An A-Z of great retro games for Hallowe'en

For me, the A-Z list; picking a single game in the given category starting with each letter of the alphabet, is the perfect way to ensure a healthy mix of well known and more obscure titles.

There are downsides, obviously. Choosing something for 'Q' that isn't Quake and finding something (Anything!) decent to suggest for the letter 'J' are a persistent challenge, but, when you don't have a readership of millions, constructing these lists is more about the creative side than the delivery, so these awkward letters usually make the process much more fun.

Anyway. I did an A-Z of Games for Halloween a few years back, and there will doubtless be a few duplications, but today I'm giving myself the additional constraint of 'Retro'. The definition of 'Retro' is pretty fluid, but for these purposes I'm saying any game released last century; up to 31st December 1999, is Retro. Make your peace with that now, it ain't changing!

So, with all that preamble out of the way, lets get started!

Wait! One last thing, I don't like RPGs, so don't expect to see 'Vampire The Masquerade' or anything similar below!

Right, now we go...

Avenging Spirit - ARC/GB 1991
In this, fairly cute looking, 1991 arcade platformer you, as the titular spirit, are first murdered and then summoned to save your girlfriend by her (don't say mad) scientist father.
At the start of the game you are given a choice four potential possess-ees to serve as your host - but it is only when that first avatar is killed that the game comes into its own. Emerging from the host as a ghost, and with your 'spirit meter' quickly ticking down, you must immediately jump into a new body.
In the standout feature of the game, you can possess absolutely any other NPC, and take on their weapon and other characteristics as you continue.
Besides the arcade original there was a surprisingly faithful port to the original Game Boy, an emulated version of which is available from the 3DS eShop. 

B-Movie - PS 1998

You'll see, as we get further into this list, that I have a bit a thing for 50's B-movies. Ever since this particular era of film-making, the genres of Sci-Fi and Horror have been inextricably linked and, (something else you'll see reflected in this list) this is still very often the case in video games.
B-Movie, known in the states as Invasion from Beyond, not only embraces the full 'Mars Attacks' ethos, but is also old-school in it's design, with wrap-around levels employed as you search the map for enemies to blast and scientists to rescue. 
It's a simple but hugely entertaining game, with added depth given by unlockable vehicles and a decent variety of mission structures.

Castlevania: Symphony of the Night - PlayStation 1998
Despite its open level designs and progression method coming more than a decade after they were first seen in Metroid, Symphony of Night is the reason why the genre portmanteau has '–vania' stapled to the end of it. Simon’s Quest had toyed with exploration in the series previously, but not as expansively or as successfully as was achieved in this, which is considered a true great of the genre to which it gives (half) it’s name.
Shamefully I've only ever played it (briefly) through emulation - but the impact of that short play, and the opinion of people I trust, is play, and the opinion of people I trust, is more than enough to include it on this list.

Doom - PC 1994
Even with it's 'Hell' motif and legions and monsters, it sometimes easy to forget that, when it was originally released, Doom was a very scary game.
The sound design in particular lent an incredibly eerie atmosphere, and it was far more common to see players creep around corners and twitch at every sound than it was to see the borderline speedrunning pace that it's played at today.
Not just one of the most important games ever made, but one of the best too.

Evil Zone - PS 1999

In the first (but by no means last) trip on this list to Tenuous Town, Evil Zone barely meets the criteria of a game for Halloween. It does have the 'Evil' in the title, and it has an evil being as the boss, with the plot of this simplistic fighter revolving around finding the strongest fighter to face them - but beyond that... erm... as I said: Tenuous.
On the other hand, the average-at-best reception awarded this title means that many thought it to be a horror of a different kind. Personally though, I found the TV Show presentation style endearing and, in an era when fighting games didn't often have stories, this has one for every single character, including the main antagonist.

Fear Effect

More famous today for a thirty-second quasi-sapphic elevator cutscene in it's sequel than any of it's own qualities, the original Fear Effect was a horror themed evolution of the classic point-and-click adventure that used sprites against pre-rendered backgrounds to great effect. There's a more considered approach than usual to Chinese mysticism that elevates proceedings a notch, with a late game trip to the underworld being particularly memorable.
The balance between puzzles and gunplay is well maintained throughout, and the grizzly death animations that play upon failure of a puzzle are a particularly macabre treat.

Grim Fandango

And talking of point-and-click adventures, here's the one that's often described as the greatest of them all (although, admittedly, not by me).
There's not much new one can say about Tim Schafers magnum opus, it's a brilliant, funny, and devilishly difficult tour de force that has been made available on just about every platform on the planet - so there's no excuse for not playing it.

House of the Dead 2

Selecting the sequel was an easy choice of the 2 House of the Dead games that came out in the 20th Century, as it's a marked improvement over the original in many ways.
Most predominantly, the use of branching paths adds diversity and... lets not say 'depth'... but certainly it gives the game a sense of interactivity missing from many other 'ghost-train' style on-rails shooters.
The voice acting is the stuff of legend, but it's the only thing in the game that's of dubious quality; everything else is a fantastic example of the genre.

