Fallen Legion: Revenants is an unusual game. When the rest of the gaming industry said “We think games should work like *this*”, Fallen Legion: Revenants looked up from its finger painting of a ghost witch and said, “Nah, I’m good”. Oftentimes when a developer takes this stance and sets off perpendicular from the deep worn tracks of gaming conventions, we end up with some stunning and revolutionary games. I’m thinking of games like Watch Dogs Legion with its immersive open world, Red Faction: Guerrilla with its building deformation/destruction and basically anything by Hideo Kojima. However, in this hall of innovators, with great games adorning every wall, standing proud like portraits, Fallen Legion: Revenants has shown up to ask for a spot for its aforementioned finger painting and, while it does have some artistic merit, it doesn’t hold a candle up to anything in the Kojima Wing (which is just as well considering the metaphorical fire hazard of a metaphorical candle in a metaphorical building full of metaphorical paintings).

The game is a sort of side-scrolling knight-them-up where you play as Rowena, a magic ghost lady and three Exemplars (fighty people) who are under her control. You’re trying to track down Rowena’s son by fighting your way to his location through a plague-ridden world, with the plague in question turning mankind into mutated creatures that you’re assured it’s morally acceptable for you to decimate your way through to achieve your own ends. You also spend brief sections of the game playing as Lucien, a politician in the human safe-haven of Welkin Castle where you use social skills to uncover intel to pass to Rowena to aid her search.

One way the game diverts from mainstream gaming is having no time whatsoever for people who haven’t played the previous entry in the series, starting off with no explanation to what is going on or who anyone is. I picked most of the above paragraph up from the game’s website and some in-game dialogue. Honestly, I kind of dig this approach to writing a game’s plot. There’s something there for people who’ve played the previous games and want to follow the story but also there isn’t any real need to understand what’s going on to play the game. Some great games have zero plot at all and focus 100% on the gameplay. I’m thinking of Tetris, Plants vs Zombies, Doom (wait, Doom has a story!?). I’m okay with Fallen Legion: Revenants joining the ranks of those games and I wish more games would do away with their plots if they actively stand in the way of the gameplay (I’m looking at you, Sakura Wars, with your 90-minute opening cutscene).

However, the main way Fallen Legion: Revenants strays from the tracks laid by the rest of the video game industry is in the combat. It’s almost turn-based but not quite. Each one of your four core characters is assigned a face button which causes them to attack (or in Rowena’s case, use magic spells to heal the Exemplars or manipulate the enemies in some way). You can also add in a press of a trigger or bumper to change the type of attack done. Each attack by the Exemplars uses Action Points and each Exemplar has their own pool of Action Points which slowly refill over time (you can do about three attacks before you’re out of AP and need to wait for it to recharge). I imagine you’re supposed to manage which Exemplar is attacking at a particular time so you don’t end up waiting for all of their Action Points to come back, but I never saw the point in doing that, as the timing of attacks doesn’t do anything, so you might as well dish out as much damage as quickly as you can. This leaves the combat feeling quite frustrating as you’re constantly doing nothing while you wait for the ability to attack again. The best comparison I can think of is if VATS in a Fallout game was the only way you could interact with the game. No movement and no manual aiming, just fire until you run out of AP, wait for the AP to come back while the enemies continue to attack, fire until you run out of AP again. I think with a bit more to the combat, balancing your AP usage against something else, this would’ve been a really interesting combat system but, as it is, I don’t think it’ll be catching on and showing up in any mainstream games.

For me, Fallen Legion: Revenants is one of those restaurants that does fancy and experimental food and that has highly mixed reviews on TripAdvisor. Maybe the apple crumble flavoured pasta and peanut butter salad are doing something interesting, but by the time you finish you’re still hungry and just want some proper food so you stop by a Five Guys on the way home. It was certainly an experience. There’s some interesting stuff going on in there somewhere and I’m sure some people will get a lot out of it, but if you’re expecting to draw parallels to a game you’ve played before, you’re going to end up disappointed.

If Bandai Namco hadn’t copyrighted the use of minigames in loading screens, Jade’s Ascension, a twin-stick local co-op arcade shooter would feel right at home existing as a momentary diversion within a complete game.

Clearing floors of enemies while making your way up a tower with Chinese-inspired music and visuals might have you making comparisons to Bruce Lee’s The Game of Death, but cinematic and epic this game is not, with every aspect lacking in some form.

