards-of-the-coast?ruleSystem=44830-2e-ad-d&src=fid44830). While the contemporary edition of D&D has seen vast popularity at both the tabletop and in video game form, the fact remains that the overwhelming majority of D&D video game history was made with pre-3rd Edition rules. The past few years have seen a huge resurgence of interest in older editions of D&D, particularly AD&D and the original D&D Basic / Expert sets. These rule systems have also seen clones, in the form of games like Old School Essentials, OSRIC, and Basic Fantasy. While some of the mechanics are less intuitive than later tabletop systems, (i.e. the infamous "[THAC0](https://dungeonsdragons.fandom.com/wiki/THAC0)"), AD&D is **not** as complicated as it is made out to be, and is in many ways vastly more straightforward than modern D&D. The true value here, however, is the opportunity to seize on both the brand recognition of D&D and the legacy of classic D&D video games like Eye of the Beholder, Dark Sun and Baldur's Gate. Modern game design capabilities provide the opportunity to truly give justice to classic D&D mechanics, and as an AD&D die-hard myself, I live in eternal anticipation of another classic D&D game. ### 2024 Year in Review URL: https://www.superjumpmagazine.com/2024-year-in-review/ Last updated: 2025-02-02T07:02:25.000Z 👋 **Hi there!** Welcome to the latest edition of SUPERJUMP Weekly. This will be our final newsletter for 2024\. We will resume again in mid-January 2025. It seems like everyone is looking back at the year that was, from Spotify to all of the big console manufacturers, and more. We thought we'd join the fun by highlighting the very best SUPERJUMP stories published over the last 12 months. We hope you enjoy this look back at the very best of SUPERJUMP in 2024. As always, please consider upgrading your free membership to a [**Backer membership**](#/portal/account/plans) if you'd like to support our work (and receive a monthly 10% discount code for any purchases on [PixelCrib](https://www.pixelcrib.com.au) or the [SUPERJUMP Merch Store](https://store.superjumpmagazine.com)). Finally, we would like to sincerely thank all of our wonderful Backers for supporting independent, cynicism-free games media over the last year: especially when we know that there are so many folks out there asking for subscriptions. We understand that every dollar matters, and we're so grateful that you chose to vote with your wallet and support our little publication. It keeps our fires burning and puts us on a path to financial sustainability. From the entire SUPERJUMP team, we hope you have a wonderful, restful, and safe holiday season. We'll see you next year! 🎉 #### IN THIS ISSUE ✍️ Story Showcase: **2024 Year in Review** 📡 On the Radar: **Hollywood Animal** 🏆 Backers ## 2024 YEAR IN REVIEW STORY SHOWCASE Hello! James here. I'm SUPERJUMP's proud Editor in Chief. It's such a great pleasure to work with a large team of passionate, talented, and highly diverse writers who bring a huge breadth and depth of experience to their stories. Every month at SUPERJUMP brings something completely different to the table. For this year in review, I thought I'd go back through all of our stories published throughout 2024 and highlight my absolute favourites. Of course, I believe all of our stories are bangers, but these ones are - in my humble opinion - the cream of the crop. So, without further ado, let's jump in. --- ### JANUARY - [A Metal Gear Solid Experience](https://www.superjumpmagazine.com/a-metal-gear-solid-experience/) by [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/). - [Why Does Playing The Sims 4 Make Me Feel Empty Inside?](https://www.superjumpmagazine.com/why-does-playing-the-sims-4-make-me-feel-empty-inside/) by [Maris Crane](https://www.superjumpmagazine.com/author/mariscrane/). - [How Video Games Have Become a Third Place](https://www.superjumpmagazine.com/how-video-games-have-become-a-third-place/) by [Lawrence Adkins](https://www.superjumpmagazine.com/author/lawrencea/). - [Alan Wake II is Terrifying, but Not in the Way You Think](https://www.superjumpmagazine.com/alan-wake-ii-is-terrifying-but-not-in-the-way-you-think/) by [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/). - [A New Appraisal of Final Fantasy VII](https://www.superjumpmagazine.com/a-new-appraisal-of-final-fantasy-vii/) by [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/). ### FEBRUARY - [Sifu: Revenge and Martial Morality](https://www.superjumpmagazine.com/sifu-revenge-and-martial-morality/) by [Geordi Ferguson](https://www.superjumpmagazine.com/author/geordiferguson/). - [Integrating Learning with Gameplay in Human Resource Machine](https://www.superjumpmagazine.com/integrating-learning-with-gameplay-human-resource-machine/) by [Adrian Ma](https://www.superjumpmagazine.com/author/adrianma/). - [The Virtual World: Art and Design in Video Games](https://www.superjumpmagazine.com/the-virtual-world-art-and-design-in-games/) by [Gavin Annand](https://www.superjumpmagazine.com/author/gavinannand/). - [D: Frustration as a Canvas](https://www.superjumpmagazine.com/d-frustration-as-a-canvas/) by [Guilherme Alves](https://www.superjumpmagazine.com/author/guilhermealves/). - [Worlds Changed at the Computer Game Developers Conferences of 1988](https://www.superjumpmagazine.com/worlds-changed-at-the-computer-game-developers-conferences-of-1988/) by [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/). - [At Home with Good Bones: An Interview with Jes Negrón, Retcon Games](https://www.superjumpmagazine.com/a-home-with-good-bones-an-interview-with-jes-negron-retcon-games/) by [Andrea Blythe](https://www.superjumpmagazine.com/author/andreablythe/). - [Alan Wake and the Author](https://www.superjumpmagazine.com/alan-wake-and-the-author/) by [Jacob Self](https://www.superjumpmagazine.com/author/jacobself/). - [A Deep Dive Into the World of Splatoon](https://www.superjumpmagazine.com/a-deep-dive-into-the-world-of-splatoon/) by [Joe Richards](https://www.superjumpmagazine.com/author/joerichards/). - [A Look Back at Chinese Bootleg Final Fantasy VII](https://www.superjumpmagazine.com/a-look-back-at-chinese-bootleg-final-fantasy-vii/) by [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/). ### MARCH - [GameCube Collecting is Healing My Inner Child](https://www.superjumpmagazine.com/gamecube-collecting-is-healing-my-inner-child/) by [Brandon Johnson](https://www.superjumpmagazine.com/author/brandonjohnson/). - [Shadow the Hedgehog: Is Black the New Blue?](https://www.superjumpmagazine.com/shadow-the-hedgehog-is-black-the-new-blue/) by [Harel Cohen](https://www.superjumpmagazine.com/author/harelcohen/). - [Tribes Vengeance: The Forgotten FPS](https://www.superjumpmagazine.com/tribes-vengeance-the-forgotten-fps/) by [Ross Joseph Gardner](https://www.superjumpmagazine.com/author/rossgardner/). - [On Critique and Caring](https://www.superjumpmagazine.com/on-critique-and-caring/) by [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/). - [How They Wish To Be Left Alone](https://www.superjumpmagazine.com/how-they-wish-to-be-left-alone/) by [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/). - [Momento Mori](https://www.superjumpmagazine.com/memento-mori/) by [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/). - [Finding My Monopoly](https://www.superjumpmagazine.com/finding-my-monopoly/) by [Nathan Kelly](https://www.superjumpmagazine.com/author/nathanielkelly/). - [The Great Ace Attorney Chronicles Defends the Reputation of Truth](https://www.superjumpmagazine.com/the-great-ace-attorney-chronicles-defends-the-truth/) by [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/). - [Home Safety Hotline Shows the Horror of Call Center Work](https://www.superjumpmagazine.com/home-safety-hotline-shows-the-horror-of-call-center-work/) by [Priya Sridhar](https://www.superjumpmagazine.com/author/priyasridhar/). - [Polybius: The Waking Nightmare of the Arcade](https://www.superjumpmagazine.com/polybius-the-waking-nightmare-of-the-arcade/) by [Geordi Ferguson](https://www.superjumpmagazine.com/author/geordiferguson/). - [Death Vegas: Unearthing a Lost Adult Swim Classic](https://www.superjumpmagazine.com/death-vegas-unearthing-a-lost-adult-swim-classic/) by [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/). - [Where Are All The Black and White Video Games?](https://www.superjumpmagazine.com/where-are-all-the-black-white-video-games/) by [Marvel Maximus](https://www.superjumpmagazine.com/author/marvel/). ### APRIL - [Super Metroid at 30](https://www.superjumpmagazine.com/super-metroid-at-30/) by [Ross Joseph Gardner](https://www.superjumpmagazine.com/author/rossgardner/). - [My Work Is Not Yet Done Puts the Anxiety in 'Anxiety Horror'](https://www.superjumpmagazine.com/my-work-is-not-yet-done-puts-the-anxiety-in-anxiety-horror/) by [Ignas Vieversys](https://www.superjumpmagazine.com/author/ignasvieversys/). - [The Hidden Depth of In-Game Texts](https://www.superjumpmagazine.com/the-hidden-depth-of-in-game-texts/) by [Marvel Maximus](https://www.superjumpmagazine.com/author/marvel/). - [A Brief History of the Nuzlocke Challenge](https://www.superjumpmagazine.com/a-brief-history-of-the-nuzlocke-challenge/) by [Lawrence Adkins](https://www.superjumpmagazine.com/author/lawrencea/). - [Resident Evil at 20: Reimagining 'Ground Zero'](https://www.superjumpmagazine.com/resident-evil-at-20-reimagining-ground-zero/) by [Geena Hardy](https://www.superjumpmagazine.com/author/geenahardy/). - [When It's Better to Know the Ending](https://www.superjumpmagazine.com/when-its-better-to-know-the-ending/) by [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/). - [Team 0% Accomplishes Their Impossible Mission](https://www.superjumpmagazine.com/team-0-accomplishes-their-impossible-mission/) by [William J. Cueva](https://www.superjumpmagazine.com/author/william/)s. - [Nintendo's DS Delivered the Visual Novel to the West](https://www.superjumpmagazine.com/nintendos-ds-delivered-the-visual-novel-to-the-west/) by [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/). - [Firewatch Burns a New Path to Understanding](https://www.superjumpmagazine.com/firewatch-burns-a-new-path-to-understanding/) by [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/). - [Final Fantasy VII: Rebirth Is Helping Me Write More Fearlessly](https://www.superjumpmagazine.com/final-fantasy-vii-rebirth-is-helping-me-write-more-fearlessly/) by [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/). ### MAY - [Nobuo Uematsu's Final Fantasy VII Soundtrack Set the Stage for Contemporary Music in JRPGs](https://www.superjumpmagazine.com/nobou-uematsus-final-fantasy-vi-soundtrack-laid-the-groundwork-for-contemporary-music-in-jrpgs/) by [Latonya "Penn" Pennington](https://www.superjumpmagazine.com/author/latonya-pennington/). - [Crow Country: An Examination](https://www.superjumpmagazine.com/crow-country-review/) and Review by [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/). - [Metal Gear Acid: The Legacy of Shinra Nojiri's Card-Based Battler](https://www.superjumpmagazine.com/the-legacy-of-metal-gear-acid-shinta-nojiris-card-based-battler/) by [Adam Meadows](https://www.superjumpmagazine.com/author/adammeadows/). - [By Design: Procedural Generation](https://www.superjumpmagazine.com/by-design-procedural-generation/) by [Gavin Annand](https://www.superjumpmagazine.com/author/gavinannand/). - [Learning To Love The Sega Saturn: Catching Up Decades Later](https://www.superjumpmagazine.com/learning-to-love-the-sega-saturn-catching-up-decades-later/) by [Cameron Eittreim](https://www.superjumpmagazine.com/author/cameroneittreim/). - [The Rise, Fall, Revival, and Eventual Death of G4TV](https://www.superjumpmagazine.com/the-rise-fall-revival-and-eventual-death-of-g4-tv/) by [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/). - [Designing Marvel's Midnight Suns With Director Joe Weinhoffer](https://www.superjumpmagazine.com/on-building-marvels-midnight-suns-with-director-joe-weinhoffer/) by [Antony Terence](https://www.superjumpmagazine.com/author/antonyterence/). - [Slave Zero X Never Portrays Kindness](https://www.superjumpmagazine.com/slave-zero-x-never-portrays-kindness/) by [Guilherme Alves](https://www.superjumpmagazine.com/author/guilhermealves/). - [Command & Conquer Through the Years: A Retrospective Analysis](https://www.superjumpmagazine.com/command-conquer-through-the-years-a-retrospective-analysis/) by [Josh Bycer](https://www.superjumpmagazine.com/author/joshbycer/). - [What Video Games Can Teach Us About Suicide](https://www.superjumpmagazine.com/what-video-games-can-teach-us-about-suicide/) by [Marvel Maximus](https://www.superjumpmagazine.com/author/marvel/). ### JUNE - [WordPlayer: Phoenix Wright: Ace Attorney And The "Dream Job"](https://www.superjumpmagazine.com/wordplayer-phoenix-wright-ace-attorney-and-the-dream-job/) by [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/). - [Generations: The Great Video Game Age Gap](https://www.superjumpmagazine.com/generations-the-great-video-game-age-gap/) by [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/). - [Post Void is Mullet Mad Jack on Psychedelics and Overstimulation](https://www.superjumpmagazine.com/post-void-is-mullet-mad-jack-on-psychedelics-and-overstimulation/) by [Artemis Octavio](https://www.superjumpmagazine.com/author/artemis/). - [Citizen Sleeper 2: Hands-On Preview and Interview with Gareth Damian Martin](https://www.superjumpmagazine.com/citizen-sleeper-2-hands-on-preview-interview-with-gareth-damian-martin/) by [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/). - [Trackmania Deep Dip II: The Most Difficult Challenge in Gaming?](https://www.superjumpmagazine.com/trackmania-deep-dip-ii-the-most-difficult-challenge-in-gaming-2/) by [Christian Behler](https://www.superjumpmagazine.com/author/pingpoli/). - [Here's How StarCraft II Pulled Off a "The Floor is Lava" Level](https://www.superjumpmagazine.com/heres-how-starcraft-ii-pulled-off-a-the-floor-is-lava-level/) by [Antony Terence](https://www.superjumpmagazine.com/author/antonyterence/). ### JULY - [Dissecting the Gore-Covered Condemned: Criminal Origins](https://www.superjumpmagazine.com/dissecting-the-gore-covered-condemned-criminal-origins/) by [Briana Gonzalez](https://www.superjumpmagazine.com/author/brianagonzalez/). - [What Defines 'Survival' in Survival Horror?](https://www.superjumpmagazine.com/what-defines-survival-in-survival-horror/) by [Josh Bycer](https://www.superjumpmagazine.com/author/joshbycer/). - [We Need More Games with Shadow of War's Nemesis System](https://www.superjumpmagazine.com/we-need-more-games-with-shadow-of-wars-nemesis-system/) by [Antony Terence](https://www.superjumpmagazine.com/author/antonyterence/). - [That Time Will Wright Put You in Charles Darwin's Shoes](https://www.superjumpmagazine.com/that-time-will-wright-put-you-in-charles-darwins-shoes/) by [Antony Terence](https://www.superjumpmagazine.com/author/antonyterence/). - [Celebrating David Szymanski's Small Wonders](https://www.superjumpmagazine.com/celebrating-david-szymanskis-small-wonders/) by [Artemis Octavio](https://www.superjumpmagazine.com/author/artemis/). - [Promises of a Phantom: Dreams of a Lost Console From 2002](https://www.superjumpmagazine.com/promises-of-a-phantom-dreams-of-a-lost-console-in-2002/) by [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/). - [Sky: Children of Light's Hottest Hangouts Are Off the Edge of the Map](https://www.superjumpmagazine.com/sky-children-of-the-lights-hottest-hangouts-are-off-the-edge-of-the-map/) by [Hayley Williams](https://www.superjumpmagazine.com/author/hayley/). - [What is Progress? ](https://www.superjumpmagazine.com/what-is-progress/)by [Gavin Annand](https://www.superjumpmagazine.com/author/gavinannand/). - [The Making of Amnesia: The Bunker](https://www.superjumpmagazine.com/the-making-of-amnesia-the-bunker/) by [Ignas Vieversys](https://www.superjumpmagazine.com/author/ignasvieversys/). ### AUGUST - [WordPlayer: Wide Ocean Big Jacket Is A Perfect One-Hour Game](https://www.superjumpmagazine.com/wordplayer-wide-ocean-big-jacket-is-a-perfect-one-hour-game/) by [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/). - [Calm and Comfort: An Interview With Hawai'i Artist Brady Evans](https://www.superjumpmagazine.com/calm-and-comfort-an-interview-with-oahu-artist-brady-evans/) by [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/). - [The Bounce: An Australian Rules Foot Game Retrospective](https://www.superjumpmagazine.com/the-bounce-an-australian-rules-footy-game-retrospective/) by [Gavin Annand](https://www.superjumpmagazine.com/author/gavinannand/). - [My Quest to Find a Specific Demo Disc from 1997](https://www.superjumpmagazine.com/my-quest-to-find-a-specific-demo-disc-from-1997/) by [Gavin Annand](https://www.superjumpmagazine.com/author/gavinannand/). - [Live Service Killed the Suicide Squad](https://www.superjumpmagazine.com/live-service-killed-the-suicide-squad/) by [Alex Kubodera](https://www.superjumpmagazine.com/author/alexkubodera/). - [Crafting Mystery and Magic: An Interview with HeR Interactive](https://www.superjumpmagazine.com/crafting-mystery-and-magic-an-interview-with-her-interactive/) by [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/). - [Twitch Says ANZ Is A Critical Market, But It Has A Funny Way of Showing It](https://www.superjumpmagazine.com/twitch-says-anz-is-a-critical-market-but-it-has-a-funny-way-of-showing-it/) by [David Smith](https://www.superjumpmagazine.com/author/david/). - [Brain Drive: A Retrospective on Scarlet Nexus](https://www.superjumpmagazine.com/brain-drive-a-retrospective-on-scarlet-nexus/) by [Rachel Alm](https://www.superjumpmagazine.com/author/raesosun/). - [The Genius Communication of Elden Ring](https://www.superjumpmagazine.com/the-genius-communication-of-elden-ring/) by [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/). - [Is the Execution Barrier of Fighting Games Too High?](https://www.superjumpmagazine.com/is-the-execution-barrier-of-fighting-games-too-high/) by [Adrian Ma](https://www.superjumpmagazine.com/author/adrianma/). ### SEPTEMBER - [WordPlayer: Nobody Wants To Die Shows the Possibilities - and Limitations - of Detective Adventures](https://www.superjumpmagazine.com/wordplayer-nobody-wants-to-die/) by [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/). - [An Off-Peak Conversation with Cosmo D](https://www.superjumpmagazine.com/an-off-peak-conversation-with-cosmo-d/) by [Artemis Octavio](https://www.superjumpmagazine.com/author/artemis/). - [Astro Bot's Beautiful Nostalgia Extends Beyond PlayStation](https://www.superjumpmagazine.com/astro-bots-beautiful-nostalgia-extends-beyond-playstation/) by [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/). - [Eiyuden Chronicle: Hundred Heroes Embraces Silliness](https://www.superjumpmagazine.com/eiyuden-chronicle-hundred-heroes-embraces-silliness/) by [Benjamin Macready](https://www.superjumpmagazine.com/author/benjaminmacready/). - [Playing the Feminine](https://www.superjumpmagazine.com/playing-the-feminine/) by [Josefina Huq](https://www.superjumpmagazine.com/author/josefina/). ### OCTOBER - [Vagrant Story: Looking Back at a Classic](https://www.superjumpmagazine.com/vagrant-story-looking-back-at-a-classic/) by [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/). - [PAX West 2024: A Horror Showcase](https://www.superjumpmagazine.com/pax-west-2024-a-horror-showcase-2/) by [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/). - [WordPlayer: Closer The Distance's Empathy Toolbox Is Deeper Than Embodiment](https://www.superjumpmagazine.com/wordplayer-closer-the-distances-empathy-toolbox-is-deeper-than-embodiment/) by [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/). - [Tetris at 40: The Twisting Tale of Its Journey to Handhelds](https://www.superjumpmagazine.com/tetris-at-40-the-twisting-tale-of-its-journey-to-handhelds/) by [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/). - [Final Fantasy VI: How To Keep Going](https://www.superjumpmagazine.com/final-fantasy-vi-how-to-keep-going/) by [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/). - [Resident Evil 2 (Nintendo 64): A Weird and Wonderful Achievement](https://www.superjumpmagazine.com/resident-evil-2-64-a-weird-and-wonderful-achievement/) by [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/). - [The Nintendo Switch Is Not Outdated](https://www.superjumpmagazine.com/the-nintendo-switch-is-not-outdated/) by [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/). - [I Loved Animal Well, But I'm Bothered By Its Artificial Depth](https://www.superjumpmagazine.com/i-loved-animal-well-but-im-bothered-by-its-artificial-depth/) by [Josh Bycer](https://www.superjumpmagazine.com/author/joshbycer/). - [Bumps, Heels, and Faces: Building a Wrestling Empire](https://www.superjumpmagazine.com/bumps-heels-and-faces-building-a-wrestling-empire/) by [Jahanzeb Khan](https://www.superjumpmagazine.com/author/virtuamuser/). - [Framing the Depths: An Archaeological Approach to Cinematography in The Excavation of Hob's Barrow](https://www.superjumpmagazine.com/framing-the-depths-an-archaeological-approach-to-cinematography-in-hobs-barrow/) by [Kyle Solomon](https://www.superjumpmagazine.com/author/kylesolomon/). ### NOVEMBER - [Memory of a Town: Experiencing Silent Hill 2 Through Its Remake](https://www.superjumpmagazine.com/memory-of-a-town-experiencing-silent-hill-2-through-its-remake-drafting/) by [Artemis Octavio](https://www.superjumpmagazine.com/author/artemis/). - [Kickin' It: The Making of Anger Foot](https://www.superjumpmagazine.com/kickin-it-the-making-of-anger-foot/) by [Ignas Vieversys](https://www.superjumpmagazine.com/author/ignasvieversys/). - [A Bloody Good Time: The Castlevania Franchise's Hidden Gems](https://www.superjumpmagazine.com/a-bloody-good-time-the-castlevania-franchises-hidden-gems/) by [Jahanzeb Khan](https://www.superjumpmagazine.com/author/virtuamuser/). - [Diving Deep with Super Dungeon Designer's Lead Programmer](https://www.superjumpmagazine.com/diving-deep-with-super-dungeon-designers-lead-programmer/) by [Lawrence Adkins](https://www.superjumpmagazine.com/author/lawrencea/). - [This is the Choice of Steins;Gate](https://www.superjumpmagazine.com/this-is-the-choice-of-steins-gate/) by [C.S. Voll](https://www.superjumpmagazine.com/author/csvoll/). - [The State of Indie Games in 2024](https://www.superjumpmagazine.com/the-state-of-indie-games-in-2024-and-beyond/) and Beyond by [Andrew Johnston](https://www.superjumpmagazine.com/author/andrewjohnston/). - [WordPlayer: Broken Sword Reminds Me Who I Am](https://www.superjumpmagazine.com/wordplayer-broken-sword-reminds-me-who-i-am/) by [James O'Connor](https://www.superjumpmagazine.com/author/jamesoconnor/). - [The Dichotomy of Eternal Darkness: Sanity's Requiem](https://www.superjumpmagazine.com/the-dichotomy-of-eternal-darkness-sanitys-requiem/) by [Jared McCarty](https://www.superjumpmagazine.com/author/jaredmccarty/). - [Magic the Gathering: The Fortnite of Card Games](https://www.superjumpmagazine.com/magic-the-gathering-the-fortnite-of-card-games/) by [Nathan Kelly](https://www.superjumpmagazine.com/author/nathanielkelly/). - [Initial Daydream: An Interview with Viktor Krause and Julia Barnacle](https://www.superjumpmagazine.com/initial-daydream-dev-interview/) by [Lawrence Adkins](https://www.superjumpmagazine.com/author/lawrencea/). - [Exploring Minds Through Interactive Entertainment](https://www.superjumpmagazine.com/exploring-minds-through-interactive-entertainment/) by [Jacob Self](https://www.superjumpmagazine.com/author/jacobself/). ### DECEMBER - [What Is A Plague Tale: Requiem Saying With Its Loading Screens?](https://www.superjumpmagazine.com/what-is-a-plague-tale-requiem-saying-with-its-loading-screens/) by [Eric Biancalana](https://www.superjumpmagazine.com/author/eric/). - [All Too Shadow](https://www.superjumpmagazine.com/all-too-shadow/) by [Guilherme Alves](https://www.superjumpmagazine.com/author/guilhermealves/). - [Half-Life: Phase Transition (A Novel Excerpt)](https://www.superjumpmagazine.com/half-life-phase-transition-a-novel-excerpt/) by [Ross Joseph Gardner](https://www.superjumpmagazine.com/author/rossgardner/). - [Death Stranding and the Unfailing Perseverance of Optimism](https://www.superjumpmagazine.com/death-stranding-and-the-unfailing-perseverance-of-optimism-2/) by [Brandon R. Chinn](https://www.superjumpmagazine.com/author/brandonrchinn/). - [Fear and Hunger and Safe Rooms](https://www.superjumpmagazine.com/fear-and-hunger-and-safe-rooms/) by [Maris Crane](https://www.superjumpmagazine.com/author/mariscrane/). - [Minimalism in Mouthwashing](https://www.superjumpmagazine.com/minimalism-in-mouthwashing/) by [Marvel Maximus](https://www.superjumpmagazine.com/author/marvel/). - [When Video Games Test Your Personality](https://www.superjumpmagazine.com/when-video-games-test-your-personality/) by [Marvel Maximus](https://www.superjumpmagazine.com/author/marvel/). - [Disco Never Dies](https://www.superjumpmagazine.com/disco-never-dies/) by [PJ Walerysiak](https://www.superjumpmagazine.com/author/pjwalery/). --- ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/storeheader.png) Source: SUPERJUMP. Phew! It's hard to believe this is just a subset of all the stories we published in 2024\. As I mentioned earlier, each month brings with it new surprises. I think you'll see a running theme with these stories, despite their differences: they are all about celebrating the art form of video games in some way, and in many cases they ask readers to think differently about the hobby we all love. We understand and deeply appreciate that making video games is a tough and complex business; many indie developers put their entire lives on the line to pursue their passion. We, in return, do our level best to take these creative works seriously and to treat them with due care and consideration. ## Sign up for SUPERJUMP Weekly. Receive every edition direct to your inbox for free. Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. _This post is for subscribers only._ ### Freedom Fighters Lives on in the Memories of Gamers URL: https://www.superjumpmagazine.com/freedom-fighters-lives-on-in-the-memories-of-gamers/ Last updated: 2024-12-23T00:14:20.000Z **Popularity doesn’t always indicate the quality of a game.** Some titles you might never have heard of, but they are just as good, or even better, than their more well-known compatriots. One that got lost in the shuffle is Freedom Fighters, all the way back in 2003\. This was the year of Pokémon Ruby/Sapphire, Star Wars: Knights of the Old Republic, Final Fantasy X-2, Need for Speed: Underground, and many other hits. Even though the competition was stiff, why did Freedom Fighters not attract enough attention? It’s something many players have asked themselves over the years. ## A world breaks apart Freedom Fighters takes place in a world that looks a lot like the world circa 2003\. There are some glaring differences, though. In this timeline, the Soviet Union was the first one to use an atomic bomb, which ended World War II. When we join events, it had just invaded South America. Many Americans are nervous about the Soviet Union’s far-reaching influence. Christopher and Troy Stone, two brothers, are plumbers in New York during this time. One day, they are on their way to the apartment of Isabella Angelina, a political activist who uses every opportunity to criticize the communist states. She is nowhere to be found when they get to her place. Instead, they find Soviet soldiers. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Freedom-Fighters-Fire.jpg) Freedom Fighters. Source: Steam. The invasion of New York has already begun, and you, as Christopher Stone, have to find a path out of the chaos. Everything you know has changed in an instant. Soviet propaganda soon fills the airwaves, and soldiers patrol the streets. You soon fall in with a group of American freedom fighters (called terrorists by the Soviets). ## Orders reach new ears All this might sound familiar, in part because the plot bears a resemblance to the film Red Dawn. What is different is that, in contrast to the 1984 film, the Soviet Union did not exist in the real world by the time of Freedom Fighter’s release. This allowed the creators to be more playful while not worrying about causing too much controversy. That’s not to say there aren’t emotional beats in the story. There are. But Freedom Fighter strikes an interesting tone — somewhere between a gritty comic book and a tongue-in-cheek alternate history novel. It knows too many details will only weigh it down in the end. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Freedom-Fighters-Snow.jpg) Freedom Fighters. Source: Steam. --- > The invasion of New York has already begun, and you, as Christopher Stone, have to find a path out of the chaos. --- After all, what we’re really after in a shooter is a great playing experience. Freedom Fighters delivers this in spades. For one, the game uses IO Interactive’s Glacier engine, also seen in the Hitman games, so the action resembles their popular shooter titles. The ability to recruit fighters to accompany you on missions is an interesting central feature. Being a squad leader doesn’t feel cumbersome in the game, though. You only have a couple of commands at your disposal, such as "attack" and "defend", and you can order your soldiers to specific positions. The factor that adds depth to the system is the competence of the AI; your soldiers will take cover behind designated places, utilize mounted machine guns, and clamber over walls after you. It almost feels like you’re playing with humans, not lines of code. ## Tactics that reshape a struggle Freedom Fighters is unlike most shooters at the time. The Soviets’ firepower means you are a vulnerable combatant, not a superhero, and you rely on your squad mates, who can number up to 12 after you upgrade your charisma. Ordering them to take optimal positions during the intense confrontations is key. A good flanking maneuver or judicious use of different weaponry can also turn the tide of a fight. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Freedom-Fighters-Boxes.jpg) Freedom Fighters. Source: Steam. If you fail, it doesn't feel too frustrating to retry a section either, because it is an opportunity to try out new tactics. The world, which comprises of gated open world sections, presents various opportunities to a sharp-eyed commander. The difficulty curve never feels too steep. Freedom Fighters occupies an interesting space in the tactical shooter genre. It’s not as slow-paced and realistic as Rainbow Six, but it isn’t as gung-ho as perhaps a Call of Duty game. In the early 2000s, the familiar genre distinctions hadn’t solidified yet, and cross-fertilization between various genres wasn't too uncommon. ## Computers and consoles that connect Freedom Fighters saw release on GameCube, PlayStation 2, Xbox, and PC in 2003\. The console versions received a multiplayer capture-the-flag mode, but PC players had to be satisfied with only the single player story mode. On the flipside, PC players could of course aim and issue orders with greater precision. There are various reasons the game didn’t succeed in the marketplace. One reason might be that the game only takes about 9 hours to finish, and the multiplayer mode divided opinions. In the early 2000s, the replayability and campaign length was an important consideration when one bought a game, during a time when consumers had many other choices. Freedom Fighters' qualities still won many people's hearts, especially in the years after its release. One aspect that still stands out is how your AI squad mates are intelligent enough to not ruin your fun. These squad mates actually enlarge the scope of battles, so that they feel more intense than in most single-player games. It might not have been a financial smash hit, but that didn't matter to the gamers who were lucky enough to find a copy. In 2003, Io Interactive released that simplicity, when done well, can create a game that is easy to pick up, but also opens a player’s imagination because they don’t have to worry about complex systems. That specific dynamic leads to light-hearted experimentation in a game world that reacts to your choices. Freedom Fighters remembered to have fun, and welcomed us, the players, to do likewise. ### Miniatures and the Wonders of Memory URL: https://www.superjumpmagazine.com/miniatures-and-the-wonders-of-memory/ Last updated: 2024-12-22T16:29:08.000Z **We need more games with hand-drawn animation.** While this is only my opinion and hand-drawn animation requires more effort, I think the emotional impact always lands more strongly. Two-dimensional animation has depths and nuance when conveying abstract concepts; three-dimensional animation, in contrast, can hurt the eyes and cause many lags. Not to mention the rigging means that there is less flexibility. Enter [Miniatures, a pleasant surprise](https://store.steampowered.com/app/2428840/Miniatures/) of the hand-drawn animation variety that came this year, especially welcome during a rather bleak winter. A straightforward point-and-click game, you open a keepsake box with five different items. Each one tells a story, some that go as far as the moon running to distant mountains on islands and others that keep us in the comfort of a domestic space. Yet each vignette remains contained, with unique soundtracks and an overarching blanket of nostalgia belonging to someone else. Melancholy also hangs over the vignettes, and I had to think about it to figure out why. The magical realism of each chapter reminds us of how fragile memory can be. I've argued with family members about things they've said or events that have happened, and we can only verify things that my dad videotaped with his ever-present camcorder. Yet sometimes, we are left with memories; anything we've kept since childhood can hold significance. Then sometimes we forget, because our brain decides that information is no longer necessary. I once collected a bevy of beautiful stones from digging, but one day they vanished. So did the projects I made the year my dad died, including different slimes and attempts to sew without available fabric. Those keepsakes no longer exist. The encyclopedia I received as a fourth-grade birthday present has been gifted to my younger brother and lost its golden shimmer. So playing this game made me feel wistful about what wasn't kept. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-11.png) Source: Press Kit. ## How do they connect? My main initial confusion was that the stories vary in genre more than in character or animation. A story about a girl named Alma trying to find her mother and the moon feels like a fairy tale, while a first-person yarn about trying to assemble furniture together and having to lock away something dark and mysterious borders on the edge of cosmic horror. What was the connection? Then it hit me while tackling this review: loss. Each story is about loss and what we do to remedy it. Sometimes we can recover the things that we miss. Other times, we register a great absence. Okay, but what about the seashell vignette, an experienced player may ask; you help them recover their tiny instruments. Or the furniture assembly? You don't lose anything there. It is true that we help the little creatures on the seaside and manage to make a cabinet come to life with screws and gravity. But the loss hangs over each vignette; just as the band gets into their groove, the tide comes in and washes them away. Meanwhile, a boy missing his parents sees his apartment turned into a jungle, and he moves to sleep with the creatures amid tall plants. I think the main connection is that the characters in each story are searching for something missing. With the creatures on the beach, they need their musical instruments. Alma is seeking her mother and finding answers about why a parent abandoned her, while a nameless boy explores an empty apartment and a family questions why this piece of furniture will simply not assemble and become useful. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-12.png) Source: Press Kit. Childhood ends when we realize we've lost something we cannot recover. Whether it is as small as a sentimental trinket or as large as a family member, we can feel the absence strongly. That is not to say that my childhood ended when the ceramic piggy bank that I played very carefully with got shattered when a sibling knocked it over, but it feels like the world irrevocably changed when my dad died. There is a dividing line where I feel we all became more bitter and resentful of the way things are. Miniatures as a game pays homage to the time before all that and reminds us of when life seemed simpler, and magic could happen just five feet away at home. **A review code was provided by the developer.* ### Tri Breaker: Innovating on an Enjoyable Formula URL: https://www.superjumpmagazine.com/tri-breaker-innovating-on-an-enjoyable-formula/ Last updated: 2024-12-21T22:47:36.000Z **The venerable brick-breaker has existed in some form on nearly every home console and PC since the 1970s.** The genre's roots, of course, lie with the first "game" ever made, Pong, but the idea of bouncing a ball off a paddle to break things truly [began with Breakout](https://www.heroconcept.com/a-brief-history-of-brick-breaker-video-games/) and took off from there. After the 8-bit console era, the genre stagnated quite a bit, with Arkanoid still being the gold standard more than 35 years later. I hadn't picked up a brick breaker in years when, in 2020, [Lilymo Games released Twin Breaker](https://store.steampowered.com/app/1373080/Twin%5FBreaker%5FA%5FSacred%5FSymbols%5FAdventure/), a twist on the genre that combined twin-stick shooter sensibilities with the traditional gameplay of breaking everything in a level. It was fun and gave fans a modern-yet-retro experience that didn't overstay its welcome. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-7.png) Source: Press Kit. Now 4 years later, the studio is back with [Tri Breaker: A Sacred Symbols Odyssey](https://store.steampowered.com/app/2888530/Tri%5FBreaker%5FA%5FSacred%5FSymbols%5FOdyssey/), taking what worked from the first game and adding another enjoyable adaptation to the familiar gameplay formula. You still have to control two paddles at once (in most levels), but they've added a third component, with the "ball" now a steerable ship-type projectile. This adds another level of strategy (and required dexterity) that makes the experience more engaging and fun. You no longer have to rely only on precise paddle placement and geometry to make your way through the 40 levels on offer. Once the ball leaves the paddle, you are in control, with the shoulder buttons letting you steer the ball around the screen. To avoid eliminating the need for the paddles completely, there is a "fuel" gauge for the ball that will run out if you're too heavy-handed on the steering. During that short cooldown cycle, your ability to guide the ball is much less pronounced although not completely gone. Each stage has you breaking blocks for sure, but there are power-ups constantly falling that change the game. Some will grow or shrink your paddles, create a barrier at each end of the screen so the ball can't be lost, give more lives or fuel for the ball, and more. Some blocks will move, some are unbreakable, and some require multiple hits to destroy. It's all standard stuff for the genre but it never gets boring. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-9.png) Source: Press Kit. Every few levels, something happens in the story to upend the usual gameplay loop. You might lose control of one or both of the paddles, or you might go up against a mimic of your paddle. My favorite set of levels had you playing just as the ball, across multiple stages that paid tribute to classic games such as Snake, Pac-Man, and Frogger. Your skill at steering will be put to the test, and it's all done quite well, making these levels more basic but also a great break from the hectic multi-paddle setup you usually have to contend with. The game includes a few boss fights too, and they are a fun diversion from the usual stages. Multiple steps with large enemies ranging from T-Rex I always enjoyed finding the "heavy ball" power-up that allowed me to take a chunk out of the big bad, or clear an entire row of bricks to pave my way out of the stage. Speaking of the story, it's nothing special but it drives the changes in gameplay that keep the experience fresh across the 3-4 hours it takes to complete. It can also be switched off for those who just wish to break things. The central conceit follows on from the events of Twin Breaker where humans made first contact with aliens. This story holds that the government developed time-travel technology from that meeting and our heroes must deal with the consequences to go back and stop the humans from mucking things up, as they are wont to do. The timey-wimey stuff creates paradoxes that cause the aforementioned gameplay changes and when each stage takes place. Some happen in the Jurassic period, some are in prehistoric times, and while none really stand out, they offer more interesting backdrops than just the blackness of space. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-8.png) Source: Press Kit. As the title suggests, the game stars the three hosts of the Sacred Symbols podcast: Colin Moriarty, Chris Ray Gun, and Dustin Furman. Dialogue is really tough to write, and while it isn't great here, fans of the podcast will find some fun callbacks and familiar banter between the characters. It all adds up to a fun few hours for fans of the genre, a good weekend game with additional difficulty levels and separate trophy lists for PS4 and PS5 to keep the completionists and hunters happy. At the budget price of $9.99, I'd definitely recommend it if brick breakers are your thing. **A review code was provided by the developer.* ### Disco Never Dies URL: https://www.superjumpmagazine.com/disco-never-dies/ Last updated: 2024-12-19T23:34:10.000Z ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/Spoilers_Ahead.png) Spoilers ahead for Disco Elysium. **If only there was a “disco” option here.** To harmoniously gather a heterogeneous band of artistic visionaries and *groove*. Burn another beautifully esoteric mural into the memories of gamers everywhere. Unfortunately, as detailed in [various articles](https://www.pcgamer.com/gaming-industry/game-development/for-a-while-it-seemed-like-miracles-were-possible-and-with-them-redemption-a-follow-up-to-the-legendary-disco-elysium-might-have-been-ready-to-play-within-the-next-yearzaums-devs-loved-it-management-canceled-it-and-laid-off-the-team/) about art collective turned game developer ZA/UM’s cancelled projects, a true sequel to Disco Elysium will not happen. Legal battles between ZA/UM and its former employees continue. New studios battle for life under the shadow of their ancestor and in competition with one another. With the video game industry already well in the midst of tumultuous times, it simply feels like…chaos reigns, creative cooperation wanes. In light of this era of uncertainty and layoffs, I want to show my appreciation for everyone who helped create Disco Elysium, and for those who strive to keep its legacy alive. You’ve brought joy to millions, and inspired this writer in more ways than simply writing this short tribute to help console the minds of all who are waiting for some more hardcore. I can’t wait to see what you all create next. > *The following is a tribute born from the zeitgeist of post-Disco Elysium game studio drama, written in the style of Disco Elysium protagonist Harry Du Bois’ mind.* **Logic** – An immensely talented crew of passionate individuals can create incredible things, especially in an environment of rebellious innovation and understanding. Disco Elysium was a smash hit. Those responsible for it are capable of creating further masterpieces. **Encyclopedia** \[Easy: Success\] –Disco Elysium was released in 2019 to critical acclaim and was declared Game of the Year by most news outlets, cementing itself as one of the greatest RPGs ever made. Developed by art collective turned game studio ZA/UM, the studio has seen consistent turbulence since 2021, such as lawsuits from Disco Elysium’s setting creator, lead artist, lead writer, and others. **Encyclopedia** –Two Disco sequels have since been cancelled, and a quarter of ZA/UM staff were laid off in early 2024, only months after assurances that finances were sound. Fans, and of course the developers themselves, have been greatly dismayed by these outcomes. **Empathy** –Confusion. Fury. *Devastating loss.* How could these endeavors go under when the staff is so driven? And the demand so high? ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/DE-WorldbuildingEmpathy.jpeg) Source: Author. **Authority** \[Challenging**:** Success\] – The problem is most likely in leadership. A leader can be honest, inspiring, and approachable. They can also be deceptive and self-serving. How one wields their power can result in monumental achievement, their team reveling in happiness and shared glory. Or monumental failure, their team abandoned as a pile of husks rotting in a field. And every possibility in between. They establish the vision to be achieved and the morally acceptable means to get there. **Authority** – A leader can find a melody conjured by their band, experiment with them and thrive in syncopation. Or they can steer a ship in circles, blame the stars and crew for misleading them, and still be considered their captain. And what they say goes. Deal with it. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/DE-AuthorityHalflight.jpeg) Source: Author. **Rhetoric** – Without a clear voice and direction, how is anyone to succeed? Conversation is essential to progress. With others, and within ourselves. **Drama** –Back and forth, within and without! I ache for what could have been, not even knowing what has been lost! My liege, to think on such divinity that will never see the light of day… wounds me deeply. I fear the damage mortal! **Pain Threshold** –Stop whining, I don’t feel a thing. **Visual Calculus** \[Formidable**:** Success\]– Ametaphorical wound originating from the emotional center of the brain. Long-held expectations were destroyed, combined with knowledge that no sequel will ever be released, results in mental anguish that may manifest physically via psychosomatic symptoms. **Limbic System** –You really wouldn’t like it. A short fuse of lightning igniting inside your skull. A deep ache behind your eyes, drawing out an unintentional tear like an old leaking water pump. A pressure in your chest that elicits an image of hands kneading nervously, vigorously, clenching and unclenching. **Pain Threshold** \[Legendary: Failure\] –Oh. ***Ohhh*.** It’s… *urghh*...a lot. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/DE-LimbicVolitionShivers.jpeg) Source: Author. **Empathy** –We mourn for a bright future ripped away. **Conceptualization** \[Impossible: Failure\] – A digital cocktail of creativity unparalleled by all except its predecessor, now just beyond our grasp. It was on the tip of the tongue! **Electrochemistry** \[Trivial: Success\] – It would’ve tasted like *pure light energy, baby.* **Composure** –Where do I store the disappointment, the deep unerring ache? **Inland Empire** –The hopeful vision that crystallized over years, and shattered in a fraction of that time. Dashed notions carried away like ashes by a wildfire’s updraft, gone to blanket a world naïve of its essence. **Ancient Reptilian Brain** – Carried away to the great void to which all things eventually return. **Rhetoric** \[Heroic: Success\] –And yet… Everything comes from nothing. **Endurance** –Yes, only how much disappointment can a community take? How much can developers tolerate? **Volition** \[Challenging: Success\] We are resilient. Game developers are *especially* so. How many have been wronged, or failed, only to find a better path? A more *true* path? **So** very many. Their drive, their focus, their trials; it hones them into sharper instruments of creation, more capable than ever before. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/DE-UnhingedEndurance.jpeg) Source: Author. **Logic** –Fire cleanses, and new life sprouts from the cooled fertilized soil. **Conceptualization** –Like a badass phoenix capable of writing symphonies with its fiery wake. **Savoir Faire** –That’s right, move forward and compose! Pull your vision into reality! Make the world realize that life tastes better with your flavor in it. Throw your momentum into an artistic ecological succession! **Shivers** \[Formidable: Success\] –Keyboards rattle and mice chitter in newfound studios. Markers squeak on whiteboards across the [UK](https://www.longduegames.com/). A bold manifesto is proclaimed from [Croatia](https://summereternal.com/). An anniversary passes with [unexpected flair](https://www.ign.com/articles/youd-be-forgiven-for-thinking-this-disco-elysium-spiritual-successor-from-some-of-the-people-who-worked-at-zaum-is-disco-elysium-2). **Perception** \[Godly: Success\] –A [pulse](https://www.ign.com/articles/now-theres-another-disco-elysium-spin-off-studio-and-this-ones-coming-out-with-some-proper-fighting-talk) is felt after a long, harrowing silence. **Inland Empire** – A rich wall of sound floods the collective subconscious. Stalwart explorers pioneer an arcane voyage into the pale. Through uncertainty and hardship, a mass shimmers in the near future. Or is it the past? Ahoy, Isola Disco. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/DE-IsolaDisco.jpeg) Source: Author. **Esprit de Corps** –A bond was forged amongst creatives through passion and time. Cooperative creativity manifested sublime success, a legend born from the minds of many. The original crew is no longer together, but forever linked. **Endurance** –A scar upon the soul, and a reminder of great triumph. Inspiration pulled from one’s own ability. **Half-Light** –A glorious tattoo to be envied by all! **Empathy** –Ineffable weight of memories good and bad…And the weightlessness of beloved, revered creation. Soon to be felt again. **Suggestion** – It’s okay now to hope, and to wish for art to prevail over capitalism. **Half-Light** – Unless *your* art interferes with the success of *MY* art, to which I’ll do **everything** in my power to silence you. *Try me.* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/DE-DiscoStatue-1.jpeg) Source: Author. **Savoir Faire** \[Challenging: Failure\] – Not cool, man. Why can’t we just get along? There’s plenty of pie for everyone here. **Half-Light** – Don’t be a fucking child. Survival is competition, and I will build my legacy – no – my FORTUNE, by feasting on the withered remains of ideas that could not stand strong against my self-evident and viciously litigious superiority. **Interfacing** – I want to engage in a variety of experiences. There’s no reason a concept can’t be shared by the creative masses equally, without any such competitive malice. **Rhetoric** – Hey. So… are we trying to start building “communism” again? **Logic** \[Medium: Success\] – I think they’re heading towards a sort of artistic natural selection, albeit through a consumerist lens. **Drama** – Money makes the world go round and round. Sell sell sell, win win win! Squeeze those lemons dry until they are but powder sifting through your fingers. And then make lemonade! **Reaction Speed** – That’s awfully bleak. **Empathy** – The lemons should be treated better. They provide excellent taste and nutrition. **Volition** \[Impossible: Success\] – Hope is born from bleak times. The greatest achievements only feel great because of the metaphorical – sometimes literal – mountain we climbed to get there. It takes time, pain and conflict. If there’s no pushing beyond what we thought possible, we – and every little thing we do – turns soft and inflexible. To push through the hardest times is to grow. Feel the bleak, but do not let it own you. Weather the darkness and then obliterate it with the light you’ve cultivated in defiance. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/DE-RPGmeta.jpeg) Source: Author. **Shivers** – A man sits in silence outside a café staring at his tepid, mostly full cup of coffee. A thick ring of dried dark roast stains the napkin it sits on, a mirror to the bags accessorizing his eyes. The lingering aroma is almost overwhelming in this moment, yet he breathes it in deeply, like a smoker taking one huge masochistically final puff before swearing it off for good. He holds it in with eyes closed, slightly grimacing towards the sky. He exhales the memory, face relaxing slightly as air evacuates his lungs. The man gets up and walks a dozen steps before stopping abruptly. He returns for his cup and takes a deep swig, the ghost of a smirk touching his face. He strides away from the café, tossing an empty cup into a trash bin as he turns a corner. --- A future with more psychological, narrative, mind-blowingly creative RPGs is a bright one that I believe in. May these newfound studios – and all the others that are grinding already – conquer the looming specter of capitalism and bring to fruition the vision they were meant to make real. While we will never get Disco Elysium 2, the spirit of disco will one day return to our side. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/DE-BurntMural.jpeg) Source: Author. ### I Didn’t Learn Much at the Nintendo Museum, but I Appreciated Nintendo’s History URL: https://www.superjumpmagazine.com/nintendo-museum-review/ Last updated: 2024-12-18T14:00:12.000Z **It's been a fascinating time to be following anything to do with Nintendo.** Where formally announcing a Switch successor should be the most logical announcement, they've been more interested in [announcing remasters of games that needed it](https://www.youtube.com/watch?v=meabXp-IFkM), [alarm clocks](https://www.nintendo.com/au/products/nintendo-sound-clock-alarmo/), [a music streaming app](https://www.nintendo.com/au/games/mobile/nintendo-music/), and, most curiously, [a whole museum](https://www.youtube.com/watch?v=JApUMBscKOc). Situated in Uiji City on a former Nintendo card and console repair site, the Nintendo Museum attempts to document Nintendo's history in one space, should you be lucky enough to be able to purchase tickets to visit the museum. I was fortunate enough to be selected in the ticket lottery required to get into the museum, and it was possibly the most stressful part of the most recent trip I took. Not just because of needing to win in a ticket lottery against the world, but you also need a way of calling a Japanese phone number to verify your identity. And that's not getting into the full bag, liquids, and ID check once you get onto the Museum grounds. As someone who went through domestic and international airports in both Japan and Australia, the Museum was far more probing! The most I expected was limiting what items you could take photos and videos of, which is fairly standard for spaces like these and something the Museum does enforce to a degree. While it makes sense with the prototype hardware on display, it does feel a little weird, considering most of the gallery space comprises game boxes, consoles, and advertisements that one could very easily see on the internet. Chalk that one up to possibly Japanese copyright law being very particular. But I think it was all worth it because it never felt chaotic but perfectly organized. There was plenty of space to move around, lines were always moving, and staff would always be open and around to help people. I don't know if it says anything about the time and date that I went, but I felt like I never needed to rush because a new group was coming in. I could take my time and soak everything in, and it felt really satisfying. ![A collage wall of Nintendo franchise characters on solid-color backgrounds.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/PXL_20241106_025943684--1-.jpg) The mural that welcomes visitors to the Nintendo Museum. Source: Author. --- > As someone who went through domestic and international airports in both Japan and Australia, the Museum was far more probing! --- The gallery, the first thing you'll see upon entering, is maybe the reason to check out the Museum, and not just because the content creator mill hasn't been let loose on it. Effectively, it's a series of rings where you can walk around and see Nintendo's history via its consoles and the games associated with them, plus their overall history as a toy manufacturer. It's close to a hundred years of history in a single space, and it's quite amazing. It's not easy or at least obvious as to where you're supposed to start, as you come in from the centre of the room, but you'll still get a good experience regardless of where you go. It's also a great way to see Nintendo evolve over time, and not always for the better in some cases. The console displays are a great way to see pristine Japanese game boxes, and pre-Wii boxes were really something. These eras of Nintendo would focus on smaller or more vertical boxes, leading to some unique and cool art, peaking with the Nintendo 64 era. It's great that they're more uniform now, but it loses a little something. The same goes for a display dedicated to instruction manuals. They start off very plain, getting more detailed and filled with colour and character before becoming simpler and eventually going online. ![The Japanese cover art for Perfect Dark.