In a twisted, strange forest you are a little, strange thing. A key fairy, navigating a corrupted, mysterious space. The world shifts around you, tree branches and vines parting as you make your way up ancient paths, spinning and swinging along the void woods. Your goal is simple – find keys, and cleanse the beasts.
Key Fairy is an interesting take on the bullet hell genre, choosing to be a pacifist tale rather than arming the player. Made by a small Australian team, it’s a refreshing genre shift that stands out among its competitors. You use a grappling hook to swing across the woods, navigating around corrupted enemies in order to collect necessary stars to cleanse them. The system is quite fair, especially with an upgrade later in game that can be beneficial in a clutch. It is recommended to play on controller for the best experience and controls are very responsive, smooth and technical in nature. It becomes a satisfying game, swooping successfully around hoards of beasts, acting with quick reflexes but also at times, patience.
Key Fairy was designed with the intent to be a difficult game, but the developers have made the game as accessible as possible with not only generous accessibility options, but the ability to tweak the game’s difficulty also. As you fight to cleanse more creatures, arenas become more claustrophobic, tightening the difficulty curve at a measured pace. Obstacles like thorns and spawning creatures will hinder you. It’s a great challenge, one that feels satisfying when it is achieved.
While battles are difficult, Key Fairy is fairly forgiving with its checkpoints and anything that has been healed remains that way, ensuring the pace is never interrupted too much by setbacks. It’s also fairly intuitive with where to proceed, as progression can only go so far when one does not have keys.
The game itself is good at having the illusion of seeming like a vast space, yet naturally linear. It was enjoyable to navigate, and swinging along always made the journey faster. Splashes of colour make the areas more memorable, rather than blending in. If one needs a key, it becomes intuitive to backtrack and search what may have been missed.
There is always secrets to be found in the forest, all while meeting new and friendly faces. They often have an air of creepiness to them, appearing sometimes threatening in appearance or stature, but most of them simply like to have a good chat. Dialogue varies to the wonderfully nonsensical to existential, it’s always enjoyable having a new conversation along the road. I remember asking the developers about the story and was told it was “vibes based lore”, and that really shines true here. The forest critters are very memorable.
Music and sound is tight, with great indicators in case ones environment blends a little too much. There’s hoots and howls in the woods, making the game feel alive. The soundtrack matches the energy and vibe of the environment perfectly, creating an enjoyable and atmospheric adventure. The soundscape pairs well with the whimsical graphics.
Of course, one could not review this game without giving praise to its art. Key Fairy has a beautiful, twisted and sketchy style. It is detailed, mysterious and a splash of dark fantasy, like stumbling upon a circle of ominous little gnomes to which you do not understand their intent. Eyes peer from the woods, dilapidated statues lean into sunken dirt, frogs leap along the old paths. Every little animation adds to the charm and it is clear Key Fairy was made with heart and clear vision in mind.
It is sinister, peaceful, eerie, yet comfortable. It invites exploration and hunting for secrets, trading trinkets and keys in return for progress. It’s a nice place to stay, full of whimsical things and the occasional existential dread – but it’s the nice kind.
Key Fairy is a treat to play, the kind of weird little game I yearn for over the years. The moment I saw it at Parallels I knew I would need to play it someday, and every moment has been enjoyable. It is odd, unique, twisted, bursting with charm; equal parts thrilling in its challenges as it is a calming experience. There is lots of love and creative soul poured into Key Fairy, a wonderful little storybook of a tale that I can admit I now adore.
With the spooky season in full bloom now and the successful release ofSilent Hill f, I felt it was time to cover one of my favourite Silent Hill games, one which is now finally accessible to a modern audience in full release thanks to GOG’s Game Preservation Program. This is old news now as it happened in March 2025, but it goes to show how important it is. With the price of the Silent Hill games rising due to “collector” demand and greedy “retro” markets, the games’ playablity risks fading into obscurity, doomed to sail the seven seas with no modern means of playing them. Silent Hill’s recent resurgence as a brand may influence how previous games have been treated, with Silent Hill 4: the Room being the most recent example.