With a choice of 5 different characters, you stand in a square room defeating a random assortment of characters with projectiles from your hands or weapon – Harry Potter or Goku-esque, and you can run side to side while aiming with your twin sticks. Defeating adversaries drops coins that you can use for upgrades and your health replenishes with every level passed. ‘Simple is best’ might be the mantra of many successful arcade games, but Spanish developer Papas Con Mojo Games, while taking this to heart, probably should have focused more on the finer details of the title’s core gameplay loop, the end result feeling functional but dull. 

Making this process especially tedious is the lack of sound effects from your attacks and lack of feedback from hits taken from the enemy. Your weapon sounds like a hairdryer on death’s door, barely registering at all and you’d have no idea your health was depleting if not for your health meter. Adding further to frustrations are the equally puzzling enemies, the first of which is a bird that emits a forcefield blocking your attacks but cannot attack you in any way, meaning you can run around like a headless chicken hairdryer in-hand with a bunch of seemingly friendly birds. 

Upgrades are made available every few completed floors, which make the gameplay even easier, but are unable to reverse the inane nature of it. In fact, defeating enemies is less enjoyable than watching yourself be defeated as you can dispatch entire floors by standing in the corner of the room and aiming to the center of it, barely moving your joystick.  

Puzzlingly there’s a tutorial lasting a couple of paragraphs, but it omits to explain the few challenges available in the game, which is quite bold as the bland conceit will hardly encourage curiosity among the few that purchase it. So, despite it not being explained, the ability to ascend fire, tree, water and earth towers with a simple boss in each does exist and represents the main point of the game. The levels differ, but the challenge doesn’t, with the player still able to kill 90% of the enemies from the corner of the room as most of the residents run around aimlessly as if they are programmed to seem like they are attacking the other players in the co-op mode. Even those that do attack you directly can be defeated this way. Unfortunately, only one portal exists to change the tower you wish to climb, and the tower on offer is random, so you are forced to continue up your current tower in the hopes of finding the one you want. The achievements are also the only clue about which you have left to get through.

You could argue that this game’s 4 players local co-op mode is where the fun is had, but I’m not sure that you’d want to willingly force this experience on others unless it’s as shared suffering of sorts. Perhaps the only feature not lacking in quality are the character and enemy designs whose smooth animation and colorful presentation look like they have been lifted from a show on Cartoon Network.

Despite Jade’s Ascension loading and running without issue, this cannot be considered a finished product, offering so little in content or fun, ultimately feeling like a free mobile game that somehow made it to consoles with a price tag slapped on it. Realistically the only people that should consider the purchase are platinum trophy hunters and children as it’s short and simple enough for both. For everyone else – this should be avoided at all costs.

Just like the many collectibles found within the game, Glyph, from Danish indie developers Bolverk Games, may itself be a hidden gem. Take control of the small robotic beetle, Glyph, as he aids his people in restoring their lost civilisation from corruption. Bounce, flounce and roll your way through a multitude of levels, carefully ensuring your little ball of metal doesn’t fall into the desert sands, or else perish. This 3D platformer is described by the developers themselves as “easy to learn, but hard to master” – but just how true is this? Does Glyph provide enough to successfully drag you back for another go, even after 100 failed attempts? Short answer – yes. Long answer – well, let’s get into that.

Booting up Glyph, you’ll find yourself dropped straight into your first tutorial level. Guided by your comrade, Anobi, you’ll quickly be taught the tools at your disposal, all granted to assist you in navigating the desert terrain. I was relieved to discover that these first few levels were simply the tutorial, and not the full game, as being thrown from level to level with little to no context seemed to present a game with little substance outside of its gameplay loop. Nevertheless, upon entering the central hub, where players can select and progress through levels in whichever order they please, I was able to look back and appreciate the usefulness of the prior tutorial, as it does a great job of familiarising the player which the various movement options. As a result, being subsequently introduced to the open central hub, which is explored using the exact same mechanics as in individual levels, felt like a much more expansive experience, even if there is little to do besides selecting levels and talking to NPCs. From hereon, your quest is to slowly make your way to the abandoned shrine at the heart of your world, with the hope that your people may prosper once more. In truth, the narrative of Glyph felt a bit flimsy. It did provide some additional substance, however despite suggesting a certain degree of depth to the game’s lore, it never fully realised its ability in exploring it. Some simple cutscenes, or more story-driven levels may have gone a long way in connecting the player with the world they find themselves in. It certainly did enough to provide some context and drive the game forward, but making your way toward the endgame felt more a result of personal challenge, rather than a desire to see the story’s conclusion.

