In Bambas!, the streets of a lively coastal town become your playground, just like when you were a kid and every sidewalk or puddle sparked an adventure. The game’s unique controls let you move each sneaker on its own using your gamepad’s sticks and triggers. But it’s not just about strolling. You’ll need to dodge crosswalks, kick cans, balance on curbs, and nail tricky jumps to complete hundreds of challenges.

Each success unlocks a wardrobe of customizable sneakers, letting you style your kicks with flair as you leave your mark on the town. The game’s story unfolds naturally through environmental storytelling: graffiti, forgotten objects, and meetings with characters.

The post Unique walking simulator Bambas! launches next week on PC and consoles first appeared on IndieGames.

KARMA: The Dark World is a psychological thriller inspired by the strange worlds of David Lynch, the complex stories of Christopher Nolan, and the dark themes of George Orwell’s 1984 book. Made by Pollard Studio, a small Chinese team, and built in Unreal Engine 5, which makes the game look incredible, while setting it in a twisted, nightmarish world. You play as Daniel McGovern, an agent who works for a powerful, controlling government. His job is to enter people’s minds to find crimes before they happen. But what starts as a simple case soon turns into a confusing web of lies, love, and lost memories, where nothing is what it seems. While the game has strong moments and a bold vision, some parts don’t work as well as they should.

Walking Through a Cinematic Mindscape

KARMA plays more like an interactive movie than a traditional game. It follows the “walking simulator” style with light puzzles. As Daniel, you use special tech to enter people’s memories, moving through strange, dream-like versions of offices, hospitals, and other locations. The focus is on three things: exploring environments, interacting with objects, and solving simple puzzles. There’s no map or guidance, the game expects you to observe carefully and piece things together yourself, creating a slow, thoughtful pace.

The puzzles naturally fit into the narrative, serving as obstacles that push you forward. Some are simple, like finding a key in a drawer, while others require more effort, such as unlocking a lock using clues from the environment. Most have logical solutions, and if you observe carefully, finding the answers will never be too difficult, even if you get lost. In fact, in some situations, you might need to align symbols on a box or listen to a recording to retrieve a code.

However, some puzzles can be frustrating not because they’re hard, but because of how they work. One later puzzle asks you to match symbols in a room that keeps changing, but moving is slow and the game doesn’t tell you when you’re doing it right. Another tricky one uses a coded box where the clues are hidden in lore items you might skip. These parts might annoy those who don’t like guessing or rechecking areas, especially since there are no hints to help.

The game’s simple design has good and bad sides. You can’t fail or run out of time, which lets you focus on the creepy atmosphere. But the gameplay stays basic, mostly just walking and clicking. The puzzles align well with the narrative, though they may feel overly simplistic for players seeking a greater challenge. The game really depends on its story. If you like the plot, this works fine. But if you don’t, there’s not enough gameplay to keep you interested.

Besides slow-paced exploration, the game also includes scripted chase sequences that suddenly shift the thoughtful pace into an adrenaline-fueled rush. These moments occur when Daniel, or the person whose memories he’s exploring, encounters terrifying creatures. You might face a giant monster with a television for a head or a dark beast made of fragmented memories. One of the most intense chase scenes happens while playing as Sean Mehndez, a researcher with only one leg. As you try to escape through an office, his limp slows you down, heightening the sense of panic throughout the entire sequence.

A Tangled Web of Symbolism

KARMA takes place in a twisted version of 1984 East Germany. In this dark world, the all-powerful Leviathan Corporation watches everyone constantly. They use drugs to control people’s minds and promise a perfect society, but only to those who obey without question. What starts as a simple case soon becomes much bigger, involving spies, hidden family truths, and questions about what’s real.

Story actually moves between 1966 and 1984, switching between different characters’ viewpoints. When Daniel enters people’s memories, it becomes hard to tell what really happened and what’s just in their minds. It deals with big ideas like control, who we really are, and dealing with loss. It gets strange, you’ll see officials with TVs for heads, endless paperwork that shows how bureaucracy works, and mysterious speeches from “Mother”, the company’s ever-present voice.

The plot has surprising twists (think Christopher Nolan’s movies) and hints at alternate realities. You can also feel George Orwell’s influence in how the government watches everyone. Some scenes really stand out; when a memory suddenly changes from a crazy dream to cold reality, showing how the character’s mind works. But, the story tries to do too much. It’s full of symbols, such as watching eyes and red rooms with blood-colored curtains, which often feel confusing rather than meaningful. My biggest gripe is how the middle section moves too slowly, with some scenes repeating for too long.

