Tag Archives: Roguelike

Ironcast (PC)

Developer(s)Ripstone Games, Dreadbit & Polygon Hearts

Ironcast is an indie game, developed with the likes of Candy Crush and Jelly Splash in mind, but offers something extremely different; blending it with customization options as well as turn-based RPG combat. For me, it has been one of the best games released on Steam this year so far, since it goes far beyond the level of enjoyment that a simple puzzle game can bring.


Graphics – 7/10

Aside from having a fairly decent range of different robots to command with each playthrough, the game is set in an alternative reality, where the English are still warring with the French by the year 1886, and England has taken on more of a steampunk theme during the Industrial Revolution. The only gripe I have with the game’s visuals is that the setting of each individual stage can become somewhat repetitive after a while. But where the game’s visuals truly excel is in the level of detail of the robots, as they either generate shields, fire weapons or take damage.


Gameplay – 7/10

To progress through each fight, the player must match u different symbols together to collect four different kinds of main resources for their robot; coolant, weapons, energy, and repair substance. These are used to maintain and defend the robot during combat, as well as take down the opposing robot on the other side of the screen. After each battle, the player earns experience points to gain upgrades, as well as money to buy improved weapons and armor. With its Roguelike approach to gameplay, it offers a great deal of entertainment value, as well as a challenging learning curve for players to adapt to in order to progress.


Controls – 10/10

Since it’s a turn-based puzzle game exclusive to PC, there was never going to be an issue with the game’s controls, since the scheme is as straightforward as it could possibly have been. It’s actually quite interesting to learn new ways of joining icons on the puzzle board in order to gain as many of the resources on it as possible. Anyone who as ever played Jelly Splash will have a lot of fun with this game in particular.


Lifespan – 10/10

As I alluded to, this game incorporates elements of the Roguelike genre of gaming, similar to either Rogue Legacy or Tower of Guns, which gives it infinite replay value. Since there are quite a few gameplay options and different styles of play to explore, this makes it all the more meaningful and varied. It has been very refreshing to see the resurgence of the Roguelike genre within the indie industry, and this game is most definitely one of the prominent examples of which.


Storyline – 7/10

The basic premise of the game’s story, as I mentioned, is that the English and the French are at war, and a new ability to wage war has been born in an alternative reality to our own. Soldiers are now fighting with machines known as Ironcasts, and the player character is on the side of the English and must do everything in their power to stave off the French advancement. It’s a pretty typical story, reminiscent of any story in either the Battlefield or the Call of Duty franchises, but although there isn’t any spoken dialogue, the characters still have a lot more personality than many of the characters in any of the aforementioned examples at least.


Originality – 7/10

For the longest time, I would look at games such as Candy Crush and Jelly Splash and think that there surely must be some way to modify the same existing formula to make even more remotely interesting than what those games are. Alas, the developers of this game have come up with a very interesting answer to that question, and have made possibly the most interesting puzzle game I’ve seen since Tetris. If this is the kind of gaming experience that Ripstone Games can conceive, I’m looking forward to what they can possibly go on to do in the future.


Overall, Ironcast is an immensely pleasing title, and I highly recommend it to anyone with a Steam account. It’s an interesting puzzle-based RPG, which can be enjoyed at player’s leisure as opposed to them having to wait for hours at a time for lives to regenerate.



8/10 (Very Good)

Super House of Dead Ninjas (PC)

Developer(s) – MegaDev Games

Publisher(s) – Adult Swim Games

PEGI – 12

Developed as a browser game and later ported to Steam, Super House of Dead Ninjas is a 2D platforming roguelike with randomly generated elements making each playthrough a unique experience. Players must fight their way through hordes of enemies whilst descending a tall demonic tower to defeat the game’s end boss. Expecting a very casual experience, I was delightfully surprised to learn what an addictive game it truly is and ended up spending a lot of hours playing it. 

Graphics – 7.5/10

The game adopts 8-BIT graphics to create a dark fantasy world inspired by medieval England and feudal Japan. Although the game’s setting and scenery can become somewhat repetitive after a while, where this game’s conceptual design truly impresses is in the wide variety of monsters to fight. As the player progresses through the game, new enemies constantly appear for the player to have to contend with as well as differently designed versions of previous enemies to keep the variety in check. The game’s bosses are also superbly varied, which again makes each playthrough wonderfully tense as players must strategize on the spot. The game’s soundtrack, whilst I thought it was enjoyable to listen to, I also thought it was a little out of place. Personally, I think a soundtrack that was more akin to the game’s opening theme would’ve fitted better. 