But back to the game itself. It is the story of Henry Townshend, an ordinary man who realised one day he was forcibly locked in his apartment and could no longer reach the outside world. The game starts on a depressing mark, and the only means of escape is an oddly-long tunnel discovered in the bathroom, of all places. The phone cord in the bedroom is cut and the escape is a grueling one, full of bright light before being thrust into a noisy, unfamiliar world. Much like the journey of a child being born. This is clever and a sign of things to come.
Silent Hill 4 was an odd title; it only vaguely connected to the iconic town and had story tying to the cult, but the otherworld was vastly different. What you see and experience is entirely influenced by a mysterious man named Walter Sullivan, a character previously referenced in Silent Hill 2 lore and known murderer. It felt interesting to explore a character not dragged into the town, a trope that could have risked getting old if repeated, and instead an ordinary person who was incredibly unlucky in what real estate he’d chosen. It’s an all too real scenario, we are all living our lives and something could change at any moment – it is a horrifying thought. Unfortunately like most titles trying something different, SH4 was the black sheep of the original Team Silent titles and was underappreciated at the time of release, being considered more of a disconnected spinoff rather than a game that holds its own in interesting elements.
That said, the game is clunky (though now a staple of survival horror), the ghosts who attack you (previous victims of a cult-related murder) can be downright infuriating, lack of iconic puzzles, no one likes escort missions and the game relies too heavily on reused locations. There was a reason for some frustration there. But it’s the concept that is brilliant and outshines the rest of it, which is why it remains my favourite of the series.
When you begin, your only links to the outside world (aside from the ominous tunnel from the bathroom) are the windows, front door peephole, and a strange hole it would appear a previous tenant attempted to make to reach neighbour Eileen Galvin. It becomes apparent you are not the first.
I think too often SH4 is portrayed as voyeuristic in a perverse way; while the game focuses on elements of stalking and observation, Henry is a quiet and passive protagonist who clearly shows concern and natural curiosity in his actions. Many are nosy and curious – especially with the more free time one has, and Henry has plenty of that. People watching is a common element in the game, Henry himself being a photographer as a hobby shows he is already a world observer long before he was trapped in his psychic prison. Locked in your apartment, you feel a crippling isolation surrounding you as you observe the world passing by. For a lot of introverts, especially those presenting anxiety, this was quite relatable as a journey. In his self-determination and decisions, he ultimately forms a connection with Eileen through shared trauma and the desire to live. Connection to others and the outside world are a huge element of the story.
Walter on the other hand is ostracised by society and as a child, had a complicated upbringing; he was abandoned, rarely he was shown kindness and those are some of his strongest memories, but the adult form of Walter is twisted and obsessed. He is also a passive outsider but on a very different page, showing a disconnect between himself and the rest of the world, isolated in his own mind and his ultimately horrific goals. He believes twisted ritualistic murders will help him return to the room he was born in, his mother symbolised now in a place, the tale of the child wishing to return to the womb. Going back to Henry, SH4 I believe became more understood the older it got, especially when the world was plunged into isolation in the early 2020s. Before then, many didn’t understand such a way of life.
The magic is this – video game protagonists in horror are allowed to be ordinary. Too often games rely on strength and power and we forget what it’s like to connect to someone who could be any of us. We use it as an escapism tool, and Silent Hill 4 can never truly feel like an escape. There is simply no escape. You could choose to rot and stay in the apartment, but Henry’s determination prevents this and it is a strength people often forget. Wild circumstances aside with the crazed stalker and very real ghosts weighing you down on your journey, it can be relatable to depression and anxiety. The ghosts drain your lifeforce with headaches, an everyday occurrence for introverts braving the world.
