Gaming thoughts, bite-size chewables - new orange flavor!
- Thread starter pauli
- Start date
I gave it 15 minutes of my time. It’s fine. Tight corridors. No noticeable texture pop-in. Frenetic as hell. Bullet time and a full cloak. It felt like you are an escaping prisoner from something like a SCP facility? No idea what is happening, but I enjoyed those 15 minutes.
I've done the same so far.
As someone who lives and breathes stealth games, this one I don't even want to touch the stealth except very briefly: The indicator UI is too subtle to be useful in some cases, and light-based stealth isn't quite as accurate as I'd like, but really, the fun is going slo-mo and just shooting things the fuck up.
I need to put more time into it, but for $30 I get the feeling I'll have my fun.
I only played the demo. Unless something comes up massively on sale? I’m not buying a game full price when I am enmeshed in a mutliple-10’s-of-hours game like Tears of the Kingdom for it to just sit on a shelf or in my Steam/GoG/Epic library until I get around to playing it.
I was kinda looking for something new anyways, so it's timing was perfect.
I get that, I do. But I’m the “one game at a time” guy, so I’ll probably never play it again.I was kinda looking for something new anyways, so it's timing was perfect.
You know, and this is more of a general thing, I think that may be what is behind my demo playing obsession. Because I play games one at a time until I either beat them or (rarely) abandon them permanently? Demos have a two fold purpose. It makes sure that I generally only buy titles I’m fairly certain that I’ll play through to the end. And it gives me a brief respit from whatever I’m currently playing.
Both those put together, demos and one-at-a-time-til-it’s done? Has drastically reduced the amount of money I’ve spent on games. It hasn’t reduced the time I put into games - life in general dictates pace of play - but it has saved me money. And demos mean I generally don’t waste my time/money on games I won’t be willing to invest time in.
A bit meandering, but I’m working this out in my head as I type this.
@Ryan B. I just want to say that I love your avatar.
If I were to quit Hollow Knight, it would be the first game I quit because of the challenge, not because I got bored.
I felt like I was getting to that point with the Soul Master in Hollow Knight. The biggest thing that pissed me off was not being able to heal quickly enough when I needed to. I'd start the heal when I found an opening but then I wouldn't be able to dodge the next attack and it rendered the heal pointless. I figured out specific spots where I could heal, but it didn't make it any less frustrating.
If I were to quit Hollow Knight, it would be the first game I quit because of the challenge, not because I got bored.
I one hundred percent agree.
I could list examples, but that would be redundant. Instead, this needs to be sent to every single dev team in the genre. An accessibility option. Something.
I really liked how Hades handled that. You could toggle on the "I'm a god" option, which would start you out with like 20% damage resistance. Every time you died, the resistance went up by 2% absolute. So as you plowed forward and failed run after run, your skill kept increasing, while the enemies got less dangerous a tiny bit at a time. If you were patient enough, you were guaranteed to eventually win.
edit: and no matter how badly you whiffed a run, you were always making progress.
Last edited:
On the one hand, I agree with you. On the other hand, I saw my progression through Hollow Knight and I don't think I'd have been able to learn how to read and react correctly to bosses without first fighting through that frustration with Soul Master. I definitely was on the verge of quitting the game and saying "It's not for me" at that point and with a skip boss mode I think I definitely would have used it and it would have been the go-to for most of the rest of the bosses after a certain point of trying.
Kind of like Tunic. Because of how the "manual" breaks certain pages up, I totally missed that you could level up. So I hit a point, about 4 bosses in, where no matter what I did, no matter how perfectly I fought, it was a 10 minute slog to kill that only took two mistakes to die to. So I ended up turning on no fail mode against the bosses and, well, I didn't have fun with the game. I found myself wondering why they would crank up the Git Gud to such a ridiculous level and ended up writing the game off as a developer who just saw Soulslikes being hard and decided that's what they wanted (and, to be fair, there are plenty of bad "developers" who would do that). If there wasn't a no fail mode I might have ended up asking why it's so hard much earlier and stumbled upon a thread talking about leveling up before I'd finished the game. Then again, maybe I would have just quit and reviewed it as "Ludicrously hard. Not fun. Pass."
I thought violating levels of difficulty was the draw for a Soulslike, hence why I didn't ever get into them.