It Came from the Desert

With inspiration taken broadly from 50's nuclear age sci-fi-horror b-movies and, more directly, the astoundingly effective 1951 giant ant thriller THEM!, It Came From the Desert is one of Cinemaware’s most fully realised interactive movies.
Much to the chagrin of many a late 80's teenager, It Came from the Desert's core gameplay doesn't often involve trying to shoot enormous bugs in first person, but s rather more geared towards using your powers of persuasion to evacuate the wonderfully characterful NPC inhabitants of the small desert town for which the threat posed by oversized insects is most imminent. With this being an interactive movie it's actually impossible to die, but it's still all too possible to fail.
Luckily, as with many games of this type, the real joy comes from replaying and discovering new outcomes to individual situations and indeed the whole game. If you're even a little bit of a classic b-movie fan you need to play this game; as a love letter to the genre it is near flawless. 

Jurassic Park - Amiga/DOS 1993

I don't like it any more than you do, okay, but there are so few games that start with the letter 'J', especially within this definition of 'Retro' that this is the closest I could get.
For large sections this rendering of Jurassic Park suffers from the same flaws as many of the others; uneventful 'fetch quest' style missions in largely empty open world environment. Where the PC/Amiga game differs (and excels), however, is where it almost most fits the 'Halloween' brief. There are sections throughout that take place inside buildings, and these are rendered in the now familiar first-person-shooter style. There are jump-scares aplenty as you navigate dark corridors in near darkness, with velociraptors appearing, almost literally, out of nowhere.

Kid Dracula - GB 1993

Yet another game who's price on the secondhand market has ensured I've only ever experienced it via more dubious methods, this spin-off/pastiche of the Castlevania series is in the mould of The Evil Dead 2; being both a remake and a sequel to the Famicom original.
The scaled down platforming works brilliantly on the Game Boy's small screen, with the cute and characterful art in particular feeling completely at home here. 'Metroidvania' elements may be absent, but there are between-level upgrades that bring more interest to proceedings.
It's a short game, which makes the high price tag even harder to swallow, but if you can cope with not understanding Japanese, copies from that territory come with a slightly more palette-able price tag.

Leather Goddesses of Phobos - DOS 1986

The sequel may have actual graphics and a name that is the stuff of legend (Leather Goddesses of Phobos 2: Gas Pump Girls Meet the Pulsating Inconvenience from Planet X!) but the second installment's sub-Leisuresuit Larry humour and terrible writing make it a pale shadow of the original - a properly old-school text adventure.
Leather Goddesses of Phobos has a style that is just irreverent enough for it to get away with a multitude of genre tropes and it's so genuinely funny that any missteps could be easily forgotten - if there were any (Spoiler: there aren't).
I grew up playing text adventures so I hope it's no small recommendation when I say this is among the very best of them.

Mortal Kombat II
While it's the original that is writ largest across my memory, it's this first sequel that is clearly the best game in the original, classic franchise. With enough improvements over the first game to make it worthwhile, and far fewer mistakes than MK3, Mortal Kombat II set the stall for the direction the series continues in to this day by bringing a healthy dose of silliness to the otherwise gruesome developments.

Nemesis the Warlock

When I played this on my brother's Commodore 128 way back in the day I had no idea that it was derived from a 2000 A.D. comic, I think I actually loaded up the disc thinking it might be related to the Konami shooter.
Despite it's obvious simplicity as a single screen platformer, I've never forgotten the simple joy of defeating enemies and using their corpses as a stairway to the exit - a stroke of genius game design that I don't think I've ever seen repeated.

Olly and Lissa 2: Halloween

I mean, it has 'Hallowe'en' right there in the title, how was I going to resist?
The Olly and Lissa trilogy is a set of exploration and puzzle solving games released  between '86 and '89 on Spectrum, Amstrad, and C64.
This is really a recommendation for all of them, as each has strengths and weaknesses. I think the graphic style of the original is more unique than the that of the sequels, and the third game is obviously the biggest, but the flick-screen format was looking a bit old-hat on the eve of the nineties.Olli & Lissa II is, then, would be the sweet spot of the series were it not for the small issue of Olli & Lissa themselves not actually appearing outside of the intro and the game-over screen.
If you can put that small annoyance aside though, the new character, a friendly witch, brings a new dimension to the collect-em-up format by being able to fly around the level on her broom.

Parasite Eve II

Despite all 3 entries in the Parasite Eve trilogy being classified as 'action role playing' games, they each have idiosyncrasies that differentiate them.
Between the two games that qualify as retro (by my definition) I was a much bigger fan of the survival horror leanings of the sequel than I was the heavy RPG style of combat in the original. I actually think the 'hot-swapping' action of the 'The 3rd Birthday' is best of all, but that is both an irrelevant and a very unpopular opinion.
Parasite Eve II is a beautiful looking game, and the Resident Evil style action is a big improvement, but the real highlight of the game for me is the boss battles - hideous, room-filling, creatures that it will take all your, and your avatars, abilities to overcome.