In our fast-paced lives we often forget how important it is to have a place of belonging, a personalised space, somewhere where we feel safe and comfortable at the end of the day. A neurodivergent audience such as myself can immediately relate. What if that space turned against you with no way out? While the situation appears miserable Room 302 is the only safe haven the player has, allowing you to rest and heal. But over time… the walls start to shift into something unfamiliar, things begin to break, you stop getting healed as the air grows stuffy, and hauntings begin to bleed into your once secure, ordinary space. The game is intrusive and stifling, the hauntings element in particular proof of that. This was unfortunately buggy for the PC release of the game, which has now been rectified with the re-release on GOG. Now the atmosphere returns to the room.
I love SH4 most for its themes but also the way it feels like a true descent into another’s psyche. Keen eyes will spot subtle changes throughout the game and begin to question things. Every part of the game is invasive and odd with some amazing twists and turns. With the frustrations listed above in terms of gameplay and some design, it feels allowed to be messy. It is messy and imperfect and while it may seem like an excuse, it makes the game charming and human in a beautiful way.
SH4 is rewarding to those with an open mind. It is just as creepy and interesting as the other games, once again accompanied by a killer Akira Yamaoka soundtrack to really add all the oppressive atmosphere and surreal nature of this title. To me all the main Silent Hill protagonists are memorable, while Henry is endearingly plain and yet sustained years of inspiration for me in how I develop my own stories and characters. We are human, we can be victims of chance and even the ordinary can fight back against extreme odds; be it our traumas, ghosts, or metaphors of our own minds.
Slitterhead is an odd beauty in a market that’s become obsessed with sales numbers and brand marketing over interesting and unique media. It’s a breath of fresh air. It’s experimental, weird and flawed, sometimes even a little broken. And to that I say, ‘who cares?’ It’s what I’ve been craving since generation six and seven of gaming, so I’ve been waiting a while.
And it feels worth it.
I had a love-hate relationship with the seventh generation of games; the Playstation 3 was a strange console, however, what it did have was some amazingly inventive titles full of colour, strange concepts, amazing music and janky gameplay. Looking back, that was what I always missed about games; I missed the original IPs being introduced onto the market and some really inventive developers creating something experimental. We started to see this less and less as sales became more important than ever – if a game shipped less than 1mil, it was a commercial failure. We lost a lot of that soul during that time as games as a whole became a massive market.
To those who know me personally, I’d been following Slitterhead and Bokeh studio closely for many years. Finally in November after a delay, the game released. I waited until December for my copy to ship, and I bought the gorgeous limited edition that came with an artbook and soundtrack.
Yes. Just, yes.
I had heard from others they predicted a cult classic and I agreed, but with it I also saw the game listed on ‘worst game of the year’ lists recently and to that? I strongly disagree. In order to be fair reviewers, we have to be fair with our expectations. Slitterhead is a first from Bokeh studios, and clearly it is rough around the edges for good reason, simply put, it isn’t a AAA game.
It’s a reasonable length, almost entirely devoid of voice acting, repetitive in places – all the tellings of a more indie-created title. And we need that in this day and age. A mature audience is often a busy one, not everything we play has to be an open-world epic that spans eighty to one-hundred hours. The creativity well is slowly drying up, and it’s up to us to support creations to keep that light aflame.
If we want interesting titles, we have to be realistic with our expectations. Slitterhead, in my opinion, was very honest from the beginning what it set out to be. Knowing Silent Hill veteran Keiichiro Toyama and composer Akira Yamaoka was behind the project excited me, then add the fact the setting was a fictional city based on the once-standing Kowloon Walled City, I was hooked. It was clear by others expectations they were hoping for a Silent Hill spiritual successor. Halfway through the project, it was clear it would be more akin to Toyama’s other creation, SIREN, with more action elements. Slitterhead was completely honest it would be a different gaming experience – and I think it deserves better.
Slitterhead is janky and odd but disgusting and beautiful in all its unique strangeness – and that’s what makes it a classic to me. It has the structure of a SIREN title, an element of gameplay that reminds me of Ghostwire: Tokyo (another underrated title) splashed with an element of body horror Ito fans might enjoy.