A good Soulslike is difficult but has a reasonable curve up with ways to offset that via knowledge, skill/practice and it teaches you what you need to know to beat it. Some Soulslikes are much better at any given part of that than even the best actual Soulsborne game.
A bad Soulslike sees "Git Gud" as a mantra and masturbates at the altar of "Just throw bigger multipliers" on everything. They don't consider difficulty ramp, implement good teaching for the systems (assuming they built a half competent system), have good difficulty mitigation (via equipment, items or other systems) and just expect players to want Hard for the sake of Hard.
A bad Soulslike sees "Git Gud" as a mantra and masturbates at the altar of "Just throw bigger multipliers" on everything. They don't consider difficulty ramp, implement good teaching for the systems (assuming they built a half competent system), have good difficulty mitigation (via equipment, items or other systems) and just expect players to want Hard for the sake of Hard.
Frosty Grin
Ars Legatus Legionis
Yeah, this is very true. The first boss in Nioh is like this. Wo Long too - but it forces you to use all things at your disposal.
And it's also about giving you options, tactics, weapons - something different to do when you're trying to defeat the same boss for the 10th time. It can be fun to the point that defeating the boss on the 3rd try feels disappointing.
So I played a few more demos. Some long-winded stream of consciousness thoughts:
Venba - fuck me, this might be the first video game that features people actually from my home state, and one of the first words in it is 'aiyo'. Very cute. It's about a South Indian housewife and her husband as immigrants trying to make a life in Canada in the 80s. It seems a fairly straightforward mini-game and conversation-'em up, sort of in the vein of Night in the Woods or prior indie games whose names escape me. The art is nice-ish, immediately dousing every scene with pleasant warmth and life. I was tickled by the Tamil songs on the radio, but even more tickled by doing something in the game I've done as a matter of course in my life - making motherfucking idlis. Had to chuckle at that.
However, the demo is very slight, and I'm concerned about whether there's enough depth in the structure to carry an entire slice-of-life game within it; the story will have to do some very heavy lifting here. I hope they lean more on how difficult it is to adapt one's culture, language, and mannerisms to a new place, too - especially for as deeply traditional a community as Tamilians can be.
Eternights - the most anime thing I've played in a minute. It's a dating sim/action game, and if you think that's a weird combination, you probably haven't played Boyfriend Dungeon. Okay, so it's an unwieldy combination, but this game just makes it embarrassingly terrible. There's this calendar animation that plays every time you move to the next day or the current scene shifts to nighttime, and it's like a fade to a 3-second long screen and fade out every time. The structure of the game makes it cut between conversations and gameplay, and every time it switches, there's loading and saving, each of which takes a couple of seconds. When an interaction takes about 5 seconds to show someone's reaction face, and then you move back to loading/saving, it gets annoying fast. Also, most of the budget seems to have gone to the (admittedly nice enough) anime sequences, because the demo's environments are mostly poorly lit corridors with barely any detail to them. And the action is so nondescript, it resists my attempts at describing it.
As for the story... well. You're this dude whose friend's trying to set you up on a dating app. He's got dreams of a pop idol one day swiping right on him. You meanwhile are seemingly a hopeless smartass no matter what dialogue option you choose. Meanwhile, there's this new drug coming out called Eternight that stops aging (great name, A+ marketing), and after some banter you go to sleep, whereupon you have a weird dream in which your arm's cut off and you fight some monsters (yes, that's right, and no, I'm not explaining that). Then you wake up and go outside, at which point the world's Eternight facilities explode, a gigantic wall shows up across the country, and people turn into gasp monsters. So you run to a shelter and coincidentally run into the pop idol (literally), and then your dream comes true. It's... uh, something. Whatever that something is, it's ungood.
(Props to stealing the sudden wall thing from Darker than Black, I thought I was the only person in the world who'd seen that anime.)
Broken Roads - the demo was available before the Next Fest, so maybe it'll be around after it's over. So: an isometric RPG set in the strayan outback post-apocalypsism, which, uh, doesn't look all that different from it does now (sozzles, Ozzles). Seems Disco Elysium-influenced, but really it's more in the vein of Obsidian RPGs.