Gameplay – 7.5/10

The objective of the game is to descend a huge tower whilst hacking and slashing a path through a plethora of enemies in order to reach the bottom where the game’s end boss is waiting. To do so is an insanely addicting experience and since the game is for the most part randomly generated, each playthrough offers a new challenge every time down to the positions of enemies, the layout of each floor and the boss type the player encounters at the end of each segment. The purpose of each playthrough is to collect each of the unlocked weapons and concept art so that gameplay varied is furthermore increased offering players scope to either try new playthroughs using different kinds of weapons or to eventually mix and match weapons and abilities in order to find the best way of traversing the tower as quickly and as unharmed as possible. For such a simplistic concept, it’s staggering to discover just how much variety and how replay value there is to be had with this title. 

Controls – 9.5/10

As the game is built on a formula that has been around for almost half a century, it’s to be expected that there shouldn’t be any problems with the controls and for the most part, there isn’t; for as fast a paced game this is designed to be, everything is set up for players, particularly more seasoned ones, to make it flow as naturally and as fluently as possible. The only one minor gripe I have with the control scheme is the duck mechanic. It took me a while to figure out how to duck and dash at the same time and to do so using a controller is slightly awkward, which did make me unnecessarily die a lot of the time before I finally discovered how to do it, by using both analogue sticks at the same time. Even then it can mar the experience down somewhat, but thankfully, there are generally speaking very little instances within each playthrough that dont call for the use of ducking and dashing so it’s by no means a problem to make the game unplayable. 

Lifespan – 10/10

Although seasoned players will be able to beat this game within ten minutes, the randomly generated content makes for an entirely new experience every time, giving it virtually unlimited replay value. Although some players may seem like all purpose to playing the game is lost once all weapons and abilities are unlocked, this, however, is only the beginning as players can also choose to play through the game using these different weapons every time and effectively give themselves the new challenge that comes with this. 

Storyline – 6/10

As there is only the basic premise, which I’ve already covered, the game offers fairly little in terms of story. It’s very reminiscent of how story in video games would typically be told in old 8-BIT games of the third generation; usually, players would have to rely on the manual to learn more about it, whereas with this game, more details on the story can only be found on the game’s official website or on the Steam page. But with that, there comes the security of not knowing there are no ridiculous plot holes or bad voice acting at least. 

Originality – 7/10

Although the game copies a formula that has existed for a long time, few games provide this much simplicity in design and this much variety in the gameplay at the same time. The game’s enemy design also does well to keep the game fresh throughout without things getting too repetitive and the entire basic premise in and of itself is also fairly unique. There is certainly scope to expand on the game mythology if ever the developers were to make a sequel and the original game would’ve provided enough of a springboard to make that happen. 


In summation, Super House of Dead Ninjas is an immersive, addictive and insanely fun game to play. It can be played for countless hours thanks to the wonderful amount of variety in gameplay and it’s a title that I can’t recommend enough. 



7/10 (Good)

Q&A With Moebial Studios

Continuing on with my efforts to discover new and upcoming video games and sharing them with my readers, last week, I stumbled on another ambitious and exciting title in the works. Aquamarine, developed by Moebial Studios operating chiefly out of Yreka California, is an open-world underwater survival game influenced by an insanely wide array of different science-fiction games, comic books, and films and upon release will be boasting a wide range of gameplay mechanics including vehicular travel and upgrades, morality mechanics, unearthing secrets the world has to offer and wide-scale exploration (to name but a few), which players will have to take advantage of in order to survive in a beautifully designed outlandish underwater world that is the game’s namesake.

Already having reached the half-way point in their Kickstarter campaign at the time of writing, I reached out to the game’s lead designer Patric Fallon to find out more about this game and it’s breathtaking conceptual design as well as to unearth some facts about what games influenced this title and about it’s developmental process thus far. This is what Patric had to say about Aquamarine:

What were the influences behind your game? 

So many! We actually listed some of the main ones on our Kickstarter page. But everything from Lucasarts-style adventure games, to old-school roguelikes, to Dark Souls and Metroidvanias, to survival games like Don’t Starve and The Long Dark have influenced Aquamarine’s design. Aesthetically speaking, we’re pulling a whole lot from psychedelic sci-fi art of the ’70s and ’80s, as well as the comics and animated films of that time. Our core influence for the visuals is French artist Moebius, who’s been having a bit of a popularity resurgence in games lately.

