Perhaps not the naval architecture sim you were expecting.
10000000 is notable around here for almost certainly being the fastest-paced game ever reviewed in these pages. 10000000 took elements from RPGs, match-3 puzzlers, and infinite runners and ground them up in a mortar, and then fidgetingly insisted that you snort the product through a rolled-up hundred-dollar bill. 10000000 was frenetic, but it was simultaneously cerebral and demanded careful planning, like a psychotic German bureaucrat.
Remarkably, You Must Build A Boat doesn’t just replicate that delicate balance of gameplay elements, it refines it all into an even more potent blend. So potent, in fact, I’m pretty sure I couldn’t handle a second sequel.
We generally think of grinding in an RPG as the boring part and yet, Blizzard has made billions creating games in which running around and fighting is really the only thing to do. Both World of Warcraft and Diablo center around grinding in order to become a more powerful character, usually by finding more powerful loot.
Knights of Pen and Paper 2 follows suit, although I’m not sure the developers really get what makes those other games so successful. There, grinding is a means to an end, and we put up with it because that end is mighty shiny and also bonks monsters really well. Knights of Pen and Paper 2 ditches all that fancy loot and interesting character development which leaves us with just the grinding. This shouldn’t be a secret, but grinding without a carrot dangling somewhere in front of me just isn’t very much fun.
It’s been nearly 18 months since we last traveled with the sorcerer from Analand on their quest for the stolen Crown of Kings. Back then, inkle Studios seemed to be content simply creating incredible digital gamebooks. Since then, however, they released 80 Days and what we would consider a “gamebook” became something entirely different. Gone were the linear paths, the feeling that you’re locked into a story that has a definite beginning, middle, and end. Instead, here was interactive fiction that opened up an entire world and asked you where you wanted to go.
Sorcery 3 is like that.
In fact, Sorcery 3 takes everything we thought we knew about gamebooks—including the original text that it’s based on—and turns it on its head. It’s a staggering work of interactive fiction and, combined with the original Sorcery! and Sorcery! 2, becomes an epic tale unlike anything I’ve ever played.
Isn’t this where they found Frankie Carbone in Goodfellas?
Call any particular cast of characters “interchangeable” and, for most games, you’d be speaking in the pejorative. But for Swap Heroes 2, the second action-puzzler of its name from developer Chris Savory, rolling with a foursome of interchangeable fantasy archetypes is the whole point. As the name suggests, the idea isn’t that your squad is comprised of bland nobodies who wouldn’t stand out at your average weekend LARP (let alone a week-long camp where everyone’s armored to the nines), but rather that your team adheres to one specific, rigid tactical formation, a formation which only allows for two characters to change places at any one time.
Long ago, before Sorcery! showed up, the undisputed king of digital gamebooks was Australian developer, Tin Man Games. Sure, since then companies like inkle Studios have turned digital gamebooks on their head, but Tin Man hasn’t let that get to them. They’re still routinely cranking out quality gamebooks, albeit ones that look and feel like those little paperbacks you used to read back in the 80’s.
If you’ve been paying attention, however, you’ve already realized that Tin Man doesn’t have their head in the sand. They proved they can move away from their standard format last year with Appointment with F.E.A.R., which replaced the sepia tones of their other books for a comic book look and feel. Their most drastic departure, and the one that shows that Tin Man is still a major force to be reckoned with, was just released last week: Ryan North’s To Be or Not to Be. Yes, it’s Shakespeare and yes, it’s easily my favorite gamebook that Tin Man has ever done.
If you’re the kind of sophisticated lady or gentleman who peruses Pocket Tactics [I’m revising this in my bathrobe whilst watching COPS –ed.],there are two probable reasons why you recognise the name of Auro. Firstly, it springs from the mind of idiosyncratic designer Keith Burgun, maker of Empire and 100 Rogues. Secondly, it’s “that-game-with-the-thirty-stage-tutorial” [this is not a joke –ed.] where it is possible, nay–likely–that you will lose. A substantial tutorial has come to be seen, within the environment of mobile gaming, as somewhat uncouth, like showing up at a party with a lengthy list of dietary demands. A sophisticated game, the sages say, should usher the player into the game with a minimum of fuss. Thirty levels of tutorials? You might as well use the Ludovico technique, surely.
But look at Auro. Look at those gorgeous, Toriyama-esque character designs and chunky sprites. That’s not an unfriendly game is it? Auro’s tutorials are indeed, though brief, rather thorough. But it only does it because it cares, reader. Auro wants you to understand. It wants you to have a good time. It wants you to see how clever it is, and to show you how clever you are.
At first glance, XCOM: The Board Game looks like your typical high-spec Fantasy Flight board game. It’s got loads of detailed plastic tokens, a forest worth of heavy stock cardboard chits, and enough ambiguity in the rulebook to turn the forums at Board Game Geek into a particularly rowdy episode of Jerry Springer.
It’s that rulebook that makes this into something quite different from your usual Fantasy Flight Game. XCOM: TBG doesn’t actually ship with a rule book, which is why I’m talking about a cardboard game on Pocket Tactics: there’s an app.
One of the more famous episodes of Star Trek: The Next Generation was called “The Inner Light” and told the story of Captain Picard living an entire life—family, kids, career—inside his head in the span of about 20 minutes.
Choice of Robots is kind of like that. You, probably, won’t end up sobbing and knowing how to play a Ressikan flute [worked for me –ed.] but you will feel as though you’ve experienced something a little greater than a 30-minute gamebook. Starting as a young graduate student and carrying well into your old age, if you live that long, Choice of Robots has a scope unlike any other gamebook I’ve ever read.