Anyway, nice art, acknowledges indigenous peoples in the splash screens, etc. The big marquee gimmick is that it features a very literal moral compass, with four quadrants: Nihilism (nothing matters, so be a selfish bastard), Machiavellian (my group uber alles, so all everyone else is a means to an end), Utilitarian (treat overall happiness for everyone as an optimisation problem), and Humanitarian (everyone's dignity is important). Immediately, you can see that those descriptions don't necessarily match up to the labels as we'd traditionally define them, and there's the thorny question of 'what if I'm in between any of those?). Well, the game's answer is magnitude - making decisions that are wildly different from your current alignment have a larger impact on your current moral disposition, and also open up more options in dialogue. Decisions that are within your current quadrant make you more 'narrow-minded', conversely, and make some choices unavailable, but offer you higher-level options in conversations.
So how's that work for the game? Well, it's a fun idea, but the execution is as dry as sun-bleached bones. The writing is fine to pretty nice, but the reactions to your moral choices aren't particularly interesting. There's also the issue that neatly delineating conversation options and labelling their moral stance gives you a sense of being constrained by the system - though I see why they went with it, because not labelling the options means players might get upset at choosing a response and their compass shifting to something they didn't expect. The demo does the expected thing of judging your actions at the end through a fairly didactic conversation with an NPC I barely knew, where I felt like I was being lectured about choosing my own path by the game first, then the character. About as subtle as a sledgehammer, and I couldn't see the point of it - it failed to encourage me to question my decisions, like Kreia did in KoTOR 2. In summary, a lot of telling, and not enough showing... but in a game that's literally telling you who you are every step of the way, I suppose it would be silly to expect anything else.
I got into some combat at one point, and the mechanics need some work. It's not easy to see how many AP/MP you have, the NPCs had pathing issues with one dude just moving back and forth because he couldn't melee attack my party, and I couldn't intuitively tell what parts of a battlefield gave me cover without hovering my mouse around the area first. There's also QoL issues in that you can't highlight interactables, NPCs are named but you can't see their names if you hover the mouse over them, there's no run/walk toggle, buying stuff at shops doesn't let you split a stack by entering the number of X item you want (you have to right click and drop one of whatever repeatedly until you're happy with the number you're buying), and a lot of other things.
In short, needs work, and the core conceit seems to project the appearance of depth, but the execution does not. The voice acting is fine, and while the characters are all very mildly written, the prose is decent, and we need more games where you can hear Australianisms peppered throughout a conversation.
Edit: yes, I should have mentioned, it's essentially trying to be Australian Fallout. Which is cute, given Fallout was itself inspired by Mad Max.
Venba - fuck me, this might be the first video game that features people actually from my home state, and one of the first words in it is 'aiyo'. Very cute. It's about a South Indian housewife and her husband as immigrants trying to make a life in Canada in the 80s. It seems a fairly straightforward mini-game and conversation-'em up, sort of in the vein of Night in the Woods or prior indie games whose names escape me. The art is nice-ish, immediately dousing every scene with pleasant warmth and life. I was tickled by the Tamil songs on the radio, but even more tickled by doing something in the game I've done as a matter of course in my life - making motherfucking idlis. Had to chuckle at that.
However, the demo is very slight, and I'm concerned about whether there's enough depth in the structure to carry an entire slice-of-life game within it; the story will have to do some very heavy lifting here. I hope they lean more on how difficult it is to adapt one's culture, language, and mannerisms to a new place, too - especially for as deeply traditional a community as Tamilians can be.
Eternights - the most anime thing I've played in a minute. It's a dating sim/action game, and if you think that's a weird combination, you probably haven't played Boyfriend Dungeon. Okay, so it's an unwieldy combination, but this game just makes it embarrassingly terrible. There's this calendar animation that plays every time you move to the next day or the current scene shifts to nighttime, and it's like a fade to a 3-second long screen and fade out every time. The structure of the game makes it cut between conversations and gameplay, and every time it switches, there's loading and saving, each of which takes a couple of seconds. When an interaction takes about 5 seconds to show someone's reaction face, and then you move back to loading/saving, it gets annoying fast. Also, most of the budget seems to have gone to the (admittedly nice enough) anime sequences, because the demo's environments are mostly poorly lit corridors with barely any detail to them. And the action is so nondescript, it resists my attempts at describing it.