Quake II - N64

Why Quake II? And why the N64 version with it's tiny grainy multiplayer screens and shonky control system? Because it's the only retro 'Quake' game I've played, okay?
I tried and failed to convince myself that Quazatron, the ZX Spectrum's brilliant isometric version of Paradroid fit the hallowe'en brief more than this already loose connection... but it wasn't to be.
Play Quazatron on the Spectrum, don't play Quake II on the N64, move on.

Resident Evil - PS/Saturn 1996

No prizes for guessing which series was going to be representing 'R' here, but how to choose which instalment?
Resident Evil 2 is probably a better all around game than the original, but this is a list for the Halloween season - and Spencer Mansion is quite simply one of the best haunted house environments ever to appear in a video game.
It's a rare event in any medium when the flaws (or perceived flaws) of a piece manage to enhance it, but that is very much the case with the original Resident Evil. Take the voice acting, subject of a million memes, there's no way anyone could claim it had genuine quality. Yet, better acting may have telegraphed plot points that otherwise remain obscured by the stilted delivery.
And then there’s the 'tank controls', whether the vagaries of movement and inconsistent aiming exist by accident or design may never be known, but either way, they add huge amounts of tension to encounters where swift action is required.
There can be no doubt that the first Resident Evil, no matter the quality or otherwise of later franchise entries, remains an ingeniously designed adventure that has permanently and single handedly reignited a stagnant genre. 

Sweet Home

Brought to attention in the west by the success of Resident Evil, this NES outing from 1986 received a fan translation from its original Japanese to English almost 20 years after the original release.
It's influence on Capcom's first trip to Raccoon City is apparent from the very start, but this is a fascinating and genuinely scary game in its own right.
Played from a top down perspective, the gameplay involves, as you might expect, solving puzzles and occasionally battling evil entities. The backtracking and item management are familiar too, but a key difference is that in Sweet Home you control a group of five, and should any character die they remain so until the end and effect the outcome of the finale.

Todd's Adventures in Slime World - Lynx 1990

The Atari Lynx is one of my favourite game systems of all time. Although it lacked a big name franchise like Sonic or Mario to draw players in, it instead focused on brilliantly bringing hits from the arcade to it's tiny inch screen. Thanks to this, despite a pretty small library, it has one of the best quality-to-quantity ratios in the whole medium,
Todd's Adventure in Slime World was later ported to both the Mega Drive and the PC Engine Super CD, but it remains a Lynx game in my mind. As the titular adventurer you explore the vast slimy planet and collect gems. It's simplistic stuff, but fun presentation and a few neat ideas (having to wash off slime in water pools, for example) keep the game interesting - especially with those with the compulsion to see every part of the planet.

UFO: Enemy Unknown

The genesis of X-Com franchise can be traced all the way to 1984 when Rebelstar Raiders (a game written entirely in BASIC) was released for the ZX Spectrum, but in some ways the influences can be traced back further still, as it's another game that takes clear inspiration from the sci-fi horror movies of the fifties and sixties.
It's interesting that despite being the defacto series moniker today, it was only afte this game was rebranded for the American market as X-Com: UFO Defense that the series’ first bore the 'X-com' name.
Whether you call it, X-Com or UFO, the game features a near perfect combination of management sim and turn based combat elements that ensure you’ll be hooked from the very beginning and despite the dozens of sequels, spiritual successors, and remakes it has, to my mind at least, never been bettered in the genre. 

Vampire: Darkstalkers Collection

I could have just selected Vampire Savior, the original name for Darkstalkers 3, but this Japan-only release collected five different entries in the ghoulish fighting game series and so offers some real bang for your Yen
These 2D fighters featuring a deliciously twisted cast of monsters, villains, succubae, and various other freaks and ghouls may look a little simplistic when compared to games released since, but there's real class in the character designs and the fight engine.
Darkstalkers 3 is probably the best of the bunch, the Dark Force System it introduced was the major change from earlier instalments - a 'super meter' in all but name it brought the game in line with other 2D fighters of the era so if you can't get this collection , that's the one to play

War of the Worlds - PS 1998

Did you know that at least one 'Where in the [X] is Carmen Sandiago' game was released every year from 1985 to 1993? I discovered this snippet of trivia as I trawled through twenty-odd wikipedia pages desperately searching for an even mildly horror-themed game starting with 'W'.
It was all worthwhile in the end however, as I was actually quite pleased to be reminded of this game. I've been meaning to play it for some time and despite having to do so via emulator (I wasn't willing to blind-buy for £40+) I'm really glad I did.
This EU only release is, a little bizarrely, a vehicular combat game - but it is rhankfully a pretty good one. Each mission takes place in a different real world location taken from H.G. Wells' classic novel and sees you take control of a decent variety of era-accurate vehicles in battles against the alien menace. There's some light strategy too, and, played along to remixes from the famous Wayne album, it all makes for a pretty enjoyable blast. 

Xenophobe - Various 1987

A multiplayer shooter a good few years ahead of it's time, Xenophobe allowed three players to cooperatively battle a variety of levels by giving each a section of the screen to themselves. Split horizontally, the view of the game would be pretty iconic, were it not, to this day, something of an underappreciated effort.
The Atari Lynx version had the potential to be a definitive port, with the link cable allowing 3 consoles to have a full screen each. But unfortunately the commercial failure o the machine meant that Xenophobe didn't find much of an audience, so trying to find two other people with both the same hardware and software was an even harder task than completing this side-on, screen flipping, shooter.

