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Two Cent Review: Neon White

When I first saw Neon White, I was almost in disbelief. Wedged in the middle of a Nintendo Direct back in February of 2021, Neon White’s reveal trailer showed off a stylistic version of heaven where sinners compete to win a spot in heaven. Featuring Machine Girl’s signature breakbeat music, flashy card-flippin, gun flingin’ gameplay, and a well-dressed main character voiced by Steve Blum, the game had my attention almost right away. 

Now that it’s out, Neon White may well become my game of the year. That is to say: Neon White is fucking amazing.

It’s almost unreal to think of how I felt about Neon White upon starting the game versus where I stand now. Because as excited as I was for Neon White initially, the game hardly received any sort of media coverage prior to its release. Generally when games get announced by big companies before subsequently being shoved out the door one day with no marketing behind it, I get worried. Worried that a game may not be as great as its announcement would have you believe. Or worse… completely devoid of promised features. 

Luckily that wasn’t the case here. Any anxieties I had about Neon White being yet another indie attempting to stand out faded once I saw that introductory cutscene. As a lifelong fan of anime, I can’t help but turn my attention to any well animated, tightly crafted intro sequence. Shortly afterward, I was plunged (quite literally I might add) into a story I was not at all prepared for. 

One full of colorful characters who are fantastically voiced and a complete joy to be around, save for some anime tropes I could do without. Each character in Neon White has their own unique quirks, speech patterns, motives, and more for you to become accustomed to. Whether that’s for better or for worse is entirely up to you. 

Whatever your opinion may be, know that Neon White has all sorts of fantastic twists and turns in store for you over the course of its roughly 10 hour run time. Well, roughly ten 10 hours if you just go for the end credits. Going for the game’s “true” ending could easily double your playtime. 

This would be an issue in most games, especially for people who have limited time to play games in the first place. Thankfully Neon White offers up some of the best gameplay I’ve experienced in a long time, and it does it while respecting your time. I’m certain anyone who gives it a chance will say the same. 

Neon White is a speedrunner’s next best friend and also their next short-term arch nemesis. It earns the best friend title thanks to this game’s obvious focus on speedrunning and pinpoint accuracy. It then proceeds to become an enemy after you realize that Neon White feels so good to play, you’re likely to eat the whole thing up in a week. 

What I think amazes me most about the entire thing is how these two aforementioned relationships come as a result of a gameplay loop that really shouldn’t work as well as it does. On paper, the idea of a graphic novel first person shooter with short levels that can be completed in a variety of ways using cards that are actually guns that can be discarded for increased mobility options seems like something that shouldn’t work. Upon execution however, it becomes apparent that these systems have been finely tuned to perfectly compliment and coexist with one another. 

Going into Neon White, my biggest worry was that the core gameplay would be too convoluted to keep my interest. Either that or it would be too complicated for many people to even bother with it. Thankfully the devs struck a great balance between card variety and limitation so as to not overwhelm the player. 

And if Neon White’s story and gameplay were the gifts under a hypothetical summertime Christmas tree, then Machine Girl’s fantastic score would be the paper used to wrap these goods. This soundtrack features two album’s worth of breakbeat after breakbeat, all of which feel right at home alongside everything else in Neon White. Since my time with Neon White, I’ve routinely found myself revisiting the soundtrack both while working at home and while driving around in my car. If nothing else has sold you on the game yet, I sincerely hope this single paragraph does. The music is THAT good.

All together, I think all of this makes for a truly memorable and one of a kind experience. It’s rare that such a near flawless gem plops on out of the mines that are the current gaming space, but Neon White is an exception. A finely crafted game with hardly anything worth complaining about is something that’s become much less frequent in gaming. Thankfully Neon White came along to rekindle my optimism for what sorts of new and exciting games we can expect from developers moving forward. 

If there’s one game you check out this year, make sure it’s Elden Ring. But after that, consider giving Neon White a go. If anything I’ve said in this review has even remotely spiked your interest in the game, then I have the utmost confidence that you’ll enjoy your time with it. Just… remember to take breaks if you decide to go for 100% completion. Your thumbs will thank you. 

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Two Cent Review: Sable

(Sable is available on Xbox One, Xbox Series X and Series S, and Microsoft Windows.)

Review copy provided by Indie Game Collective.