As for the story... well. You're this dude whose friend's trying to set you up on a dating app. He's got dreams of a pop idol one day swiping right on him. You meanwhile are seemingly a hopeless smartass no matter what dialogue option you choose. Meanwhile, there's this new drug coming out called Eternight that stops aging (great name, A+ marketing), and after some banter you go to sleep, whereupon you have a weird dream in which your arm's cut off and you fight some monsters (yes, that's right, and no, I'm not explaining that). Then you wake up and go outside, at which point the world's Eternight facilities explode, a gigantic wall shows up across the country, and people turn into gasp monsters. So you run to a shelter and coincidentally run into the pop idol (literally), and then your dream comes true. It's... uh, something. Whatever that something is, it's ungood.
(Props to stealing the sudden wall thing from Darker than Black, I thought I was the only person in the world who'd seen that anime.)
Broken Roads - the demo was available before the Next Fest, so maybe it'll be around after it's over. So: an isometric RPG set in the strayan outback post-apocalypsism, which, uh, doesn't look all that different from it does now (sozzles, Ozzles). Seems Disco Elysium-influenced, but really it's more in the vein of Obsidian RPGs.
Anyway, nice art, acknowledges indigenous peoples in the splash screens, etc. The big marquee gimmick is that it features a very literal moral compass, with four quadrants: Nihilism (nothing matters, so be a selfish bastard), Machiavellian (my group uber alles, so all everyone else is a means to an end), Utilitarian (treat overall happiness for everyone as an optimisation problem), and Humanitarian (everyone's dignity is important). Immediately, you can see that those descriptions don't necessarily match up to the labels as we'd traditionally define them, and there's the thorny question of 'what if I'm in between any of those?). Well, the game's answer is magnitude - making decisions that are wildly different from your current alignment have a larger impact on your current moral disposition, and also open up more options in dialogue. Decisions that are within your current quadrant make you more 'narrow-minded', conversely, and make some choices unavailable, but offer you higher-level options in conversations.
So how's that work for the game? Well, it's a fun idea, but the execution is as dry as sun-bleached bones. The writing is fine to pretty nice, but the reactions to your moral choices aren't particularly interesting. There's also the issue that neatly delineating conversation options and labelling their moral stance gives you a sense of being constrained by the system - though I see why they went with it, because not labelling the options means players might get upset at choosing a response and their compass shifting to something they didn't expect. The demo does the expected thing of judging your actions at the end through a fairly didactic conversation with an NPC I barely knew, where I felt like I was being lectured about choosing my own path by the game first, then the character. About as subtle as a sledgehammer, and I couldn't see the point of it - it failed to encourage me to question my decisions, like Kreia did in KoTOR 2. In summary, a lot of telling, and not enough showing... but in a game that's literally telling you who you are every step of the way, I suppose it would be silly to expect anything else.
I got into some combat at one point, and the mechanics need some work. It's not easy to see how many AP/MP you have, the NPCs had pathing issues with one dude just moving back and forth because he couldn't melee attack my party, and I couldn't intuitively tell what parts of a battlefield gave me cover without hovering my mouse around the area first. There's also QoL issues in that you can't highlight interactables, NPCs are named but you can't see their names if you hover the mouse over them, there's no run/walk toggle, buying stuff at shops doesn't let you split a stack by entering the number of X item you want (you have to right click and drop one of whatever repeatedly until you're happy with the number you're buying), and a lot of other things.
In short, needs work, and the core conceit seems to project the appearance of depth, but the execution does not. The voice acting is fine, and while the characters are all very mildly written, the prose is decent, and we need more games where you can hear Australianisms peppered throughout a conversation.
Edit: yes, I should have mentioned, it's essentially trying to be Australian Fallout. Which is cute, given Fallout was itself inspired by Mad Max.
Last edited:
I reread this, and... Soul Master is an early game boss?
Sounds like this game is longer than I thought it would be...
Though I'm trying to explore everything, so that could be it.Or cheese them with magic, or throw poo at them, or be a real scrub and raise vitality.
I reread this, and... Soul Master is an early game boss?
Sounds like this game is longer than I thought it would be...
FWIW - it took me a while to beat Soul Master in my game for much the same reason. There is a linear path one can take, but it's more fun to explore.
Soul Master is somewhere in the first third to half of the bosses. Mostly depending on if you do critical story only or aim for all of the base game's optional content as well.I reread this, and... Soul Master is an early game boss?
Sounds like this game is longer than I thought it would be...