The premise of Slitterhead is you are Hyoki, an entity with no core memories other than a single objective on your conscious – destroy the Slitterhead, twisted alien humanoids who feast on brain matter and are causing strange deaths across the city. Over time you form bonds with hosts able to carry you with them, Rarities, all of which have influence over your blank-slate omnipresent form and in return they have unique powers that can be used to hunt and destroy the Slitterheads. What is interesting about Rarities is how not only they can influence their entity (whether you are influenced by their empathy or rage, for example) but the way the connections bleed into each host. Each Rarity is unique, and while some are more developed than others, it is incredibly interesting.
Hyoki will have isolated conversations at their homes with each Rarity between missions, either learning more about them or their goals, as well as their thoughts on the current situation. This is a means of understanding not only the hosts, but the Hyoki itself. They all influence each other, rather than becoming a parasitic hivemind. After forming with Anita, for example, Julee began to paint her nails as an influencing factor. Anita is a SW in a more dangerous district, who uses her appearance as her armor on a metaphorical level. It was a nice touch to show as Hyoki learns more about itself, its hosts develop with it.
The game is mission based with missions over several days and at times has you repeating levels in order to change circumstances from the past – it’s all a rather alien experience that only adds to the story. Those familiar with SIREN will likely enjoy this mechanic, and the runs vary just enough to be something different.
A clear throwback to the mission/character select branches of SIREN days.
Slitterheads are humanised also, and are similar to the Shibito of the SIREN series. While some are purely parasitic and succumbed to hunger, other Slitterheads wish to integrate in society and live among humans, even going as far as to protect them. They are at times indistinguishable from the public, and can only be detected by either splashing Rarity blood on them, causing a transformation or ‘sightjacking’ in order to track them (a SIREN mechanic makes a return). Many a mission involves chasing a Slitterhead through the streets, and while this can get repetitive, it does very much serve the purpose of hunting them down in order to understand their existence, and why you are even on this earth.
The atmosphere is both claustrophobic and bustling yet lonely.
Kowlong as a city borrows heavily from the Kowloon Walled City, a densely populated city that once stood in Hong Kong. This has been a popular setting and inspiration for some older games and even cyberpunk influence overall. The city is cramped, at times so much so there’s an emptiness to it – but I feel that is fine. Ghostwire had a similar liminalness to it despite being crowded with spirits. Hyoki can bodyhop between citizens, who are often used as fodder in boss battles, and while none of them serve any other purpose than empty hosts it matches the impression a large city can have on an individual. There’s an insignificance to it, yet Slitterhead seems to be very much about humanity underlying all the twisted, alien elements.
Music and atmosphere is on point. Yamaoka made an amazing soundtrack once more that is unique enough to have a Silent Hill energy to it, but different in the best of ways. It brings life to an otherwise liminal city. The setting is at times grungy, stifling, gritty, then there’s the ethereal, otherworldly elements with the sightjacking and playing as a literal entity with no tangible form. Another interesting parallel is all Rarities have their own masks, there’s a lot to say about finding a sense of identity among it all.
UI design and aesthetic is so very SIREN, I know I keep mentioning it but it feels so gorgeous and stylish. It is definitely different, but really brings the game together. The mission-based chunks of gameplay makes it an easy game to pick up and put down. Graphics are decent, character models are quite stylised with odd lip syncing, and the care that goes into building design is really something to be appreciated. You can swing from building to neon sign, leap over a fence, it’s all rather fluid.
Where Slitterhead struggles a little is some of the gameplay, particularly combat and stealth. Stealth sections are few and far between but can sometimes break up gameplay in an odd way, as you are simultaneously often strong enough to take on creatures, but it’ll be deliberately placed in a corridor so narrow combat is suddenly impossible. It feels convenient.
Combat has an interesting system with parry blocking, but I was often too impatient for this. I preferred to rely on Rarity abilities, all of which have something unique to pair with their blood weapons. Slitterhead bosses in particular can be incredibly aggressive and give you no breathing room, and at times it feels like they have more iFrames than yourself. Try a roll dodge and suddenly your character is being thrown across the room on a clipping hit. It can be massively unfair and random so much so I do not see myself completing every difficulty. The loss of limb mechanic is also quite frustrating early on.