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/perfectdarkjapan.jpg) Probably the peak of Japanese N64 cover art. Source: Nintendo. Sadly, the real issue I have with a lot of this is that there's no real context behind the artefacts presented for the audience. Very little, if any, placards or information are present behind every display. Don't get me wrong, there's certainly an appeal to seeing old media presented to you and trying to parse it with contemporary eyes. It's nice to look back at the time when Nintendo gave the American box arts to Kirby games an angrier look compared to their Japanese equivalents, but you won't learn why they decided to do that. After sampling the gallery, you then descend into the first floor, where you have a slew of exhibits and minigames you can play. It's here where you'll probably notice one of the quirks of the museum - the concept of play coins. Every visitor is granted ten to use however they wish, tied to their ticket. If you want to get another ten, you'll need to buy another ticket. It effectively means you cannot see and do everything in one go. It's something I understand Nintendo doing to ensure repeat visits, but with how difficult it is to get tickets in the first place, let alone the additional expenses needed if you live outside of Japan, it's something I hope gets addressed in the future. Despite that, the exhibits are pretty neat. Pretty much all of them revolve around larger-scale versions of Nintendo's pre-Famicom toys but with some twists. A great example of this is Ultra Machine SP - which turns the Ultra Machine into basically a batting cage where you've got 20 balls to hit around a living room. The catch is that if you manage to hit specific parts of the space, you can trigger little interactions which also give you extra balls, complete with 1-Up noises. It proved way more satisfying to me than I expected, having never been in a batting cage in my life. ![The author stands in a batting cage, waiting for his turn to hit.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/ultramachine2.jpg) One of the things the museum does is take photos of you at every interactive exhibit, and keep your scores. For free. This is infinitely better than every theme park that does this! Source: Author. --- > Sadly, the real issue I have with a lot of this is that there's no real context behind the artefacts presented for the audience. Very little, if any, placards or information are present behind every display. --- Another notable exhibit is known as Big Controller , where you and a second person take control of an oversized controller (Famicom, Super Famicom, Nintendo 64, or Wii) in a bite-sized version of a Nintendo game. For instance, you could play Super Mario 64 on a big N64 controller in one of three scenarios. I am hoping some speedrunners end up visiting the museum because I'd love to see footage of the frankly insane Mario 64 speedrunning tech attempted on something like this. It was also the only exhibit that I couldn't do because I was travelling solo. Museum staffers were fairly strict on this, only working in groups - there wasn't any single rider line I could use. That would be the end of the story, except something unexpected happened. It turns out there was another English speaker just hanging out in the area, who also got turned away because they only wanted groups and offered to partner up with me. Naturally, I said yes and ended up playing the first few levels of Super Mario Bros. on a gigantic Famicom controller—shoutouts to Kim from Georgia for taking the controls with a random stranger. ![An identification card for the Nintendo museum featuring a Mii version of the author.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/PXL_20241106_025623536.jpg) You can customize your ticket with an avatar of your choosing, so I decided to go for my Mii. Source: Author. Hearing about these exhibits ahead of time was easily the thing I was most interested in, more so than any potential displays. While there's always an interactive element to any museum, hearing explicitly what Nintendo are doing makes it feel less like a traditional museum and more of a theme park, a business Nintendo are already involved in some 60 kilometres away in Osaka. Yet it doesn't ever come across as a theme park, at least to me. Sure it turns these activities into effectively theme park attractions, but I feel like they're less about thrilling you and more immersing you in Nintendo's past, one that many of the people visiting would have never really experienced. For context, my familiarity with the Ultra Machine or Ultra Hand is when they've shown up and/or referenced in later Nintendo games - I've never actually used one myself. Given the rough age group of most of the people who were visiting the museum with me, I'd wager they'd be in the same boat. The fact that they're there and given such love is pretty rad. I wasn't expecting to gain any appreciation for pre-Famicom Nintendo at the museum, but I think those exhibits definitely helped. By comparison, I visited Universal Studios Japan the following day, finally knocking out Super Nintendo World. It's a striking, crowd-pleasing experience that is a really well-done example of making a theme park space. Yet it's incredibly mass-market and designed to be broadly appealing. Many, many people have some form of nostalgia or appreciation towards Mario. Significantly fewer have that for the Ultra Machine or Ultra Hand. I didn't learn anything new about Nintendo or appreciate anything new about their work from my time there, aside from how much I despise lining up or how much is too much to spend on merch. ![The exterior courtyard, with Goombas and coins from the Mario games built in to the paving.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/PXL_20241106_045907759.jpg) The area between the museum buildings has a lot of character to it too. Source: Author. --- > I wasn't expecting to gain any appreciation for pre-Famicom Nintendo at the museum, but I think those exhibits definitely helped. --- Probably the most fascinating thing about the museum is where exactly it's located. Uiji City is around 20 minutes or so by train from Kyoto Station. It's home to many, many temples. There's not much to the area, but as you're coming in you're treated to rice fields and sparseness. It's beautiful, and even though it's not exactly rural, you get the feeling of being so far away from a big metropolis that it's a refreshing experience. The presence of the Museum is also something that will almost assuredly bolster tourism to the area (in addition to the temples). While walking from the museum and to the train station, I got stopped by two different groups of students doing field interviews, wanting to know how visitors and foreigners are taking to the city itself and what they think could be done to get them to stick around more. I didn't have much to add, truthfully. I did like the brief time I was there, and I think the area surrounding the museum appeals to me specifically, with a CoCo Ichibanya across the road and a Book Off not much further from the Museum itself. Uiji isn't a small town - heck it's the second most populous in its prefecture - but it is far enough out of the way that unless you're big into temples, you'd be hard pressed to find other reasons to come down. If you're able to get into the Nintendo Museum, however, it's absolutely worth a visit. I don't think you'll necessarily learn anything new you otherwise wouldn't have learned about Nintendo, but it's really cool to see so much material preserved and up for display. The interactive exhibits themselves, while maybe not the reason to go, are pretty neat in their own right. It's a good way to appreciate the history that Nintendo has, but I wouldn't base an entire trip around it. Having said that, there's still plenty more of the Museum that I didn't get to the first time around, so if this is how they get me to come back, it's certainly not helping. ### Dungeon Inn Review URL: https://www.superjumpmagazine.com/dungeon-inn-review/ Last updated: 2024-12-17T14:00:00.000Z ## Inn-troduction **Inns in RPGs are truly miraculous.** However bruised and battered your adventuring party may be, if they rest up for the night at an inn then they will emerge the next day fully healed and ready for more. Dungeons, meanwhile, serve the opposite purpose. A fresh and ready adventuring party delves down into a dungeon and emerges exhausted and beaten, but hopefully with huge loads of loot. Dungeon Inn is a game all about running an RPG inn of your very own, located conveniently at the entrance to a sprawling dungeon. RPG inn management games are a familiar concept. Tavern Talk, Inn Tycoon, and Travellers Rest all focus on different aspects of running an inn in a fantasy world. Nevertheless, Dungeon Inn puts some fresh spins on its central concept that make it worth a look. The game features a greedy dragon landlord that must be appeased, as well as rival adventuring factions that threaten to turn your humble rest stop into a bloody battlefield. Dungeon Inn’s central premise is solid, its world-building is comfortably cozy and it is overall an enjoyable time. While there are a few problems that hold Dungeon Inn back from being a flawless innkeeping experience, none of these issues are major and they can easily be addressed during the game’s remaining time in early access. ## An Inn-teresting Premise ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Customer-Check-In.png) Dungeon Inn. Source: Press Kit. You would think, given that Dungeon Inn is all about running a business, that it would be a simulation game. While Dungeon Inn certainly contains simulation elements, you need to focus on upgrading the rooms and facilities at your inn, as well as managing your finances, arguably the game is primarily a puzzle game. Adventurers make the journey down to your inn by travelling down one of two lanes. The western route from the port city or the eastern road from the highland city. These two cities are at war with one another, and they both believe that you are only accommodating adventurers representing them and neither knows that you’re also serving their rival. Because of this, you ensure that adventurers from both cities never arrive at the inn simultaneously, otherwise fights break out and both communities become more and more suspicious about what’s really going on. If the port or the highland city ever figures out that they aren’t your only client then you get a game over, as your grift is exposed. You can ensure that the opportunity for violence never arises by interfering with the travel speed of different adventurers. You can place potions that speed them up, food stalls that slow them down as they pause to grab a bite, and mesmerising spinning wheels that stop them in their tracks completely. As the game goes on more mechanics are added such as adverse weather conditions that can slow down, or even kill, unlucky adventurers, and portals that can warp them straight to your door. At its heart, this is a game about managing traffic. You need to ensure that enough adventurers stop by so that you can keep the money streaming in, but you don’t want to overwhelm yourself by sending too many rival adventurers to your door which will end up causing anarchy. While this sort of gameplay isn’t really what I was expecting heading into Dungeon Inn, it’s undeniably interesting. The market is already loaded full of simulation games where you run hotels, pubs, and inns so this focus on enforcing a sort of medieval highway code is novel and sets the game apart. ## A World of Inns and Animals ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image-53.png) Dungeon Inn. Source: Press Kit. Dungeon Inn aims for a cozy aesthetic, and it pulls it off nicely. The art style is very cutesy and the characters, while not very deep, are all pretty likeable. The game stars Sara, an avaricious innkeeper out to make it big. She’s accompanied by her two talking cats Butter and Bami. Butter is recklessly brave, while Bami is timidly cautious and their contrasting personalities play off one another nicely. Sara’s talking cats demonstrate that many of the adventurers who will stop off at your inn are animal folk, there are even some sentient plants around as well. Seeing penguins, acorns and bees stop by to order a beer is honestly charming. It’s all very reminiscent of a picture book, something that’s aided by the game’s cutscenes which convey plot developments through a series of animated illustrations that are high energy and light on words. The game is still in early access, so its story is still a work in progress. Currently though things seem promising. The trio running the inn attempt to strike the same balance narratively that you strike in gameplay. They need to advertise the inn well enough that it becomes popular and turns a profit, but not so well that the two rival cities discover what they are up to and shut them down. As the plot progresses a cactus detective, who takes a few leaves (a few bristles?) from Columbo’s book begins investigating the inn. The looming question of whether you’ll get found out gives the plot some stakes, and keeps you invested day by day. ## Getting Inn to the Weeds ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Battle-2.png) Dungeon Inn. Source: Press Kit. Even the cuddliest cat can sometimes scratch you, and this game has some faults that should be addressed. Only two difficulty levels are available, casual and courageous. Casual difficulty presents little challenge and allows the game to be breezed through. This in itself isn’t a problem, lots of games offer a difficulty option like this for accessibility. A very low level of challenge allows players to take in the story at their own pace without having to worry about getting a game over. The issue is that the only other option, the courageous difficulty level, is really tricky. You need to ensure that you always take the optimal course of action, and that you advertise to just the right adventurers in just the right way at just the right time. A middle setting, between these two choices, would be greatly appreciated for players who are looking for a challenge but who don’t want the stress of having to play with the level of precision that courageous mode requires. The game is also a bit slow getting going. The primary gameplay loop of guiding adventurers to your door, whilst steering them away from hazards and fights, is really fun, but it takes Dungeon Inn just slightly too long to roll out everything that it has on offer. For the initial few in-game weeks you’ll be guiding adventurers in with little to disrupt your flow or to give you pause for thought. Neither of these issues is a deal breaker though, and there’s still plenty of time before the full release for tweaks to be implemented. ## Conclus-inn If you’re looking for a bright and cheerful game to play, possibly while curled up by a gently crackling fire in a charming rustic inn, then Dungeon Inn can scratch that itch. The game is incredibly wholesome with an endearing cast and an engaging premise. Dungeon Inn is currently available on [Steam Early Access](https://store.steampowered.com/app/2552310/Dungeon%5FInn/). It costs $12.99 USD or £10.99 GBP. **This game was reviewed using a key provided by the developer.* ### Hidden Gems of Game Design Volume 30 URL: https://www.superjumpmagazine.com/hidden-gems-of-game-design-volume-30/ Last updated: 2024-12-17T02:14:44.000Z **Plenty of amazing games go unnoticed and are not played widely for various reasons.** Maybe it’s a diamond in the rough, or the marketing wasn’t there, or it could be a game ahead of its time. For this monthly series, I’ve asked my fellow writers on SUPERJUMP to pick a game they think is deserving of a chance in the spotlight. Let us know your favorite hidden gems in the comments. ## Josh Bycer ### Plok! (1993) ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image-41.png) Source: Plok Wiki. The '90s was home to many attempts at creating the next mascot platformer to compete with the likes of Mario and Sonic. But my overall favorite who managed to stand out for the time was Plok!. The game followed a creature named Plok who loves his island and his Plok flag (just go with it). But when it gets stolen, he must fight everyone including the entire species of flea creatures to get it and his island back. Plok! is the quintessential example of a mascot platformer from the '90s – goofy character design? Check. Variety of levels that don’t quite make sense? Check. Weird collectibles and bonus states? Check. Plok! is one of those games that looked like it was cut from the same cloth as the likes of the Blue Brothers, and insert your favorite LJM game here. Instead, you have a solid and surprisingly varied 2D platformer. The game is split into different chapters with different goals and styles. The main game involves you hunting down the fleas in each part of the map in order to get Plok’s flag back. Plok went to the same school as Rayman and can throw his limbs at enemies, but can lose them temporarily to activate switches. The vibe is all over the place, with perhaps the biggest example of a boss track going hard than anything else. Source: YouTube. As for the overall gameplay, Plok! isn't going to turn heads as the next Mario or Rayman in that respect. You still have some of the growing pains of the genre present, the camera not making vertical movement easy, confusing maze-like levels, and a lack of any kind of hard save points. It's a delightful game to play that shows just how much variety there was in the platformer genre during the '90s. ## Antony Terence ### Backyard Baseball (2007) Backyard Baseball introduced me to strikes and home runs. Marketed towards children, the GBA title keeps things simple with basic button presses for fielding and batting. You merely had to pick what kind of shot/throw you wanted before choosing where the bat/ball should go. While the Major League doesn’t have hitting and pitching power-ups like this game, its arcade-like atmosphere is a great entry point into the sport. While critics didn’t particularly enjoy this game, I sure did. Backyard Baseball’s in-depth season mode towers over its quick play and home run derby options. Made-up players stand alongside real Major League players of the time, letting you set up unique batting orders and fielding set-ups. The pixelated character faces can be hard to distinguish when they’re pitching save for their hair. Hits and misses felt luck-driven and unbalanced, in defiance of skill and player stats. But working your way to the playoffs and the World Series across fields of increasing difficulty makes for a satisfying path of progression. While the game did feature 1v1 multiplayer via its Game Link cable, I didn’t spend much time on it. Backyard Baseball’s multiplayer modes include quick play and home run derby where victory is determined by home runs or a timer. If you emulate the game or play it on an old Game Boy, you’ll spend most of your time in its season mode. While its mediocre audio and average visuals haven’t aged well, its simple gameplay and thought-out season mode make it worth revisiting. *Thanks for reading! Come back next month for another entry and more great hidden gems to check out.* [*You can find all previous Hidden Gems stories here*](https://www.superjumpmagazine.com/tag/hidden-gems/)*.* ### When Video Games Test Your Personality URL: https://www.superjumpmagazine.com/when-video-games-test-your-personality/ Last updated: 2024-12-17T02:14:49.000Z **Do you know that quiz you had to take in class at the beginning of Fallout 3?** The one that ended up allocating your skill points? What would it take for it to actually predict your personality? I always thought they were a really creative way for you to pick your RPG build. It made me think of hidden mechanisms in other games that “tested” your personality. There’s one in Star Wars: Knights of the Old Republic, where you're asked multiple choice questions of hypothetical scenarios that decide which type of Jedi you are. But this and the one in Fallout don’t really matter. Like real-life career aptitude tests you take in school, they’re not destiny, and you can end up in a completely different work field. Despite whatever result you get from the Fallout 3 quiz or the Jedi training test, you can still rearrange your skill points and pick the *lightsaber* color that better suits your gameplay preferences. They’re really just set dressing for immersion. ## Karma police Even the karma system in Fallout 3, the one that tells you whether you’re a good person or not based on the game’s parameters, really only gives you quirky titles. You can choose to nuke an entire city or donate to a church, but they don’t necessarily mean you’re a good person in the game or in real life. Sure, some factions may shoot you on sight, and companions may like or dislike you based on what you do, but that’s about it. These actions all boil down to a numbers game, whether you’re assigned one label or another. Maybe what differentiates the social makeup of each person and what decides moral character cannot be quantified. Besides, what separates in-game actions from real life are the incentives and positive reinforcements the game's inherent systems reward you with. Some games encourage you to do crazy things like nuke a city, while others will nuke you if you kill even one person, like in Death Stranding, made by famously anti-war Hideo Kojima. The way games are designed pushes certain behaviors while punishing others, having different etiquettes from reality. Outside our screens, what discourages problematic actions are social sanctions, along with the intrinsic guilt that most people feel when they hurt others. Players' tendency to feel the same things when holding a controller may vary from person to person. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/ss_910437ac708aed7c028f6e43a6224c633d086b0a.1920x1080.jpg) Fallout 4\. Source: Steam. --- > Maybe what differentiates the social makeup of each person and what decides moral character cannot be quantified. --- Fallout is set in a post-apocalyptic world where civilization has fallen through, in a way that means you won’t have to fear serving time if you break the law. With a splintered government existing under a Wild West-type system of laws, it’s no wonder that there are so many games with a post-apocalyptic setting. They allow the ultimate freedom of choice for players, letting them run amok in a sandbox where they can make and break as many castles as they want. Spontaneity is the name of the game. Besides, if you think you made the wrong decision, you can always roll back your save file; regret can be fixed with the press of a button. Video games allow you to make consequence-free decisions that wouldn’t be permissible or even rational in any other context. ## Test-based games If what you do in video games doesn’t reflect your real dispositions, is it even possible for a game to accurately test your personality? Well, there’s [research that claims they can](https://www.sciencedirect.com/science/article/pii/S1877050921000478). A small game was designed for the test: In it, each action taken in the game is associated with The Big Five Personality Test. This means that how long the player solves a puzzle or how often they check their map can be correlated to their Conscientiousness, while how many areas they explore can be tied to Openness. [Refind Self: The Personality Test Game](https://store.steampowered.com/app/2514960/Refind%5FSelf%5FThe%5FPersonality%5FTest%5FGame/) by [developer Lizardry](https://lizardry.jp/), released last year, is a game entirely built on the premise of being a personality test. In the game, you’re an android that struggles to “find” itself after the death of its maker. Here, you aren’t presented with questions in the form of text; instead, the game’s whole map is a quiz you answer through actions. It’s the previous research turned into a fully fledged game with a story and world. Your choosing to go to one place instead of the other is an answer to an invisible question. These actions are compiled into quantifiable data grouped behind the scenes and turned into a designated personality. Instead of The Big Five Personality Test, however, they made an entirely new group of labels, such as Researcher or Sage, that has more in common with classes in role-playing games. Nevertheless, it’s an interesting endeavor that makes for a unique experience, a game where you’re told you’re being analyzed from the beginning, reframing every action as vital. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/ss_17b1e8f3221182de40be6f1f32c2fb8667fb4f0b.1920x1080.jpg) Refind Self. Source: Steam. Like the immensely popular MBTI personality test, part of the fun of these tests is comparing what you get with your friends, like whether you’re considered more empathetic or logical than the other. This makes it less of an accurate gauge of your personality, but more of a guesstimate of your tendencies. You can even replay the game to try and get all the options. It’s not a flaw on the game’s part that it doesn’t comprehensively lay out your personality, as only a reliably standardized psychometric measure could even come close to doing that. Fortunately, Refind Self also has a story you can explore and a little mystery you uncover through replay. This emphasis on replayability and comparing statistics makes me think of the way Telltale sums up decisions in their games. At the end of each chapter, you see if you are in the minority or majority based on the choices you make, and how they impact the other characters’ opinion of you. The difference between this and, say Fallout, is the game’s entire selling point being its ability to simulate consequence. Where Fallout, especially the Bethesda-developed ones, leans heavier on the action side of the RPG, emphasizing violence and shooting mechanics, Telltale is able to allocate all its budget to its branching paths and character relationships. Its gameplay isn’t shooting, it relies on making choices, therefore its systems don’t encourage the player to keep themselves alive, it encourages them to make the right decisions according to their character. ## Telltale's trolley problems The tension felt when playing Telltale games stems from making hard choices, not from being afraid of restarting a level, but losing a non-playable character to whom you’ve grown attached. It tries its best to make your choices at least appear to have consequences, so you feel impassioned and responsible for them. It does this in a variety of ways: notifications reminding you of characters’ reactions to your actions, having to restart an entire chapter to retry your decisions, and being pressed for time on every choice. According to [Dr. Linda Kaye](https://www.pcgamesn.com/the-walking-dead/why-do-we-always-play-good-guys-the-psychology-behind-moral-choices-in-games), the result is a feeling of ownership and accountability to the player's character and their companions. A crucial time-pressured decision may decide who lives or who dies. These gamified trolley problems make the statistics at the end all the more fun. This can lead to a sense of gratification when the game tells you that you’re part of the majority and you feel validated for your choice. It can also lead to serious reflection when you don’t. Because we are socially conditioned, a perceived wrong choice in the game can also make us rethink how we should act in real-life social or ethical situations. With systems that encourage taking choices seriously instead of experimenting like in a sandbox RPG, Telltale games may capture more of your personality than previous games. But with limited choices and few that truly matter long term, the endings can leave an impersonal taste as if a narrator is reading your tarot, something you don’t really have control over. ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXfEBRY-GElQq5LKJkYp7LscoEit-Rzb8w2CuiKaOtqdnGLZWZoM5ipiXVwemfROq4Z7mwzgnnaY049egMof8uixEWaufY5sGgXU2VPJlSB8QVABU1LjTxvx6Ix5UMWjNVAO3i-9eQ?key=YRftU98HVlWkMuIHtYo7-Jrk) Batman: The Enemy Within. Source: Author. --- > Because we are socially conditioned, a perceived wrong choice in the game can also make us rethink how we should act in real-life social or ethical situations. --- Alternatively, Disco Elysium has a narrator that maybe gets a little too close for comfort. The critically acclaimed game has voices that describe things to you, and they come from your own thoughts; your reptilian brain and limbic system. Tied in that system, the game takes the concept of personality a bit further, with political alignment, how you can unlock certain thoughts that lead you to an idea that develops into an ideology. You can be a communist, fascist, centrist, or capitalist, with each commitment giving certain gameplay benefits. But picking one alignment doesn’t automatically mean that you internalize them in real life. What it can do is lead to a willingness to know more about the different ideologies and what may lead people to believe in them. If anything, this gives players a chance to explore and understand themselves more if an alignment doesn’t feel right to them. Your interest in these topics can lead you to research more about their real-life equivalents. ## Looking beyond labels People aren’t binary, but sometimes it’s easier to believe that we’re only Paragon or Renegade, Brotherhood or Enclave, Communist or Capitalist, Introvert or Extrovert, Right or Left. In the realm of video games, that’s certainly easier to program. Even outside of it, it’s easier to understand people when labeled within groups. There are many of us, and maybe to see each one carrying an inner life takes too much space in our heads. So personality tests and political alignments are neural shortcuts that can give us an instant bond with strangers. Comparison causes connection, and even difference engages conversation, making you want to listen to others and vice versa. This can strengthen your self-image or reassure your self-esteem. We enjoy the validation we get when we meet strangers who also choose to save Ashley in Mass Effect 1\. But do these define our personality? Do these in-game actions make us a good person? ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXf3b9rcUpl7TLdMEoTrtUCCT4ml8N_zWIYsZSeTr9I8oc_7ZshNrz1r5IE_b2EBUaDVa0e4BNk4AXAPNoV54mZBykv-LKe6l7LXa7S2WLwfkl0hYqjNqlGPZLbXMoasCUmbFPEWBA?key=YRftU98HVlWkMuIHtYo7-Jrk) Disco Elysium. Source: Steam. We act more heroic when we have nothing to lose. When our currency is virtual, we can give it away. When only our virtual life is on the line, we can sacrifice it. But our choices in video games can also reveal who we want to be, and what we should strive to be. Both personality tests and video games can show an outsider’s perspective of oneself. Seeing yourself in a third-person view can rearrange your ideal self. And thinking of individual people three-dimensionally, as more than their labels, can make past assumptions obsolete. Through video games, we can experiment and test the boundaries of ourselves, and discover to what degree our decisions are agreeable. If we try to be a fascist in Disco Elysium, maybe we feel bad afterward, and that reifies our pre-existing beliefs. Or maybe [we blow up Megaton](https://www.thegamer.com/fallout-3-megaton-retrospective-tenpenny-tower-atom-bomb/) and don’t feel a thing because, in the end, these are not real people, they’re actors in a playground for us to role-play and experience different outcomes of uninhibited actions. In psychology, [psychodrama](https://www.sciencedirect.com/topics/social-sciences/psychodrama) is a type of therapy that utilizes role-play to explore the inner world of an individual. It’s designed so that people can express themselves through spontaneous dramatic action and impulsive creativity. Video games are outlets for us to do just that in a controlled environment. In these single-player role-playing games, you don’t need to perform for anyone but yourself, so who you play can be a fun experiment where you act out the ideal person you want to be. ## Personal opinions on personality I find myself replaying a Telltale game after a couple of years, and to my surprise, I repeat the same choices and get the same ending. This may mean that there is a consistent sense of self that continues throughout time, but that doesn’t mean that I haven’t changed or grown as a person, just that, in this particular set of scenarios, given two or three alternatives to pick from, I would still choose the same ones as I’ve always chosen. There’s a comfort in that. Despite time and how different the world is, some things never change. At the end of the day, what tests and statistics tell you matters less than how you feel when you get them, or the emotions that swell up when you play a game and are faced with the impact of your actions. These don’t lead to concrete answers of who you are, but an understanding that steps that much closer to self-discovery. Who you are is dependent on the context, in real life as much as in games, dependent on the parameters of where you live and when. If you live in a walkable city with a tight community, you may be more social, and more encouraged to network. In a pandemic, you may spend more time alone and be more introverted. Instead of seeing people who play Call of Duty as inherently more neurotic, a better way of looking at things is that Call of Duty’s systems stir up competition and negative emotions, which makes people more neurotic than when they are playing Death Stranding. Maybe personalities are less immutable constants and more an indicator of who you are in a moment in time and place. ### Art Design in Video Games URL: https://www.superjumpmagazine.com/art-design-in-video-games/ Last updated: 2024-12-16T04:04:39.000Z 👋 **Hi there!** Welcome to the latest edition of SUPERJUMP Weekly. This week, we're exploring art design in video games through a combination of game developer interviews, in-depth essays, and even a piece crafted by a prominent pixel artist themselves. This week's On the Radar previews Threads of Time by Riyo Games, and our Author Showcase features Christian Behler. We hope you enjoy this week's issue! As always, please consider upgrading your free membership to a [**Backer membership**](#/portal/account/plans) if you'd like to support our work (and receive a monthly 10% discount code for any purchases on [PixelCrib](https://www.pixelcrib.com.au) or the [SUPERJUMP Merch Store](https://store.superjumpmagazine.com)). Thank you, and happy reading. #### IN THIS ISSUE ✍️ Story Showcase: **Art Design** ⭐ Author Showcase: **Christian Behler** 📡 On the Radar: **Threads of Time** 📅 This Week on SJP 🏆 Backers ## ART DESIGN STORY SHOWCASE [The Virtual World: Art and Design in GamesUncovering the power of the designed world in digital spaces![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-135.png)SUPERJUMPGavin Annand![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/DEMD_fatbarry.jpg)](https://www.superjumpmagazine.com/the-virtual-world-art-and-design-in-games/) [Vacationing With the Paranormal: Exploring The Artistic Direction of The MediumA look into the duality and artistic inspiration behind the psychological horror game, The Medium![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-136.png)SUPERJUMPBriana Gonzalez![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/Screen-Shot-2023-04-22-at-8.15.27-AM.png)](https://www.superjumpmagazine.com/vacationing-with-the-paranormal-exploring-the-artistic-direction-of-the-medium/) [Calm and Comfort: An Interview With Hawai’i Artist Brady EvansBrady discusses his artistic process, inspirations, and working on art in games![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-137.png)SUPERJUMPRachel Alm![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/ManyJourneys.png)](https://www.superjumpmagazine.com/calm-and-comfort-an-interview-with-oahu-artist-brady-evans/) [The Artistry Behind Ape OutGaming has been elevated as a medium thanks to indie gems like Gabe Cuzzillo’s unique take on top-down shooters![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-138.png)SUPERJUMPShawn Laib![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/ape-out-feat-image.jpg)](https://www.superjumpmagazine.com/the-artistry-behind-ape-out/) [The Art of the PixelA look inside the process of renowned pixel artist Alex Kubodera![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-139.png)SUPERJUMPAlex Kubodera![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/ArtofThe-Pixel.png)](https://www.superjumpmagazine.com/the-art-of-the-pixel/) [Creating Iconic Art at Activision-Blizzard-KingWe talk with a visual development artist working on some of gaming’s most beloved IP![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-140.png)SUPERJUMPAntony Terence![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/Crash-feat-image-for-Etienne-interview.png)](https://www.superjumpmagazine.com/creating-iconic-art-at-activision-blizzard-king/) [Bringing Super Mario to LifeExploring the iconic artwork of Yoichi Kotabe![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-142.png)SUPERJUMPJames Burns![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/kotabeheader.png)](https://www.superjumpmagazine.com/bringing-super-mario-to-life/) ## Sign up for SUPERJUMP Weekly. Receive every edition direct to your inbox for free. Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. _This post is for subscribers only._ ### WordPlayer: Life is Strange: Double Exposure Makes Me Miss Episodic Releases URL: https://www.superjumpmagazine.com/wordplayer-life-is-strange-double-exposure-makes-me-miss-episodic-releases/ Last updated: 2024-12-15T16:04:18.000Z **I fondly remember the day the last episode of the original Life is Strange released.** I remember the anticipation and excitement, the online speculation about how it would end; I remember trading stories about the choices I'd made and seeing people warm up to the experience over months. The folks who had been annoyed by all the teen mannerisms and the heavy use of the word "hella" had gone quiet, either because they'd stopped paying attention or had been won over by the game's earnest drama and twisty story. My girlfriend at the time was excited for me to get home that night so that we could play it together and see how the story ended. Life is Strange was not even a game that I necessarily loved, but in that moment I was all-in. The first season of Life is Strange hit in the middle of a boom period for episodic narrative games.Telltale led the way, and the choice-heavy, wonderfully dramatic first season of their The Walking Dead series thrived off fan interest and speculation. It stayed in "the conversation" for a full year, and by the time episode 5 released many of us were extremely excited to see the culmination of the choices we'd made. With each new episode, there was a fresh wave of conversation and speculation. Social media would be abuzz with folks who were playing the game, all reacting to the same parts of the story at once. There was a sense that if you weren't taking part, you were missing out. Telltale had first adopted the episodic model in 2006 with Sam & Max Save the World, and continued releasing game episodes at a steady pace until the company was shuttered in 2018\. That wasn't necessarily the moment that the episodic release model died - Life is Strange 2 was still doing episodic releases in 2019 - but it was certainly the end of the episodic narrative game boom period. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/LiSDE2.jpg) Source: Steam. --- > The first season of Life is Strange hit in the middle of a boom period for episodic narrative games. --- Across its lifespan, Telltale released 21 episodic games, inspiring other series like Dreamfall, King's Quest, and The Council to adopt episodic schedules. The first game in the new Hitman trilogy used an episodic release schedule, giving players incentive to dig deep on each map. Resident Evil Revelations 2 released slowly over a month. Even the Half-Life 2 DLCs were famously labelled as Episode 1 & 2. These days, it's much rarer to talk about games in terms of "episodes", although the television parlance has not gone away - games have "seasons" now, content drops that are meant to keep players coming back indefinitely. In an episodic model, there's a defined endpoint that the game - and the game's story - are building towards. The episodes build towards a whole, but also function individually. In the original Life is Strange, you'd finish each episode having made a handful of interesting choices and learned more about Max and Chloe's situation. There are still narrative games that release periodic episodes - Scarlet Hollow springs to mind - but the model has fallen out of vogue. Life is Strange abandoned an episodic release schedule with 2021's True Colors, and the latest game, Double Exposure, has also launched all at once. A lot has changed since the first Life is Strange, in terms of how we play games, how we talk about them, and how publishers are interpreting market shifts. It makes sense that Max's new adventure has dropped all at once, even if early access to the first two episodes was granted to folks who forked out for the ultimate edition. But I believe that something has been lost in the translation to a "binge" format, both in how the game has been consumed and talked about, but also in the design principles underlying the experience. There's a trend in a lot of the Netflix shows I like, especially the comedic dramas with queer themes: think Sex Education, Never Have I Ever, Dead To Me, You (and even Stranger Things to some extent). In early seasons, these shows often charm me with their well-defined premises, interesting characters, and sharp, funny writing. They're funny, they're cool, they're hip, and - in some cases - they're quite progressive, taking their queer characters seriously and exploring moral dilemmas and difficult situations with a mix of thoughtfulness and good humour. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/LiSDE4.jpg) Source: Steam. --- > A lot has changed since the first Life is Strange, in terms of how we play games, how we talk about them, and how publishers are interpreting market shifts. --- And then, at some point around season three or four, there's a turn. The situations in the show heighten, but also, somehow, flatten: the storylines and plot beats become more ridiculous, but it's harder to get invested in them. Characters' edges get sanded off, and they increasingly talk in memes and catchphrases, as though there's a contractual obligation to provide moments that can easily be turned into GIFs. Subplots pop up and are swiftly dropped with little fanfare. Everything is a little bigger, a little sillier, and there's not much breathing room, while conflicts feel less organic and resolve too neatly. Even if you enjoy the season, talking about it with someone else afterwards will often turn into both of you listing issues and complaints that build up when you take time to think more about what you just watched. There are elements of the Netflix model of whole season drops, of designing shows so that they can be half-watched on a phone without really missing anything, that I felt creeping into Life is Strange: Double Exposure. This is the latest entry in a series that has found success by giving its players young, diverse protagonists with compelling, relatable dramatic problems, and then taking their emotional journeys seriously. Previous games have been wrapped in a compelling blanket of light magical realism, but the stakes have, in the past, always felt recognisably human. Double Exposure, I think, gets the balance wrong, focusing in harder on the magical realism as the source of much of the drama. The premise of the game is that Max, who was able to turn back the clock to change her choices in the previous game, now has the ability to switch between two different dimensions - one in which her best friend Safi has been murdered, and another where she hasn't. While there are still compelling moments throughout the story, the emphasis on powers and abilities is much heavier here - and much of the game's mystery centers on those powers, too. This isn't a game where you're meant to speculate about what's really going on, or ponder symbolism, or really think about what you want for the characters. Instead, the emphasis is on finding out what happens next, right away. Who killed Saf, and can (or should) Max undo it? The answers to these questions never feel as important as they should. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/LiSDE5.jpg) Source: Steam. --- > Double Exposure, I think, gets the balance wrong, focusing in harder on the magical realism as the source of much of the drama. --- An extra challenge of the episodic release strategy is that players (or viewers) have longer to think about what they're experiencing. There are some big swing moments in Double Exposure that could, in theory, deepen our understanding of the metaphysics of this weird world where some folks have magic powers. But a binge release model means that Double Exposure feels comfortable glossing over certain twists and turns in a way that I found very unsatisfying. A lot of Double Exposure feels like set-up for another sequel rather than a complete experience in and of itself. The problems in this game's story would have been magnified to a disastrous degree if the player was given a month or two between episodes to think and reflect. I still enjoyed a lot of my time playing Life is Strange: Double Exposure, because I am just so in the pocket for games about wandering around chatting to people - and I'm still invested in this world, despite everything. But like all those Netflix shows I used to love, it feels a bit blander, a little less interested in the emotional depth of its characters, and more like it's trying to keep me subscribed. I wonder how the game might have been different if the team behind it had been asked to make a game that would keep players coming back every few months for the next chunk of the story, one that was meant to invite discussion and speculation. I can wonder what Life is Strange: Triple Exposure *(sorry)* is going to look like, but I'm not excited to see what choices I'm faced with next, or to talk through my observations with other players. The episodic release model is no longer in vogue, but it might be what Life is Strange needs to really thrive again. ### Minimalism in Mouthwashing URL: https://www.superjumpmagazine.com/minimalism-in-mouthwashing/ Last updated: 2024-12-15T06:51:22.000Z **They say fear comes from a lack of knowledge. I agree.** I think fear comes from knowing just enough information to make a guess, but not enough to be sure. In that long distance, between what if and what is, that is where fear is.In the book What We Talk About When We Talk About Love, the author describes actions without providing explanations. The characters’ thought processes remain hidden from the readers. None of the people within can clearly communicate their intent or what their love means. There are no expositions, making who really loves who anyone’s guess. This ambiguity leaves it up to the reader to make heads or tails of any events implied. In that uncertainty, there’s an unsettling air in every tale, as if everyone has ill intent. When a character suddenly kills two girls, there is no inner monologue, only the actions as they are — a verb with no adjective. In [the game Mouthwashing](https://store.steampowered.com/app/2475490/Mouthwashing/), by Swedish [developer Wrong Organ](https://www.wrongorgan.com/), the same philosophy applies in a different medium. Actions are taken, and nightmarish visions are seen, yet the driving force behind them remains unknown. We can deduce from clues, interpret, and try to understand, but never completely comprehend. In this gap of knowledge hides the horror. Mouthwashing features five characters, members of a delivery crew stuck in their space freighter, the Pony Express. Named after the American Express mail service from the 1800s, this fictional company experiences failure similar to its real-life counterpart, one that is marginally more awful. Curly is their disfigured captain, whom the player controls in flashbacks, before the crash. Anya is their timid nurse. Daisuke is the young intern. Swansea is the drunken senior. Last but definitely not least, Jimmy is the new captain whom the player controls in the present. Each captain says words to comfort others and rationalize their actions, but in the end, the impression the latter leaves is of a narcissist, believing things that are not true to avoid responsibility. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Screenshot--12729-.png) Source: Author. --- > Actions are taken, and nightmarish visions are seen, yet the driving force behind them remains unknown. --- ## Limitations surface great horror Told non-linearly, the player needs to piece together dialogue from when Curly was behind the wheel to when Jimmy and the crew survive on dwindling supplies. Only then can we understand what happened, what led to the crash, and who the crew is. Most of this information is not directly communicated; we infer from the words spoken, and for the cruelties hinted between the lines, we imagine horror after the fact. As the crew descends into space madness, important events throughout the ship follow the furtive dogma of the dialogue, holding back on unveiling the characters’ fates. It’s not only their biographies that are partly redacted, but also their headstones. The player learns that the company employing them sent a letter to lay off the entire crew, and we experience this revelation along with the crew. The news is teased before it is confirmed, giving us ample time for anticipation. Mouthwashing emphasizes minimalism, applying it not only to the information presented but also to the method of delivery, especially its rudimentary audiovisual design. For instance, Anya has tried and failed to get into medical school, and the impact of being out of a job is not clear from her polygonal face, but it is obvious to assume. She has a permanently wistful facial texture, and all it needs is a couple of short lines or hands moving to hide her mouth to let players conclude on her reaction. Being an indie game, there is a lack of budget for high-fidelity detail or gratuitous renders, and that is to the game’s benefit. There are no voiced lines, apart from the mascot, and Curly’s cries of pain every time Jimmy shoves painkillers down his mouth. The scene’s context, the character’s unmoving faces, and the player’s interpretation all work together to reveal each character’s tone of voice. In the games' short 2-3 hour runtime, most essential character fates and decisions happen off-screen, in cut-to-blacks and filled-in sound effects. The player sees only the beginning and the end, leaving the details in between to their imagination. It works like brief outlines of events in a book which, without a direct visual, lets the act fester in the back of our heads. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Screenshot--12724-.png) Source: Author. --- > Mouthwashing emphasizes minimalism, applying it not only to the information presented but also to the method of delivery, especially its rudimentary audiovisual design. --- ## Scary things need a scared person > "To kill a man between panels is to condemn him to a thousand deaths." > > **Scott McCloud** In Understanding Comics: The Invisible Art, writer Scott McCloud examines the formal construction of the gap between panels and the reader’s part in giving it life. Without readers, horror comics are just a series of separate images with words in them. Read sequentially, an image of a killer winding up their axe next to an image of someone’s zoomed-in face beside a sound effect means more than they do on their own. But how brutal the impact is, and the location of the wound, that is all up to the reader. It’s not dissimilar to how horror is effective here, where the game is a lenticular painting that needs someone to view it from different angles to make the image move. Here, a closed door is benign until the player looks behind it. The ship is well until you push a button that steers it to its doom. Curly is silent until you feed him his own flesh. It is a horror not by its setting or visuals alone, but through the fact that the player’s actions are horrific, and we can only passively act it out. When there is only a black screen and someone screams, we hurt the person a hundred different ways in our heads before we see what happened. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Spoilers_Ahead-12.png) Spoilers ahead. Content warning: Sexual assault. After learning about his impending unemployment, Jimmy shifts the blame to Captain Curly and portrays himself as a victim, avoiding accountability from others—and, most importantly, from himself. In a twist, Jimmy, whom the player controls for most of the game, and who we thought was the protagonist, is in fact the extreme opposite. He is the selfish catalyst of every other character’s demise. This is most clear in Anya’s fate. Near the end, but before the crash, Anya reveals to Curly that she is pregnant. She strongly implies the child is the result of sexual assault. The details do not seem to matter to the captain. He doesn’t ask for elaboration, and maybe if he doesn’t, then he’s not culpable; ignorance frees him from responsibility. He only states he will talk to the father, who is later revealed to be Jimmy. This realization leads to the player retroactively recognizing breadcrumbs from Anya’s earlier conversations. For example, at the game’s beginning, she didn’t want to talk to Jimmy for his psych eval, joking about it, and later inquired about locked rooms on the ship. Unlike jump scares, the horrific reaction to this information is not because of the sudden shock of the senses, but the conscious omission of information that is gradually added later. This is the basis of all the horror in Mouthwashing, the ones that don’t just make you jump from your seat for a second, but make your hair stand until you sleep. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-2.png) Source: Author. --- > Here, a closed door is benign until the player looks behind it. The ship is well until you push a button that steers it to its doom. Curly is silent until you feed him his own flesh. --- There can be an argument that what happens to Anya is a loathsome narrative trope, but that it isn’t explicit, and that the extent of the cruelty is wholly up to players’ imaginations, makes it in line with the rest of the game and Jimmy as a character. It is something so matter-of-fact, the realization so late, that it leaves the player powerless. One inhumanity incites the whole catastrophe, certifying Jimmy as irredeemable to the player and himself. The single act of unwittingly bringing a child into the world makes the narcissist’s reality crumble around him. To escape, he must create a new reality of his own where he’s not responsible for a life, let alone his own. In the end, Captain Curly, who benefited most from being laid off, instead sacrifices himself to prevent the crash, while Jimmy brings the whole crew down with him. It's all to fit his delusional worldview and his perceived self until even that is unsuitable, and the only action that fits with his self-perception is suicide. The ultimate escape from responsibility; his last resort. Minimalism gives Mouthwashing’s story two different meanings: one experienced right away as the story plays out, and one that is understood in hindsight, after detail is given. The most explanation we get on what the game is about and what motivates the characters is from phantasmagorical body horror sections. These surreal dissections of the soul show us, including but not limited to, the all-seeing eye of corporate brands, the eyes of personal guilt, and how corporations are an entity devoid of responsibility, handing such things to ill-equipped men with neuroses. That's plenty of interesting visuals and rich themes for a two-hour game. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Screenshot--12732-.png) Source: Author. --- > Minimalism gives Mouthwashing’s story two different meanings: one experienced right away as the story plays out, and one that is understood in hindsight, after detail is given. --- ## Low budget leads to high-pitched screams The horror genre has always been synonymous with low-budget, from the highly successful films Paranormal Activity and the Blair Witch Project to games such as Slenderman and Five Nights at Freddy’s. Limitations easily birth horror, the ambiguity from not knowing whether something lurks behind you, out of the corner of your eye, or whether your senses deceive you. When we hear sounds on the black screen, but see nothing, experience tells us that something terrifying might be occurring. Our natural fight-or-flight system kicks in, and our paranoia scares us. Our body becomes our enemy, engineered against us. Our instincts betray us by working *too* well. As we construct these disparate moments, separated by black screens and incomplete dialogues, we discover late the horror of what the captains of the Pony Express have done or what awaited them. Peek-a-boo, we open our eyes, and the crew dies. Without clarity, the player takes part in the scene’s direction. There is a foundation for a scene, the characters’ polygonal faces and modest animation, the text feigning as spoken dialogue, that the player can finish in their heads. Because we’ve partly created it, the fear lingers easily, finding a place to rest in our daydreams. Video games, perhaps more than books or comics, can take advantage of minimalism to a more visceral extent. Mouthwashing proves that the resurgence of low polygon PS1-style graphics makes way for novel experiences. It is not only for boomer shooters or short atmospheric walking simulators; ;this graphical style can tell a compelling horror story as well, one that asks questions and leaves the player with questions in return. Questions of responsibility, of corporate working conditions, and of life itself. Amid those ruminations, the player might carry something with them—a small, subtle thing. Something they might not notice immediately but can’t shake once they do: a lingering aftertaste of dread. ### Fear and Hunger and Safe Rooms URL: https://www.superjumpmagazine.com/fear-and-hunger-and-safe-rooms/ Last updated: 2024-12-12T19:15:27.000Z **Fear and Hunger 2: Termina was a grueling experience for me.