Tetris has never looked better - the maps are a sight to see, paired with (mostly) amazing soundtrack and a pretty neat multiplayer- I certainly prefer this version over classic Tetris as it feels more intuitive and modern.

Still, this game has some flaws that really worsen the experience. The UI is a bit clunky at times and there are not a lot of people online, so reach out to a friend if you really want to enjoy the multiplayer options.
Some of the songs are simply awful. There is this weird remix of the classic Tetris song that sounds so bad, I had to turn of the BGM for a bit. I never knew there was a rendition of that song that didn't slap - perhaps this is an achievement in itself.

While the learning curve can be a bit brutal, it never seemed unfair to me. Just a matter of practice!

This game is ridiculously fun. Visual novels can be an acquired taste but this is very different to your typical VN. A surprising amount of gameplay, great dark atmosphere and a well-written plot.

I think I actually prefer this to the first game of the series, simply because of the characters. NG's cast is rather charming and feels a bit more fleshed out than the people we meet in Death Mark. They also seem more memorable to me, mostly because they're a bit... weird, almost comedic at times (like MC has no sense of self-preservation at all. He encounters a terrifying, murderous spirit in his own bedroom and just goes to sleep afterwards??? In the same room???).

However, my favourite thing about NG might be the art direction. The game looks absolutely stunning, not only in terms of character design but also regarding the scenery.

Some parts are quite lengthy at times and sometimes it was really hard to figure out what the game wants you to do, yet I still fell a bit in love with this game.

Aged very poorly but I swear, back when this came out it was the scariest thing I had ever seen.

I replayed this in 2023 and I have to admit, the gameplay doesn't offer much. You have to click on a few different objects until something happens. Then, you enter the next room and do the same thing again.
The art design isn't much to look at either, just a bunch of real life images that someone slapped a filter on.

Yet, for some reason, The House is also what started my obsession with horror games so bonus points for the nostalgia.

There is so much love stored in this.

Something about this game really hit me hard: It contains a lot of heavy subjects and it treats them with this strange sort of fragile tenderness.
I think at its core, it perfectly illustrates human suffering, grief and isolation. I'm trying to not give anything away as I think this should be played completely blind.
Honestly, I think this might be less of a game and more of an aching wound.
Beautiful.

A lovely story about guilt and loss.

How We Know We're Alive has a wonderful atmosphere that does a great job at capturing the protagonist's loneliness and grief. I really loved the soundtrack, calming and kinda melancholy. It's short but I feel like it does a lot in its 30 minute playtime.

However, I feel like this could have been much more than it actually was. The plot is simple and yet the game feels the need to explain every notion in great detail, as if it was afraid the player wouldn't quite get the implications. In a way, this really ruined my experience - I think letting the player interpret and figure things out themselves would have been the better choice here.

I've been wanting to write a review for this game ever since I finished it a few days ago. Actually, I've been thinking about what I wanted to say, how I wanted to say it.
I could never really come up with the right words, if I'm being honest. Even know, I hold so much love for this game, I can't even express it.

It's a buggy mess. Getting from one place to another can be frustrating. Things are easy to miss, sometimes confusing. But I utterly, horribly adore Beeswing. It made me feel as if I was talking to an old friend, only that I had never met this friend before.

I remember playing it in one sitting, only stopping at some point because I realised I was crying a bit. Not because something particularly sad happened (although there's some heart-breaking stuff in there) but because the story I was experiencing suddenly made me feel very raw and vulnerable.

I've grown up in a town like Beeswing and I only faintly remember all the people I've met there, even though they used to mean the world to me. I wonder where they're now and I kinda wonder what I could ever say to them to make up for all the time I haven't been thinking about them. So many lives that I didn't get to share with them.

I think I'm gonna hug my friends a bit more tightly next time I see them.

All atmosphere, not much else.
The environment is planned out so well, lots of details and little things that kept me on my toes constantly. Being down in the bunker honestly felt pretty eerie to me, the sound design and strategically placed lights adding to the oppressing ambience of the game.

Unfortunately, the story was often predictable, sometimes lacklustre, never that engaging.
The game is quite short which was a blessing in disguise - the repetitive gameplay boarders on overstaying its welcome at any given point. Explore that area. Pick up item. Use item. Explore that area. Pick up item. You get the idea.

Now, I'm sure people don't play games like this for the story but rather for the horror factor. The Bunker excels in that regard so if you're looking for a quick fright, this one is for you.

Killer Frequency's concept is unique and honestly, a lot of fun. Dialogue and choices make up most of the game play and offer a pretty intriguing narrative. I loved the campiness of it all - it truly reminded me of 80s slasher movies, an aesthetic that I enjoy a lot.

Yet, the game kinda overstays its welcome. It's clear that the devs were going for more of a comedic tone , silly and comical. After a while, the writing gets a bit annoying, especially because it accepts glaring plot holes in favour of mediocre jokes. People like to call this a horror game, however, there's not a lot of horror in it. Every "scary" moment seems inconsequential and none of the characters have enough charisma to make up for the lack of lack of tension.

Also, the ending was atrocious. It manages to make zero sense, while being highly predictable at the same time. This is the kind of game that's fun for a few hours and then promptly forgotten about.

I could say a lot about this game. You play as the world's drunkest driver, saddest detective, most pathetic human being. The people around you are mostly broken beyond repair, there's little hope left for anyone or anything. The writing is nice, perhaps even experimental, poetic in the most profound, primitive sense.

I could go on but I think I could never say enough so here's that: I will never forget about my experience with the game. At its core, I believe Disco Elysium is a game about the avatar of a crumbling city, about hope in weird places and, most of all, about the human spirit. About connections between us, some gentle, kind, in spite of a decaying society, others more visceral.

This RPG is a piece of art in motion and it confronted me with some of the darkest parts of myself.

Kowloon used to be a real place with a rather interesting, complex history. This game reflects none of this, in fact, it has very little to do with the actual place you're supposedly exploring. The plot (if you could call it that, it's absolutely nonsensical) is so immensely shallow and soulless that the setting doesn't really matter in any shape or form.

This is your standard indie horror game / walking simulator. Nothing much happens, there's very little to do and it gets boring quickly. The preferred source of horror is random, meaningless jump scares. Thankfully, it's short.