Nevertheless, just how exactly is it you reach this shrine? Well, you’ll have to complete an array of individual levels, each presenting a unique challenge and degree of difficulty. Of course, earlier levels are far easier than the latter ones, however even your first missions prove difficult to master. This certainly fits the narrative that the game is indeed hard to master, however I would argue this is more a result of the controls, rather than the level design. I’ll delve further into this a little later on, but for now, I’ll focus of the levels themselves. There is a surprising amount of diversity between levels in Glyph, each requiring different usage of your jumping, gliding and charging abilities. What I did love about the level design in Glyph is the complete lack of linearity. Upon starting a level, you’re free to jump around and explore as you wish. Furthermore, given the game controls, you’re able to bounce from point A to Z, without having to meticulously go through every point in-between. This opens the game up to many gameplay styles, from speed-running through each level as fast as possible, to slowly exploring every nook and cranny, picking up every collectible you can. Speaking of which, these collectibles are central to Glyph. Simply put, the coins, gems and artefacts you collect are used as currency to unlock more levels, and progress further into the game. You aren’t required to collect all of them (or any really, if you want to be stuck on the same level that is), and the freedom afforded to players by the developers is a highlight worth mentioning. Each level also has a secret cosmetic to collect, which although given a weak narrative to justify their inclusion, are fun and challenging to unlock. All in all, the level design in Glyph is fantastic, and allows players to take full advantage of their arsenal of abilities, meanwhile giving them the option to use them however they wish.

On that note though, there is one rather glaring issue in Glyph’s gameplay design – gravity. I spent most of the time playing Glyph with an aura of frustration, wondering how the complete lack of gravity placed upon your character went amiss during development. In all honesty, I do love a challenge, and it is exactly these types of games that hook me in the most. So, it may be true this design choice was made for exactly that reason – to present a challenge. However, the movement of your metal ball feels far too unnatural, and the assumption that you will fall perfectly onto that platform you need to reach (based on… you know… your real life experience of gravity) will inevitably lead to several failed attempts. This is all in spite of an otherwise smooth, and flawless movement system. Again, it may be that this was done deliberately to create a sense of reward in achieving mastery, but in reality, even far into the game, you will find yourself continuing to misjudge your ability to navigate your environment. I, for one, am fine with these moments of frustration, as I find challenge to be an essential element needed when I am choosing a game. However, for some, this could be rather off-putting.

Lastly, I just wanted to touch on the visual design of Glyph. Wow. Bolverk Games have done a tremendous job in designing a game that, despite being glaringly low-poly, looks breath-taking. Each level creates a notable sense of depth and realism, with platforms incorporated into the natural environment. Ok, sometimes it does look a bit too convenient (much like the random haystacks found across almost every Assassin’s Creed game), but even then it is not too much of a stretch of the imagination to see how each level is born out of the story and world they are found in. This is all tied together with some beautiful lighting, and gorgeous colour schemes, which simultaneously incite a degree of charm and immersion across almost every level. Similarly, the game is laden with a soothing soundtrack, which often switches up for more frantic moments. I did notice one technical issue however, as upon entering such a phase of a level, the audio volume skyrockets up out of nowhere. This can be a little immersion-breaking, but is hardly enough to take away from the overall experience. In sum, the aesthetic created by Bolverk Games is fantastic, and they should receive all the praise they deserve.

I alluded to Glyph potentially being a hidden gem at the very start of this review, and I continue to stand by that statement. Yes, the game does have some small issues, namely with its controls, but looking beyond this, Bolverk Games has developed a rich, beautiful and compelling game. It is a game for 100%-ers, speed-runners, or even casual gamers who just want to pick up their Switch and play a level or two. I find myself falling into the former category, and know for certain that I have many more hours left to play of a game that has found itself near the top in my list of favourite games. Glyph is a game that I would implore all of you to try, even if this is isn’t your usual type of game. I’ve refrained from giving it a 10/10 due to the issues mentioned above, but in all honesty, there is very little I can say Bolverk Games got wrong in designing such a charming and wonderful game.