The game’s visuals are truly impressive

The game’s strongest suit is its presentation. Unreal Engine 5 flexes hard here, with Lumen lighting and Nanite geometry crafting a world that’s both photorealistic and surreal. You’ll see East Germany’s harsh, gray buildings with flickering lights, then suddenly shift into wild memory worlds, like oceans under stars or rooms that melt away. Character models, enhanced by motion capture, are detailed, especially Daniel’s hands. The visual shift from oppressive reality to psychedelic memories is seamless, making every scene a feast for the eyes.

Music and sound effects are just as good as the visuals. The soundtrack mixes orchestral music with original songs, creating tension or sadness when needed. Clever sound details like faraway echoes, fuzzy voices, and the sound of stamping papers make everything feel more unsettling. Voice acting is strong overall, especially Jack Ayres as Daniel, who perfectly sounds lost and desperate. Sadly, some side characters aren’t as memorable.

A game that not everyone will like

When KARMA works well, it’s really powerful. It creates a heavy, tense mood, looks absolutely stunning, and has some unforgettable story moments, for example, when you slowly uncover a character’s painful past. It’s an impressive first game from Pollard Studio, showing they have strong creative ideas and technical skills. But the gameplay is very simple, maybe too simple. There’s not enough to actually do to match the game’s movie-like style.

It’s the kind of game you respect more than truly enjoy. If you enjoy strange, dream-like stories (David Lynch films), dark futuristic worlds, or experimental games, you might find it fascinating, as long as you don’t expect perfection. Others may feel lost, like they’re solving a beautiful puzzle with missing pieces. It doesn’t completely succeed, but its boldness stands out compared to safer, more predictable games. Even with its flaws, it’s interesting enough to try.

Review copy provided by the publisher

3.3

The post KARMA: The Dark World - Mind-Bending Dive into Dystopia first appeared on IndieGames.

WILL: Follow the Light follows the story of a man named Will, a lighthouse keeper on a remote island in the northern seas. His life is upended after an unexpected radio message shatters his routine – his son has gone missing. The game’s narrative takes players on a personal journey as Will must sail across endless waters, face challenges, and uncover the truth about himself and his family.

The game blends walking simulator elements with puzzles, dramatic sequences, and authentic movement mechanics—both at sea and on land. Throughout the adventure, Will controls a realistic sailboat, uses a weather station and navigation systems, and explores snow-covered trails with the help of dog sleds. His goal is to find answers that will lead him to his missing son and unravel the secrets of his world.

The post Narrative Game WILL: Follow the Light Reveals Gameplay Trailer, Coming Later This Year for PC and Consoles first appeared on IndieGames.

Path to Serenity takes us on a journey with Jim, a man who struggles to find the right direction in life. While he is focused on advancing his career, it comes at the cost of what truly matters. However, when he finally follows his heart, he discovers a new path that will change his life forever. Although, not everything starts as intended.

Emotional story and the possibility of interaction with the environment

The idea of providing a calming and relaxing experience by focusing on simple exploration without any challenges or puzzles is a fitting choice for a cozy game. While we still need to complete tasks in order to progress, they’re treated more as a mean to serve us a story, which we can also discover on our own – finding some additional items gives us more details about Jim’s life, his family and their current situation.

The game aims to tell an emotional story, which we can delve into by guiding our protagonist, but also interacting with the environment. In the demo we visit two locations: Jim’s home and his workplace (although we see him in the forest at the end, sadly we don’t have a chance to look around as the game gets cut abruptly.) I appreciated how the colours, music, sound effects and even weather conveyd the feelings of our character, which made his journey more immersive.

Now moving on to some issues I noticed during playing. Since it’s a demo version, I completely understand that it might be rough around the edges, things like overlapping text boxes or unnatural shading won’t ruin the whole experience, as they can always be improved over time. However, when those technical problems start messing with your gameplay, it’s not that hard to get frustrated.

A very short demo full of bugs

Glitching sounds, blocking tasks and finally falling off the map forced me to restart the demo, although second time I managed to finish it, I was constantly worried if those bugs will happen again. I also have to add that the controls were clunky since the very beginning: the way we interact with objects is not quite intuitive as you’d expect from a walking simulator. Especially when sometimes you receive a sound cue for completing an objective, but sometimes you’re just left with no such indicator.

