Although it was mostly outsourced and didn’t get mainline status, Code Veronica vastly outstrips its predecessors in sheer scope. The first and second games set their primary areas up in an iconic orientation: two multi-floor building halves connected by pathways through a center hall. These were dense, with subsequent areas shrinking the scope considerably; Resident Evil 3: Nemesis leaned into the structure of these later areas and transformed their smaller scope into the streets of Raccoon City, with more wiggle room in the connective tissue between rooms.
Much like in Techno BB, there’s a certain amount of complexity extracted just from moving many tiles at once. In Dialhex, these tiles are triangles embedded in a giant hexagon, and the player spins these tiles six at a time within a hexagon-shaped cursor.1 With a gravity system and less-than-intuitive position resolution thanks to the slant of the pieces, any match (made by creating a hexagon with tiles of a single color) shakes up the stack, especially as the field fills up.
As you drive for the first time, you’ll notice that the 1-wood has its impact zone tightened up such that any non-perfect hit will sharply slice or hook.1 Beginner characters used to trade out power and control for easier impact zones, whereas here the expert characters linearly improve on the starting roster without a relative debuff to impact. A small change here instantly changes the candor of every non-par-three hole that comes after it, cutting off the wiggle room that gives this series its slow, novice-friendly beginnings.
Devil Dice leverages the simplicity of die orientation to complicate what would otherwise be rote tile-matching mechanics. Six-sided dice lay across a grid, with the cutesy “Aqui” demon running around on top of them.1 Moving off the side of an unobstructed die will rotate it into the adjacent space, exposing a number on top. When a set of contiguous dice share the same exposed number, with as many or more dice as the number on the face, they all sink into the ground, yielding points equivalent to the number multiplied by the count of dice in the set.
The burst mechanic (surely drawing from Tetris Effect’s zone mechanic) violates the purity of the elegantly terse Lumines concept on a first impression, as it tacks on an extra meter and lets you blow up the stack on-demand. In a series that already has a friendly and frequent screen-clear block type, slapping this on top is a bit overkill, and survival play, which had a low ceiling from the series beginning, gets utterly trivialized in the process.
Grid-based puzzle games usually project the playfield as a flat surface; Tall: Infinity bucks this by wrapping it around a vertical cylinder, tying the edges of the playfield together and incorporating gravity. While the player’s avatar can freely walk up walls and fall from great heights, when rolling a block they can only surmount edges that are one row higher, and they need a column’s worth of head start to gain the “momentum” to roll up.
Techno BB is just waiting for its time to shine as a profile picture machine; the adorable half-panda half-bumblebee main character looks like a archetypal blind box figurine, with its little ears poking out over its aviator goggles. An obscure Konami title from the twilight years of the PlayStation,1 it’s an elevated match-four puzzle title with an extremely light malware aesthetic, letting your bear buzz about the grid to eliminate tiles before they turn into skull-marked viruses.
Pass interference is usually the bane of a cornerback, but in NFL Blitz’s take on American football, where penalties don’t exist, lets defenders manhandle or completely tackle open receivers to their heart’s content. Despite the limited defensive playbook,1 legal pass interference makes controlling a defender interesting: who and where do you cover? Obliterating a particular receiver out the gate eliminates one of three downfield options for your opponent in exchange for dedicating you to the tackle and locking you out of a character switch.
One of the “issues” with many of the arcade rhythm games I play is that they have such a breadth of content and high difficulty curve that I rarely reach the point where I’m comfortable talking about them in the context of a full review. However, since I published my guide to rhythm game critique last week, I wanted to also provide some quick thoughts on some rhythm games I’m not quite ready to dedicate an entire review to.
It lacks the usual framing that comes with a point-and-click adventure, ignoring a general guiding question in favor of understated wandering and seemingly tangential puzzle design. Few rooms in the Barrows Mansion direct the player towards any method of escape, but perhaps they don’t need to; main character Jennifer Simpson can hightail it out of the mansion in minutes by starting up the car in the garage, which has its keys conveniently left nearby.