“Gaming as an artform has been a not-so-hotly-debated topic that’s existed since its inception in 1873. Over the decades, many scholars have spit-balled a variety of often controversial takes on the subject. Take Cher for example (who hasn’t aged a day, by the way). During the Great Gaming Prohibition of 1919, Cher advocated furiously for gaming to remain legal for all to enjoy.

She had argued that video games gave people an opportunity to interact with art in a way that wasn’t possible before. As a matter of fact, her argument as to why gaming shouldn’t be outlawed was so moving, the board of directors for INSERT COUNTRY NAME HERE ultimately decided to reverse the prohibition.

From there, the rest is history. Cher was able to use the media attention she received to her advantage, eventually becoming a world renowned singer. Gaming was given its own branch of government, and art was taken seriously once and for all. The world then knew peace, and a golden age of prosperity for humanity began.”  

-Kevin James, Gaming Historian (circa. 2009)

I want to tell you about a game I played recently called Sable. This was actually one I’d initially hoped to review when it launched in late 2021. Unfortunately at the time, the game was plagued by a few minor (yet somehow majorly annoying) bugs. Thankfully Sable was patched shortly after. Now the bugs I had previously encountered are nowhere to be seen. 

And now I can melt over this game properly.

Sable sets itself in an almost post-apocalyptic setting reminiscent of Mad Max meets Star Wars. Nomadic tribes live in isolation from one another, occasionally gathering in city hubs to barter with one another. The people of the land all wear masks as a representation of their purpose in life. Machinists, who build landspeeders called sand cutters, speak the ancient tongue of technology. Suffice it to say, Sable’s setting has a lot going for it. 

As a coming of age story, the game follows the adventures of a young Woman named Sable during a pilgrimage of self-discovery. Her quest will take her to a wide range of desert locales, where she’ll meet a wide range of interesting characters. Many of whom will provide opportunities for Sable to help them in one way or another. In return, many of these people will give you a talisman of sorts. 

Many of these relics are directly tied to whatever task Sable completes as well. So helping a cartographer rewards her with a cartographer’s talisman, helping a merchant rewards her with a merchant’s talisman, and so on. When three of a specific talisman have been acquired, Sable is able to craft a mask of her own (sort of), ultimately culminating in her rite of passage to adulthood. It’s a simple premise that does well to set the stage for the journey. 

Beyond the game’s opening and closing sections, Sable is fairly non-linear when it comes to progression. Its sizable open world allows for freedom of exploration that reminds me heavily of 2017’s Breath of the Wild. Sable may not compare in scope, but it’s still full of all the climbing, puzzle solving, and oddly comforting intrigue that made Breath of the Wild so fun. 

Sable’s game world is so full of different and exciting things that it excels in the craft of getting the player to stick around for “just five more minutes”. But I also think it draws the player in with its uncompromising commitment to creating and maintaining its unique atmosphere. If I had to give a comparison, I’d probably say Journey, which hits many of the same emotional beats. Making a game that’s equally as isolating as it is comforting is no easy balancing act, but it is one I think Sable’s developers aced. 

It’s also nice to see a game utilize a unique art style popularized by the late French artist, Jean Giraud. You may know him as Moebius. 

His signature style was prevalent throughout the 1970’s and beyond, both in sci-fi and in the general media. Almost dream-like in presentation, Moebius’ work was full of surreal, abstract imagery, which, when mixed with one of a kind color schemes, made for a hypnotizing series of works. His art was so iconic in fact, he’d even go on to contribute storyboard and design concepts to many well-known projects, such as Alien, and Tron.

And now I can officially scratch “give an art lesson in the middle of a review about a niche indie game” off of my bucket list. Thank you for coming to my TED Talk. 

So let’s talk about Sable’s gameplay now, because it’s something you’ll be doing from start to finish. That is the whole point of games after all. Though, I’m not sure there’s as much “playing” going on in Sable as there is “walking from place to place while being entranced by the aforementioned atmosphere”. 

There are larger quest chains for you to tackle, though these are few and far between. One of the highlights for me was a quest I picked up in the early hours of the game. There’s this town called Eccria, and it’s possibly one of the first places you’ll visit on your journey. I won’t go too into the specifics of what happens here, but just know that you’ll be expected to do some A Grade detective work in order to solve a classic case of who-dun-it. 