What has the developmental process been like?

It’s been slow, sporadic, and long. Development is tough to do without funds of any kind, but developing while trying to raise funds is also tough. We’ve had some major team changes over the years as well, but once those were handled we finally could move forward at full power. Since planning for this new Kickstarter with our current team, development has gone swimmingly, and we’ve brought Aquamarine to new heights that even surprise me sometimes.

How close are we to seeing the finished product? 

Our goal is to have development wrapped by Q4 2020. Many things can change about the game and its release during that time, but we’re making sure our Kickstarter backers will have access to what we’re making ASAP.

What has been the most exciting aspect of development? 

For me, it’s most recently been bringing together the current team we have now and seeing how well all of their work clicks together. Our new lead artist Leo d’Almeida is incredibly imaginative with color and concepts, and our new composer Thomas Hoey is massively talented at evoking a mood and fleshing it out through a composition. All of that coupled with my designs and our animator Drew Brouillette‘s eye for movement and detail has been so satisfying to see come together.

What has been the most challenging aspect of development?   

At this point, the only real challenge has been funding. No one works for free, nor should they, and so self-funding development ahead of this Kickstarter has been difficult. I had to uproot myself from living in Brooklyn, NY, for 8 years to move to a tiny Northern California mountain town in order to be closer to family, save money, and finish Aquamarine’s development.

What has been the most frustrating aspect of development?   

I’m not sure if there have been any major frustrations yet, but it can occasionally be problematic that our team is spread around the world in different timezones. But that’s really more about me wrestling my own brain about maximizing this, that, or the other. The truth is that everyone working on Aquamarine is reliable, professional, and above all else EXCITED about making the game. Nothing frustrating about that at all. 

Something I’ve noticed about the game is the comic book art style. Were there any comic book series’ in particular that influenced this game?

Absolutely! In fact, I don’t think the game would exist at all if it weren’t for Moebius’s comic anthology The World of Edena. It’s such a beautiful and ground-breaking book that reading it immediately made me think, “How in the world is there no video game that looks like this? Or feels like this?” That’s how this whole thing began.

In terms of gameplay, how have you and the team been working to deliver a relaxing experience whilst having been influenced by some of the most action-packed games ever developed like Metroid and Castlevania?

Well, we’re essentially talking about two different aspects of game design: overarching design concepts vs. moment-to-moment action. Many of Aquamarine’s overarching design concepts come from my love for Metroidvania and Soulslike games, such as open-ended exploration, little to no hand-holding, item-locked progression, a single currency to collect and spend, and so on. But our moment-to-moment action comes from different genres, such as classic roguelikes, point-and-click adventures, and turn-based tactics games. Having a slower, more contemplative gameplay loop allows us to explore these mechanics from more action-y titles in a different way.

How well has the game been received so far? 

I think we’ve had nothing but positive reactions so far since the Kickstarter launch, and it just keeps ramping up every day. And back when we were showing off super early versions of the demo, people were intrigued by the design ideas we were experimenting with. We even got a snazzy write up in PC Gamer Magazine in early 2019. We’ve also been approached by a handful of publishers and tons of fans curious about getting involved with Aquamarine in some fashion. I think that response will only continue to expand once we reach people who still don’t know we exist.

What platforms are you looking to bring the game to?

Currently, we are looking only at PC, Mac, and Linux, simply because that’s been my bread and butter for years. But I’m absolutely interested in what a console port of Aquamarine might look like and will be exploring that possibility if/when the time is right. I think Switch would be our first move on that front.

Do you have any advice for aspiring developers that may be reading this? 

Follow what you care about, not what everyone around you seems to be interested in. I think it’s far too common for game makers to want to capitalize on a trend or make something that’s easy to explain to the majority of gamers. But that’s always a quick way to become another generic title in an ocean of generic titles and lose yourself in the process. Only by sticking to your passions will you make something true to yourself and not get burnt out as you go through the difficult journey of actually making it.

Do you have anything else to add? 

Please check out our Kickstarter and consider backing us. We’re over halfway to our goal!

