If you aren’t aware of the Humble Indie Bundle, basically, every so often they get a bunch of cool indie games and offer them as a bundle for the low, low price of “whatever”, with the proceeds going to the developers and/or charity, depending on how you choose. Yes, you can even buy all the games for 1 cent, if you’re so inclined (read: a cunt). They’ve done a few of these in the past, and the one currently going on for the next fortnight is the fifth major bundle (they’ve done a few smaller ones before, the Frozenbyte bundle, Botanicula bundle, etc). This one is, without a doubt, the best bundle yet, by far: Bastion, Amnesia: The Dark Descent, Psychonauts, LIMBO and Superbrothers: Sword & Sworcery EP and all of their respective soundtracks. Since these are games I all own and have played at least a little bit, I figured I might as well write about how awesome (well, mostly) they all are.


The game is absolutely stunning.

Bastion is the first on the list, and is the prize if you beat the average price. That is, if you choose to pay less than the average of what everybody else is paying (which is $7.50 at time of writing) then you only get the other four games. Bastion, however, if worth that price alone, net least with the other four games thrown in as well.

Bastion is made by Supergiant Games, a seven-man development team. One notable member is Greg Kasavin, a dude who you may remember as being an editor for GameSpot, back in the pre-Gerstmanngate days when GameSpot was cool. The game is mostly an action RPG, although the combat is a little more action-yer and the RPGing a little less RPG-yer than games such as Diablo that share the same genre name. The story focuses “the Kid” who wakes up to his world ravaged by “the Calamity”, with the entire thing narrated by “Rucks”, a kindly old man with a Southern twang who you meet at the titular Bastion, “the place everybody agreed to go in case of trouble”.

Bastion is a game I have a massive amount of love for. In fact, it was my favourite game of 2011. Everything the game does, it does flawlessly. The story, focusing mainly on the small, but fully fleshed cast of characters is fantastic, with just enough lore sprinkled throughout to not give away everything there is to known about the game’s universe, but more than enough to leave me wanting to see more. Logan Cunningham’s voice work is quite simply fantastic. The gorgeous hand-painted artwork, along with the staggering amount of variety in the game’s locales is enough to make sure the game never becomes boring to look at. The soundtrack by Darren Korb, a complete genre mish-mash containing everything from Southern to hip-hop, is absolutely outstanding, and is one of the few video game soundtracks I often listen to on it’s own. And the gameplay, which may seem somewhat shallow at the outset, has a vast amount of customisation, with a ton of new weapons introduced through the entire game (even up to the very last level) which each have their very own distinct playstyle. Bastion may not be completely innovative, but what it does, it does perfectly.

Amnesia: The Dark Descent

Alright. I’m gonna be up front with you: I don’t do scary games. Like, at all. I’ve barely made it through the first chapter of Dead Space, a game that’s considered by horror aficionados to not be very good horror (since it’s mostly jump-scares). But it’s not just games, I don’t like horror movies either. I’m just a total pansy when it comes to horror in general. So the fact that, according to Steam, I’ve played Amnesia for 97 minutes is quite the accomplishment for me.


It happened last Hallowe’en. A bunch of friends decided that it would be a good idea of a bunch of us played the game on Hallowe’en night and livestreamed it. We did it in “full experience mode”, that is, no light apart from the shine from your computer monitor and headphones. To say this game is scary is an understatement. It’s downright terrifying.

The thing with Amnesia is, that the game understands that having monsters show up all over the place (a-la Dead Space) isn’t particularly scary. It’s what you don’t see that’s the scary part. Hell, you probably won’t even see a monster at all during the first half-our or so.

Oh, and there’s no combat. You can’t fight back.

Amnesia’s main gameplay mechanics are light and sanity. When you spend time in the dark, you slowly go insane, which makes your vision all blurry and wobbly and stuff, and you eventually die. So, staying in the light is a good thing. Except when there are monsters a-prowling. And this is where Amnesia really brings it home with the tension: you have to actively put yourself into a harmful situation in order to avoid danger. There’s nothing quite so tense and terrifying as crouching in a dark, disgusting corner, hoping, praying that monster shuffling past doesn’t see you and bite your balls off, all the while slowly going insane, because you’re in the dark. And even when you’re not in complete darkness, even when there’s no monsters about, you can always hear something. The ambient noises in this game are incredible. Incredibly terrifying. You heard a monster in the distance. Is he around the corner, or is he six rooms away? Well, you’re going to find out anyway, because you need to turn that corner to get to your goal.