Yokai Dochuki - Arcade/PC Engine/NES

As a new owner of a PC Engine, it's nice to be able to exploit the amount of time I've spent recently researching it's library to the benefit of more than my game library.
Much like the aforementioned Fear Effect, Yokai Dochuki is notable for it depiction of an eastern hell - in this case 'Jigoku', the Japanese variant.
The game has you play as a small boy who journeys through five stages of hell to determine his final fate - one of five endings available in the game.
It's an interesting game more than a brilliant one, with the NES version being particularly simplistic, but it's definitely worth checking out if you have the facility.

Zombies Ate My Neighbors - SNES/Mega Drive - 1993

It always boggles my mind that the (admittedly brilliant) title of this quasi-isometric run-and-gunner from lucasarts limits the antagonists to zombies.
During the corse of the game you will come across (forgive me a copy/paste from wikipedia) vampires, werewolves, huge demonic babies, spiders, squidmen, evil dolls, aliens, UFOs, giant ants, blobs, giant worms, mummies, chainsaw-wielding maniacs, "pod people" and, obviously, zombies.
Exploring the levels and saving your neighbours is made an extra joy through the game being very funny, and the accompanying music is worth a mention too - expertly capturing the monster-movie tone throughout.

Playing 'Surf Champ' - "The game that teaches you to surf..."

Back in May 2020 an article appeared, somewhat bizarrely, on the BBC Sport website about a 1985 videogame designed to teach people how to surf.

It was a fascinating piece that I'll link at the bottom, but what caught my imagination most of all was the bespoke controller; a plastic surfboard shrunk down to a size a little smaller than the original model of ZX Spectrum. This device was designed to sit on top of the rubber keys and claimed to offer the player scientifically developed 'realistic' movement.

It's a brilliantly bonkers concept, but how does it work? And is the game any good?

Well, perhaps unsurprisingly (especially if you've read the aforementioned article) the game has the air of being put together by someone who's never made entertainment software before. It's worrying enough when the loading splash screen looks to be comprised of the in game graphics which were, it should be said, very simple even by 1985 standards. But furthermore, once loaded, you're immediately presented with the questions "Choose your board 1-5?" and "Gear Selection 1..5", the latter of which inexplicably requires you to enter more than one number and then, for some reason, enter an "X" to move to the next screen.

This is a menu system that is entirely impossible to navigate without constant reference to the game manual, and in-game things only slightly improve. These developers have slavishly attempted to recreate every part of the surfing experience in 48k of ram and 8x8 sprites. 

First up, you have to plod up and down the beach as you choose the best time and place to paddle out... or risk being washed back the way you came. How far you paddle is a variable, as is when to mount, how to turn, how to re-mount... and all this is must be achieved while watching an energy bar that constantly depletes, and is impossible to refill.

On the underside of the game's 19cm surfboard controller are little nubs around the edge that press down onto certain keys, and a central pivot. Placing a hand on the board, you press in the various areas, relative to where you would press with your feet when real-world surfing to perform turns, dip the nose over waves, and other surfing moves that I have little knowledge of... I think you can even hang ten. 

Or so the manual says.

Everything about Surf Champ is compulsively dedicated to 'real' surfing accuracy which makes it, as a game as we know it, arcane in the extreme. Such is the extent of its complexity and nuance that simply getting up on the board and floating straight back to the beach feels like a genuine achievement. But, as frustrating as this can be, it also brings a compulsion to try again, to be better, to learn.

And isn't that how it should be?

Gaming today gives us on-the-fly tutorial modes, hand holding, and context sensitive buttons that have us parkouring across the worlds rooftops with little more effort than is required to change the TV channel. It shouldn't be a surprise that playing Surf Champ in direct juxtaposition to this feels initially tortuous. 

The box proudly states that this is 'The first REAL computer sport' and that it is 'The game that teaches you to surf' and while these claims may be a little fanciful, it's a game that certainly puts failure and success entirely in the hands of the player, or, perhaps more accurately, the student.

This is a 'learn to surf' simulator and, as a beginner, on a real wave, getting up on the board and floating straight back to the beach would be an achievement too, wouldn't it?

And if you failed you'd get up and try again, right? And you'd get frustrated about how hard it was and want to smash your surfboard and through the pieces across the room beach. Wouldn't you?

There are accounts, in the BBC Sport article, of actual surfers at the time sitting in front of Surf Champ and picking it up instantly. The endorsements were resounding and efforts made to recreate the experience had apparently paid off. So Surf Champ must be a good game, right?

Ultimately, no. But it is a very interesting failure. And often, in a world of endless cookie-cutter games played by millions of people at the same time, that's better than 'good'.

Agents of Mayhem - Misunderstood gem or forgettable farce?

Agents of Mayhem is a game from Volition that has a purple-leaning palette with a prevalent Fleur de Lis motif - but it is not, in any meaningful way, related to the Saints Row series.