If arcades were still a thing in this day and age, vertical scrolling shoot ’em up AngerForce: Reloaded would command a spot front and center; crowds brimming with anticipation at the chance to play it. Fitting the definition of a perfect arcade game, this title is addictive, short and has replay value in spades.

Bullet hell games were the perfect black hole for your wallet, providing a difficulty that would make them more a life goal to complete through countless visits to the arcade rather than an overnight playthrough at home. AngerForce is more of a modern love letter to the genre, offering accessibility through its options and modes that might make ‘bullet heaven’ a more appropriate moniker. With the loss of the arcades and the easing difficulty of games in general, shoot ’em up’s have faded in popularity, and ‘punishing but rewarding’ is now set aside to describe FromSoftware games, but ‘shmups’ have an opportunity to reclaim this title with the debut title of Beijing-based Indie developer Screambox Studio’s AngerForce leading the way.

Before we get into that though, we must first address the game’s wonderfully unnecessary and quite awful story. Sounding and looking like the voice-actors and subtitlers were found in line at the local supermarket, you find yourself oddly charmed and rooting for the game from the start, despite the story having no real purpose. 

The campaign mode starts as it means to go on, easing you into the game with a tutorial followed by its easy mode. The tutorial doesn’t explain a great deal, but it doesn’t have to, as the game’s simple and intuitive controls are easy to pick up and act as your weapon for the game’s deceivingly strategic gameplay loop beyond simply dodging bullets. You are given triggers that slow and speed up your movement and weapon buttons, but most importantly – your special weapon charging button. The conservation of this energy is supremely important to stand a chance against the bosses, but underusing them prevents your strongest weapon – your bomb – from charging. Balancing their usage and knowing when is best to unleash all your weapons is key to your progress. Charging your weapons to full capacity while simultaneously dodging all the main boss’s attacks as the soundtrack’s guitars scream in your ears, is an exhilarating feeling.

This is often short-lived, however, as you will die – a lot, but rather than frustrate it rewards you for your forward-thinking. The game gives you points with each cleared stage and three ways to spend them – a short-term opportunity to improve your run for the following stage with health and supplies, a potentially obscene price for another continue, or to pay to unlock upgrades for future runs. 

With little to no description provided on how this system works, you initially think it’s working against you, but you soon discover a tremendously addictive system that will keep you coming back for more. What makes it so brilliant is that you are often defaulting on your current run to improve later on, forcing yourself to fail despite craving an extra go at the boss character, but you also know that a quicker charging weapon or a more powerful bullet upgrade will take you further. With the ability to worsen your own conditions/ bet on yourself for long-term gain, it gives you wonderful a degree of control, the game no longer feeling as difficult and the responsibility of failure lying entirely with you. This system is so successful at straddling the line between accessible and punishing that it might just be your gateway game to the beautiful world of vertical scrolling shmups – it certainly has been for me.

Despite singing its praises for being accessible, AngerForce can still be punishing, with only one ‘easy’ character that has a wide spread of bullets, with the others’ far narrower, representing a much greater challenge. The special moves vary brilliantly across characters, with different ranges and strengths, necessitating a complete change in tactics, adding yet further reason to keep coming back for more. The ultimate challenge lies with the arcade mode that has default stats for all the characters, removing the control and progression of the campaign mode. It’s barely worth catching your glance until you’ve played through the said campaign mode, which, minus some poorly labeled features and the occasional typos, is perfect

The game’s soundtrack increases in intensity with each stage, building tension throughout. Starting off with Sonic the Hedgehog-esque screaming guitars, they move onto heavier guitars and thrashing violins and horns akin to an epic RPG. The audio’s success isn’t limited to the soundtrack, however, with weapon sound effects highly satisfying as they fire and reload. The visuals are clean and colorful while the animation is understated. Unfortunately, it’s also undersold by the main bosses who despite transforming into 3 different forms, start overly large and look too similar.

Screambox Studio has done a superb job creating an accessible arcade shooter that appeals to genre fans both new and old, with adrenaline-pumping ‘bullet heaven’ gameplay and a replay value that makes it hard to put down. While there are some minor issues with the presentation and the main bosses they don’t detract from the relentless fun that can be had and with the knowledge that it can also be played in a local co-op mode, you can only hope that the developer has the chance to make a sequel and include some online features.