The incredible atmosphere and gameplay that forces you to put yourself into dangerous situations in which you simply can’t defend yourself is what makes this game completely, utterly scary, in every sense of the word. To me, anyway. We’ve already established I don’t do horror, so your mileage may vary. But it is considered to be one of the scariest games available today.

I can’t wait to not play the sequel.


Doors to people's minds. Yup.

Psychonauts is a weird, weird game. To be fair though, you’d expect no less from Tim Schafer’s Double Fine, the company that has since brought you games where you traverse a world inspired by heavy metal album covers and play as a Russian matryoshka doll where you stack into other dolls to gain their powers. Psychonauts is a platforming game that follows the adventure of Razputin “Raz” Aquato, who ran away from the circus to join a summer camp where children train to become Psychonauts. A key aspect of gameplay is entering and traversing people’s minds and dealing with their emotional baggage. Literally. Their emotion baggage manifests as suitcases. You can’t make this shit up.

Apart from that, I can’t speak very much about the game, as I haven’t played terribly much of it, little over an hour. However, it is the general consensus that it is a good game and you should buy it and play it. Even Yahtzee loves it. YAHTZEE. GAMES ARE NOT GENERALLY NOT THINGS HE LIKES.

Seriously though, the hour or so I have played has been pretty fantastic, and I fully plan to go back and play through the rest of the game (it’s on my backlog), and I generally love most of anything that Tim Schafer is involved in.


You don't many black and white games.

Limbo is a 2D side-scrolling puzzle platformer with a pretty distinctive art-style. There aren’t very many games that look at all like Limbo, though the aesthetic isn’t the only things that the game has going for it. The game is incredibly atmospheric, though it isn’t particularly scary, so if Amnesia isn’t your thing, Limbo is very much something you can play. Unless you don’t like spiders. There are spiders. Big spiders.

So while the game is a platformer with a cutesy protagonist, this isn’t necessarily a family-friendly game. You die. Violently. In fact, one of the first gruesome deaths you’re likely to experience comes at the hands (or rather legs) of the aforementioned giant spider, as he stabs you with one leg and decapitates you with another.  Between death-by-spider, falling to your death and a gruesome end via a bear-trap, Limbo is a pretty gruesome game. And you will die, a lot. A lot of the puzzles require you to die in order to suss out the solutions, so essentially a form of trial-and-error gameplay, though not really in a form that’s particularly frustrating. It definitely feels intentional as opposed to the result of bad game design.

Superbrothers: Sword & Sworcery EP

The weirdly titled Superbrothers: Sword & Sworcery (that’s not a typo, by the way) is a point-and-click adventure game designed by Superbrothers and developed by Capabara Games (of Critter Crunch fame) with it’s soundtrack composed by Jim Guthrie. From a gameplay standpoint, it’s a little light, even for a point-and-click game. At least, it’s more about interacting with the environment to solve puzzles as opposed to using collectable inventory items. This is probably due to the fact the game was originally an iOS-only game that was released last year, only having recently made the switch over to the PC, so with that in mind, the gameplay makes total sense.

The game also has a pretty great retro art-style.

The game is made up of a number of “sessions”, each of which are about 30 minutes or so in length and the game actively encourages you to take a break between sessions. That alone is something I’ve never experienced in a game: the game itself actively encouraging you not to blitz through the game in a short amount of time. There’s also some really weird/cool thing the game does involving the phases of the moon. Not entirely sure what that entails though, since I’ve only completed the first two sessions (of four).

Obviously, a large part about adventure games is the story and dialogue, and this is probably the part of the game that’s the most polarizing. The game’s dialogue is somewhat… eccentric. It doesn’t take itself very seriously at all, and breaks the fourth wall liberally. Most notably, each line of dialogue is under 140 characters long, and the game has optional Twitter integration. I’ll leave it at that.

One thing that most definitely needs to be mentioned about the game though, is the music. Guthrie’s soundtrack is absolutely amazing. Along with Bastion’s OST, Sworcery’s OST (titled Sword & Sworcery LP – The Ballad of the Space Babies) it is one of the few game soundtracks that I listen to often outside of the context of the game. In the case of Sworcery though, the music is a very integral part of the game, it’s an absolute core part of the experience. The combat (yeah, this is an adventure game with combat and it’s actually not too bad) is very rhythmic, the music is completely intertwined with everything else in the game. It is very much something that is worth experiencing. The first major boss battle is breathtaking.