Outside of these major questlines, Sable’s gameplay loop remains the same throughout its 7 to 10 hour runtime. Most of your time will be spent going from one location to another, solving not-so-challenging puzzles or asking locals for ways to make money so you can buy parts for your sandcutter. 

There are a wide range of ways to whittle away the day in Sable, though I’d argue much of it boils down to the same rinse and repeat formula. And while it’s certainly something I have my gripes with, it’s such an inconsequential thing in the grand scheme of my experience with Sable that I can’t help but overlook it a bit. 

Because when I think back on my time with Sable, I’m not reflecting on the last puzzle I solved, or what the most recent audio log said. Instead I think about the moments in-between these moments, where I found myself staring off into the starry night sky. The moments where it was just me and my sandcutter in the isolation of the desert, with nothing but the sounds of Japanese Breakfast to kill the silence. 

These moments allowed me to reflect on my own life choices in life. It gave me a window to look back at my own history. To view the steps I had taken to claim a mask of my own. Which was made even more enlightening by the realization that I’ve yet to pick a mask. At this point, I’m not sure if I ever will either. Perhaps, not too unlike Sable’s journey, I’ll continue to wander until I’ve found a future worth wearing a mask for. Or, perhaps, the mask of the wanderer has inadvertently been chosen.

Because it’s about the journey, not the destination. 

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Two Cent Review: Quantum Conundrum DLC

I’m not surprised by this in the slightest, but the gameplay in Quantum Conundrum’s DLC is somehow significantly worse than the base game… And that’s saying something.

Here’s my two cents on both of Quantum Conundrum’s DLC.

Desmond Debacle
The first stop on our double DLC date (aww, look at us. How cute.) is at The “Desmond Debacle”, a series of six levels. If you don’t know who Desmond is, he’s a drinking bird that you come across numerous times during the course of the base game. He’s often used to solve timing centric puzzles, all while looking adorable in a tophat in the process.

Based upon this description then, it’d be natural to assume that a DLC named after Desmond would, you know, feature the titular bird.

He appears in two out of the six levels.

That’s a third of the entire DLC.

I don’t know about you, but if I was Desmond, I’d be pretty pissed right about now. Not only is my name and likeness being used to entice sorry suckers to shell out mere pennies on a Steam sale for this nonsense, but I’m actively watching my reputation go down the drain as a result!

Seriously though, this roughly hour long level pack is rough. This was initially indicated by the actions you take in order to access the DLC. It involves the immersive and revolutionary act of selecting the first level from a menu, a timeless tactic.

After a short loading screen, you’re sort of just…dropped into the first level, with the game expecting you to figure the rest out on your own. There’s no narrative set-up, no banter from your insufferable uncle, nothing.

The first few levels in particular felt as if they had zero room for experimentation. I actually had no clue what to do for a solid 10-15 minutes as I stumbled about, riding one floating box to another, in an attempt to find a single clue that could point me in the right direction.

Alas, I inevitably gave up and resorted to an online guide in order to get past it. Suffice it to say, I would have never found the solution on my own. It felt way too specific for my little pea brain to ever figure out on my own. So shout out to you, internet person who I can’t remember the name of. You single handedly saved my sanity on this one.

The Desmond Debacle feels devoid of character. There is next to no personality within these few levels, save for a few appearances by the bird in the big black hat. Add to that the narrow-minded level design and environments that make the base game’s burst with personality in comparison, and you’ve got yourself a recipe for one rough DLC. 

Ike-Aramba!
Quantum Conundrum’s second DLC also happens to feature a recurring side character from the base game as well. Sporting a name that would make anyone over the age of existing cringe, IKE-aramba sees you solving another set of six puzzles. This time, it’s with the goal of saving a helpless IKE, who’s found himself frozen in a block of ice and kidnapped by robots. 

IKE-aramba is the better of the two DLC on offer here. Not only does it set itself up with an admittedly loose premise (which Desmond Debacle lacked), but it also features much more variety when it comes to its level selection.

The levels are extremely hit or miss, featuring both some of the best and worst levels in all of Quantum Conundrum. This is easily the biggest issue I had with the DLC, and with the level list being as short as it is, the chaotic difficulty curve becomes that much more noticeable.

Thankfully, the majority of IKE-aramba’s levels allow for significantly more experimentation than what the previous DLC did. Sadly it never quite reaches the levels of its inspiration (there’s that Portal 2 mentioned again…), but it does its darndest to shoot for that goal anyhow. 

