I tend to play a lot of games at once, and recently I’ve been sampling the start of many different games just to keep myself fresh and avoid getting bored with any particular game I’m playing. It also helps that I recently got ethernet streaming set up for my PS2 and have a much wider set of games available for myself. Although I have a list of titles that I’m closer to finishing and will be focusing on those for the time being, here’s some early impressions of a few under-the-radar titles that I know I’ll be returning to in the future.
A group of simulation game experts naively wandering into the arcade domain results in the rich fabric of mechanics combining the best of each genre coming out patchy. The box pitch (yell commands to your troops while you play pinball on the controller) presents the two concepts as separate, but in reality the troop manipulation rarely progresses past keeping up a tempo of pressing your troops forward and rallying them around occasional interactables.
Although the painful gotcha moments and frequent shifts between setpieces may hide it on a blind playthrough, Strider’s main appeal is its movement and handling, which bridge the gap between commitment and fluidity. Main character Hiryu’s moving jump arc is a graceful parabola befitting the fixed movement of something like Castlevania, yet it interfaces with the rest of Hiryu’s kit elegantly thanks to its lack of endlag and gentle buffering.
The initial bombast of Unwound Future immediately sets it apart from its two predecessors: a public showing of a time machine goes awry and explodes, taking the prime minister with it as Professor Layton and his soon-to-be emigrating companion Luke observe in horror. A letter from Luke dated 10 years in the future soon arrives at Layton’s office, leading him to a second, functional time machine contained in an antique clock store.
Diabolical Box instantly has a better sense of scale than the first, with its initial mystery having more personal stakes for Layton and its starting train ride setpiece giving way to multiple locales compared to Curious Village’s single tight area. You’re given much more room to stretch your legs, and the second half of the game alone feels like it’s the same size as the entirety of St. Mystere. The multiple mysteries in this one also expand beyond the big endgame twist, and more care has been taken to drop breadcrumbs of intrigue throughout the adventure rather than meandering through as in Curious Village.
Link to the game on Newgrounds.
Games of Concentration are exactly what the name implies: brute-force memorization of a playfield of face-down cards with no optimizing heuristic. Don’t Flip The Doom Card uses this as its basis, but manages to weave in actual antagonists: “doom cards” (printed with a skull and an ominous black flame behind them) that will move across the board on each flip by exchanging itself with another card.
The Professor Layton series takes the scaffolding from Japanese adventure games – screen-by-screen navigation while conversing with static characters placed within each area – to contextualize a deep collection of puzzles. Professor Layton and the Curious Village, the first entry, lays groundwork for the following entries without coming off as too raw. The opening sets the tone: Layton and his precocious sidekick Luke must locate St. Mystere, a town holding an heirloom known as the “Golden Apple” that will grant its finder the whole of the late Baron Reinhold’s estate.
This strange late-era Game Boy Advance release was developed simultaneously with a DS release the year prior. Each game features tiles on a playfield that must be color-matched per row by drawing a line that flips all tiles beneath it. Although the two games seem structurally different, this Advance release is effectively an elaboration of the DS game’s static puzzle mode, with the arcade-style falling block variant discarded. Perhaps this was an acknowledgement of the shift in tactility between the consoles, as the smooth winning strokes made with a stylus on DS must be translated to non-continuous d-pad inputs on GBA.
It’s Eurojank Resident Evil 4 for sure, but given the near immediate shift away from that particular third-person shooter paradigm in the post-Gears era, it’s sweet to see a lesser-known game attempt the style. Not that it holds a candle to its predecessor; you can’t move while shooting, but you also don’t have ammo to worry about for your paltry assortment of mystic weapons, and the vast majority of encounters throw one or two enemies at you with no confounding factors beyond that.