But the combat being a little odd was worth the setting, the discovery, the mysterious journey in it all. In terms of rating I see it more a 7 than the unfair 5s some are giving it. It is unique, and even its flaws make it memorable as a stylish and surreal action horror game. I can only hope more people see the game for what it is, but with sadly a limited release (Aussies will currently have to import or download), and the game already on sale, I worry it will only be remembered in a decade to come.
2024 has been an interesting year; what went from a year of quiet for me suddenly turned into a year bursting with new releases, highly-anticipated titles finally getting release dates, and some unexpected remake announcements.
Down below are some of my picks for the next few months, leading into November. There’s bound to be others between now and then, but I feel these ones are deserving of some special attention, with a little of the old and new.
Astro Bot – September 6th, 2024 | Launch Trailer My #1 most anticipated game for the year, and the first with a release just around the corner. Astro Bot is the first fully-fledged title of the Astro Bot series. Trailers have shown an array of new mechanics and gadgets to use, and there’s more colour than ever!
Astro will be helping bots along the way as he navigates worlds to help repair the PlayStation ship, and so far cameos vary from the well-known mascots to the less-known Sony-headed titles. A big theme for this title is the 30th anniversary of PlayStation, and it looks like there’ll be 300 bot friends to assist. It looks like every platforming mechanic that could be dreamed up is in this game, it looks like wild fun.
So far previews of this one have all been incredibly positive, Astro may just have potential for a GOTY nomination for this year. Care has been taken once again by Team Asobi to make the game as vibrant, reference-heavy and fluid as possible, with lots of work on their physics engine to test this platformer to its limit. Just take a look at the recently released launch trailer and feel it oozing with charm!
Those who enjoyed the gameplay and polish of Playroom will be in for a treat when Astro lands in just a week’s time! Here’s hoping Astro can join Sackboy as another cute and adored gaming mascot (they should be friends!).
Silent Hill 2 – October 8th, 2024 | Story Trailer Initially at the news of a remake of one of my favourite games by developer Bloober Team, I was cautiously optimistic. With the newest trailer and gameplay drops I am feeling a lot more hopeful about this project. Silent Hill 2 is an amazing game that has a story that had rarely been touched upon back when it was first released in 2001.
Silent Hill 2 is the tale of James Sunderland, who ventures to Silent Hill when he receives a letter from his late wife, Mary. A descent into the fog uncovers a sinister town, but also, a deep dive into James’ psyche and depression. It is a classic to anyone interested in psychological horror and storytelling in games.
While the original is forever in my heart and still very much playable (though I’d argue not legally accessible to curious newcomers), I am excited to see what comes out of a retelling of a classic. The remake has big shoes to fill, but if they manage to do it right, this could finally be a return to form for the Silent Hill series. The recent story trailer left me with goosebumps and tears, a faithful callback to the original trailer. For me, that’s massive.
The Silent Hill fanbase has been plagued with false rumours and hype of releases (that never came) for a very long time, so when Konami announced several projects on the way just last year, it was a massive shock. It’s still surreal after all the rumours and waiting for this title to finally have a release date, it feels like a fever dream. I don’t think I’ve felt this much excitement to hold a game in my hands for a good while.
What I can say to those still unsure – the remake will never overwrite what was the original. It’s okay to compare for fun, and it seems Bloober have done an excellent job at references and throwbacks thus far, but try to keep an open mind. These are two separate games. If we have two amazing releases of Silent Hill 2 that exist, that’s a good thing, in my eyes.
Neva – October 15th, 2024 | Gameplay Trailer The previous title from Nomada Studio, GRIS, was a lovely exploration of grief, and Neva is looking to be just as devastating in terms of an emotional journey. The amount of polish they put into their games is nothing short of breathtaking, and the reveal trailer had me clutching my heart.
