MINI METRO

The other day I watched an episode of The Orville  which dealt with discovering a 2-dimensional civilization and thought the colourful lines of movements of its beings and objects  were remindful of old metro scheme designs and vehicle pathways of Tron and that it would great if such designs were used more frequently in gaming. Minutes into my on-line quasi-research and I come upon Mini Metro.What a great example of an exciting real-life job simulation carved into a slick game! Subway and train outlines have been part of gaming since its infancy, but this title gives you an actual opportunity to see the results of your construction engineering efforts seconds after you've built, reinvented, upgraded or altered the lines. The city (one in 10 actual cities you can pick) and its population gets bigger and so does the number of stations  you need to connect with subway lines and thus keep make things run as smoothly as possible,

Mini Metro is visually pleasing and fun and easy to play and has a decent replay value and cute music. It also has that Je ne sais quoi  quality about it that makes it both charming and ground-breaking at the same time. Could it be the compelling nature of fighting entropy on any scale and within any given system the thing that makes Mini Metro a great game? Or is it simply the combination of casual gameplay and deep tactics? Try this instant classic, you won't be disappointed.

EVERYTHING

When I was 9 I thought it would be great if someone made a game in which you could be a platform, a sprite, a boulder,a trap, a contraption, the hero's arch enemy or anything else but the hero. Someone beat me to it (Tim Winsky http://indianastone.twinskygames.com/ ) and the result is wonderful. I recently realised , though, that there are people who went way further than what I thought leaving the confines of your average video game concept could mean. What if you could play everything within a game and be a microorganism, a plant, an animal, a boulder, an island, a natural phenomenon, a celestial body, a galaxy and so forth, all within a single game? Add some metaphysical humour and unease ,beautiful music and passages of recorded narration by the inimitable Alan Watts and you got EVERYTHING the game. It rewards reflection and patience, and as you ascend or descend by experiencing the interconnectedness of forms in the pool of  universal consciousness you realise you can listen to its thoughts, receive and sing its vibrations, and become a vibrating sequence yourself. Entering and leaving forms (even those such as oil rigs, boots and snowmen) as you gain knowledge through experience of being leaves you asking "What am I supposed to want here?" (Alan Watts again). Playing it over and over again, I suppose.

This is the best game I've ever played. Period. Nothing comes even close.

ANOTHER LOST PHONE : LAURA'S STORY

Feeling ill at ease with passages of deeply personal reminiscences found in  artists' autobiographies?Feeling as if you're encroaching upon their privacy while catering to their self-gratification? Then this game is not for you.

We've all grown into wonderful underachievers turning to other people's woes and failures for comfort and we can't help it. If you found somebody's phone in the street, would you explore it  before returning it? Would you bother looking for wifi passwords, data, e-mail and social media content, calenders and business communication to find out what happened to the owner of the phone? By exploring and testing Laura's phone to pick up the pieces  you test yourself on how far you can go.

Looking at another person's smartphone through your own phone adds to the creepy Big Brother feel to the game and the concept itself is original, simple and elegant. marinating in juices of an intriguing story that unravels in a surprising way.

CUPHEAD

There's been a lot of nitpicking about this game. It's nothing more than a collection of bosses, the Cuphead character lacks character, we've all waited too long for this and it doesn't live up to the hype etc.Forget that.

From an era of animation that produced hundreds of cartoons that are now banned for their social,racial,chauvinist undertones  comes a game celebrating the years of uncertainty and fear dressed in cuteness and duelling with the devil.The distorted world Cuphead's living in is a map, a menu for the voracious and lost,  depicted with faded colours. Characters are monomaniacal and blind to anything around them.The authors have they even toned down  the racial  and chauvinist stereotyping of  some of  Max Fleischer and Tex Avery's cartoons  (Mexicans, East-Europeans, Italians).They softened it down but still retained the characteristic physical features for characters and bosses. The fact that the devil is also entitled to the souls of the bosses you fight with to free your soul of smelling your own flesh roast till there's no tomorrow only goes to show you how thorough the game makers were in outlining the story. Why go there? Why not?An era that had dance marathons  deserves to be presented in the form of a game as it is eerily similar to contemporary experience.There's almost an educational value to this game.

But there is so much more to this than making a threnody for the Roaring 20s and the frightening 30s - it's a fun and highly addictive game  requiring skill and alertness acquired through trial and error, just like the favourties from the 80s and 90s we loved as kids. If nothing else , Cuphead should be praised for all the love, painstaking exploration and creativity put into it.

FLOW

It's a game about a microscopic being going about its daily business in a water-like microworld, eating other microscopic organisms or using them to cross to other planes, growing and evolving and becoming more complex as it goes further into the deep, arriving at a black mass where its journey ends. Simple and cute, I know. But the sensation you're left with way surpasses the game's premise, same as with JOURNEY - it's about the trip itself more so than anything else, but unlike Journey where I traversed sandy expanses with ruins left behind long-gone civilization and felt the journey  reflected a uniquely human existence at its core, Flow  finds you in a primordial soup where you're every living being that ever lived rising from and giving itself to the cycles of matter. It's about  womb, water, blood, fear of Microcosm and Macrocosm intertwined. You can't die in this game. Everything's in flow.

ALTER EGO

The oldest bildungsroman in gaming I can think of was a welcome relief from genre's dominant fantasy subject matter during the 80s. ALTER EGO was  made by a psychology professor and sometimes the playing resembles answering an extensive questionnaire about your life and its travails while living a part you're assigned. On the other hand, introspection isn't bad.  You walk through  life replete with choices you make as a male or female (though including other genders would have been great) of many dispositions and a number of moods. You can give truthful answers or not, be benevolent or malevolent, and each answer determines the way your afterlife plays out. Sets of questions are grouped under icons on the screen that cover an area of life -emotional, social, defining moments and rights of passage, intellectual life and the accruement of knowledge etc and there are thousands upon thousands of questions appearing randomly. Your aim is to develop into a functional human being without dying in the process. Deliberately making wrong decisions  will also enable you  to have a differennt kind of fun and see how you can end your life in the game - and again, there are dozens of ways to do it.
The replay value and the fact that Alter Ego was one of the very few games in my c64 collection  with a "save game" option made playing this game a truly unique experienc. It could have done with some music and maybe some funny fx to spice it up, but  nevetheless it's ace.

DRAGON'S LAIR

Before Dragon's Lair a truly cinematic gaming experience could have only taken place in the imagination if the player while they were mentally traversing magical kingdoms inside the confines of textual adventures.The game appeared almost a decade before interactive movies would become a thing  (and would fall from grace soon afterwards) and heralded the genre in the best way possible . I'm not really sure what kind of processing power a laser disc could have provided an arcade cabinet with , but my personal impression at the time was one of sheer awe. In the years when cheap animation reigned supreme on TV (MOTU,Tarzan etc). the emergence of a game that was visually even more appealing than the series was a huge thing. At that time the animated series wasn't being broadcast anywhere in Yugoslavia, so imagine my surprise when I first laid eyes on the game. Who could resist playing out a cartoon, being at the same time entertained and annoyed with a myriad of excellent ways to die. Nowadays people say the game is nothing more than a series of movie sequences you become an able director of after spending a fortune on your trial-and-error learning curve. Memorising steps to  victory wasn't something that was unknown to 80s gaming anyway (one can easily evoke  memories of titles that taunt the player in a number of largely similar  ways). so a credit should be given where it's due , and this game surely deserves the credit and pomp it got.  Whining about coins lost in the local arcade isn't the way to go about writing a  game review.