IKE-aramba may have left me cursing at my monitor on more than one occasion, but I actually enjoyed the majority of my time with this DLC. Aside from one or two levels, I think IKE-aramba features some of Quantum Conundrum’s best level and puzzle design, making it the better of these two bits of downloadable content.

Verdict
At the end of the day, Quantum Conundrum’s DLC offerings are nothing more than additional levels for fans of the base game to sink their brain-teeth into. Unfortunately this means that if the base game didn’t do much in the way of satisfying your elite gamer needs, the DLC won’t do much to change your mind. There are some moments of genuine enjoyment here or there, but you’ve gotta be ready to trudge through some stinky bog juice to get to those points. 

That’s a venture I do not recommend. 

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Two Cent Review: Infernax

Infernax is a game eleven years in the making that sports a gritty, retro feel and a metal chiptune soundtrack. If those words I just said ignited the happy sensors in your brain, then I strongly consider seeing if Infernax is worth your time. 

Here’s my two cents. 

Infernax opens with a brilliantly designed tutorial, introducing you to things like its setting and the basics of combat. Beyond that, this opening section introduces what was easily my favorite aspect of Infernax: choice and consequence. 

Infernax is consistently asking you to make difficult decisions that alter the outcome of events. This extends into the game’s multiple endings as well, which helps encourage repeat playthroughs. I personally felt the endings lacked enough variety to incentivize going for them, which left me feeling undersatified. Repeat playthroughs are mostly here for those who want to one-hundred percent the game.

Or for those invested in Infernax’s world, which is put together with fairly noticeable attention to detail. This may be a love letter to retro classics of yesteryear such as Castlevania II, but its world still feels alive and lived in. Most of this is admittedly due to the choice and consequence nature of Infernax, but the game’s side quests help carry the experience as well.

While certainly nothing groundbreaking, the sheer volume of side questing available in Infernax genuinely surprised me. Now we’re not talking Skyrim levels of questing here, but we are talking about something that could easily increase your playtime by a decent margin. 

These quests are usually worth your time due to the variety and value of their rewards as well. Some may reward you with simple things like gold or XP, but others open up things like new quests or storefronts to purchase gear from. I consistently found myself stopping in each village to talk with everyone during my playthrough, as I was always curious what reward I’d receive next. Be careful doing this though, as some of these actions will lead to unforeseen consequences. 

Now as much as it pains me to admit, this is about all of the good I have to say on my experience with Infernax. But that doesn’t mean it may not appeal to you, so I’d strongly consider hearing me out before making your own call on the game. 

For starters, I want to talk about the topic of trolling the player vs wasting the players time. On the surface, these two things sound like they’re the same, and in many ways they do share overlap. In order to distinguish the two, and to help make my point easier to explain, I’ll bring up this little game that was just released called Elden Ring. 

You may have heard of it.

In Elden Ring, the game consistently, from the opening moments, does all it can to mess with the player’s expectations. Elden Ring then proceeds to maintain this theme throughout its runtime, building upon this philosophy again and again until the credits roll. In this scenario, “trolling the player” works because you, the player, know to expect it and to be ready to combat whatever’s around the corner. 

When looking at Infernax, a game I played immediately after my time with Elden Ring, I couldn’t help but feel slight bitterness. Bitterness at the way my time as a player was disrespected (God that sounds pretentious). 

This became apparent to me upon reaching a specific point in my Infernax quest where I had to do some guesswork in order to proceed. Only the issue here is failure to guess correctly leads to death and a reload at the nearest save point, sometimes resetting ten-plus minutes of progress. 

This wouldn’t be such an issue if I didn’t have to repeat this process numerous times throughout the game. Sadly that wasn’t the case in my experience, as this problem persisted until the credits rolled some six hours later.

There’s no issue with making a challenging game, or even a love letter to a classic title from yesteryear. The issue arises once you get to a point of wasting the players time for no other reason than to waste time or inflate your game’s playtime. 

It does make me wonder if the devs decided on this intentionally. It’s possible they made Infernax this way intentionally for the sake of preserving that “retro feel”. Unfortunately it was a major detractor when it came to enjoying my time with this one, so I felt it was worth mentioning. 