It's third person, with a large cast of heroes available, all with distinct personalities and attributes. But it isn't a Battle Royale or other game of that broad type - it doesn't even have online multiplayer.

And then, perhaps most confusing of all, Agents of Mayhem is a game where you always take a squad of three into battle, but it offers no co-op. 

All these contradictions appear to have not only left consumers too confused to purchase the game, but it seems to have often left a large number of those few that did buy it disappointed. Six months after release, the game had sold just 300000 copies and was cited as the reason for layoffs by the developer. 

It isn't really fair, however, to blame Agents of Mayhem's failures on Wii-U style consumer confusion and disappointment with all the things it isn't. There are also fundamental issues with what it is, that, for a full price game in a crowded market, doubtless contributed to it's fate.

Case in point: As a big fan of the studio's other work, I was an early adopter of the game. However, I was unable to play it until fairly recently, when I upgraded my graphics card. AoM isn't a resource heavy game, but my previous combination of i5 cpu and R9 280x gpu caused a bug that crashed everything to desktop as soon as any button on a controller was pressed. Not ideal. In researching solutions it transpired that, following the game's commercial failure, it was all but abandoned by the developer with several game breaking bugs left unaddressed.

Looking at the above, it's easy to wonder why I bothered with the game at all, but, having clicked the 'Play' button through mere curiosity a week or so ago, I've just now found myself watching the credits roll with 39 hours of playing time under my belt. 

It turns out, despite several meaty caveats, Agents of Mayhem is actually pretty damn good fun.

Set in a futuristic rendition of South Korean capital city; Seoul, you take control of a trio of the titular team in a battle against Dr Babylon and his subordinates in the antagonist group 'Legion'.

This is all presented in a very 'Saturday Morning Cartoon' style, which makes the decision to make a number of the characters hard drinking, chain smoking, and sweary a little bit bizarre, but, other than this, the presentation is exceptional. Future-Seoul is a fairly small open-world map by modern standards, but it's packed with detail and nuance that belies the scale. There's also fantastic design consistency and an incredible sense of verticality.

You select your team of three from a larger pool of twelve (three more available as DLC) who are impressively diverse of gender, race, nationality, and sexuality - but who conversely fall into traditional genre convention and classes in gameplay, albeit with unique idiosyncrasies of style. Daisy is a fairly standard heavy gunner, for example, but takes to the streets on roller blades. Joule is an engineer, deploying turrets as per the standard, but is a full-on fashionista when not battling Legion. The variety of playstyles catered for is impressive, and encompasses everything from melee combattants to snipers - and most iterations in between.

These details are not limited to visual details. Each character is voiced impressively, with many introduced into the game via a 'special episode' mission that delves into their backstory and is then often referenced in communication chatter later in the game.

With all this excellent groundwork in place, it's a real shame that as soon as the game starts, most campaign missions quickly move you away from the open world map and instead take place in an endless procession of near-identical, almost featureless, grey, underground bunkers. Objectives within also lack variety, offering the scant choice of killing all enemies, destroying some doo-dads, or freeing some captives.

On the plus side, combat is a lot of fun, and the dungeons, though visually uninspiring, do offer an unobstructive battle ground. Finding a triumvirate of agents to suit your own proclivities is all part of the entertainment, and the instant tag-team nature allows for some pretty effective combinations - particularly when unleashing an agents special ability after building up their 'Mayhem Meter'. 

Outside of the main missions, there are actually plenty of distractions scattered around the map. This allows the player to bring some variety to the game by taking on races, destroying weapons caches, saving hostages, and attacking boss-sized enemies at their own convenience. Don't get me wrong, this isn't an excuse for the unimaginative, and repetitive campaign missions, but, personally, I wanted to explore Seoul, and having characters that can triple jump and air-dash as standard makes doing so a joy, and stumbling across activities that do actually take place in the over-world really brings the game to life.

I was often put in mind of Xbox 360 classic 'Crackdown' when bounding across rooftops in search of crystal shards and item crates, or calling my agency vehicle to blast from one side of the map to the other. I think this is a far more accurate, and positive, association than any of the other games or genres that AoM gets mistakenly compared to. Crackdown wasn't universally loved, and Agents of Mayhem certainly can't claim to be either, but I'd encourage any fan of Realtime Worlds’ 2007 outing to give this game a look-in, I think you'll feel quite at home.

But I guess there is an underlying negative in that comparison. Crackdown is over a decade old; it came about at a time when open worlds of this kind were still fairly big news. That Agents of Mayhem can only offer fun on this simplistic level then, even at its best, is it worth playing?

An old boss of mine used to enjoy delivering a little nugget of people management that went something like: "We have to change the 'No, because...' into a 'Yes, if...'.

And as there are dozens of reviews in the world that will tell you to avoid Agents of Mayhem because... well... I've mentioned a lot of the problems above, I'm going to instead focus on the reasons why you should give this game a shot, with a ton of caveats to manage your expectations.

As I already said, if you enjoyed Crackdown back in '07 and want to enjoy that superhero style traversal of an open world, give AoM a chance.