So there you have it. My thoughts on each of the games featured in the latest Humble Bundle. Each of them is a game that’s worth playing, and at this price it isn’t a good deal, it’s downright theft. Plus, you get all the soundtracks included as well. Incredible. I may do more posts like these for any future bundles, or I might not. It’ll depend mostly on my familiarity of the games included, it just so happened I had a least a little bit of experience with each game in this one.

With the exception of that Call of Duty post (which was originally birthed from this post) I haven’t put up anything on here for a while, so I figured it was high time I get something new up. Forgetting to keep them updated is what’s killed the blogs I’ve had in the past, and I’m determined to keep this one going for as long as feasibly possible. So, this is for the most part going to be something of an update post, letting you know what I’ve been playing as of late.

And the answer to that is quite a lot.

I’m still knuckles deep in Mass Effect 3. I’m about 10 hours into a second playthrough, this time as a female sentinel (as opposed to my default male soldier). I can see why people are attracted to playing as FemShep: Jennifer Hale’s voice work is pretty stellar, though I’ve never really agreed with the general opinion that her’s surpasses Mark Meer’s voice for male Shepard. At least, not in Mass Effect 3. It’s been a long time since I played the original Mass Effect, so I can’t comment on how good his VO was there, ME2 was fine, not bad, but not amazing, but he really seems to have come into his own on Mass Effect 3. Meer is definitely a talented voice artist (he also voices the Vorcha, as well as numerous smaller characters in the series).

So while I’m in the middle of a single player run, most of the my time with ME3 as of late has been with the multiplayer. It’s fun. Very fun, in fact. I was a bit worried pre-launch, since the gaming world doesn’t really need another take on wave-based survival co-op modes, but something about ME3’s keeps me coming back. There aren’t many co-op games that I can stand to play with strangers. And it’s completely awesome with friends, with whom the vast majority of my time spent with it has been with. The unlock system, while it definitely has issues, is pretty awesome. The fact that BioWare made the unlocks system play like a collectible card game is ingenious, making it incredibly addicting. The temptation to throw real money to get them is embarrassingly high. Gotten get them packs.

I also at some point plan on playing through the original Mass Effect again. Whether or not I’ll get around to it (or even getting around to finishing my current ME3 playthrough) is another story, since I have a bunch more games that I’m wanting to get through.

Two of those being Darksiders and Warhammer 40k: Space Marine. The former being a God of War style hacky-slashy action adventure game which a lot of people have likened to the Legend of Zelda, which was enough to get me intrigued. I’ve played through the first couple of hours and it’s pretty fucking fun. The combat is pretty satisfying, the enemy and character designs are kinda awesome (with perhaps, the exception of War, the main character) and the voices are awesomely cheesy. It makes a nice change from all the shooty action I’ve been playing as of late. Space Marine is a game I was aware of before it launched last year, and I said to myself I would pick it up at some point after being thoroughly impressed by the demo for the game. Think Gears of War with no cover, more meleé and hoards of enemies. Oh, and hilariously stereotypical British accents. SPOICE MAHREENS.

On top of those two, I also have Rayman Origins and Halo Anniversary to play. The latter I’ve put a little time into, enough to complete the first level of the game. It looks… okay. The ability to change between regular old-ass Halo graphics and the updated ones on the fly is kinda cool. In regards to the updated graphics though, they obviously had some constraints they had to be limited to if they wanted the nostalgia-mode button to work, so I feel the game doesn’t look as nice as it could’ve done. Reach is a better looking game, for sure. As for Rayman Origins… it’s still in the shrink wrap. Sure looks pretty though.

And that’s not even all the games I have going on right now. I’ve been putting a lot of time into the Xbox 360 version of Battlefield 3, after getting it to play with friends, since I don’t have many people to play with on PC. There’s also a whole bunch of older games I’m determined to play through as well: Beyond Good & Evil and Psychonauts are two that comes to mind. And on top of that, I’m also in the process of reading the Mass Effect novels, which are particularly enjoyable. So far anyway. I really want to check out the Halo and Gears of War novels at some point as well. I need excuses to read more.

Anyway, that’ll do for today.