Beyond that, I think I could best describe the rest of Infernax as being inconsistent. The melee combat in this game leaves something to be desired, but the magic is fun as hell to use. The bosses, while unique and fun to look at, are boring to fight and offer little challenge. The world, while sprawling and diverse, rarely gives you any fun or unique platforming sections or enemies to contend with. 

It all ultimately left me feeling unfulfilled in my journey to rid the land of evil. 

While I wish there was more positive praise I could give to Infernax, this one really didn’t do it for me. There are multiple aspects that are appealing, such as it’s art direction, sound design, and focus on choice and consequence. Unfortunately these things don’t deal with much in the realm of core gameplay, which means I was left feeling bummed out during the majority of Infernax. 

If you’re a fan of true to inspiration retro throwbacks and hypotheticals where Undertale meets Castevania, Infernax may be worth your time. However, if you’re more like me and don’t necessarily care to play something that frustrates more than fulfills, maybe consider skipping this one. 

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Speed Limit Review

(Speed Limit: Arcade Edition is available for Playstation 4/5, Microsoft Windows, Nintendo Switch, and Xbox One/X/S)

REVIEW KEY PROVIDED BY DEVS

When I hear the words “Speed Limit”, it becomes very difficult to not want to drop everything at that exact moment, book it to the nearest sources of movies in my vicinity, and request an immediate showing of the 1994 box-office hit, “Speed”. One could potentially think then, using the combined powers of deduction and assumption, that I would thoroughly enjoy a fast-paced, high-octane indie game with an ever-shifting set of genres working alongside one another.

That’s what one could potentially think, right? What if I told you that that theory was instead quickly thrown out the window shortly after my first experience with Speed Limit? Here’s my review.

The opening moments of Speed Limit reminded me of the classic flash games of yesteryear. Where you’re given minimal context to anything at all, feeling like a deer caught in the headlights of a plot-free semi-truck barreling right at you. Upon start-up, we’re greeted by a scene of a train ride, with our main character just being a train passenger, passengering about. Moments later, some disheveled, shady as heck looking dude makes their way onto the frame… before keeling over dead. They drop a gun into your lap as they slowly become “aliven’t”, and now you’re the most wanted criminal to ever exist. Better get to running.

What follows is an hour long journey through a variety of different gameplay styles, accompanied by a constant climb in both speed and difficulty. While the game starts you off on foot, pushing you through train-car after train-car at an infuriatingly slow pace (seriously, this guy moves at a snail’s pace), the speed picks up considerably every few minutes. You’ll go from running around in the comfort of your Shoe-baru’s (ha ha) to driving a convertible, to piloting a helicopter, to manning a fighter jet, etc etc. It only keeps going from there.

Now, I’ll be honest with you: On paper, all of this stuff sounds really, really cool. I can’t think of anyone who would argue otherwise. (Maybe an old person, but they’re old so their opinions don’t matter.) Upon execution however, I think a few major missteps were taken, and the end result suffers greatly because of it.

Speed Limit‘s first short-coming became apparent almost immediately after start-up. The second after we’re shown the plot set-up and assume control of the protagonist, it becomes rather obvious that our character moves at an infuriatingly slow speed. Now, maybe this is simply a design choice. It could feel painfully slow as a way to further drive home that feeling of the metaphorical speedometer constantly climbing during one’s playthrough. Sadly, I don’t think it actually works all too well within the confines of the game.

If that wasn’t enough to get me feeling like this wasn’t a good start to the experience, Speed Limit‘s controls in it’s opening moments certainly did the trick. Testing the game on both keyboard/mouse and an Xbox One controller, I found the controls to be pretty hit or miss. I struggled to clear the first area simply because my character would begin to look up while I pressed right for him to go forward. This is an issue because having the character look upward slows him down to an even slower pace than he was already going, making you a near effortless target to take out.

That frustration is taken to an even higher level upon reaching the second phase of the first area. After a short period of running from train-car to train-car, we’re moved to the top of the train where we now have to contend with killer platforms (in addition to the enemies who were already shooting at us). Navigating this area was a nightmare, as the game repeatedly refused to take my inputs into account, smashing me into walls or causing an untimely make-out session with a barrage of bullets.

To top off this cake of conundrums, we have my final gripe with Speed Limit: it’s cameras. Some of the camera positioning in this game is… fine, even great at times. But that’s only sometimes. Outside of those moments, the camera is the worst thing about this game. Having to redo sections of a game due to control issues is something I can tolerate, to an extent. I cannot, however, tolerate a camera that’s been set-up to make me fail.