Frosty Grin
Ars Legatus Legionis
Tried the demo for The Devil Within: Satgat, a retro-Asian-futuristic-spiritual 2D soulslike. Art direction is good, sometimes bordering on great, but the combat wasn't good enough for me. I was putting up with it for a while, but then there was the "huge, floor to ceiling, worm" type of enemy, which can be tolerable towards the end of the game when used sparingly - but got me to quit this demo. Haven't seen anything really worthwhile.
Last edited:
Frosty Grin
Ars Legatus Legionis
Another demo, for The Muller-Powell Principle, a sci-fi action/puzzle game. Feels like something that would have been on trend and groundbreaking back in the HL2/Doom 3 times, with the energy gun, object stacking and seamless interactive terminals. Now it feels rather dated. Maybe better writing and voice acting would have helped - but then I saw the trailer in the end - and it looks like they're going for the grab bag of different stuff, including some kind of supernatural stuff to the point of some kind of "eye of Sauron" which feels rather bizarre. You can mix different things up, if you do it carefully, as in The Beast Inside, for example. But I'm not seeing this from this game.
I reread this, and... Soul Master is an early game boss?
Sounds like this game is longer than I thought it would be...
So, funny story, I actually started playing Hollow Knight while waiting for a large AAA game to download. I was like, "People love this game, let's see what it's about real quick." 50 hours later, I reemerged and was like, "What was that other game I was gonna play again?"
Hollow Knight is a huge game, with a ton of things to do. It's probably one of the best values in gaming given how relatively cheap it is, especially on sale.
Now, calling Soul Master "early game" may not have been quite correct for all players. I just remember it as being pretty early in my play through. I also know there are a few big areas that are gated behind the ability you get from that boss.
AAaaaAAAaaaaAAH! Think I won the Powerball! (Homsar is one of my favorite Homestarrunner characters. Born from a misspelling in an email that someone sent to Strong Bad, and always funny whenever he shows up.)
Most (if not all) bosses in Hollow Knight have moments where you can heal designed in. For Soul Master, it's when he flies across the arena with orange soul bubbles circling around him. There is a pretty generous safe spot in the middle of the arena where you can just stand still and get off a couple heals. The boss fight became almost trivial once I realized that (after a ton of failed attempts).
There are also a couple of charms that help with healing: Quick Focus and Shape of Unn. They even synergize when used together. I didn't use them because I always wanted the notches for more offensive capabilities, but they do help a lot if you're having trouble.
Looking forward to this one! I finished the PSX version when it released and wanted to start the PSP version for some time, but R is looking good that I will wait for this one instead.
Fired up this game called Rustler from a couple of years back that happened to be included in a Humble Monthly. The conceit is that it's a top-down (anachronistic) "Medieval" Grand Theft Auto (or Horse/Wagon in this case) without any controller support at all.
Now as I recall the old top down GTAs I and II did not have controller support either, but to me, were still intuitive to control-- you used WASD to move forward-left-backward-right relative to your character's facing. Am I remembering that wrong?
Unfortunately, that is only an option in this game when on a horse or in a wagon. On foot, your only choices (to me unintuitive) are WASD that's screen-oriented, or your character always moves forward pressing W toward wherever the mouse cursor happens to be. These two control schemes are available for riding/driving wagons as well.
Can't for the life of me figure out why they couldn't have the third option (WASD relative to avatar's facing) on foot. That or include controller support where moving the left stick would simultaneously face and move your guy in the appropriate direction.
Now as I recall the old top down GTAs I and II did not have controller support either, but to me, were still intuitive to control-- you used WASD to move forward-left-backward-right relative to your character's facing. Am I remembering that wrong?
Unfortunately, that is only an option in this game when on a horse or in a wagon. On foot, your only choices (to me unintuitive) are WASD that's screen-oriented, or your character always moves forward pressing W toward wherever the mouse cursor happens to be. These two control schemes are available for riding/driving wagons as well.
Can't for the life of me figure out why they couldn't have the third option (WASD relative to avatar's facing) on foot. That or include controller support where moving the left stick would simultaneously face and move your guy in the appropriate direction.
Last edited:
Frosty Grin
Ars Legatus Legionis
Finally, a worthy find: Luna Abyss.
A lock-on bullet hell FPS. Plays like Returnal - except you can carry four weapons at the same time and have to switch mid-combat.