** The opening sequence effectively and efficiently establishes that for the duration that you play this game, and for a little bit afterwards, you will be under the kind of stress where it feels like your insides are being slowly but steadily crushed by a cast iron bench vice. The environment is hostile and oppressive, both visually and mechanically. There are no easy enemy encounters; even the weakest enemies could make life very difficult. Resources are scarce and so mistakes become very costly. All this means that every time I entered a new location in the game, I’d hold my breath, filled with the dread of anticipation for the new problems I’d face here. That’s exactly the attitude I carried with me into the Prehevil Bop (stylized as PRHVL Bop). There was no reason to suspect it’d be any different, what with it being in the city center, which is currently overrun by a mob of shambling monstrosities. And yet when you step in, you’re greeted by the sight of a plush, clean, well-lit bar, which exists in stark contrast to the dereliction of almost everywhere else you’ve been up to that point. And you hear the opening slightly melancholic but soothing chords of ‘Lost Haven/Shillings’, easily the most melodic track in the game’s soundtrack. To me, Prehevil Bop being a safe area was the biggest surprise of Fear and Hunger 2, because of how unexpected it was. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/maxresdefault.jpg) A Resident Evil safe room. Source: Press Kit. Safe rooms are a staple of the survival horror genre. From a utilitarian point of view, they allow you to save your progress and manage your inventory. The Resident Evil games - which arguably made the concept of safe rooms an essential part of survival horror - initially had to dedicate a specific room to the purpose of game-saving because of console hardware constraints. However, that safe rooms survive to this day and age in survival horror tell us that safe rooms serve a number of non-mechanical uses as well. Safe rooms create breaks in tension which allow for a modulation of the game’s pacing and they give players a gameplay incentive to keep exploring the area. I think the impact that safe rooms, and the associated effects on pacing have on a player’s emotional state are deeply compelling. Survival horror as a genre is extremely compatible with video games as a medium. Survival horror games tend to create tension as much through gameplay mechanics as narrative and atmospheric elements. The various balancing acts a player must perform in the moment-to-moment gameplay create a sense of immersion and with that immersion comes stress. Safe rooms are the inverse of this. By removing either all of or most of the sources of danger they simulate not just a sense of safety, but a single moment of blissful relief when you enter a room expecting it to be dangerous, but is instead a safe room. As much as video games as a medium are singularly suitable to horror, the sense of relieved comfort I’ve felt from stepping into safe rooms over the years is unlike anything I’ve ever experienced in horror from other media like books and movies. There’s other emotions at play besides relief when it comes to safe rooms, though. While the dangers of the world can’t reach you in a safe room, you can never truly escape them there either. The experience of being in a safe room is inherently temporary; you can’t stay there forever. That knowledge always lurks in the back of my mind and keeps me from getting too comfortable, which allows the game to retain some of its tension. This finite-ness also makes that sense of safety all the more precious. Safe rooms almost always carry a melancholic undercurrent to them, and not just because you know you have to leave soon. I think this is best evidenced by the kind of music that tends to play in them. Safe room themes tend to be slow, atmospheric, eerie, and sad. Visually, safe rooms tend to be well-lit, in contrast to the darkness or fogginess of the rest of the game world, while still being relatively austere compared to a truly cozy space. I think this haunting, sparse quality of safe rooms heightens the sense of security and comfort a player feels, as the game uses audio-visual elements to remind the player of the dangers outside while assuring the player that the room is safe. The lack of action and the slower, sadder music gives the player a chance to reflect on past events in the game, and the general state of the game’s setting. It’s always been easy for me to imagine the character I’m playing as doing the same as well; something that increases my emotional connection with that character. The Prehevil Bop of Termina takes this further by showing you sides of the various characters that you’d normally never see; Levi tinkering at the piano, Daan serving drinks at the bar, Karin and Abella in the secret bunker. Safe rooms are special. They exist to be a point of contrast to their surroundings. Brightly lit where the outside is dark, and safe where the outside is decidedly not. I’m always glad when I see one in a game. ### Discover Your Ultimate Gaming Companion URL: https://www.superjumpmagazine.com/discover-your-ultimate-gaming-companion/ Last updated: 2025-07-18T01:00:36.000Z **When was the last time you searched for a game but couldn’t find the details you needed?** Staying informed about your favorite games can feel overwhelming. Thankfully, resources like the[ Steam Games Database](https://stmstat.com/) make it easier than ever. Let’s dive into how you can unlock your next adventure in gaming. ## Explore New Titles Effortlessly Finding new games can be exciting, but it’s easy to get lost in endless lists. A structured database simplifies this process, showing you exactly what’s popular and trending. Imagine having access to a constantly updated library that caters to all your gaming needs. It saves you time and helps you focus on finding your next favorite game. - **Tailored for every gamer.** Whether you’re a casual player or a hardcore fan, having quick access to a vast library matters. It helps you save time, avoid frustration, and dive into gameplay sooner. - **Sorting games your way.** Love strategy games? Prefer action-packed shooters? A good platform lets you filter by genre, release date, or player ratings. Now you can focus on what you enjoy most. - **Stay updated with hot releases.** New releases are thrilling, but keeping up with them can be a challenge. A reliable system ensures you’ll never miss out on what’s trending. - **User-friendly design.** Complex layouts make searching for games tedious. Thankfully, modern platforms offer simple interfaces so you can find what you need in seconds. ## Why Game Details Matter Detailed information can transform your gaming experience. Knowing what to expect helps you avoid disappointment. Whether it’s technical specs or gameplay reviews, having access to reliable data ensures every decision feels informed and satisfying. ### Avoiding Compatibility Issues Nothing is worse than buying a game that doesn’t run on your system. Checking requirements ahead of time saves frustration and money. Modern databases clearly list specifications, so you know what will work. It's a peace of mind for every gamer. ### Discover Hidden Gems Some of the best games aren’t the most famous ones. With a well-organized database, you can find lesser-known titles that fit your style. These hidden gems often deliver unforgettable stories and gameplay. You might just stumble upon your new favorite game. ### Enhanced Decision Making Making decisions without all the facts can feel risky. Reviews, ratings, and descriptions help you choose confidently. Compare features side-by-side to find the perfect match for your tastes. It’s like shopping with expert advice built in. ### Building Your Collection Serious gamers love growing their libraries. A detailed database helps you track must-have titles and fill gaps in your collection. It’s satisfying to see your library grow with games you love and know you’ll play. ## Top Features to Look For A great gaming resource is more than just a list of titles. It’s about features that make your life easier and your gaming time more enjoyable. From search speed to user insights, the right tools can elevate your experience. - **Instant search results.** Quick searches make a world of difference. No one wants to wait. - **Organized data, less hassle.** Clear categories and filters turn hours of searching into minutes. - **Accurate game stats.** Knowing how many players love a title boosts your confidence in it. - **Active community insights.** Comments and reviews from fellow gamers help you decide what’s worth your time. ## How This Changes Your Experience Access to the right tools can completely transform how you enjoy games. You’ll spend less time searching and more time playing. Plus, it makes your gaming journey smoother and more exciting. ### Saving Time Means More Fun Think of all the time you spend searching for games. Now imagine spending that time playing instead. Streamlined platforms ensure your gaming hours are maximized. It’s more fun with less hassle. ### Greater Confidence in Choices Nothing beats the feeling of knowing you’ve made the right pick. With all the data at your fingertips, there’s no second-guessing. Dive into your next game with total confidence and excitement. ### Sharing the Joy Found a game you love? Share it with friends! A good database lets you recommend titles and compare notes. Gaming is better when it’s shared. ### Less Regret, More Gaming Wins No one likes wasting money on a disappointing game. The right tools help you avoid mistakes and discover true gems. It’s all about winning in every sense. ## Conclusion Gaming is about fun, not frustration. Using tools like the steam games database ensures you’ll stay ahead in the gaming world. With the right resources, every game you choose will be a win. Happy gaming! **This story contains links from one or more partners.* ### Gaming Economics: How Video Games Drive Global Technology Innovation URL: https://www.superjumpmagazine.com/gaming-economics-how-video-games-drive-global-technology-innovation/ Last updated: 2025-07-18T01:00:05.000Z **The video game industry is a major driver of tech innovation, beyond the stories and the different gameplay you can experience.** Yes, the graphics have become almost hyperrealistic in some video games, but it goes further than that. Video games have often been the catalyst for driving breakthroughs in computing more broadly. In many unexpected ways, gaming is shaping our future. As you enjoy your favorite video game sagas, the same technology powering your laptop or desktop computer is powering devices in industries like education, cybersecurity, and healthcare. Let’s dive right in. ## Video games: the start of tech innovation? The biggest video game company is Nintendo, whose market cap [65 billion U.S. dollars in 2024](https://www.statista.com/statistics/1197213/market-value-of-the-largest-gaming-companies-worldwide/). They’re ahead of Electronic Arts with 42 billion U.S. dollars. The gaming industry hasn’t stopped growing, and its revenue goes over $200 billion annually now. But for all the revenue that this introduces to the market, the truth is that its impact isn’t confined to entertainment alone. It’s a crucial player in helping advance tech in other fields. ## Graphics and processing power With the end goal of creating unique or hyper-realistic environments, video game developers push the boundaries of Graphical Processing Units or GPUs. These innovations improve your gaming experience, but industries like AI and machine learning also benefit. One of the fastest-growing companies at the moment is Nvidia, which makes and sells AI chips internationally. The global AI market is [valued at over $196 billion](https://explodingtopics.com/blog/ai-statistics). The same GPUs that power high-end games are used to train AI models or simulate intricate scientific phenomena. ## Virtual and augmented reality (VR/AR) The driving force behind the growth of VR and AR tech is undoubtedly video games. Super popular games, like Pokemon Go and Beat Saber have shown us the potential of these platforms. But aside from gaming, VR, and AR are transforming medicine (for example, through virtual surgeries), education (immersive learning), and real estate (3D tours!) ## Gaming’s role in connectivity and online security With the rise of multiplayer games and eSports, having reliable online connectivity has become crucial for everyone. This demand has accelerated innovations in cloud computing and 5G networks, and now gamers worldwide enjoy low-latency experiences. This growing online presence also comes with risks, from hacking to DDoS attacks. This is where tools like [VPN service](https://surfshark.com/vpn) play a critical role. A VPN not only shields gamers from cyberthreats but also enables them to access region-locked content and protects them from all kinds of surveillance. This helps them have a safe and unrestricted gaming experience. ## Cross-industry collaboration Gaming has inspired collaboration across industries. Even the healthcare sector leverages gamified tools to enhance patient engagement and treatment outcomes, and this is reflected in the numbers: There are over [65,300 million health apps](https://www.sparktsl.com/blog/patient-experience-statistics-that-perfectly-illustrate-the-future-of-healthcare) on the Google Play Store. Automakers are adopting gaming technologies to design and test vehicles, while architects use game engines to create virtual models of buildings. That way, these industries can grow faster and create safer vehicles and more comfortable and efficient buildings. ## Challenges and opportunities Despite its achievements, the gaming industry faces challenges like environmental concerns because of energy-intensive operations that they haven’t optimized yet. This has prompted companies to invest in green technologies, such as energy-efficient hardware and sustainable server solutions. These innovations benefit gaming and contribute to a broader push for sustainability. ## Conclusion Video games are far more than entertainment: they’re a powerhouse for innovation, driving advancements in technology, connectivity, and even sustainability. From influencing GPUs to enabling VR, gaming has a ripple effect on industries worldwide. As gamers, enthusiasts, or developers, we’re part of a movement shaping the future. **This story contains links from one or more partners.* ### Romance and Dairy: Coral Island Receives Cozy Updates URL: https://www.superjumpmagazine.com/romance-and-dairy-coral-island-receives-cozy-updates/ Last updated: 2024-12-11T03:45:47.000Z **I've been playing Coral Island obsessively this year, having** [**reviewed it here at SUPERJUMP**](https://www.superjumpmagazine.com/coral-islands-healing-journey/) **in January.** The farming simulation is very comforting; you can get to know all your neighbors and actually clean up the garbage left behind by giant corporations that don't care. No one has an ugly side or political opinion that leaves you betrayed and wondering just how well you know your neighbors or friends. The hidden depths you can unlock in cut-scenes or character hangouts refer to insightful backstories and interactions with NPC's family members, which provide understanding instead of pain. In Coral Island, you leave the busy city life to renovate a farm near Starlight Town. Once brimming with tourists and sea life, oil pollution has left a small community of determined individuals. Even though the game has a straightforward narrative where you can complete quests and fend off corporate shills that want to take over the town, you don't have to stop with that main story. You can unlock magic spells, swim with mermaids, and joke with giants. Oh, and I learned why gesha coffee is so valuable though my player character wasn't pleased. The dev team at Stairway Games posted about this[ update in November 2024](https://blog.stairwaygames.com/post/november-2024-development-update). Called the Quality of Life 1.1b update, the patches attempt to make farm life – and the quests beyond it – easier for the player. They also provided notifications about closed and open testing for a multiplayer mode; interested players can join the game's official Discord to learn more about open testing, which starts on December 15, 2024. ## What do the new updates provide? Previous updates have allowed us to change into mermaids, challenge a literal Karen with her political ambitions, and pet all the animals on the island. There are quite a few more surprises with this patch, along with a few formatting changes. ### Romancing NPCs Much like in Stardew Valley, you can flirt, fall in love, and marry some of the NPCs. I admit I'm not doing this one, as I like the solitude on my farm with only the livestock and my pixelated cat for company. The relationship tracker will now give advice on what to do to trigger a heart event, which can potentially lead to a romance. If you just want to build a friendship, however, that can be useful for obtaining recipes or gifts in the mail. Additionally, you can mend bonds between estranged family members, help someone with a sick pet, or locate a mysterious treasure. ### Lowered Difficulty for Town Ranking In order to make the game more accessible, this update lowers the requirements for upgrading Starlight Town to the highest ranks. The game starts with the town's grade firmly at "F", due to an oil spill killing tourism, fishing, and other livelihoods. In fact, the low ranking is why Karen from Pufferfish Corporation wants to swoop in and take over, claiming that Pufferfish's capitalist approach will revive the town. Most locals call her out since Pufferfish caused the oil spill that ruined them in the first place, but she remains a threat. To defeat Karen, you have to keep boosting the town rankings. With the update in place, the B rank requirements are lowered by 6%, and the A rank by 10%. Cleaning the ocean, donating items to the museum, and winning regional competitions will help with that. To clean the ocean and locate artifacts, you need to expend time and stamina. Regular food in your inventory will assist with necessary recharges, though you can't freeze time. Some of the competitions are not very straightforward. I struggled with the Harvest Festival for a while and had to spend a few months growing the crops and nurturing the livestock that would lead to the win. While I'm at B already, and I should hit A within a few more gaming sessions, the lowered difficulty will help. ### Dairy Demands One of your first game quests involves making high-quality produce. Sam, the local grocer, says that importing vegetables and fruits from the mainland is expensive, and you're the only farmer in town. Transport enough vegetables, and he can feed the locals properly. Now Sam needs milk and eggs. By this point, I have a happy cow and goat, and an energetic poultry flock. Doing this quest and reminding everyone to get their protein should be a cinch. I also admit that I like having milk in my coffee. ### The Goddess Blessing Some items required for quests for the goddess altars are hard to find. I can attest to this because I spent many days in-game hunting for the titan arum, aka the corpse-flower. You need this flower to make the honey required for the rare items altar, but the game doesn't make it easy. If you have the update's new Daily Blessing, after unlocking different shrines, you can increase your chances of finding these difficult objects. All you have to do is visit a shrine and select the appropriate option. I haven't tried it yet, but I am excited for when new insects and fish enter the fray. ### Fishing Made Simple While you can set insect traps for land and critter traps for the ocean, fishing remains random. It took saving up for the computer and the fish tracker chip for me to start catching the fish needed to complete quests and ones that the museum would accept. Bamboo nets allow you to catch fish on a regular basis. Believe it or not, fish and insects are the best ways to earn income, more than selling produce or dairy. Having a reliable source that doesn't require expending stamina or fish bait, whose crafting recipes only unlock with town rankings, does help with that daily passive income. It also means that if you need or want to make huge expenditures, you don't have to fret about eating a fish taco to get that rare catch. ### What You Can Find in the Mines and the Savannah When playing the Early Access version of the game, I already had access to a fair amount of challenges, mini-games, and quests. What I hadn't unlocked, however, was the ability to travel to the Savannah, a surreal landscape where summer shallots can grow in the winter. If you are navigating the mines, the Cave of Memories in the Savannah is the next step. The update adds new items called Mystery Rocks. Unlike geodes, which can contain ores or precious stones, the Mystery Rocks live up to their name. You can unlock fruit, insects, monsters, or ores; that feature reminds me of the jars in Spelunky. The rate of rocks spawning on mine or cave levels depends on the number of offerings that you make to the goddess. I may avoid these unless necessary since the Spelunky jars caused their fair share of damage when I was playing that game. ## Happy farming, and fishing, and cleaning, and... I appreciate that Coral Island gives so much flexibility for your socializing and activities. Stardew Valley involves a bit too much people-pleasing, while in Coral Island you can spend all your time with the cats and dogs, and not just your pets; Bonbon and Taco are amazing when you run into these dogs around town. Each update provides more to the story. I don't know what's going on with the Savannah or what magic activates it, but I am curious. We have to free one more giant, and those levels don't have save points. Plus, Karen really needs to put in her two weeks' notice, since no one likes corporate hostile takeovers. I'm looking forward to enjoying more of what Stairway Games plans to bring to Coral Island. ### How Games Can Support Relaxation and Skill-Building URL: https://www.superjumpmagazine.com/how-games-can-support-relaxation-and-skill-building/ Last updated: 2024-12-11T23:26:56.000Z **Maintaining a healthy lifestyle in today's busy world requires achieving a good balance between work and play.** People of all ages seeking to relax and bring some fun into their lives increasingly turn to video games, including highly accessible [free online games](https://azfreegame.com/) that don't necessarily require investing in a console or a powerful gaming PC. Games are, of course, a leisure activity. But they also provide opportunities to further develop useful skills. This story will discuss several benefits of playing games, including the ways in which they can support overall wellbeing. ## Relaxation and Stress Reduction Games enable players to temporarily escape daily obligations and obstacles, enabling them to concentrate focus on fun activities in a virtual world. Many modern games incorporate [relaxing imagery](https://www.forbes.com/health/mind/how-to-relax/), soft music, and interesting tasks meant to lower tension and improve the player's mood. It's no surprise that cozy games, for example, has become something of a genre unto itself in recent years. Casual puzzle games can be especially helpful for some immediate stress reduction. ## Improving Cognitive Abilities Aside from pure entertainment value, there is evidence that games can improve cognitive abilities. Many games encourage players to utilise critical thinking, strategic planning, and problem-solving within limited timeframes. The National Institutes of Health have found that [video games activate the prefrontal lobe](https://pmc.ncbi.nlm.nih.gov/articles/PMC9985795/), which is involved in thinking, attention, and decision-making and that it's useful to exercise this part of the brain through video games. Chess or tower defense games are among the strategy games that inspire logical thinking and preparation, arming players with skills that are applicable well beyond video games themselves. Word puzzles and memory-orientated games can help with recall, retention, and attention span. Video games can help to improve this wide range of skills without the player really being aware of it - as far as they're concerned, they're simply relaxing and having fun! ## Enhancing Social Interactions Online multiplayer games provide opportunities for players to communicate with others (both in real time and asynchronously). In many cases, these experiences promote social contact and collaboration. This is especially true for games that require cooperation, communication, and coordination - qualities that, again, can be useful across a wide range of contexts. Whether you're playing an RPG or a simple trivial challenge, shared experiences can foster a sense of community and belonging, whether they involve alliances or friendly competition. Engaging in online gaming groups may also assist those who feel alone, enabling them to fight loneliness and encourage deeper social connections. ## Improving Reflects and Hand-Eye Coordination Fast-paced free online games - like first-person shooters or racing games - require rapid responses and precise movement. Playing these games can help gamers improve/develop reflexes and hand-eye coordination. These improvements are useful well beyond video games, too: they might assist with tasks as varied as driving, playing musical instruments, or even some forms of sport. This ability to directly impact hand-eye coordination and reaction time is quite unique to video games, enabling them to provide some direct physical benefits while still being entertaining. ## Entertainment Accessible for All Ages Why do we emphasise free online games in particular? The reason is simple: they provide an extremely low barrier to access for players of all ages and skill levels. There's something for everyone, regardless of age or degree of ability thanks to the many hundreds of choices available. Many of these games are also device-agnostic: meaning you can access them from a PC, tablet, or cellphone. Also, there are plenty of options for solo gamers or those who want to connect with others through social play. Gaming itself is an inclusive and enriching pastime; the wide spectrum of free games guarantees that players might easily encounter new genres and find activities that best suit their personal tastes. Playing free online games provides a special mix of leisure and skill development beyond raw entertainment value. These games can meet a wide array of interests and requirements: from lowering stress to enhancing cognitive skills to encouraging social contact and creativity. Video games have often had a negative reputation in the past, but this is unwarranted: this unique form of entertainment can provide genuine benefits to players that will impact areas of their life well beyond the gameplay experience itself. **This story contains links from one or more partners.* ### Death Stranding and the Unfailing Perseverance of Optimism URL: https://www.superjumpmagazine.com/death-stranding-and-the-unfailing-perseverance-of-optimism/ Last updated: 2025-04-02T03:08:02.000Z > *"I shall be telling this with a sigh* > *Somewhere ages and ages hence:* > *Two roads diverged in a wood, and I—* > *I took the one less traveled by,* > *And that has made all the difference."* **Robert Frost’s famous poem about choice immediately splits its narrative.** It focuses on the divergence of paths, about how one traveller, no matter how they wish, cannot set upon two roads at once. The poem’s truth, often overshadowed by the famous line “I took the one less travelled by,” lies in the necessity of choosing, even though a choice is never actually made. The narrator returns endlessly to the same leaf-shadowed crossroads, his life a repeating cycle where no amount of effort can conquer the path or the indecision. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/gr.DeathStranding_GameScreenshot18-1.jpg) Source: Press Kit. Video games written and directed by Hideo Kojima skew toward a certain strangeness, and Death Stranding stays the course. The natural evolution of Kojima’s style lends itself to a materialist appreciation of nature, humanity, and technological industry; the adaptable futurism of his work is ethereal and astounding. Hideo Kojima and his team created something undeniably special in Death Stranding. It's a hell of a lot more than a new iteration of Metal Gear Solid, and as we near the release of the sequel, we wonder if there is a bottom to his creative well. There is value in Death Stranding, and that value permeates every aspect of the game, from interaction to narrative. It's difficult to play Death Stranding and not come away with a persevering feeling of optimism, that no matter how dark things get, as long as human exists we can create, build, and strive toward tomorrow. Death Stranding is all there in the title: we must contend with death’s holding pattern, look at the ending of all things, and appreciate that despite our efforts, we will fade to black. We can make our choices, but as small and fragile creatures, choices rarely amount to what necessitates a cosmic shift of fate. Ghosts born from crude oil and abject despair. America is on its knees. Infrastructure destroyed, overgrown, corroded. Despite it all, there is something here worth fighting for. ## Fragile, But Not That Fragile I was lucky to meet some virtual friends a few weekends ago. We were strangers and yet we were not. To put a face to a name, or better, to put a face to a screen name and avatar, was both anxiety-inducing and satisfying. The subject of Death Stranding came up during dinner, and as the conversation pivoted to Kojima's masterpiece, we passionately regaled our feelings and experiences with this game, and how both its subject and setting have profoundly affected us. We talked about America, foreign perception, philosophy, and purpose. As with many games, Death Stranding's function as entertainment – as a video game – extends beyond its playtime. Its purpose lives beyond the on/off of a computer, and drifts with meaning to every person who experiences it, floating like cryptobiotes from one player to another. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/gr.DeathStranding_GameScreenshot3-1.jpg) Source: Press Kit. Not every video game is so impactful. Five years on, Death Stranding certainly is a "strand-type" video game, connecting us in a world that increasingly feels disparate and disconnected. We do not have to be playing the video game in question to recall its meaning, and often, *playing* a video game is only a fraction of its worth. Death Stranding portrayed an America that has grown increasingly recognizable: a cycle of emails, chores, and treks through the apocalypse. On a good day, maybe you grab an energy drink, listen to your favorite song, and shower before returning to the great unknown. ## A Low Roar Sam Porter Bridges is a secret optimist. I am too. Past his silence, beyond his agoraphobia, Sam's optimism is buried beneath his stoicism, in an ink-dark sea of misery fielded by the challenges he's overcome. Americans speak candidly about deep emotions, psychological disorders, and personal morays, despite the surface-level hatred that's projected across social and political divides. We suffer communally, too often separated by meaningless and superficial judgments. Class and labor are the great uniters: you don't hate your neighbor, you simply don't know them. Video games like Death Stranding allow us to see portrayals of disorders and illnesses, to accept differences without judgment, and to extend our empathy to those whose lives and experiences differ from our own. The America in Death Stranding is post-apocalyptic, but it’s also post-social. Daily activities have become integrated with social media, blurring the lines of community and breaking down borders in a destroyed landscape where human beings are forced to hide away lest they be consumed by nature. BTs, Timefall, and a brutal terrain have forced the survivors to shelter in place and retreat to message boards, emails, and news bulletins. Loneliness has become an epidemic, but it's a salvageable one. ## The Day Is Ending What Death Stranding asks of its protagonist is monumental. A backpacking trip across a destroyed, decrepit America would be more than thankless. It would be nearly impossible. In this fragmented America, infamous for its crumbling infrastructure, Sam Porter Bridges must forge his own path, relying on limited tools, sparse technology, and the sporadic kindness of strangers. Amid all this anguish and despair, Death Stranding establishes itself as a quiet, consolidated meditation, a repetition of tasks that became comfortable and enjoyable. I miss the contemplative action of trekking across insane geographies to deliver small but important parcels to beleaguered individuals. That slow trek toward the future — package by package — became a daily ritual. A friend of mine described it as the ultimate morning activity: he would wake up, make his coffee, deliver a parcel, and then head off to work. It was small and comforting. “*Keep on keepin’ on*.” And I did. I would do it again. “Come on. You’ve climbed worse than this,” Sam would mutter indignantly as I forced him up an impossible incline. It wasn’t a sole determination that kept me moving or the promise of answers throughout the game’s bizarre story. Those small encouraging statements created a network of support that left me feeling valuable and important. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/gr.DeathStranding_GameScreenshot5-1.jpg) Source: Press Kit. I struggle with hope. It feels small. Realism and cynicism have often felt right — responding to the world in kind, reflecting the energy I receive. The fallacy of being a "realist" is akin to "common knowledge," as in we are products of our surroundings, as in what is true for one person is not true for another. It is difficult to look at the state of the world these days and not feel despair. I don't need to list the injustices. You know them. But the Death Stranding 'Likes' are in the shape of a heart for a reason: we are supposed to interface with the world from a place of love. ## Humans, Mules, and Homo Demens Kojima infamously explores the human condition and the factors that influence it. Modern art and storytelling have responsibilities, even when it feels like escapist fiction is a survival measure against an increasingly hostile world. Death Stranding recognizes the futility of our plagues. We are no longer facing many slow deaths, but large ones. Big bangs. The collapse of civilization. Throughout Death Stranding, different characters give their perspectives on extinction events, and how the planet has gone through several. We regularly hear and read news about unusual temperature fluctuations, flash floods, tornadoes, and hurricanes. The ‘death stranding’ will come for us all at some point. Humanity is a threat to itself, and while it’s popular to slip into the eco-fascist mentality, the powers that are ruining the planet exist so far beyond your influence that no amount of bamboo straws or brief showers can alter the course of doom. Albert Einstein famously said, “I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” Death, but more importantly, the perversion of it, is what leads to the state of the world in Death Stranding. The phenomenon connected disparate worlds — the living and the dead — and created Beached Things, souls stranded within the world of the living. America attempted to pervert the voidouts with the creation of Bridge Babies, causing *more* voidouts. Eventually, the world became one in which a lethal weapon was not only lethal to the individual but would lead to a catastrophic death event that could nuke entire cities. > Amelie: "Together you can help us reconnect. You can make America whole." > Sam Porter Bridges: "No, America's finished." Capitalism and imperialism are not compatible with ecological sustainability. We shake our fists at the injustices brought on by the American way of life, but the systems in place are functioning as intended. It’s the resistance to these systems that creates a way of life — human rebellion begets the breaking of the wheel, the destruction of the status quo, and the emergence of tomorrow. It’s established that the use of lethal weapons can create new cataclysmic events — literal craters will spawn if deaths happen during the death stranding. This is a heavy-handed metaphor for one of Death Stranding’sgreatest pleas: put our weapons down and handle our conflicts with our words and actions. Pacifism isn’t just a way of life, it’s the only way we will see a true future. To be optimistic about the world is to come to people with open, empty hands. We have to genuinely believe that, across the gulf of our shared loneliness, every person we interact with suffers with their own beach. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/download.jpg) Source: Steam. ## Monsters On The Beach Every step of Death Stranding’s journey oozes with hope. Tiny positive affirmations are the greatest rewards in the game. They’re the reason Sam walks the gorgeous landscape of this post-stranding America. A simple thumbs up is enough of a chemical hit to make a body continue with its most laborious task. A simple greeting and a thank you, are the building blocks of the new future. Persons existing in the most devastating moment of their lives are slowly brought back from the brink of absolute hopelessness by being given the one thing they need the most: positivity, a reason to live. Amid a somber hellscape, the literal weight of the world on Sam’s back, I trudged on because I found these small promises of a better future addicting. Despite the cruelty of our present, despite the awfulness that gilds our meager lives, humanity strives onward in an endless machine that makes things work. We, in our rain-soaked, blood-caked nightmare, are spiked with the serotonin of thumbs up and congratulatory messages. We eradicate our DOOMS with hugs and kind greetings. We are the generation abandoned in the middle of chaos and death. We are the personification of immense effort. It’s easy to give up. It’s easy to look at peril and believe that nothing will ever get better. The few individuals who find a way to move forward creatively, to pursue a better world despite the impending doom of non-existence, will be the ones that the future is built upon. It takes far more radical strength to smile amid despair than it does to give up and let the world die. It's easy to look out across the beached landscape of tragedies and believe that an extinction event will cure us. Standing shoulder-to-shoulder with an invisible friend? That's our challenge. ### Poetry of the End: Exploring The Last of Us URL: https://www.superjumpmagazine.com/poetry-of-the-end-exploring-the-last-of-us/ Last updated: 2024-12-08T11:44:25.000Z 👋 **Hi there!** Welcome to the latest edition of SUPERJUMP Weekly. This week, we're shining a spotlight on The Last of Us. The Naughty Dog franchise has become legendary since its inception and The Last of Us II, in particular, generated a great deal of controversy upon release. This week's stories explore and discuss the series - especially the sequel - from a variety of perspectives. Although many words have been written about these games, we hope and expect you will discover a unique perspective among the stories we've curated here. This week's On the Radar previews Aloft by Astrolabe Interactive, and our Author Showcase features UX designer Maria Meireles (whose work may be of particular interest to those of you who are game developers). We hope you enjoy this week's issue! As always, please consider upgrading your free membership to a [**Backer membership**](#/portal/account/plans) if you'd like to support our work (and receive a monthly 10% discount code for any purchases on [PixelCrib](https://www.pixelcrib.com.au) or the [SUPERJUMP Merch Store](https://store.superjumpmagazine.com)). Thank you, and happy reading. #### IN THIS ISSUE ✍️ Story Showcase: **The Last of Us** ⭐ Author Showcase: **Maria Meireles** 📡 On the Radar: **Aloft** 📅 This Week on SJP 🏆 Backers ## THE LAST OF US STORY SHOWCASE [The Last of Us: 10 Years LaterA long, long time![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-120.png)SUPERJUMPHarel Cohen![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/833.png)](https://www.superjumpmagazine.com/the-last-of-us-10-years-later/) [The Importance of AgencyExamining and contrasting the methods of establishing a bond between characters and their audience![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-121.png)SUPERJUMPJared McCarty![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/ss_e67d2ca76b0c8985a3615afb38c21e893df73272.jpeg)](https://www.superjumpmagazine.com/the-importance-of-agency-the-last-of-us/) [The Last of Us: How Feasible is its Cordyceps Infection?If the Cordyceps infection reached humans, what would the results be?![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-122.png)SUPERJUMPBenji Tigg![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/photo-1591556093437-562dbf115cd9)](https://www.superjumpmagazine.com/the-last-of-us-how-feasible-is-cordyceps-infection/) [From Revenge to Blood FeudExamining why The Last of Us II is an uncomfortable story through a literary lens![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-123.png)SUPERJUMPBriana Gonzalez![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/tlou2-1.jpeg)](https://www.superjumpmagazine.com/from-revenge-to-blood-feud/) [The Last of Us Part II, in QuotesFamous thinkers like Confucius and Neitzsche put Naughty Dog’s controversial game in perspective![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-124.png)SUPERJUMPBryan Finck![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/the-last-of-us-part-2-feature-pic-for-header.jpg)](https://www.superjumpmagazine.com/the-last-of-us-part-ii-in-quotes/) [Perspectives on the ApocalypseThe Last of Us, Kentucky Route Zero, and NORCO grant us looks at the End Times...and why doom can look different for us all![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-126.png)SUPERJUMPBrandon R Chinn![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/last-of-us-part-1-f.jpg)](https://www.superjumpmagazine.com/perspectives-on-apocalypse/) [Point/Counterpoint: The Last of Us Part IIAn analysis of the key criticisms![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-125.png)SUPERJUMPBryan Finck![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/TLOU2-Abby-kneeling-in-theater.jpg)](https://www.superjumpmagazine.com/point-counterpoint-the-last-of-us-part-ii/) ## Sign up for SUPERJUMP Weekly. Receive every edition direct to your inbox for free. Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. _This post is for subscribers only._ ### Half-Life: Phase Transition (A Novel Excerpt) URL: https://www.superjumpmagazine.com/half-life-phase-transition-a-novel-excerpt/ Last updated: 2024-12-09T01:24:05.000Z **Halfway through the first lockdown in 2o20, I was feeling pretty bored.** All the projects I was working on were well into production, and I didn't have a lot of writing to do. To fill the time, I'd started penning video game criticism again, just to scratch an itch. I hadn't written prose in a long time, and I'd honestly forgotten how much fun and enjoyment it gave me! Shortly after, I realised I wanted to write a novel. It was going to be a Half-Life novel, one that would take place before the [comic series](https://store.steampowered.com/app/466270/HalfLife%5FA%5FPlace%5Fin%5Fthe%5FWest/) I'd been producing. It would be short, perhaps 200–300 pages, and tell the story of two people—Ray and Gemi—in the first years of the Combine's occupation. I sketched out a plot, peopled it with a cast of characters, and set off, little knowing where it would go or if I would even finish it. It is now 2024\. Half-Life 2just celebrated its [twentieth anniversary,](https://www.half-life.com/en/halflife2/20th) and my novel is, at long last, finished. It sits at an obscene 960 pages, a bit off the initial 300-page mark. Writing it has been a wonderful, miserable pleasure, but the time's come to let it go—to send it out into the world and see what comes of it. Whilst that release is a couple of months away, I'm debuting a small excerpt on SUPERJUMP. It takes place about halfway through the novel, in which Ray and Gemi have embarked on a dangerous mission to rescue a scientist called Delilah Savage—and the secret she holds. Without further ado, I present Half-Life: Phase Transition. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Ross5Thin-1.png) Source: Author. All across the city, great black airships and cyclopean stations were moving into formation around the rim of the portal, now close to its final state. Whenever it flashed, snatches of the world beyond were unmasked: someplace with red dust for a sky, where starlight was being smothered. The portal seemed to induce madness in all below it; Combine alarms blared like malfunctioning robotic owls, the antlions grew more frenzied, and Overwatch’s resistance bloodier. Even the snowy tempest was touched by that otherworldly delirium, the particles a turmoil of white. Gemi, a hand held against the wind, crawled into a crouch behind a corrugated iron fence and reloaded, trying not to think about the fleet in the sky. They had escaped the steelworks, but the fighting had forced them to take a separate route back to the train station. “Where are you taking me?” Savage asked Ray. “A place called Club Mapa,” Gemi said. “It’s a secret enclave inside the city. You’ll be safe there.” Delilah Savage turned her eyes to Gemi. They thinned to hostile clefts, and she pointed to Ray. “If you wish to communicate, do it through *him*.” “Fine.” Gemi found Delilah Savage’s beauty even more striking up close. Her big jade eyes looked cut from gemstone. She had short raven hair slicked back, with three thick strands hung over her eyes. Her accent was peculiar—somehow French but not. She was a little different from the posters, too; now she had an array of scars across her forehead that had the semblance of a constellation. Gemi knew Delilah Savage would be dangerous, but she hadn’t expected to be so unnerved by the woman’s presence. Why had the Count wanted her to survive? *The key in the house of steel.* ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Ross1Thin-1.png) Source: Author. “We’re a stone’s throw from the tracks, but I’ll be damned if I know how we’re gonna reach them,” Ray said, peeking through a gap in the fence. “What a masterful plan the two of you have,” Savage derided, trying to see for herself. Ray frantically pushed Savage back. “Down, down!” Gemi mouthed “what is it?”, and he shook his head at her, scared out of his wits. They heard the clomp of hooves on the other side of the fence, and flattened themselves against the iron, shoulder-to-shoulder. Ray had stretched out an arm to pin them back. A shadow moved over their heads with a sequence of synthetic croaks. Gemi twisted her head, just a bit, to see. A vertical strip of serrated metal peered over the fence. It had two eyes, ports plugged into the side that sparked like waning bulbs, and was scanning the alley, searching for the fugitives. Gemi squinted through the gap in the fence. Overwatch were riding horseback, but the horses were mutilated, their heads decapitated, the neck ending in a stump where the strip of metal had been soldered. The riders carried lances that crackled at the tips with hot white light. Gemi shuddered once she realised there was no path through, at least not without a fight. She looked to Ray, and saw that he knew it, too. Delilah Savage, sandwiched between them, glared harshly at Gemi. Then the mechanical horse croaked once more, the movement of the metal jittery. Its eye ports blinked red as chittering shapes began leaping from the nearest rooftop, wings flapping to slow their fall. “Overwatch, swarm outbreak in sector nine-dash-two,” the rider called, turning his horse to meet the incoming antlions. “Give me a gun,” Savage snarled. Gemi hesitated, then picked the spare she had brought from her backpack, and handed it to Savage. “Conserve ammunition. We’re low.” “Contact confirm, prosecuting.” It wasn’t a rider. The three of them turned together: a soldier had spotted them from their side of the fence. Ray cried, “Go!” They broke apart, the spray of machine-gun fire smashing the iron in a terrible thunder. Gemi didn’t have time to look back as she slipped through the fence. On the road, Combine riders lashed at the antlions with their charged lances, the horses kicking up snow. Gemi wove a path through it all, dodging the antlions as they stabbed at the horses. A lance swung towards her and she ducked. It surged upwards, catching an antlion that had sprung for her, and raised it shrieking into the air as the electrical charge ran through its body. Then Ray was with her, urging her on. Savage sprinted ahead of them. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Ross3Thin-2.png) Source: Author. “Overwatch, sector infected!” a rider cried. “Outbreak, outbreak, outbreak!” An antlion plucked him from his horse and impaled him in the snow. Gemi, Ray, and Savage freed themselves from the road and hurried down an alley, both walls stuck together with the antlions’ black honeycombs, and onto the next street. They could see the train tracks, across from where the road made a sharp right turn from an overturned flatbed. A long freight train slowed down and stopped, but the patch of snow they had to cross to reach it belonged to a herd of antlions, who picked at disembowelled soldiers. Gemi hid behind the flatbed, Ray and Savage joining her. More of Overwatch’s soldiers occupied a barricade at the far end of the road that ran parallel to the track, the heavy snow drift making them oblivious to the danger behind them. “Now what?” Gemi said. “I need another clip,” said Ray, ejecting his empty. Gemi passed him the last she had. “We can’t shoot our way through.” “Where I grew up you didn’t call the cops,” Ray said, throwing a glance at the soldiers on the barricade. “Not when you had skin like me. No matter what had happened, they’d always find a way to pin it on you. The law scared me more than anything. *Anything*.” He sighed. “That was a real shitty way to grow up.” “Ray, why are you telling me this?” He looked at Gemi with a hard expression that made her flinch. “Because I’m gonna call the cops.” He went wading through the snow towards the barricade. Gemi watched anxiously as he crept past the antlions, then laid down in the middle of the road, all but disappearing. For a moment, nothing happened, then there was a shot, followed by a second and a third, spaced neatly apart. The soldiers spun, returning fire with an almost mechanical predictability. The antlions hissed and turned when the gunfire reached them. They bounced up and down, then started towards the barricade, clearing the path to the train. The armoured soldiers smoothly filed into a column, lowering their left arms in unison to activate a row of transparent blue energy shields. “Contact: biotics. Wallhammer engaging,” the leader declared, then charged into the oncoming bugs. Ray came running out of the snow. “C’mon!” he cried. The train’s horn was tooting, the wheels turning. Savage was already there; she smoothly leaped into an open carriage. More antlions flew out of the honeycombs, dropping onto the barricade. The soldiers’ shields were flicking off one-by-one as they succumbed to the onslaught. Gemi was running after Ray. The snow slowed her. She didn’t want to look back but she did. The antlions had seen them and were flapping their wings and vaulting into the air, closing fast. “Gemi, take my hand!” Ray was already in the carriage, but it was picking up speed fast. Gemi ran harder, the antlions’ chittering a riot in her ears. Her good arm reached out and she clasped Ray’s hand. She was lifted from the snow, her legs kicking, and pulled into the carriage. Looking back, they saw the train quickly outpace the antlions, and the besieged sector finally began to recede, the steelworks lost in the snow. “Overwatch acknowledges critical exogen breach. Airwatch augmentation force dispatched and inbound. Hold for reinforcement.” ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Ross6Thin-1.png) Source: Author. Thanks for reading! Half-Life: Phase Transition will be released in early 2025. --- *At a science station in the New Mexico desert, an experiment goes very wrong, thrusting humanity into an ancient cosmic war. An authority called the Combine swiftly seize military control of the planet, and impose a brutal totalitarian state on the scattered survivors. Prisons masquerading as cities begin to rise, where scientists are hunted, truth is twisted and abused, and friend is pitted against friend.* *In the midst of this discord, two people find themselves caught in a web of conspiracy and murder, and must embark on an odyssey across time and space, to the heart of the Combine’s dark rule, and perhaps to the lone spark of hope that may save their world…* *Set within Valve's acclaimed Half-Life world, Phase Transition is an apocalyptic tale of science and revolution, of hope and despair, and of a humanity finding its place in a war waged across the stars.* ### All Too Shadow URL: https://www.superjumpmagazine.com/all-too-shadow/ Last updated: 2024-12-07T20:35:49.000Z **There’s no solace in understanding one’s self. Don’t get me wrong, there *might* be, but don’t be fooled: no guarantees, *just* ifs and buts.** > "He who has come only in part to a freedom of reason cannot feel on earth otherwise than as a wanderer - though not as a traveler towards a final goal, for this does not exist." > > **Friedrich Nietzsche** When you encounter one of those eureka moments - “so, that’s why this has happened throughout my life” - you can ride that high, try and get some answers, and plan around the future, but it doesn’t mean that others will follow your self-knowledge. You can try to give them tools to treat you better or to help you manage yourself under pressing circumstances, but at the end of the day, the Other will always be the Other. You can symbiotically integrate their patterns and characteristics within yourself, but they’ll stick from you, dangle and metastasise and eat and hurt and itch and caress with no consent. They’re all parts of others. You won’t control them, which is fine. Great, even. Shadow Generations hangs as Sonic Generation’s appendix. It’s there, on the title screen - not integrated into the main game, but trying to eat its real estate. It covers Sonic Generations’ menu when you select it. Although Sonic Generations was and still is a celebratory game, very light-hearted, fun, and hopeful, Shadow Generations is not like that. Sonic’s character is, at the end of the day, Just A Guy Who Loves Adventure, but Shadow has no taglines. Some of the stages selected for his part of the game are from titles he wasn't even a part of. He's an outsider, even in his own franchise. In Sonic Generations, Sonic is always smiling and jumping around in a self-congratulatory way, enjoying his own missteps, and his own powers. He doesn't need to explore - even the hub is completely Sonic: a horizontal, 2D line. Shadow's hub, clearly based on Sonic Frontiers, is big and confusing and shows you places you can't even get to yet. You can see that he's in pain whenever he gets a new power. He must relive his trauma, not his adventures, by going through old stages and meeting old people on his world map. The thing with Shadow, though, is how weirdly deterministic he is. It's almost like he's a video game character. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image.png) Source: Steam. His story determines his self, his creation is what tells him that he's a weapon or too powerful or created for destruction. After many games that people don't like, he understands that, indeed, he is all of those things, but his will is what shapes his power. > "But he does want to observe, and keep his eyes open for everything that actually occurs in the world; therefore he must not attach his heart too firmly to any individual thing; there must be something wandering within him, which takes its joy in change and transitoriness. To be sure, such a man will have bad nights, when he is tired and finds closed the gates to the city that should offer him rest; perhaps in addition, as in the Orient, the desert reaches up to the gate; predatory animals howl now near, now far; a strong wind stirs; robbers lead off his pack-animals." > > **Friedrich Nietzsche** There are a lot of scenes solely dedicated to Shadow affirming the violence-coded trash-talking that villains give him, just to twist them into a "yeah, and I'll do all of those things to you." Taking his entire arc into consideration, it's the expected thing: denying himself by trying to change would just take him further away from who he is, and knowing who he is still makes things problematic, weird and edgy, but it's at least knowledge. His peace won't come from knowing if he's The Ultimate Life Form or The Ultimate Weapon or A Clone or A Robot or whatever. Those are just titles. It will come from how he presents himself to others, how he reacts to their lack of understanding or their unconditional understanding. He *is* a weapon, and a powerful life form, and a clone, and a robot, and an alien, and an experiment, and someone who was left behind, and a survivor, and he will never be comfortable with any of those things but will *be* anyway. In his own 2005 game, the whole point is to meet 10 different versions of himself through the branching paths to get to a "true ending" where you see that there's just one. You need to go through all of them, though. In Sonic 2006 he accepts that this is how things will be forever, having visions from the future where he is still suffering, but never giving up on seeing that future himself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image-1.png) Source: Steam. I argued ([in another article about Sonic with a Nietzsche-based title](https://www.superjumpmagazine.com/twilight-of-the-emeralds/)) that Sonic 06 is not a game that can metaphysically hold Sonic within itself, and therefore its strength lies with its actual characters: Silver and Shadow. They needed to have Sonic there, however. It's the name of the game. The name of the franchise. The face of Sega. I believe it's the same with Sonic x Shadow Generations - Shadow will need to go through his arc again, go through a nostalgia-based trip again, feel pain again, and he will need to do all of that to justify the existence of a remaster for a game that celebrated Sonic more than ten years ago. It's fruitless - he won't change, he cannot change, because he already changed. It's just torture. It's a PTSD fever dream. It's amazing, the best setpieces of the franchise. I felt like seeing the orca in Sonic Adventure for the first time. It encapsulates an eternal struggle. And the movie isn't even out yet! It could've been just a Shadow game. It won't be. Sonic is more important. But that's okay. > "Then for him the frightful night sinks over the desert like a second desert, and his heart becomes tired of wandering. If the morning sun then rises, glowing like a divinity of wrath, and the city opens up, he sees in the faces of its inhabitants perhaps more of desert, dirt, deception, uncertainty, than outside the gates - and the day is almost worse than the night. So it may happen sometimes to the wanderer; but then, as recompense, come the ecstatic mornings of other regions and days. Then nearby in the dawning light he already sees the bands of muses dancing past him in the mist of the mountains. Afterwards, he strolls quietly in the equilibrium of his forenoon soul, under trees from whose tops and leafy corners only good and bright things are thrown down to him, the gifts of all those free spirits who are at home in mountain, wood, and solitude, and who are, like him, in their sometimes merry, sometimes contemplative way, wanderers and philosophers." > > **Friedrich Nietzsche - Human, All Too Human, Aphorism #638** As someone who was tardily diagnosed with the kind of mental disorder that people usually associate with overthinking Sonic the Hedgehog, it's hard to temper your expectations regarding the treatment of others. The euphoria of understanding yourself may make you think that things are solved, that it all makes sense now, but still, no one owes you anything. People will keep misunderstanding you and not see your silent struggles. They will keep asking you to do things that hurt you because that's what you led them to believe you can handle. They'll think that some things that eat you from the inside are Actually Cool. That your personality is strong. That you're petty. That you're using your diagnosis to be an asshole. That they also have their own disorders and are not as bad as you. That you can be better. That you're strong and so brave. That it's just a label, that you are more than that. They'll also try their best. You just need to know that you *are.* ### What Is A Plague Tale: Requiem Saying With Its Loading Screens? URL: https://www.superjumpmagazine.com/what-is-a-plague-tale-requiem-saying-with-its-loading-screens/ Last updated: 2024-12-06T01:51:47.000Z **It’s a bit of a bummer that I’m about to spend this entire story critically justifying something I absolutely cannot stand.** But justify it I must because I am fascinated by the way in which A Plague Tale: Requiem(from here on out, Requiem) takes something as terrible, invasive, and just plain-old *cringe* as the white loading screen and makes it a meaningful narrative and interactive device. Like [so](https://new.reddit.com/r/assassinscreed/comments/rvzp2u/for%5Fthe%5Flove%5Fof%5Fall%5Fwho%5Fchose%5Fwhite%5Floading/) [very](https://new.reddit.com/r/NintendoSwitch/comments/yyjuvf/white%5Floading%5Fscreens%5Fare%5Fvery%5Fcruel%5Ffor%5Fthe%5Feyes/) [many](https://gamefaqs.gamespot.com/boards/270518-genshin-impact/79080439?page=1) before me, I am firmly in the “dislike” category when it comes to bright, whiteout loading screens in games. It seems so straightforward, so elementary in my brain; games are often experienced in dark environments similar to how we view movies, in part to limit distractions from elsewhere in the room but also to reduce glare and allow for players to see details within shadows on their screens. If all the above is true, then why do some developers insist on roasting my retinas by transitioning from a scene in a dark cave to an all-white loading screen? The contrast is so strong that my pupils can’t dilate fast enough. It actually hurts. How do these things pass QA testing? Fromsoftware’s Elden Ring famously [patched their white Bandai Namco “flashbang” loading screen out](https://gamerant.com/elden-ring-dark-startup-logo-change-update-1-12-fans-happy/) due to player feedback, and it was one of 2024’s biggest net-gains for all of humanity. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/Spoilers_Ahead-4.png) This story contains spoilers for the Plague Tale games. ![A Plague Tale: Requiem's title screen](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/IMG_4415-2-1.JPG) A Plague Tale: Requiem's title screen. Source: Author. But something tells me the developers of Requiem *–* [Asobo Studio](https://www.superjumpmagazine.com/life-is-strange-double-exposure-killed-by-a-choice/) – would (kindly and gently) slap me across the face if I told them to remove their white loading screens. Theirs, you see, are loaded with purpose – and it’s not so easy to wave away as just art direction and stylistic choice. As loathe as I am to admit it, Requiemintroduces narrative justification for their squint-inducing screens. The game’s title screen and chapter transition loading screens bring about an intense, blinding light that really stands in stark contrast to the moody, shadowy, low-visibility corners of much of the campaign. When they immediately follow those dark instances, the white screens jump out at you like a rat in the night – some sort of otherworldly punishment for an accumulation of unknowable transgressions. In what you think is a quiet, safe moment, these screens jolt you to full attention, eliciting a physical response – often a tangible flinch, an uneasy wince, or a repulsed recoil. They make you uncomfortable. ![A loading screen in A Plague Tale: Requiem](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/IMG_4419-1.JPG) Requiem's loading screens, which I also refer to as chapter transition cards. Source: Author. And I can’t help but notice how harmonized that is with Requiem’s main cast and campaign. The second installment in the Plague Tale series spares no generosities to Amicia, Hugo, et al – the crew can’t count on two hands how many times they’ve fallen through a rickety wooden bridge, waded through murky, bloody waters infested with corpses, or flinched in disgust at a bursting womb of mucus-covered rats. That goes without mentioning Amicia and Lucas’ navigating rotting butcher’s runoff, or the few times she and Hugo are forced to push along or ride upon cages filled to the brim with decomposing flesh. The things that Requiem’s cast are forced through during the game’s story are brutal, appalling, and gross. If a loading screen can make you wince in discomfort from the comfort of your real-life chair, then maybe you could make the argument those overly bright transitions are being put to some use – causing the player to physically react in a way similar to how they would if they were experiencing the game’s narrative in reality. But we can go deeper than that. Maybe these loading screens mimic both mechanical and narrative devices in Requiemas well. ![A Plague Tale: Requiem's settings screen](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/IMG_4417-1.JPG) Even the Settings menu made me want to grab an old pair of eclipse-viewing glasses. Source: Author. These white screens are so overbearing because it’s a lot of light, all at once. But shouldn’t that be a *good* thing? In the moment-to-moment gameplay of Requiem and the entire Plague Tale series, you are nigh-addicted to light. You cling to its every flicker, dashing, leaping, and puzzle-solving your way from one well-lit haven to another. It is your lifeblood, your shield, your protector. You cannot succeed without it. We pull back and squeeze our eyelids shut in discomfort at these screens, but they’re really our safety net, loudly reminding us of their importance. That garish brightness is not their only importance. These loading screens are bright, yes, but they’re also *white* and that might be an important distinction, yet. ![The pause screen in A Plague Tale: Requiem](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/IMG_4414-1.JPG) Pop the pause menu in a dark scene, like what's pictured on the left, and be prepared for a visit to the eye doctor. Source: Author. In the moment-to-moment narrative of Requiem, Amicia and Hugo are on a quest for purity. Both fight tooth and nail to alleviate Hugo from the clutches of the Macula. From day one, the game’s story zeroes in on finding the young boy a cure - on purifying him of his ailment. And what's the color we so often associate with purity? Is it possible to read the powerfully whitewashed loading screens as a physical reminder of the power of light in the gameplay mechanics and/or as the sanctity of the pursuit of purity in the game’s narrative? Can we interpret these moments as a reinforcement of Requiem’s themes, urging us to resist the darkness in our own lives and fight for purity against the odds? Or, like the late-game chapters of Requiemitself, can we go deeper, still? --- In the Plague Tale series, medicinal and combat concoctions are colloquially referred to as “alchemy.” On the surface, it reads like a bit of historically accurate flavor text to explain how Amicia is able to craft explosives with her bare hands in mere moments. But what if I told you the entire series is an alchemical allegory, with the Macula carrying out the endgame of hermetic alchemy alongside Hugo, while Amicia undergoes a Carl Jungian-styled alchemical purification of the self? As much as I wish I could, I cannot claim this ingenious, well-evidenced reading of the game as my own. That right alone belongs to [YouTuber Lord JLO, whose detailed interpretation of Requiem](https://www.youtube.com/watch?v=3IJ%5FoWxkX8A&t=2727s) gave me the final piece of the puzzle I needed to make this article a reality. ![Amicia and Hugo shelter behind flames in A Plague Tale: Innocence](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/ss_ba6b32d1aa79e4d45b8fdc81b99bb.png) Source: Steam. Lord JLO points out that in the first game in the series, A Plague Tale: Innocence, the title and loading screens are black, much like the first stage of the alchemical process – Negredo. In alchemical terms, Negredo is the breaking down of a material to its most basic parts, or in Jungian terms, the self-examination of a person, unearthing their inner shadow and ego. This phase of the process is represented by the color black in all alchemical texts and iconography. In Innocence, Amicia’s untenable desire to protect her brother reveals a ferocious, angry, murderous side of herself. The constant tribulations of Innocence force Amicia to recognize and reckon with the darkest parts of who she really is. ![another loading screen in a plague tale requiem](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/IMG_4420-1.JPG) Albedo quietly symbolized via loading screen in Requiem**.* Source: Author. Once Amicia has completed Negredo, she moves to Alchemy’s second stage: Albedo. This is the purification stage in which a material’s impurities are removed, or when a person’s ego and excess baggage are removed from the psyche. This is what is happening in Requiem,and as you might guess, this stage of purity is characterized by the color white – the same color as the game's loading screens. In Requiem,Amicia is in constant conflict with herself, as she rebukes both Hugo and Sophia for chastising her about killing guards. There are multiple stealth encounters where Amicia counts her kills, sometimes with regret, sometimes like it’s just a game. Throughout the narrative, she grapples to justify her actions as done in defense of Hugo rather than interpret them as reflections of her character. ![Amicia in the Macula's nightmare in A Plague Tale: Requiem](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/IMG_4422.JPG) Amicia finds the first phoenix statue in the Nebula's nightmare. Source: Author. In the game’s final confrontation with the Macula, Hugo forces Amicia to unlearn these parts of herself. In the nightmare state of the Nebula, Amicia must run in the opposite direction that the phoenix statues point her in – symbolic of how she must realize the futility of searching for a cure for Hugo. Next, she must extinguish the fire fueling her battle against rats, symbolic of how she must admit her violence is unnecessary. Throughout these moments, the screen burns yellow and orange, as Amicia transitions out of Albedo towards the third alchemical stage, Citrinitas – a yellowing stage embodied by the wisdom accumulated after the confrontation of the self. ![Amicia inside the Macula's nightmare realm in A Plague Tale: Requiem](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/IMG_4423.JPG) Amicia resists Albedo, throwing fire at the rats and choosing to fight rather than extinguish her inner flame. Source: Author. That breakneck description is obviously a severe oversimplification of alchemy, Jung, and Plague Tale’s usage of those inspirations, but should hopefully serve its purpose here and keep my word count manageable. If you're looking for Rubedo – the final stage of alchemy – then look no further than Hugo and the Macula, haloed by a red sky and fusing to become complete in the game's final scenes. But that's a story for an entirely different article. As you can imagine, there’s so much more to discuss (one hour and twenty-five minutes worth, to be exact) about how the Plague Tale series weaves alchemy within its framework, but I will leave that to your own curiosity, coupled with my strong recommendation for the video linked above. What’s important to note for our purposes is this: if Amicia is experiencing the Jungian alchemical process throughout the Plague Tale series, then Requiem is largely her experience with Albedo, her own mental and metaphysical purification. Asobo Studio uses its title cards and loading screens to hint at this transfusion. --- Now, as we conclude, we have examined Requiem’s deeply symbolic, mechanically and thematically accurate bright white loading screens. Yeah, they’re a little annoying, but they’re far deeper and richer than I could’ve ever expected. Hell, there’s more in these screens alone than some *entire full-length games* I’ve played in the past. Whether they are generating a raw, real-life reaction, symbolizing the game’s themes, or representing the underlying inspirational works of the entire series, Requiem’sblinding lights are at least there for a reason. Don’t give them too much grief until you know their whole story. ![the return to menu screen in A Plague Tale: Requiem](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/IMG_4418-1.JPG) Source: Author. ### The Beauty of Simplicity in Dread Delusion URL: https://www.superjumpmagazine.com/the-beauty-of-simplicity-in-dread-delusion/ Last updated: 2024-12-03T23:22:27.000Z **Video games have become complicated - extremely complicated.** Whether it is the incredible balancing act of Elden Ring's gameplay or the vast and vibrant world of Horizon Forbidden West, this generation of games seemed to focus on bigger and more complex experiences. There's nothing inherently wrong or right with that focus; some people prefer a more engrossing experience that feels reminiscent of the real world rather than something strictly fantastical for the sake of it, while others want something more simplistic or more pointed. These intricate experiences often do miss one important lesson in their execution, however. They tend to lose the beauty and freedom that can come from simplicity. Released in May 2024, Dread Delusion is a horror-themed action RPG from [developer Lovely Hellplace](http://lovelyhellplace.com/game/) and [publisher DreadXP](https://www.dreadxp.com/). The game takes place on the Oneiric Isles – floating masses of land magically propelled into the air after a catastrophic calamity destroyed the Underlands (aka the Land Below). You are imprisoned by the Inquisition, a group of individuals who work as enforcers for the Apostatic Union, an organization established after humans won a brutal war against the literal magical Gods whom they served. Your captors give you a choice: if you find and capture one of the Apostatic Union's most dangerous criminals – an outlaw known as Vela Callose – you will be granted your freedom. Refuse, and you will remain in prison until your death. With that, you are charged with exploring the Oneiric Isles, forced to find and enlist Vella Callose's old mutinied crewmates to capture your quarry. If everything goes right, you will return alive to reap your rewards and leave the Apostatic Union behind. Dread Delusion hearkens back to the Elder Scrolls games of old, stylistically speaking. Not only does it share the same gameplay DNA as something like Morrowind, but it also looks the part, with gorgeous PS1-inspired pixelated visuals and a dark and foreboding atmosphere. Everything in Dread Delusion is massive in scale, from the strange fungal growths that cover swaths of the Isles to the cathedrals and mausoleums seen throughout the Endless Kingdom. The gothic and steampunk-inspired fantasy architecture is enhanced by the living conditions seen throughout the Apostatic Union and beyond. Food shortages, memory-erasing plagues, and dismissive bureaucracy are only a taste of the growing desperation that permeates the land. This oppressive atmosphere is exemplified ten-fold by an aspect of the experience that could be perceived as negative – Dread Delusion's gameplay is unequivocally simple. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image-44.png) Source: Steam. ## RPG, simplified Because it's an RPG, the game allows you to pick some basic background information for your prisoner and one of a few classes to start the game off with, along with the "fatal mistake" that caught the attention of the Apostatic Union. Each of these choices has only four selections, which are well-written enough to create a fully-fledged backstory despite the limited options. From there, you are given four weapon types: daggers, swords, greatswords, and bows. While these can be upgraded, and there are a few versions of each, those four are all you get. If you want to use magic, you can cast using your offhand at any time while using your martial weapon. There are nineteen spells, ranging from shield spells to those that advance time. Compare this to the 141 magical effects in Morrowind, along with the eight different types of martial weapons, or with Oblivion, which has *hundreds* of spells and tons of different weapon types, and you can see why the game might feel simple. Combat itself is again reminiscent of Morrowind, with a light attack, heavy attack, block, and a parry as the only physical attacks on offer. There's also a stamina bar you must watch carefully, though you can use potions to reinvigorate it or take a break from battle to let it refill. Things are more intricate when mixing magic and physical attacks, but it's implemented seamlessly enough to feel natural and easy. Your right mouse button will swing your weapon or shoot your bow, and your left mouse button will activate your spell. Pretty much anyone can pick up Dread Delusion and dominate the combat encounters within a few hours. In light of more complicated systems like those found in The Witcher 3: Wild Hunt or any of the Soulslike series, it's easy to see how this simplicity could be perceived as a negative. My counterargument is this – all of these choices presented in bigger games can give players a serious case of analysis paralysis. Many of these titles get bogged down in the weeds of their variety and lose the initial draw of their narrative within a weave of statistics and percentages. This is why so many people make the "sneaky archer" joke when playing Skyrim; having all those choices available at all times renders the vast majority of them moot. The path of least resistance will almost always be the one that's taken the most unless an exceptionally diligent player makes a deliberate choice to experiment on subsequent playthroughs and fight their natural inclination to take the easiest route. Not only does this give the player a distinct feeling of FOMO, causing worry over what interesting thing could be missed because of sheer volume, but it also creates another layer of anxiety between the player and the game itself. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image-45.png) Source: Steam. ## Soak it all in That's the genius of Dread Delusion. Trimming off all that excess fat, while seemingly reductive on the surface, allows the player to stop and smell the grotesque fungal roses all throughout the Oneiric Isles. Atmosphere seeps from every pore of the world. The lore is immensely deep, with a whole history to discover, if one so chooses, spanning hundreds of years and a multitude of cultures. There's fantastic environmental storytelling, with tiny details that help hammer home the idea that these floating continents are in constant flux and this world is generally unpredictable. Maybe half of a wizard's tower stands on a lower portion of an island while the upper half floats haphazardly attached to a section higher in the sky, quietly demonstrating that the island moved. Maybe the homes in the sparsely populated fields are in different states of disrepair, establishing who fell victim to the elements and in what order. Or maybe a section of the world isn't what it seems, hinting at nefarious and illegal worship with obviously pious objects scattered around. Not worrying about min-maxing your build gives you the freedom to take an honest look at your surroundings and soak in all of the hard work Lovely Hellspace put into their environments. These more obscure mysteries of the Oneiric Isles are all the more supported by the narrative storytelling that's presented to you throughout the accursed floating atolls. Ideas about the oppression of religion and how suppression of one group leaves a vacuum that another group must fill. There are questions about what we define as sentience and whether the sacrifices of the few outweigh the needs of the many, how much power and worship oligarchs deserve and how much of that is just a veil for something much darker. Ruminations on what it truly means to be immortal and how the sins of our past can haunt us and the ones around us eternally stand side by side with questions of whether or not our safety is worth giving up in exchange for our rights. ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/image-46.png) Source: Steam. The game doesn't do a thing to try to sway you one way or another, either. Make your decisions, and live with the consequences. How much guilt or elation you feel is entirely up to how much you care about what you're doing and what you believe is the right path. Dread Delusion is at its best when it forces you to operate in the areas of grey. These grey areas would be less defined if you were bogged down in class choices. That's not to say that Dread Delusion's gameplay has no depth; it's just not the main focal point. You're easily able to hop in, play for an hour, fight against some unique and fittingly disturbing beasties, have your understanding of reality questioned, and hop out. Dread Delusion is an RPG that excels in the big picture and refuses to become a product of min-maxing minutia. In an era of online forums researching gaming efficiency to the nth degree, this is a breath of fresh air and sets Dread Delusion apart from so many other games in the genre. Simplicity isn't always the answer, but for a game like Dread Delusion, it's the defining factor in its greatness. **Dread Delusion is available on* [**Steam*](https://store.steampowered.com/app/1574240/Dread%5FDelusion/)**.* ### Don't Go Alone: Cooperative Games URL: https://www.superjumpmagazine.com/dont-go-alone-cooperative-games/ Last updated: 2024-12-01T07:32:15.000Z 👋 **Hi there!** Welcome to the latest edition of SUPERJUMP Weekly. I must start with an apology: we didn't publish a newsletter last week - our first miss in over two years. Ouch. The reason for this is actually very mundane: I've just been incredibly busy with in-real-life stuff (including moving house), so time got away from me last week. In any case, thank you again for stopping by for another issue! This week we're delving into cooperative games, although I must admit, this title is slightly misleading. This week's stories do touch on cooperative games, but they also explore alternative ways of enjoying games together (from LAN parties to Twitch streams). I hope you enjoy this week's curated stories. And since we missed a week, you'll see two weeks of updates in our **This Week on SUPERJUMP** segment. In this issue we are also featuring GLUM by CinderCat games and showcasing the works of Benny Regalbuto. One final note: I really want to pause again to thank our wonderful Backers. We now have 14 active Backers, and believe me, every single cent you contribute makes a big difference. We are now able to consistently provide at least some payout to authors every single month, which is a huge achievement. I understand, though, that there's such thing as *subscription fatigue*. I feel it too. Everyone is asking for a regular commitment. It's a lot. So, we're attempting to solve for this problem by providing a one-off donation button in the footer of each story. It looks like this: ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/12/image-1.png) When you click the button, it will take you to a donation screen. The default/suggested donation is $5USD, but you can change it to whatever you like. As with our Backer program, 100% of these reader donations go directly to authors (we don't use them to cover any other costs). I hope that this feature enables more folks to thank our authors for their work in a concrete way without feeling that they necessarily need to commit to a monthly or yearly program. As always though, I'm open to ideas any readers have about how we can improve any aspect of what we do. If you'd like to reach out with an idea or feedback, you can email me at [jb@superjumpmagazine.com](mailto: jb@superjumpmagazine.com). I read and reply to every email. Thank you for your continued support. It really means a lot to all of us. Happy reading! #### IN THIS ISSUE ✍️ Story Showcase: **Cooperative Games** ⭐ Author Showcase: **Benny Regalbuto** 📡 On the Radar: **GLUM** 📅 This Week on SJP 🏆 Backers ## COOPERATIVE GAMES STORY SHOWCASE [How To Enjoy Playing Video Games With Your PartnerHelpful tips to make the most of your gaming time together![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-100.png)SUPERJUMPBryan Finck![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/photo-1493711662062-fa541adb3fc8)](https://www.superjumpmagazine.com/how-to-enjoy-playing-video-games-with-your-partner/) [Octodad: Dadliest Catch Has Frustrating, Absurdly Fun Co-OpHow an unexpected co-op partner can turn frustration into fun![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-101.png)SUPERJUMPCJ Wilson![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/H2x1_NSwitchDS_OctodadDadliestCatch_image1600w.jpg)](https://www.superjumpmagazine.com/octodad-dadliest-catch-is-a-frustrating-absurdly-fun-time/) [Game Nights and the Joys of Couch-Side SpectatingIn-person Twitch with more snacks and fewer trolls![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-102.png)SUPERJUMPRachel Alm![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/co-op-spectating-feat-image.jpg)](https://www.superjumpmagazine.com/game-nights-and-the-joys-of-couch-side-spectating/) [The Forgotten Art of the LAN PartyDiving into the nostalgia of LAN parties and exploring its rise, fall, and comeback in the evolving landscape of multiplayer gaming![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/icon/SJ_Circle-103.png)SUPERJUMPGavin Annand![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/thumbnail/photo-1560253023-3ec5d502959f)](https://www.superjumpmagazine.com/the-forgotten-art-of-the-lan-party/) ## Sign up for SUPERJUMP Weekly. Receive every edition direct to your inbox for free. Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. _This post is for subscribers only._ ### Ledge Life Rules in Little Kitty Big City URL: https://www.superjumpmagazine.com/ledge-life-rules-in-little-kitty-big-city/ Last updated: 2024-12-01T19:52:33.000Z **Welcome to Little Kitty Big City, the family-friendly version of Stray, where you don’t need to feel bad when the cat gets hurt because it always lands on its feet!** In this adorable and cartoony world, we follow a kitty on its adventure to find its way back home after falling from an apartment window. Your goal is to eat fish until you can muster enough strength to climb your way back up to your apartment window. In the meantime, steal sandwiches and phones by tripping passersby, make some deals with crows, and knock anything and everything off any ledge you decide to jump on. Catch and release birds, have a bunch of ducklings follow you around, or steal fish from a fisherman – because cats are the embodiment of unpredictability, destruction, and chaos. It’s why we love them, right?! ![A small black cat digs in a blue garbage can.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/1177980_20240513190605_1.png) Source: Author. With the physics and immortality of Goat Simulator and the wholesome, light hearted nature of a no-risk exploration game, Little Kitty Big City is the purrfect option for when you just want to relax, but still want to play a game without any potential frustration. I mean, you can’t die in this game, even if you leap from the heights of an apartment building’s roof. This time, curiosity did not kill the cat. I made sure of it. It's a good thing, too, seeing as some of the Goat Simulator-type physics can be as unpredictable as a cat on the platforming side of the game. You know you landed on the surface, but the game doesn’t – and sends you sliding off the ledge and sometimes all the way back down to when you first started. This didn’t happen terribly often, but often enough to at least make note of it. In terms of threats, your main culprits are puddles all over the city due to a plumbing issue, barking dogs, and being picked up and carried out of areas by the humans that can’t handle the chaos. You may also become a certain tanuki’s test subject in their invention endeavors. I wouldn’t necessarily consider this a threat, especially since doing so will make completing all your side quests a piece of cake, especially since you’ll be doing more side quests than mainline ones. Hide and seek with the chameleon becomes much easier, as does rounding up all the ducklings. You thought I was joking about the ducklings, didn’t you? ![A small black cat sails through a multicolor vortex.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/1177980_20240513191351_1.png) Source: Author. Being a little kitty in a big city, the tiny, confined map felt much bigger than it was, thanks to both scale and the clever leveling system. The whole map works out to maybe a couple of blocks worth of city, but as you eat fish to gain the strength to climb higher and higher, more of the city opens up to you. At first, you’re limited to the streets and what walls your weak little jump can reach, but then you may find yourself in some new backyards, higher balconies, and eventually rooftops to explore. With more and more exploration available, maybe you’ll find yourself another hat to add to the collection! If you wear the right hat, you will not get chased! Indeed, you can trick the dogs into not barking at you simply by wearing a dog hat. Trick the construction workers by wearing a construction hat. No one can stop a determined kitty who also happens to be a master of disguise. ![A small black cat expertly disguised as a white filing box.](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/1177980_20240511154914_1.png) Source: Author. This is also the only real bit of customization in the game, and while adorable, it would be nice to see some other sorts of customization become available in the future, especially seeing as the cat doesn’t have a name or anything. I mean, think about it: how cool would it be for players to be able to make the cat look like their own? From start to finish, the game does not take long to complete. If you are focused on the main goal in the game, I can’t really see it taking more than a few hours. By the time you get home, your kitty will have mustered the strength and the know-how to get around the city and will have no problems visiting the friends made on their big adventure, so finishing the main goal doesn't necessarily mean the end of the game. If you want to finish all of those side quests and reach 100% on the achievements, you don’t need to start a new game to continue working on what progress you’ve already made. Unlocking all achievements only takes around 7 hours as well, and that includes the time spent playing the main game. All in all, this is a decent single-player game to play if you want to relax and not feel like you’re under any pressure. If a G-rated version of Stray was ever released, this is probably what it would look like. Little Kitty Big City would be great for any age, but I can definitely see this being a game that children would love. Little Kitty Big City is available on [Steam](https://store.steampowered.com/app/1177980/Little%5FKitty%5FBig%5FCity/) and [Nintendo Switch](https://www.nintendo.com/us/store/products/little-kitty-big-city-switch/). ### Explore the Best Hunger Games Minecraft Servers of 2024 URL: https://www.superjumpmagazine.com/explore-the-best-hunger-games-minecraft-servers-of-2024/ Last updated: 2024-12-11T23:26:48.000Z **The Hunger Games game mode in Minecraft offers intense, fast-paced survival gameplay where players compete to be the last one standing.** Inspired by the popular book and film series, this mode has become a staple for competitive Minecraft players. With 2024 introducing new updates and features to servers, finding the best Hunger Games Minecraft server is a top priority for enthusiasts. In this guide, we’ll highlight some of the top servers, their unique features, and how to get started, whether you’re on Minecraft Java Edition or Minecraft Bedrock Edition. --- ## What Are Hunger Games Minecraft Servers? A Minecraft Hunger Games server is a multiplayer server where players start with minimal resources and fight for survival in an arena filled with challenges. From gathering resources to crafting weapons and outmaneuvering opponents, it’s a test of strategy, skill, and quick thinking. The game typically starts with players scrambling for loot from chests scattered across the map, followed by intense PvP combat until only one player remains. --- ## Features of the Best Minecraft Hunger Games Servers The best Minecraft Hunger Games servers share common traits that enhance gameplay: 1. **Diverse Arenas:** Unique maps with varying themes, terrains, and traps keep each game exciting. 2. **Balanced Gameplay:** Fair loot distribution and balanced mechanics ensure that every player has a fighting chance. 3. **Crossplay Compatibility:** Servers that support both Minecraft Java and Minecraft Bedrock Hunger Games server players make gaming accessible to everyone. 4. **Active Communities:** A thriving community enhances the experience with active lobbies, forums, and events. 5. **Reliable Hosting:** Servers powered by [Godlike Minecraft hosting services](https://godlike.host/) deliver seamless gameplay and reduce lag, making them ideal for an optimal multiplayer experience. --- ## Best Minecraft Hunger Games Servers of 2024 Here are the top picks for the[Minecraft Hunger Games servers](https://minecraft-mp.com/type/hunger-games/): ### 1\. The Hive - **Platform:** Bedrock - **Features:** The Hive is widely regarded as the best Hunger Games Minecraft server for Bedrock players. It offers a seamless Hunger Games mode with quick matchmaking, vibrant maps, and exciting power-ups. - **Why Choose The Hive?** Its accessibility and polished gameplay make it a go-to for beginners and veterans alike. ### 2\. Hypixel - **Platform:** Java - **Features:** Hypixel is synonymous with high-quality Minecraft servers, and its Hunger Games (known as “Survival Games”) mode is no exception. Featuring unique mechanics like custom kits and dynamic maps, it’s perfect for Java players. - **Why Choose Hypixel?** Its competitive edge and large player base ensure exciting matches around the clock. ### 3\. Mineplex - **Platform:** Java and Bedrock - **Features:** One of the few servers supporting both Java and Bedrock, Mineplex is a classic choice. It boasts diverse arenas, exciting challenges, and a welcoming community. - **Why Choose Mineplex?** Its crossplay capability makes it ideal for players looking to compete with friends on different platforms. ### 4\. Cubecraft Games - **Platform:** Bedrock - **Features:** Cubecraft offers a unique take on Hunger Games with custom arenas and fast-paced matches. Its user-friendly interface makes it great for casual players. - **Why Choose Cubecraft?** Its frequent updates and creative twists keep the gameplay fresh. ### 5\. MC Central - **Platform:** Java - **Features:** Known for its polished minigames, MC Central provides a classic Hunger Games experience with well-balanced maps and engaging gameplay mechanics. - **Why Choose MC Central?** Its straightforward setup and community events make it a fantastic option for Java players. --- ## How to Join a Minecraft Hunger Games Server Ready to dive into the action? Follow these steps to join a Minecraft Hunger Games server: ### Step 1: Choose Your Platform Determine whether you’re playing on Minecraft Java Edition or Minecraft Bedrock Edition. Some servers support both, while others are platform-specific. ### Step 2: Find the Server’s IP Address Visit the official website or community page of your chosen server to find its IP address. ### Step 3: Connect to the Server 1. Open Minecraft and navigate to the Multiplayer section. 2. Click “Add Server” and input the server’s IP address. 3. Save the entry and click “Join Server.” ### Step 4: Select Hunger Games Mode Once connected, look for the Hunger Games game mode in the server lobby. Select it to join a match and start your adventure! ![](https://lh7-rt.googleusercontent.com/docsz/AD_4nXfE1TguwqN9vQUXgI1uHS0tZCjaoi9cMubeb1gbDqwiXF1S5RkuI07QsuaPXL1oXVB_q0Vw8NitIRpXxmMSju57KFLFVHwbDyG7dEW8cg_urUZM_crXvyFWhP3Kh7OzN32060gstg?key=pFvYNY8e1WfVlWoZgRr0EDUo) Source: Reddit. ## Benefits of Hosting Your Own Minecraft Hunger Games Server For players who want complete control over the experience, hosting your own Minecraft server Hunger Games is a great option. Using reliable Minecraft hosting services, you can: 1. **Customize Gameplay:** Modify maps, loot tables, and rules to create a unique Hunger Games experience. 2. **Play with Friends:** Hosting your own server allows you to set up private matches for your friends or community. 3. **Ensure Stability:** With a trusted hosting provider, your server will run smoothly without lag or downtime. ### Recommended Hosting Services - **Apex Hosting:** Offers easy setup and mod support. - **Shockbyte:** Affordable and reliable for small to large servers. - **Godlike Hosting:** High-performance servers with great support for competitive modes. --- ## Tips for Success in Hunger Games 1. **Master Resource Gathering:** Prioritize looting chests and crafting weapons during the early stages of the game. 2. **Plan Your Strategy:** Decide whether to engage in early combat or focus on survival and resource accumulation. 3. **Know the Map:** Familiarize yourself with the arena’s layout to locate high-value chests and safe zones. 4. **Practice PvP Skills:** Sharpen your combat skills to gain an edge over opponents in intense battles. --- ## Final Thoughts Minecraft Hunger Games servers remain one of the most exhilarating ways to enjoy the game’s multiplayer experience. Whether you’re on Java or Bedrock, the best Minecraft Hunger Games server options for 2024 deliver endless hours of competitive fun. With servers like Hypixel, The Hive, and Mineplex, there’s something for every player, no matter your skill level or preferred platform. If you’re ready to take the excitement to the next level, consider setting up your own server with the help of professional Minecraft hosting services. With customizable options and reliable performance, you can create the ultimate Hunger Games experience for yourself and your friends. Jump into the action and prove your survival skills today! **This story contains links from one or more partners.* ### The Best Indie Games on PS5 URL: https://www.superjumpmagazine.com/best-indie-games-on-ps5/ Last updated: 2025-03-05T00:51:10.000Z **Indie games have come a long way in the PS5 era and are now more popular than ever, with exceptional titles that often measure up to even the most prominent AAA releases.** These [top PS5 games](https://www.psu.com/news/best-ps5-games-released-in-2024/) excel not just in accessibility but also in the depth of character and charm, daring to explore unexplored terrain in storytelling and gaming mechanics. ### Hades Supergiant Games' Hades is an action RPG with roguelike features that has received many good reviews for its energetic combat scenes and enthralling story. Players become Zagreus, a vicarious live wire born to Hades who battles the restrictions of Hell to go beyond the limits of his present situation. When it comes to PlayStation's best indie games, Hades elevates both gameplay and narration, giving the instant feeling of playing a truly unique gaming title. Note that you can [check out the best games on PlayStation Plus](https://www.playstation.com/en-gb/ps-plus/). ### Disco Elysium: The Final Cut The launch of Disco Elysium: The Final Cut was a real success. The game received critical praise almost immediately and even became Indie Game of the Year thanks to its profound story and unique RPG characteristics. During gameplay, players go through moral dilemmas and inner disputes with the flawed hero. The wide range of dialogue options permits the players to greatly change the game's outcome. ### Chicory: A Colorful Tale Chicory: A Colorful Tale offers players to experience a wonderful cartoon-like world through its eye-catching graphics and art-based mechanics. The players' mission is not only about adding color to a black-and-white background; they are also on a quest to find a missing artist, making the game exciting and heart warming. ## Unique Storytelling in Indie Titles ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/capsule_616x353.jpg) The Outer Wilds. Source: Press Kit. Indie games are often famous for their deep narrative elements, which share personal experiences and help players stay connected to the story. Some indies bravely explore intricate themes through original [storytelling](https://www.superjumpmagazine.com/digital-storytelling-and-the-visual-novel/); these are among our favorites. ### Outer Wilds Outer Wilds stands as an exceptional blend of storytelling and exploration. It allows players to explore an array of unique planets freely, encountering distinct environmental hurdles like storms and tornadoes. The enigma of a supernova propels the narrative, while ancient alien ruins and the lore surrounding the vanished Nomai civilization weave additional complexity into its fabric. ### Spiritfarer The bittersweetness of the feeling becomes real through Stella's role as the Spiritfarer. Cooking, crafting, and fishing allow players to connect with spirits, resulting in an emotionally rich and engaging experience. ## Immersive Gameplay Mechanics Indie game mechanics often catch the attention of players through the novelty of the interactions and challenges. These unique experiences distinguish them from mainstream games, keeping players interested. ### Sifu Sifu is an action game that brings players to beat-'em-up-like gameplay revolving around Kung Fu whereby the player will become older after each revival. The experience is tactical and involves a unique aging element. Over time, this aging process makes the character less physically capable (with diminishing physical attributes), increasing the complexity and depth of how players progress through the game. ### Vampire Survivors The indie game Vampire Survivors captivates players with its engaging and uncomplicated gameplay. It features a cooperative option that encourages partners to band together and overcome difficulties jointly, increasing the game's attractiveness for repeat play. ## Visually Stunning Indie Games ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/apps.58253.13615498624789457.8929f643-9b15-4676-a034-ae54b0487abb.jpg) Source: Press Kit. Indie games for the [PS5](https://www.playstation.com/en-us/ps5/) frequently rival the visual appeal of big-budget games, charming gamers with unique art styles, great games, and stunning graphics that create engaging and unforgettable gaming experiences. ### Kena: Bridge of Spirits Kena's Bridge of Spirits is a visual masterpiece, with its incredibly realistic graphics and gripping soundtrack that perfectly echoes the game’s environment. It attracts players’ enthusiasm to follow Kena’s endeavors as an inexperienced spirit guide through platforming and puzzle-solving. ### Gris Gris leads players on an emotional adventure with awe-inspiring watercolor visuals. It is characterized by minimal text and intuitive functionality that make it accessible to everybody, coupled with the platforming and light puzzling aspects that bring out the [narrative](https://www.superjumpmagazine.com/crafting-pentiments-medieval-narrative/). ## Quirky Characters and Worlds With funny characters and unique settings, indie games let players enjoy engaging experiences. These games that combine humor, enigma, and unusual settings are usually the ones that capture the players' interest. ### Bugsnax Bugsnax is a game that combines humor and mystery on an island full of 100 different types of creatures (in the form of food/bug hybrids) to capture across multiple biomes. Players must learn about each of the creatures (including their daily habits/patterns) to figure out how to capture each one. ### Stray Users take up the role of a cat in a dense, futuristic world brimming with robots. The titular stray cat, its movements, and the absorbing setting are the perfect fit for those who want to navigate diverse environments and encounter unique challenges (which often involve clever traversal puzzles). It's a great pick for those who love exploring dense urban environments and uncovering the mysteries at the heart of the experience. ## Challenging and Rewarding Indie Games Many players enjoy games that are both difficult and worthwhile. Indie games frequently do this by providing tight controls and game mechanics that rely on the player's aptitude and patience. These two independent games, noted for their high-quality gameplay, offer both exhilarating and engrossing experiences. ### Celeste Celeste intrigues gamers with its trial-and-error platforming mechanics, intensifying the proper satisfaction of experience along the way as skills are acquired. The theme of the game lies in overcoming a central obstacle and is expressed as a story of personal transformation. There are also numerous branching paths and completely optional challenges, which both encourage replayability and completionism for trophy-hunters. ### Dead Cells Dead Cells combines challenging platforming with a very fluid combat system, which is aided by the game's dodge system, which enables the player to essentially move through an enemy to attack it from behind. Dead Cells is often described as a "roguevania", given that it borrows game design elements from both traditional roguelikes as well as Metroidvania games. Featuring procedurally-generated levels, Dead Cells is often compared to games like Dark Souls in terms of overall difficulty. Players will die frequently throughout the experience, but this is all part of the design: the key is to purchase upgrades and learn enemy patterns to improve subsequent runs. ## Coop and Multiplayer Indie Experiences ![](https://storage.ghost.io/c/c0/e7/c0e78dd7-e7af-4603-8ab9-09f05cab06f3/content/images/2024/11/apps.13750.13626568325427111.b79d00fc-6d85-4196-a23a-681bd2582706.jpg) Source: Press Kit. Indie games shine in coop and multiplayer modes, allowing for shared gaming experiences that bring people together. Moreover, they leverage new gameplay mechanics that are even more exciting in team play. ### Deep Rock Galactic [Deep Rock Galactic](https://www.deeprockgalactic.com/) is a cooperative experience that offers an enjoyable journey through unique player classes and mining quests. The replay value is increased by the use of levels that are generated procedurally to allow for a different experience each time you play the game. ### Cult of the Lamb In Cult of the Lamb, players have to create a cult where they must sacrifice victims to a mysterious god. It is a game that balances the aspects of starting your cult, economic resource management, and using force when opposing individuals. An update adds a complementary coop function that improves the entire play experience. ## Emotional and Thought-Provoking Indie Games The role of indie games is significantly increasing in the gaming industry because these games usually touch on deep emotional subjects and offer meaningful messages and narratives. Titles like these make the user feel like they are part of the story, making gaming significant and more than just fun. ### Before Your Eyes Through the use of eye-tracking technology, the Before Your Eyes game offers a unique gameplay experience that utilizes blinking to move between scenes. Its story touches the heart and is experienced at a far more personal level than most video games, creating an emotional story that connects the players to the characters and their journey. ### What Remains of Edith Finch What Remains of Edith Finch takes players on an emotionally charged journey, delving into the unexpected end of life in a melancholy yet uplifting setting. The game's storytelling is profound and thought-provoking, leaving an indelible impression on those who play it. **This story contains links from one or more partners.* ### The Go-To Security Kit for Gamers URL: https://www.superjumpmagazine.com/the-go-to-security-kit-for-gamers/ Last updated: 2024-12-11T23:26:28.000Z **Whether you’re conquering virtual worlds or touring the real one while working, cybersecurity should be a top priority.** Gamers who neglect it can find themselves locked out of their accounts, victims of identity theft, or even in legal trouble if they fail to protect important files properly. We’ve put together a cybersecurity toolkit that both will benefit from. Start using it now for safer, stress-free online work and play! ## Password Manager Accounts let you access an online game you spent thousands of hours on or digital tools essential for your workflow. Therefore, it’s a no-brainer to want to protect your account credentials. Password managers help you accomplish this by generating and securely storing unique, complex passwords for each account. Such tools make it impossible to guess the password, even through brute force, and help prevent one compromised account from putting others in danger. [Password managers](https://nordpass.com/download/opera/) don’t take much time to set up and can be downloaded as browser extensions, which makes protecting and accessing your online accounts very quick and easy. ## Two-Factor Authentication Despite this, you should keep in mind that hackers can still get their hands on tough-to-crack passwords if you share them carelessly or if they get exposed in a data breach. Two-factor authentication, better known as [2FA](https://csrc.nist.gov/glossary/term/2fa#:~:text=Authentication%20using%20two%20or%20more,are%20%28e.g.%2C%20biometric%29.), prevents you from losing account control, even if your credentials are stolen. This is because 2FA requires to provide an additional code to access these accounts. Many online games and services have a built-in 2FA. However, you can use a password manager or a stand-alone authenticator app to enable 2FA for games or services that don’t require one. ## VPN An often-cited perk of the digital nomad lifestyle is being able to work while enjoying refreshments and the view from a seaside café. However, the free café Wi-Fi you most likely depend on for your daily tasks is accessible to everyone around you, making it susceptible to security risks and potential monitoring by cybercriminals. Activating a VPN beforehand encrypts your connection and protects you from potential cyber threats. While hackers might register increased network activity, they won’t be able to see what you’re doing or intercept sensitive files and information you share. ## Data Removal Services Gamers and use technology more than others. This makes them more prone to sharing sensitive information, which advertisers, scammers, and [hackers use to gain their trust](https://www.standard.co.uk/news/crime/talktalk-virtual-reality-london-gamers-targeted-online-scammers-b981986.html) or exploit them. Both groups have reputations to uphold, making it challenging to appear trustworthy professionals while avoiding oversharing personal information. This is particularly tricky to juggle since both will likely actively engage with gaming communities or clients online. But that’s why data removal services exist. These services specialize in contacting data brokers, people finder sites, etc., and have them remove all information they have on you. This helps reduce cybersecurity risks and puts control over your data back into your hands. ![black flat screen computer monitor](https://images.unsplash.com/photo-1606606767399-01e271823a2e?crop=entropy&cs=tinysrgb&fit=max&fm=jpg&ixid=M3wxMTc3M3wwfDF8c2VhcmNofDR8fGZpcmV3YWxsfGVufDB8fHx8MTczMjk0NzIwNXww&ixlib=rb-4.0.3&q=80&w=2000) Photo by [Compare Fibre](https://unsplash.com/@comparefibre) / [Unsplash](https://unsplash.com/?utm%5Fsource=ghost&utm%5Fmedium=referral&utm%5Fcampaign=api-credit). ## Firewall The internet is full of unsafe websites that tempt unsuspecting users with offers like free in-game skins or WordPress templates that would otherwise cost a fortune. Such sites are always a gamble; merely visiting one could result in a piece of malware downloading onto your system and causing serious damage. A firewall monitors incoming and outgoing internet traffic, drastically limiting the malware or hacking attempts that would otherwise affect your devices. Firewalls also offer great [protection from phishing attempts](https://consumer.ftc.gov/articles/how-recognize-and-avoid-phishing-scams) since they can prevent you from visiting known dangerous sites. ## eSIMs For remote workers and frequent travelers, managing mobile data can be a headache. Traditional SIM cards often require you to swap them out depending on the country you’re in, leading to extra costs and inconvenient delays. eSIMs (embedded SIMs) eliminate this hassle by allowing you to activate a data plan directly on your device, no physical SIM required. To get started, look into the [best eSIM providers](https://esimgeek.com/) to find reliable options that offer seamless connectivity, privacy, and security while on the go. ## Anti-Malware If you feel like firewalls aren’t fool proof, adding anti-malware software to your current security kit would be the cherry on top of the cake. Anti-malware regularly scans for, identifies, and quarantines malware that’s meant to sneak onto your device. While it might not prevent you from picking up malicious code, anti-malware will neutralize threats before they have time to infect your system and spread to others. ## Conclusion If there is one takeaway from this, it’s that both gamers and digital nomads should prioritize cybersecurity to ensure their safety, privacy, and peace of mind. You can use the tools we've covered to create a strong defense that hackers will find difficult to breach. So, why wait and risk experiencing a cyberattack first hand? **This story contains links from one or more partners.* _Truncated after 5 MiB. Use `/sitemap.xml` for the complete archive of public content._