The first time this becomes apparent is during a chase scene across a waterway, with arches you have to fly through to avoid colliding and, you know, dying. The space you have to clear is pretty small, and you have to be nearly pixel perfect with your movements in order to avoid scraping the walls of the arches. I love pixel perfect movements in games, but only when I can see them. If I can’t see what I’m doing, and have to rely solely on assumptions and luck, that’s a bad thing in my opinion.

This isn’t the only time the camera is an issue either. A later section in the game asks you to control a fighter jet, which I thought would be freaking awesome! It wasn’t. It was nausea-inducing. It’s use of a tunnel-like rotating camera set-up brought upon immediate motion sickness. Bad enough to get me to “nope” the heck out of the game and look away from my monitor. That rarely ever happens.

I went back to revisit Speed Limit a few days after my initial experience, to see if these issues still persisted or if I was being a bit overly-critical in my analysis of the game. The issues still persisted, and they were even harder to overlook on my second playthrough. Maybe it was because I had tried the “normal” difficulty instead of “easy” like I did the first time, but my patience for Speed Limit‘s short-comings was practically non-existent. Which sucks because I love the premise of the game, and was really hoping to enjoy the experience. The pixel art graphics are full of character and charm. The soundtrack had me tapping my foot along to it the entire time. So…

One could potentially think then, using the combined powers of deduction and assumption, that as a fan of both arcade games and genre bending works of programming, I would recommend Speed Limit as a product. However, contrary to potential belief, this is one I cannot suggest based off of my personal experience. As much as it pains me to do this (as it always does), I’ll be giving Speed Limit a verdict of DEFINITELY NOT WORTH ANY PRICE.

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Two Cent Video Review: Hob

(Hob is available is for PlayStation 4, Nintendo Switch, and Microsoft Windows.)

Oh boy, we’re back at it again with yet another 3D platformer. This week, we take a look at Hob. Why’re we taking a look at a game that came out in 2017? Because there has yet to be any interesting releases in 2018. But then again, it’s only the second week of the year, so I don’t really expect there to be much going on regarding game releases. Either way though, Hob was a fun game to play through and review, even if it did frustrate me more often than I would have liked. Is it worth full price? Here’s my Two Cents.

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Two Cent Video Review: Submerged

(Submerged is available for PlayStation 4, Nintendo Switch, Xbox One, Microsoft Windows, and iOS.)

Here’s a game I was asked to review. It’s a combat-free, open world indie adventure game from 2015 called Submerged. For being a couple of years old now, it surprisingly isn’t a bad game. It isn’t perfect, by any means, but it’s still a nice indie game to play if you enjoy Assassins Creed, Journey, or even Abzu. It’s good, but is it good enough to be worth full price?!

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Two Cent Video Review: Skylar & Plux (Adventure on Clover Island)

(Skylar and Plux is available for PlayStation 4, Microsoft Windows, and Xbox One.)

3D platformers are one of my favorite genres in all of the kingdom of gaming. Ratchet and Clank, Jakk and Daxter, Spyro the Dragon, Crash Bandicoot, Croc, Ty, the list goes on and on. Sadly though, this games seemed to vanish completely for a good ten years or so. Luckily, we’ve seen a bit of a resurgence in 3D platformers in 2017, and for the most part, they’ve been decent. Is Skylar and Plux, a modern day 3D platformer inspired by the games mentioned above, worth your time? Yeah, I guess so. Here’s my Two Cents!

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Two Cent Video Review: A Hat in Time

(A Hat in Time is available on PlayStation 4, Xbox One, Nintendo Switch, Windows, and Mac.)

Platformers are one of my favorite genres. It’s a nostalgic game genre for me and the games can be laid back, or challenging. But it’s been a long time since I’ve played a good 3D platformer. Luckily, A Hat in Time has come to break that dryspell. It’s a pretty good platformer, and I’d recommend it to any fans of the genre.

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Two Cent Video Review: Little Nightmares

(Little Nightmares is available for Windows, PS4, Switch, Xbox One, and Stadia.)

To start the spooky season off right, I thought I’d review only horror games for the rest of the month. The first game I looked was Little Nightmares. A game I was interested in based off of looks alone. It looked like a unique twist on the Limbo formula, with a little bit of horror and spooks mixed in. So how did it fare?