If you miss single player games with multiple characters to choose from, that's another thing that AoM does very well. There are 15 in total (including DLC) and although there are 'pre-defined' teams of three, you can mix them up in whatever way you see fit - this makes for more than 450 potential combinations. Each character is palpably different from the others, too, and there’s some RPG-lite levelling if you like that kind of thing.

If you don't mind creating your own game structure, AoM is massively improved by not letting the game lead you. Spend twenty minutes tooling around Seoul before you start a mission, change your squad up every time you set out, and make use of the 'Contracts' (basically sub-achievements) to drive your activity. It won’t take away the uninspired parts, but it will make them less of a wall to your enjoyment.

If the idea of teaming a sword wielding ninja, a minigun-toting pin-up girl, and an ice giant appeals to you, AoM has your back.

If you ever thought the GI Joe cartoon needed more swearing - yeah, this is definitely the game for you.

Agents of Mayhem is like looking at a pile of individual puzzle pieces that all have interesting little pictures on - but when it's put together the complete image is somehow much less compelling. 

But, by overlooking some pieces and rearranging others, there's something worth persisting with here. 

I totally get that a lot of people won't want to bother, but for those that do I think they'll be pleasantly surprised.

I recreated most of my console collection, to scale(ish), using only the power of Google Sheets.

I've always enjoyed creating things within certain constraints.

In this case I decided to try and create an image of most of games machines using only the very limited scope of a spreadsheet.






I gave myself 2 rules for the project:


No using the 'drawing', tools.


No using words, including wingdings; only fills, borders, punctuation, and alt-code shapes were allowed.

I set the page up with a 1cm grid and went with a 2:1 sacle, so each square represents about 2cm square.

I figured this would force creativity without being impossible when I got down to the likes of the Game Boy Micro.

I'm really pleased with most of these. I think the Lynx or Spectrum +2 are my favourite, but I'm disappointed with the Jaguar and the Dreamcast.

Indivisible (Switch) - Not an RPG or a Metroidvania, but something more than both...

 It was an unfortunate coincidence that, on the day I finally defeated the mighty Kala, final boss of Indivisible, news was breaking that several developers were cutting ties with it's studio, Lab Zero. These parties stated the actions of, and working conditions created by, Indivisible's chief designer as the reason for their departure, and, sure enough, further delving into the story reveals the action of a pretty unsavoury character.

I know (too) many people believe that a piece of media and the actions of it's creator are not connected - you only need to look at the free pass afforded Micheal Jackson for decades to see evidence of that - but I don't fall into that camp and my first instinct was to keep my thoughts on this game to myself, rather than promote the work of someone who, by several, unconnected, seemingly reliable, accounts is a bit of a prick (to put it lightly).

But as I watched the credits roll by with the names of the scores of creative minds who contributed to Indivisible, it occurred to me that it would be ridiculous to disavow the game based on the nature of the one asshat at the top of the tree who was getting paid the big bucks - and this is especially pertinent in the case of Indivisible because I found it to be a wonderful experience, and I'd hope to convince the meager few readers of this review to play it.

Apparently it's a pretty common thing to play a game (or watch a movie, or listen to an album), gather your thoughts, and then head to the internet to see what everyone else thinks. I've done this for a very long time so I'm obviously biased in believing it to be a much healthier approach than obsessing over reviews and the opinions of others before you've made up your own mind.

It's not unusual, when doing this, to find that general reception to a piece does not align with my own. In the case of Indivisible the old spectre of weighing a game against expectations seems to be a common theme amongst both professional and consumer reviews, with the demon of genre conventions also colouring the thoughts of many.

There's no denying that Indivisible was marketed as both an RPG and a Metroidvania, and it's just as true that it's allusions to both of those genres are brought to bare with a pretty light touch, but, similarly to another game I played recently; Owlboy, I find myself won over by what the game IS, rather than what it ISN'T.

Featuring a unique, absorbing, combat system that is both real-time and turn based, beautiful artwork and animation, wonderful voice acting, and an affecting story, Indivisible succeeds on so many levels that it's failure to bring any real RPG trappings to proceedings was of very little consequence to me.

The lack of full-blown metroidvania exploration is slightly more of an issue, but only because the game teases you with what could be on several occasions. There's a brilliant extended platforming sequence around the three-quarter distance mark, for example, which presents a challenge for which all your learnt abilities are required to overcome. There are shortcuts and hidden rooms that become available as new techniques are unlocked, but sense of a world opening up is never really achieved.

The core of the game, however, is doubtlessly it's combat, and in this area Indivisible is simply exceptional.

If you were to look at a screenshot of a battle in Indivisible it would be very easy to mistake it's approach for that of a traditional turn based RPG system. Your team stand on one side, the enemy on the other, you have health and you have hit points. But that's more or less where the similarities end.

Each member of your four strong team is assigned a face button. This is used it to make them attack at any time during your 'turn'. Each attack can be modified in various ways through directional input and most can make use of an accumulated energy bar, called Iddhi.

Later in the game, when your strength is buffed and your roster has been expanded by recruiting characters met in the course of the story, it's possible, through judicious timing and creative use of the cast's vast array of different abilities, to defeat the enemies without them getting much of a look in at all. 