There are no soulslike elements, no fall damage, and big, airy jumps. The look is black white and red at first, then other colors show up, weird and futuristic, reminds me of Echo., reminds others of Nier. All in all, I'm impressed, could end up better than Returnal.
A lock-on bullet hell FPS. Plays like Returnal - except you can carry four weapons at the same time and have to switch mid-combat.
There are no soulslike elements, no fall damage, and big, airy jumps. The look is black white and red at first, then other colors show up, weird and futuristic, reminds me of Echo., reminds others of Nier. All in all, I'm impressed, could end up better than Returnal.
I liked the brief time I had with it. Pretty wild aesthetic to it. Like Giger/TechNoir mixed with a bucket of rejected GLADos parts, then blended in a bucket of black paint and a bloody finger.
After reading through the hades thread I noticed just how many of the comments could also apply to other action based roguelikes. I know that's part of being a roguelike but in most cases but just a word or two difference could apply to Dead cells or Binding of Issac.
I also tried hades simply because it's the go to game to test how well a mini pc handles modern games and graphics on the retro gaming corps channnel on youtube
I also tried hades simply because it's the go to game to test how well a mini pc handles modern games and graphics on the retro gaming corps channnel on youtube
Hades succeeded brilliantly at pretty much everything it tried to do. If there's a master class in 2D gaming, it definitely needs to be in the curriculum.
Hades is the only Supergiant game that I mostly clicked with since Bastion. Which is particularly funny because I usually don't click with roguelike/lites at all.
Same thing here. I liked Bastion but didn't truly love it, and their later games whiffed with me. Until Hades, anyway, which was top-to-bottom brilliant. Offhand, I can't think of any criticism for that title. It did exactly what it meant to do, and was superb even in the tiniest details.
Frosty Grin
Ars Legatus Legionis
Yeah, this is the most notable aspect, I think. Hades gave meaning to randomness, like Dark Souls gave meaning to failure.
I can. Transactional relationships had been criticized for more than a decade in bigger games, but Hades doesn't just have this aspect but makes it go to 11. Every character is like a coin slot.
Huh, it would seem some of you didn't love Transistor to bits, as I did. I think I played through that one three times.
Well, I did. It's the best Supergiant game as far as I'm concerned, and while Hades is mechanically and structurally superior, with a less elliptical story, those are the reasons why I like Transistor in the first place - it's not perfect, but it's evocative, and playing it is like inhabiting a waking dream. I love it to bits too.
Also, all Darren Korb soundtracks are the best Darren Korb soundtrack, but Transistor's is just that bit more special.
This is any game to be honest. I'll prove the point by plugging in two RPGs from the same company and years apart.
Chrono Trigger is a fantastic RPG with a reasonable curve upward with gameplay effectively built that teaches you how to eventually beat the final boss.
Final Fantasy XIII is terrible RPG built in a long hallway corridor that relies entirely on numbers to pose a challenge.
I get your point but I'm of the position that XIII has all of the elements of a well designed game within it. It's just that during the critical story path they aren't used.
This is an abject failure of S-E not trusting their players. When you get the full Crystarium unlocked and have to start fighting the real enemies at the end of the game that description could not be farther from the truth. Knowing what effective Paradigms to have available and when to switch to them is the only way one is going to beat an Adamantortoise and many of those endgame challenges. They should have been in the critical path of the game and that they weren't is a failure on S-E's part but there's a lot more to the combat system than just big numbers it's just that a lot of people aren't going to ever see it.
"At the end of the game" means not in the overwhelming majority of the game. I'm going to weigh a game based on its delivered experience and what I can glean of developer intent.
That's me. The battle system of 13 could be summed up as "Mash autobattle. Heal sometimes." And I'm still salty that the story started out extremely compelling and then devolved into illogical nonsense (like many anime stories do, unfortunately).Worse, the combat system practically requires a party of 3 to function properly. So naturally, they split your party up into groups of 2 for the first 20 hours. It's just a slog.
I've tried to start it three times. It's never held my interest for some reason.
It has my favorite Darren Korb soudtrack and I loved the art, but the game… Frankly, only Bastion has ever “clicked” for me. I still buy all their games, because I love what they do, but the game play has only hit for me once.
Tunic fell into the same category as Supergiant Games; love everything about it but the gameplay.