As well as checking out their Kickstarter page, you can also visit Moebial’s social media platforms via the links below:

Twitter – https://twitter.com/moebial?lang=en

Tumblr – https://moebial.tumblr.com/

Instagram – https://www.instagram.com/aquamarinegame/

The game’s Kickstarter campaign is continuing to gather momentum and you can help bring the project to life by donating towards the goal. Aquamarine is most definitely a game worth backing and I can’t wait until it’s release to see what kind of experience the finished product brings. As always, I hope you guys had as much fun checking Aquamarine out as I did and hopefully the title will gain enough momentum to be successfully backed before the deadline.

Game on,

Scouse Gamer88

Ziggurat (PlayStation 4, Xbox One & PC)

Developer(s) – Milkstone Studios

Publisher(s) – Milkstone Studios

PEGI – 12

First released on Steam Early Access back in 2014, and going on to see both digital and physical releases on multiple platforms, Ziggurat is a Roguelike first-person shooting dungeon crawler, somewhat reminiscent of Tower of Guns, with a heavy emphasis on combat, player character development and above all, challenge. After having played Tower of Guns, I had fairly high expectations of how good this game would be, and how it would do the things is does; overall, I was not disappointed.

Graphics – 8/10

The game takes place in a pseudo-medieval fantasy world bearing resemblance to game series’ such as Warcraft or Baldur’s Gate. The graphical quality of the title is stunning, especially for a game developed independently, but more importantly, it also does extremely well to break away from games that were clearly taken as influence by incorporating a massive variety of unique creatures and boss characters, such as Sir Arthur and Lady Audrey. Cutting edge graphics can mean much less if there isn’t variety in conceptual design, but this game has both.

Gameplay – 8/10

The basic premise of gameplay, along with the game’s story, is that an apprentice wizard must take on the challenge of the Ziggurat in order to graduate from his order. Players must undertake increasingly difficult tasks of ascending the floors of the Ziggurat, which are filled with dangerous monsters and challenging obstacles throughout. Players can take advantage of a massive choice of different weapons, spells and perks that can found across the game in order to survive for as long as possible, and to try and eventually graduate from the wizard’s order. Locations, enemies and bosses, in Roguelike tradition, are procedurally generated, an thus does each playthrough provide a new set of challenges every time, keeping the game insanely fresh, and giving it virtually infinite replay value, which can make for hours upon hours of fun.

Controls – 10/10

Belonging to a genre that has dominated the video gaming market since the sixth generation, Ziggurat’s controls are perfect, providing no unnecessary complications, straightforward control mechanics and incorporating all aspects of gameplay seamlessly. The fact that the player character moves faster than in most other first-person shooters also provides quite a lot of fluency for players who have mastered it after a while, as it can become quite satisfying to be able to effectively dodge a wide variety of simultaneous enemy attacks. By the same token, it can also provide an equal amount of challenge to newcomers, since it can be quite easy to rush through unexplored areas, and accidentally fall for a number of given obstacles such as lava pits.

Originality – 7/10

Though Ziggurat is not the first game of it’s kind to incorporate the basic premise of gameplay that it does, it stands out for a massive number of different reasons; the variety in gameplay combat options it provides, as well as it’s conceptual design and artistic direction in terms of visuals. Although it’s clearly not without it’s influences, it provides a marvellous gaming experience that greatly shines throughout the indie developer community, and it’s certainly worth playing again and again.



Overall, Ziggurat is a highly enjoyable game, filled with challenge, entertainment and a staggering amount of replayability. It looks great, it plays out wonderfully, and stands out as one of the better gaming experiences on eighth generation hardware.



8/10 (Very Good)

The Binding of Isaac (PC, PlayStation 4, PlayStation Vita, Wii U, New Nintendo 3DS & Xbox One)

Designer(s) – Edmund McMillan & Florian Himsl

PEGI – 16

Created by Edmund McMillan, the same mind behind the infamously difficult Super Meat Boy, The Binding of Isaac is a Roguelike that can be seen as a love letter to the original Legend of Zelda game, but with its own very unique twists. Regardless of how morbid this game can seem to many people, it’s also a particularly enjoyable one to play. But be warned: it isn’t for those who are easily offended.

Graphics – 7/10

The visuals, rendered in the same artistic style as Super Meat Boy, contain a lot of unique, yet taboo elements in things like the various power-ups that can be found in the game, and especially in it’s creature roster, with it being capped off by some of the most compellingly disturbing bosses I’ve ever seen in video games. The only gripe I have with it is that the settings can get a little repetitious at times, but the various DLC packages and re-releases fixed that problem to a certain extent.