You'll find additions to your entourage who are combo specialists and others who are jugglers, there are tanks and speed demons, their are healers and even a character whose abilities are almost entirely passive. It's very much a system that rewards experimentation, and I found it impossible to resist tinkering with my team every time a new member was added - and this is key to the success of the system. With twenty or so characters to collect a 'permutation calculator' I found on the internet tells me that there almost 6000 possible combinations, so realistically the only limit is your imagination (although it must be said that some character are blatantly far better and more developed than others..

As much as the combat is the star of the show in terms of gameplay, it surprises me to say that the story shines almost as brightly.

It surprises me because I'm of the firm opinion that not only is a story an inessential element for a video game, but that the vast majority of stories presented in this medium are sub-B-movie level claptrap that rarely have any relationship to the actions you undertake when playing.

It's high praise from me, then, to say that Indivisible not only has a very well written, affecting, story, but that your actions in the game, particularly in the first half, feel entirely in keeping with that story. Furthermore, the delivery of the narrative takes place mostly through voice acting, the quantity and quality of which adds immensely to the classiness of the product and the success with which the game brings relate-ability to, and empathy for, the characters.

So, to reiterate an earlier point; yes, it's true that Indivisible doesn't offer much for RPG fans, and it's metroidvania elements are a mixed bag. But if you forget about what the game appears to be - and even what the marketing team claim it to be - and instead enjoy it for what it is, you'll find a stunning south asian inspired world, inhabited by a bewildering array of characters for you to fight with, and against using a unique, compelling battle system... and all while enjoying a story that is delivered with class, style, and emotional weight.

This is a game that, despite the current controversies surrounding the developer, is easy to recommend. There's no little irony that Ajna, Indivisible's protagonist, is a flawed character who eventually learns the error of her ways and seeks forgiveness for her actions while working to repair the damage she's caused. Perhaps it's not too late for Mr Zaimont to follow suit, but, in the meantime, this unique game, the product of dozens, if not hundreds of talented game-makers, deserves to be played.

Shantae and the Seven Sirens - Gaming the Pandemic: Re-visited

Between 21st March and 1st of August this year I was furloughed from work and so undertook the daily task of playing, and writing about, one game from my vast unplayed backlog to give my days some structure, to stop my brain turning to mush, and, frankly, to manage the stress of feeling completely out of control of my own life.

Over one hundred and thirty days I played racing games, platform games, shooters, brawlers, and fighters. I played on the ZX Spectrum, the Switch, and almost everything in between. 

I'd usually play a good three hours minimum, but occasionally I'd spend a lot longer, and occasionally a lot shorter time on them. 

To this end it was rare that I completed anything before moving on to the next - and that's what 'Gaming the Pandemic: Re-visited' is all about; going back to some of the games I had to leave behind due to the blog format and giving them the time they deserve.

Shantae and the Seven Sirens was released originally for the Apple Arcade in October 2019 and there are some issues that seem to have come about due to oversimplification - and I can't help but believe that the games roots on that ecosystem are at least partially to blame.

But I'm getting ahead of myself, because for a long time this is a very entertaining game and a good extension of the Shantae series.

On the definite 'plus' side, and as I mentioned when I first played the game, there's a more immediate mechanic for magic than in previous games which is extremely welcome. Most of the fan-favourite, gloriously upbeat characters return, too, and a good few new ones are welcomed.

The usual high quality voice and art work that has come to be expected of the series is maintained, and indeed is further embellished by the occasional fully animated cutscene - but there's something missing elsewhere that it's a little harder to define.

Generally, the game doesn't feel like it has moved forward from the previous entry, and in some areas, notably boss battles and some of the later abilities, there's a sense that a backwards step has been taken.

And this is where the game's origins on iPhone irk me somewhat.

It's debatable whether the lower difficulty in combat against bosses is the direct result of trying to appeal to a more casual audience, or whether it's due to building a game around the limitations of swipe controls, but either way, while the visual creativity is unquestionable, the tactical skills required to defeat the titular Sirens is almost non-existent.

At least two of the unlocked abilities fall victim to this approach too. Swimming and digging are much the same ability, just performed on a different colour background, and they are also clearly designed for ease of use on a device with no physical controls - leaving them to lack player agency on one that does.

I should make it clear that I don't generally have any issue with phone games. In fact, I get really annoyed by the childish comments that great any announcement that a developer is embracing the medium.

But a phone game and a console/PC game are usually very different things, and making one into the other is always going to involve compromise.

On the whole, though, there's nothing fundamentally 'wrong' with Shantae and Seven Sirens, but these compromises that seem to have been made to ensure the game work well for Apple Arcade, are magnified many times over when playing on a more game specific platform.

Away from this, there are issues with the endgame too. At least the last quarter of the game feel like a real slog, with more than the usual amount of backtracking for a Metroidvania. 

Usually at this point in games of this genre traversing the environment has become a slick, streamlined, joy, but in Seven Sirens it remains a wearying plod until the very end, to the extent that, when the game starts to feel like it’s unceromoniously rushing you towards the conclusion, as jarring as this is, you’re actually grateful for it. 