There’s not really that much to say about this demo, as you can finish it within 10 minutes if you focus strictly on the objectives. That’s also the reason why I feel like we didn’t get enough of the story to know what should we expect, it did introduce us to the character and his environment, but there’s no specific thing that could act as the anchor point for the plot. That being said, the concept itself is interesting, so if the game will adress mentioned issues, it has potential to turn into pleasant and tranquil journey.

You can play free demo of Path to Serenity up untill 4th March on Steam.

The post [PREVIEW] Path to Serenity – A way to rediscover life first appeared on IndieGames.

If you’re a fan of any of the following games: Amnesia: The Dark Descent, Resident Evil 7 Biohazard, Firewatch, The Vanishing of Ethan Carter, Call of Cthulhu, P.T., Remothered: Tormented Fathers, then you’ll probably get a sense of déjà vu after learning about The Beast Inside.

While this first-person horror adventure is clearly inspired by the aforementioned titles, it utilizes already known themes and mechanics in its own fashion, creating a brand new experience for anyone who enjoys thrilling stories, absorbing riddles and intense challenges. And even though we’re a little bit late to the party, it’s worth noticing that this production from Illusion Ray still holds up pretty well after over 5 years since its release.

Who is in control?

The Beast Inside mixes intriguing story-driven adventure with an unnerving survival horror experience. It starts out in 1979 when Adam, the CIA cryptanalyst, leaves the city and moves to the countryside with his wife, Emma. While he is trying to break a military code in order to change the course of the Cold War, strange occurences start to plague the area. And it all started from a mysterious diary written by a man called Nicolas Hyde, who happened to live in the same house in the 19th century. When the stories of the two men come to an inevitable crash, the lives of Adam and Emma are put in great danger. It’s up to the players to decide their fates and unveil how these stories interfere.

Switching between two protagonists in different timelines definitely made the game more intriguing and elaborate. Over the course of 13 chapters we get to experience a spy thriller and supernatural horror, which both lead to the final twist. Adam’s perspective is focused more on solving riddles and finding clues in the local forest. These sections aren’t designed to give us a fright, as they take place mostly during the daylight and there are no active threats to our character, instead we are introduced to a story filled with doubts and unease, caused by an inescapable feeling of being watched. I found those levels far more balanced than the ones with Nicolas, in which dreadful and intense experiences are brought to the forefront.

The story from 1860s is much more diverse in terms of exploration and deadly scenarios. Investigating places such as haunted inn, abandoned mine or gloomy swamp involves dealing with unexpected dangers either by fleeing or defeating them. That’s when the game’s highs and lows become more evident, while some sections deliver pretty effective scares and epic battles, it doesn’t take much for the gameplay to turn into walking simulator with creepy voices in the background.

“What you have said in the dark will be heard in the daylight”

You’ll see a lot of familiar themes in The Beast Inside: mysterious buildings, secret codes, religious symbols, gothic art (Strange Case of Dr Jekyll and Mr Hyde in particular), political conflict, dark heritage and so on. It’s a mix of elements already utilized in other games and pieces of media, like the design of Adam’s home, which closely resembles a house from The Conjuring. Inspiration from the movie industry can also be seen when it comes to the graphics – many shots of the environment have that cinematic aspect to them, especially when play of light is involved. Those atmospheric images of nature kind of make up for humans’ designs, which are alright but not really that interesting.

One thing that stands out right away is remarkable attention to detail. Even small things such as paintings on the walls, specific lines of dialogue and hidden collectibles add more depth and context to the story. The same thing applies to well-thought-out ambience, timing of the music and placement of jumpscares is a textbook example of implementing horror. However, while I appreciate the creativity with the sound, the scares with various monsters are exploited to the point where they are more annoying than effective.

Enigmatic tale

I mentioned that I found Adam’s timeline more consistent than Nicolas’, which is mostly due to the mechanics. Since our protagonist is a cryptanalyst, we get to solve puzzles centered around deciphering messages and cracking codes, there is even a riddle that requires solving the Enigma code (the game not only showed us the actual mechanics of the machine, but also presented historical context of this device, which was another reason I loved it so much.) Unraveling secrets is also connected to another great feature: quantum localizer.

With that tool we’re able to track down previous movement and locate anomalies, which is a brilliant addition to the gameplay – we can feel like a secret agent on a mission to expose conspiracy, which wouldn’t be half as fun with only walking. Moreover, using localizer simply prevents the player from getting lost in the semi-open world, which at some point is quite likely to happen.