Neva is the tale of a girl and her wolf companion who navigate a rapidly dying world together. Mysterious shadows seem to claim the land, and the two must help each other as they fight the forces that threaten the beautiful world around them.
GRIS managed to capture an emotional narrative without the use of dialogue and instead focused more on the usage of colour and symbolism in art, and I am sure it will be just as applicable here. Many of us waiting for this title expect something that will grip our hearts just as GRIS did, and Nomada Studios have demonstrated just how incredible they are at their craft.
If you enjoy narrative based games with some sidescrolling platforming and puzzles in between, I definitely recommend both games. Both are full of colour, shadows, and emotion. I predict this one will be nominated for GOTY in indie categories this year, and I am confident it will be well earned.
Clock Tower: Rewind – October 31st, 2024 | Official Trailer Almost 30 years ago, a horror title would start a franchise that stands among the greats and has inspired many games in its wake. Clock Tower was a terrifying survival point-and-click adventure that struck fear into many a gamer. It’s an atmospheric adventure heavily inspired by Italian horror of the 1980s, even down to protagonist.
You play as Jennifer, an orphan from Granite Orphanage, who is adopted along with several other girls by a reclusive wealthy man named Barrows. The girls end up at a mansion known as “the Clock Tower”, and it would quickly appear that not all is as it seems. Exploring the mansion reveals some sinister secrets, and the horrifying truth that the girls are very much not alone.
Last year there was a surprising announcement the very first game would be remastered, with fully-animated cutscenes and gameplay improvements. It’s a blessing to be able to play this game in a modern format. Until now, the game had only been available in Japan and was accessible to the world by fan-translations – this will be the first port available worldwide and that’s huge!
If you count Clock Tower ~ Ready for the Next ~ as a release, the last release in the series was 2022. However, this was a very limited, small mobile game that went largely unnoticed outside of hardcore fans. The last true Clock Tower game was Clock Tower 3, released on the PlayStation 2 in 2002. It’s been a long time coming for fans, so with any hope the popularity of this port may demonstrate there is still very much interest for the series. Time will only tell.
Slitterhead – November 8th, 2024 | Story Trailer The Kowloon Walled City has served as inspiration for a few unique games over the years, and Slitterhead appears to be no exception. Developed with veteran Keiichiro Toyama (Silent Hill, Siren) at the helm, it’s looking to be another interesting title for the horror genre that may not be all that it seems.
Slitterhead has you in the form of Hyoki, a being devoid of memories and physical form. The only thing you are aware of is that you must eradicate the Slitterheads, monstrous beings that masquerade as humans and plague Kowlong’s city, particularly the more shady districts.
From what we’ve seen of gameplay it seems to have something similar to previous title Forbidden Siren’s sightjacking mechanic, but here it seems to be body jumping with any living being and combat with blood-forged weapons. Trailers up to this point have been vague, but that only adds to the mystery of it all. What is definitely known is there will be intense body horror, action different from what many may expect, and a soundtrack written by famous composer Akira Yamaoka, of Silent Hill fame.
I’ve been following coverage of Slitterhead from its initial conception and while updates have been scarce, I have been intrigued all the more with the few things we’ve learned. I’m predicting a horror-action title that will be unlike what we’ve ever seen before. I look forward to seeing how Bokeh Studio’s first project turns out.
In the Distant Future…
Hela – TBA | Announcement Trailer They had me at mouse protagonist, then they added Scandinavian landscapes. It’s giving me memories of Unravel, and what’s even greater – it’ll be playable with friends! Hela is looking to be a very cosy and exciting title, full of lush environments.
In Hela you will be playing as mice with magical backpacks who explore the world, solving puzzles, gathering resources and brewing potions to help a witchy friend. It looks to be a healing journey full of magical sights and whimsy along the way, with an adorable ‘perform acts of kindness’ mechanic.
Cosy exploration games are very much in at the moment, an adventure possible with friends is even better! There’s no current release window for Hela but I will be definitely keeping an eye out for this one.