Which all reads like a resounding 'Avoid', and that's probably a bit harsh.

The problem is that almost everything new or different in Seven Sirens makes it slightly less good than the previous games - and it's hard to recommend based on the fact that it does a lot of things merely 'equally as well' as its predecessors.

Shantae and the Seven Sirens is a good game, taken on it's own merits it should deserve higher praise than that, but there's no getting away from the fact this is Shantae 5, and I'd probably recommend any of the four previous installments over this one.

Owlboy - Gaming the Pandemic: Re-visited

Between 21st March and 1st of August this year I completed the daily task of playing, and writing about, one game from my vast unplayed backlog.

During this time I was furloughed from work. I started this blog to give my days some structure, to stop my brain turning to mush, and, frankly, to manage the stress of feeling completely out of control of my own life.

Over one hundred and thirty days I played racing games, platform games, shooters, brawlers, and fighters. I played on the ZX Spectrum, the Switch, and almost everything in between. 

I'd usually play a good three hours minimum but occasionally I'd spent a lot longer, and occasionally a lot shorter time on them. To this end it was rare that I completed anything before moving on to the next - and that's what 'GtP: Re-visited' is all about; going back to some of the games I had to leave behind due to the blog format and giving them the time they deserve.

Owlboy was the last game I played for the OG Gaming the Pandemic, and was therefore not something I really 'returned' to, rather I just 'kept playing'.

I named it at number eight in my GtP top ten that I compiled on the final day, saying: "It's clever, it's fun, it packs an emotional punch, and it's one of the very best looking video games I've ever played."

Having now completed the game, nothing of that statement has changed. I perhaps should have mentioned the intelligence and depth on show in the world building, but aside from that my initial feelings were only exacerbated as I got further in to the game.

Everything good about the game only gets better. The incredible score reaches new heights, the gameplay continues to evolve, the artwork of the levels gets ever more creative, and the story, always central but never overbearing or intrusive, only gets more creative, more beautiful, and stays utterly captivating to the end.

For me, story is the very least element of any video game, but I'll concede (happily) that when done properly it can be intrinsic to the success of a product. Imparting a story through gameplay alone is the ideal, but this is incredibly difficult and often ends with compromises to both halves of the whole. However, creating a story that embellishes, contextualises, and even re-frames the players actions is less intrusive to the collective elements, and is usually the structure on which the best story focused games rely.

Goichi Suda is one of my favourite game directors and he has a way of bringing complex, nuanced stories to his games in a way that embellishes and gives structure to the interactive elements. Bioshock is an example of this too, and while I wasn't really a fan, the manipulations and contrivances in the plot do a brilliant job of casting light on the players actions. The flaw of that particular game, for me, was that the revelations come too late, and leave the player with little to do with them but replay with their eyes open.

Owlboy falls into this category in a more subtle way. There's no big reveal or eye-opening moment. The ideas around it's big narrative fulcrum; 'The Loop', are teased and hinted at throughout the game. The finale absolutely seals the deal and ties up some of the ambiguity, but very little of the game's backstory or plot is ever expressly revealed. 

From the books of Stephen King to the films of Christopher Nolan, laying out every aspect of your plot and characters, with no room for interpretation or nuance, is becoming a worrying trend. Owlboy, thankfully, avoids this kind of clunky over-exposition that is not just accepted in modern games culture, but lauded as exceptional in much of narrative media.

Beyond the story, Owlboy brings variation to the gameplay until the very end. These are never sweeping changes or entire genre-swaps, but tweaks on the established formula that nevertheless ask you to rethink how you've been playing up to that point. It's a game that always feels responsive and enjoyable to play, although some of this may be down to the difficulty, or lack thereof, in the game as a whole.

The lack of strong challenge was an accusation levelled more than once in comments on my original post about Owlboy, and while I don't disagree that the struggle is slight, I do disagree that it's an issue.

Challenge is not something that every game needs. I'm completely fine with the idea that a game can be too difficult or too easy - but these are the extremes - in the vast middle ground it's not a pre-requisite for every game to be pushing the upper reaches of toil. Moreover, Owlboy is a game focused on it's story, and if the balance is set too high then too few will ever experience it's entirety.

The existence of, and obsession with, hyper-challenging games doesn't mean that every other game should be pushing to occupy that same space. In fact, it means that, with that end of the spectrum taken care of, other games can excel at other levels of player agency; and Owlboy does exactly this.

As I feel myself writing into the summary I've become aware that I've done this twice already in a very short period. It's difficult not to repeat myself when my feelings after ten hours are the same as they were after two: 

It's an exceptional game, one of the most beautiful looking I've ever played, with a bewitching orchestral soundtrack and compelling, intelligent, expertly crafted story that's set in one of the most completely realised game worlds I've experienced for years. The variety in the gameplay is superb, and the characters are nuanced, flawed even, but ultimately immensely likeable. It's one of a very small number of games that succeeds in bringing a silent protagonist to bear without having an NPC magically articulate their every thought.

Basically, Owlboy is stunning in just about every possible way and you should add it to your collection immediately. In an ecosystem of fewer and fewer physical games this is one that you deserve to actually own.