Gameplay – 8/10

Playing out with mainly the dungeon crawling aspects of The Legend of Zelda series, it involves simply killing all enemies, and the boss at the end of each stage, then rinse and repeat. But each playthrough is different, as ever section of every stage is randomly generated, presenting players with new power-ups and a new challenge every time. It’s quite testing, but not to the point of being unforgiving, which after playing Super Meat Boy, was like a breath of fresh air to me.

Controls – 10/10

There are also no issues with the controls. There are obstacles present in certain areas of each stage, such as floor spikes and bombs that could detonate unexpectedly, but whether or not the player survives is entirely dependant on their own level of skill, which is how I think games like this should be. At times, players are required to think on their toes in order to accommodate for what abilities and perks they may or may not have; especially during boss fights.

Lifespan – 10/10

As each playthrough presents a new challenge and experience every time, the game quite literally has infinite replay value. I love to see this in any game, but it’s particularly noteworthy when an indie developer manages to accomplish this, since I hear many developers and critics citing that the budget may have been a factor in a game’s development cycle. But especially considering that this started out as a mere Flash game, and would have cost next to nothing to create, it says to me that the limitations stem from the developer’s imaginations.

Storyline – 8/10

The story is extremely reminiscent of the Bible story of the same name. It follows a young boy named Isaac, who once lived peacefully with his mother, until the voice of God called out to her to “cut her son off from the world’s evils”, and lock him in his room. God finally calls out to Isaac’s mother, demanding that she sacrifice her son to him as proof that she loves God above all. But before his mother can burst to kill him, Isaac jumps down a trap door in his bedroom to plunge into the dangerous depths below, and into a world of danger. The story is extremely controversial, containing a number of mature themes and taboos, including, suicide, child neglect, religious hypocrisy, infanticide; the list goes on. But above all, it’s very enjoyable for those willing to take heed to the lessons conveyed within it.

Originality – 7/10

Though there have been many Roguelike games to have come and gone, this is a game that stands out among most others. It goes where other games and developers are generally afraid to go. After Super Meat Boy, I resented the development of such a game. But The Binding of Isaac has made me respect Edmund McMillan a great deal more than I did as a developer; especially since this was also a very personal game for him, as many of the game’s events were in fact based on his own childhood experiences.



Overall, The Binding of Isaac, whilst being the most controversial game I’ve ever played, is also one of the more enjoyable. It has everlasting replay value, as well as a story and premise that has rightfully propelled Edmund McMillan into a very special place in gaming history.



8/20 (Very Good)

Rogue Legacy (PC, PlayStation 3, PlayStation 4, PlayStation Vita & Xbox One)

Developer(s) – Cellar Door Games

Designer(s) – Kenny & Teddy Lee

PEGI – 12

Rogue Legacy is a 2D randomly generated semi-open world side scroller RPG, requiring the player to adapt to a wide variety of different dangers throughout, and coming up with as much gold and as many different upgrades with each playthrough. Although it is particularly demanding of it’s players in terms of individual skill, and it does take a bit of time to get the game’s fundamentals right to start, it can turn into a very enjoyable gaming experience within a quick enough time frame, without it being far too inaccessible like the games that it was based on.

Graphics – 7/10

The visuals of the game are extremely reminiscent of that of some of the earlier years of console gaming, containing finely designed 16-bit pixel art throughout, as well as even some 8-bit music in it’s soundtrack. In many different ways, besides the graphics, the game can be seen as a love letter to a number of early Castlevania games; namely the original trilogy, as well as Symphony of the night, given the fact that the majority of the game takes place within and around a castle filled with tons of different enemies to have to overcome.

Gameplay – 8/10

The game requires the player to traverse the Castle Hampson, and it’s other surrounding areas, to simply kill as many enemies as possible and accumulate as much gold as possible in order to pay for upgrades, which will in turn make each succeeding player character stronger in order to eventually conquer the castle’s four bosses, and open the door to the game’s final boss. Every time a character dies, the player must then select an heir to that character, and return to the castle to simply rinse and repeat. What I like about this game so much is that the player character is almost always different in stature, ability and strength, forcing players to compromise accordingly, and adapt to multiple styles of play. The game demands diversity, exploration of gameplay variety and experimentation; all whilst not being too punishing like many other retro 2D side scrollers.

Controls – 9/10

The only grip I have with the controls is that they can be a little bit unresponsive at time, which in turn can lead to making unforced errors here and there. But by no means does this make the game unplayable. The control scheme, as well as the success of the game heavily relies on players ability to adapt to things such as character variety, enemy patterns and being as prepared as possible for the unexpected.