Physical Releases to Look Out For Alan Wake II – 22nd October, 2024 | Launch Trailer An amazing addition to the horror family, Alan Wake II received lots of praise upon its release last year but was limited by being digital only, causing it to unfortunately fall to the wayside. The game is dripping with aesthetic and interesting artistic choices and deserves to be accessible to everyone. A physical is a well-deserved addition that should have, in my opinion, been a thing at launch. Remedy have done an amazing job with this game, and they deserve to have it seen.
Darkest Dungeon II – 22nd October, 2024 | Announce Trailer Red Hook have managed to announce a physical just shortly after releasing console ports, hurray! A very different kind of sequel, but with much more emphasis on building the stories of the characters. The updated character models look lovely, and if you keep an open mind, you’re in for an adventure just as punishing as the first. DLC is due on this way for this one also.
These releases I listed are only a teeny handful of the upcoming titles due out this year alone. It looks to be a promising summer full of entertainment and stories for every type of gamer. I look forward to playing all of these when they drop!
“Love forms bonds, like strands of yarn. Like yarn, those bonds can be fragile, or get all tangled. But when they’re kept and cared for, they can bridge any distance…”
I’m a firm believer that games and their storytelling can be used to help others and this is no exception for players who have had many adventures in life. It’s what I live by in my approach as a game writer, myself. In all the epic adventures to tell and experience, sometimes it is nice to unwind and find the little hidden gems in-between, the ones that are just so simply human and can resonate with others. To experience a story others can relate to can in turn help with healing, as many of us are escapists that can struggle to face a sometimes harsh reality.
Unravel is gentle and kind in its approach, but is one of those charming little games made with plenty of heart, that exist to remind us that processing our feelings is important. It is sentimental, sweet, and touches those who have loved and lost. Yarny themself is a kind protagonist, conveyed in all manner of body language, cradling special objects and cowering during a thunderclap are some that come to mind. A sensitive being on a journey so much bigger than it initially seems.
With all journeys, friends can be found.
Unravel is an adventure in life, memory, love, family, and ultimately, grief. It simplifies life as a roll of yarn, and how important connection is, as well as how easy it can be to become tangled and dragged down. It doesn’t set out to do anything too complex, merely a retelling and exploration of loss amongst a family and how it can affect us. You control Yarny, a small creature simply made of yarn, overcoming obstacles and solving puzzles with all you have, the yarn that forms you. The world can be warm and easy to navigate, and sometimes harsh and cold. All the while Yarny is swinging, pulling objects, tying knots to anchor objects, with some puzzles varying from simple to oddly obscure. Still, the pacing is well done and it never becomes too frustrating, with many a checkpoint as running out of yarn will mean you can venture no further.
Unravel seems like a simple concept in the most fitting of ways, it doesn’t have to say much to be effective and manages to do so without dialogue. While the subject matter can be heavy, Unravel is clever in its usage of light and dark. Yarny traverses terrain from autumn forests, sunny fields to snowy ascents, and the journey between it all feels organic and as normal as the seasons themselves.
The words summarising each chapter are simple but beautiful.
Surreal photography and a picture book help tell the story as it goes along, as well as some environmental storytelling in the house that serves as the hub of the game. It’s cosy, so clearly Scandinavian and will be sure to bring nostalgia for those who grew up in such a part of the world.
The soundtrack and visuals in particular are beautiful, and it all flows so well to craft a journey. String pieces shift from homely and warm to sombre and tinged with melancholy. It was clear early on it would be an exploration of life, from youthful beginnings to learning to let go as time passes us by. It grips the heart for those who have lost before, but the message it brings soothes just as much as it can be a poignant reminder of the cycle of life. Unravel is made with such passion and emotion, which can be seen in how the game is crafted and how easy it is to get immersed and let the journey guide you. There is something so significant about playing such a small protagonist in what seems like an endless world – just as each of us live our lives on this massive rock.
The woodlands are explored in every season, a perfect cycle.
The story is short, just a few hours, not overstaying its welcome. It is there just enough to convey the message it needs to. That message is simple:
Live life. Experience, feel, love, explore, find the silver linings, embrace the tides as they come, and keep trying. Just keep trying.
“Every ending hides a new beginning. Life will toss and turn us, but it can only break us if we let it. It’s always, always worth trying. Every time.”
Unravel is available on PC (Windows), Playstation 4 and Xbox One.
Among all the hustle and bustle of today’s gaming landscape, sometimes returning to simplicity is best. Astro’s Playroom is a reminder for many of us why we became gamers in the first place – fun.
Paired with the PS5 software, Astro’s Playroom is an easy title to go unnoticed. What may at first seem like just a tech demo for the DualSense controller model similar to previous Astro titles, it manages to stand on its own as a title worthy of note. It’s a beautiful, smooth platformer that’ll bring out the joy in anyone who used to love playing titles such as Jak and Daxter or Ratchet and Clank back in the height of the Playstation 2 era. It’s been some time since the platformer has been in the spotlight, and this is Astro Bot’s time to shine!
You play as Astro, a friendly bot who is on a mission to recover artefacts across different worlds, all technologically themed at heart. The controls are fairly simple, the levels well laid out, and the surrounding world is reactive and responsive. Colours are vibrant and there are many sights to see, keeping your senses active among some gorgeous visuals. Levels are comprised of the occasional technology, cable or disc drive, integrating them into a seamless platforming experience among flora, ice, outer space, neon skylines and oceans.
Quick checkpoints encourage exploration or trying alternate ideas in an area, and rarely is the game frustrating. Controls integrate as much as possible, and the use of the haptic feedback makes the experience surprisingly immersive. You’ll be jumping, gliding, skating, rolling and hopping across worlds – fighting a few enemies along the way. It feels like a tech demo, but made with love and whimsy at heart. Astro has become a mascot of their own, and it feels earned.
Astro can encounter a number of fellow bots in cosplay, acting out scenes of some of our favourite mascots; these are from popular franchises and cult classics alike, from the early days of the Playstation to modern day releases. It’s a delight to pause and guess the character or series. Players collect artefacts which span from the Playstation’s initial release to recently updated tech for the Playstation 5, such as the VR2 and Portal.
The Labo is a fun, interactive museum.
These are interactive models that will display in a hub called the Playstation Labo, and serves as both an immersive and educational experience. For those who grew up with the tech it’s a realm of nostalgia, and to youths learning it may encourage them to research further. It feels like a virtual museum of sorts, and with progress comes unlocking a mural spanning the history of the console. No device goes forgotten!
With a runtime of just a few hours at most if one chooses to seek every unlock, it’s a fantastic free game and a digital journey down memory lane that I believe can be enjoyed by both young and older gamers. Astro is a charming little mascot bursting with energy and enthusiasm, in a world swirling with colour, catchy tunes and some incredible sights. I highly recommend it to anyone wanting to experience something serene for a while.
Why do I choose now to talk about Astro and his adventures? Well, a fully-fledged sequel is on the way! Astro Bot is due out early September and is looking to be a promising title for the year. With its release just around the corner, it’s a better time than ever to discover the charm that is Astro’s Playroom before the next adventure.
Since 2021 I’ve been in the games industry, slowly learning and growing to hone my craft. Unfortunately I love video games a little too much, which has meant exploring narrative work, voice acting, as well the occasional art here and there. On top of writing for titles, I enjoy talking about them.
This blog will cover articles about some of my darlings, my favourite games that inspired me growing up, or interesting titles I stumble upon, new or old. For those who want to hear about my experiences of breaking into the scene, also, I may write about that in future.
At the moment, it’s about what passion drives me. I have something of a backlog ready to post and discuss when the time is right. Exciting times ahead, and I hope some of you may join me!
I hope to start my posts off with a celebration of the titles I played this year and what I enjoyed most about them. Hope to see some of you there!
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