Lifespan – 10/10

With an intense learning curve, as well as the facility to fight harder variations of the five bosses in the game, with the reward for beating them being an additional unlockable character, this game offers almost unlimited replay value; especially since it offers a different experience every time. It could be argued that one playthrough would take a few hours, but I believe playing through the entire game in one sitting will be a rarity.

Storyline – N/A (10/10)

The game is also like an arcade title, in the respect that there is really no fixed plot, but only a basic premise, which is described through the basic premise of gameplay. There is a side quest present in which the player must find a series of journals left behind by the castle’s prince, giving a small element of back story, which to me, acts as nothing more than a bonus, since this game didn’t need a fixed story, and by proxy, it isn’t marred down by any kind of feeble attempt at establishing one.

Originality – 6/10

Let it never be dais that this game clearly has it’s influence in terms of both visual style and the basic premise of it’s gameplay. It even bears some resemblance to the same basic premise of many other video games before story was as much of a focus as it is today. It does however score points in terms of originality for it’s positive modifying of a very popular gaming formula, since no other game of it’s kind (that I’ve played anyway), has been able to offer such a huge amount of replay value.



To summarize, I would go so far as to say that Rogue Legacy is the greatest Metroidvania game I have ever played. It may sound like an extremely controversial opinion, but I’ve never played Super Metroid. But as it stands, this definitely tops the list as far as I’m concerned.



8/10 (Very Good)

Flame Over (PC, PlayStation 4 & PlayStation Vita)

Developer(s) – Laughing Jackal

PEGI – 7

Released last year to overwhelmingly positive critical response, Flame over is a shoot ‘em up Roguelike centring on fire fighting, playing out like a mixture between Baldur’s Gate: Dark Alliance, Luigi’s Mansion and Rogue Legacy. Expecting a more simple and casual experience, I entered Frame Over with a somewhat lethargic mindset, only to be greeted by a wonderfully hectic and satisfyingly challenging experience that kept me on my toes and thinking on my feet.

Graphics – 7/10

The game’s visuals are somewhat dated, looking like it could easily be ran on a PlayStation 2, but due to it being an isometric top-down game, and since the settings and elements appear further away, they also appear in more detail that what they actually are up-close, which was a clever way of making a game that will have been made on a budget look as good as it possibly could have done. The conceptual design isn’t too bad either, since each of the four different kinds of stages stand out from one another in their own unique ways; some of which provides the basis of how each stage comes with it’s own set of challenges. To me, however the game’s soundtrack is the most prominent element of the game’s atmosphere; it’s definitely one of the most stellar soundtracks I’ve heard in an indie game so far.

Gameplay – 8/10

The object of the game is to travel from floor to floor of a business firm called Infernal Industries, and completely extinguish all first on each floor before the time runs out. Additional time and health are made available for rescuing workers and stray cats scattered across the building. Upgrades and additional power-ups are also available to buy and unlock throughout the course of each playthrough to more effectively combat fire, as well as increase things like speed and water capacity. The best thing about this game in my opinion is how challenging it is without it being completely inaccessible which is why it reminds me quite a lot of Rogue Legacy. But as well as it being challenging, it’s also insanely addictive, and kept fresh by the fact that each floor is randomly generated, so each playthrough provides a new challenge every time.

Controls – 10/10

The controls are also perfectly simple to get grips with too, and will present no unnecessary complications to players. Obstacles to slow players down are actually hidden quite subtly throughout in the form of tables and desks, which would also be very true to life, since the more obstruction there is in a building the more difficult it would be for firemen to move around and to evacuate people in the event of a fire. The game’s control scheme is also the main reason why it reminds me of Luigi’s Mansion, since both games seem to play out somewhat similarly.

Originality – 9/10

Not only does this game stand out greatly among the indie gaming community, but it also stands out within gaming in general to a phenomenal extent. Though there have been a few games released since the second generation to centre around the concept of fire fighting, such as towering Inferno for the Atari 2600 and Real Heroes: Firefighter for the Wii and DS, this game is definitely the most challenging and invigorating of it’s kind that I’ve ever had the enjoyment of playing through.



In summation, Frame Over is one of the best indie titles I’ve played since the indie community began to take greater prominence in the late 2000s. It’s fast-paced, challenging, addictive and unique; and comes highly from me.



8/10 (Very Good)