When it comes to Nicolas’ perspective, it has its own laws. While here our exploration is also rewarded accordingly (with kerosene for the lamp or newspaper clippings about our family), the gameplay and narrative is mainly focused on facing threats. And there are quite many options for doing so, but not all of them perform well. Like a revolver that we receive only for one boss battle and never hear about it again. Or distraction and stealth sections that played major role in two chapters (in the mine and at the swamp), which for me were the most boring and repetitive parts of the whole game.

The same goes for chase sequences – they were alright, but overused as well. Only boss battles offer some kind of variety, although I have to admit: they nailed the battle from the mine level. The soundtrack was perfect, the pacing felt right, the chase sequence forced you to turn around and close gates, which added more tension. I also enjoyed the final part of that encounter, which was a mix of parkour, timing your movements and making use of environment. Honestly, that part was better even than the final confrontation in Nicolas’ timeline.

Ending thoughts

Taking notes from others can help you improve your ideas and their execution, however taking bits of everything and putting them together lead to messy results. The Beast Inside presents some unique and fun ideas, which tend to get lost in generic gameplay and predictable story. Nevertheless, the struggle with its identity doesn’t change the fact that it offers really decent thriller experience with survival elements. I hope we’ll soon have a chance to see if any improvements were made, as the sequel to this title is already in works, as well as another action horror inspired by dark phenomena, Lightmare.

Review copy provided by the publisher

4

The post The Beast Inside – Two sides of the same coin first appeared on IndieGames.

If we’re going to talk about a short horror game where you pilot a tiny submarine, it would be a crime not to mention the most prominent title: Iron Lung. This minimalist, yet dread-driven game from David Szymanski quickly became an indie horror gem, resulting in a rise of similar productions centered around submarines. Although Hell Dive is clearly inspired by above-mentioned title, it surely present itself as its own thing, focusing more on atmospheric exploration, supernatural encounters and resource management.

We all live in a spooky submarine

In Hell Dive we play as Daniel, a maritime operative who works alone in his submarine. He is given a mission to revive COLONY 1265, an abandoned deep-sea mining and research facility. With the help from AI companion VIRGIL, he must navigate seven interconnected facilities scattered across the ocean floor and reactivate their systems. However, each step brings closer a chilling truth hidden in the darkness. Something is watching as you descent deeper into the unknown.

What I found interesting about this game is how rapidly my expectations keep changing during the gameplay. At the very beginning we are introduced to the mechanics of navigating the submarine through tight underwater tunnels in order to find forgotten stations, much like in Iron Lung. However it quickly turned out that piloting a submarine is only small portion of the actual gameplay, which is majorly based on entering those facilities, exploring them and fixing their systems.

For that matter, we need to keep track of the flashlight’s battery, fuel and other supplies, which implies that it’s more of a resource management type of game. Nevertheless, that impression also didn’t last long, as after the first station I realized that running out of necessary materials is highly unlikely – if you’re brave and observant enough, you will be able to gather more than you need from each level.

The rules of exploration are straightforward and predictable: every station turns into a labyrinth that you have to traverse in search of inactive engines. The objective is always the same, while the setting changes every time – we investigate places such as slaughterhouse, mine, hospital, nursery, and even the hotel from The Shining. The horror themes in this game are relatively common, not to say clichéd, however the scares are both well-placed and well-timed, especially when you didn’t notice there’s a threat going after you (got startled for good at the first chase, not gonna lie.)

Terrors hidden beneath

Hell Dive, despite its simple and a little unpolished graphics, has an atmosphere comparable to the unsettling aura of The Backrooms. The similarities concern not only eerie spaces, but also different creatures haunting them, which guarantee unique challenges on each level. Although I wouldn’t necessarily call it a “psychological horror” game – it feels more like a “walking simulator”, resembling classic horror productions. This impression is also enhanced by fairly simple rules and mechanics, as well as a short duration of this title, which can be completed in one hour or so.

One thing I had issues with since the very start of the game was… the brightness. I know, something so trivial can easily be changed, however the default settings make it almost impossible to see anything. Another aspect that in my opinion would use an improvement is the overall story of the game – the background of the main character and his mission could be more clarified and crucial for the ending, which gets cut abrupt too suddenly.

Ending thoughts

Hell Dive is a solid title for anyone interested in a short, but strong experience. It mixes some original ideas with references to already known stories, which results in an interesting blend of genres and themes. While it’s still quite rough around the edges, the game offers an enjoyable adventure that can be finished in one sitting. Whether you’re a fan of deep-sea horrors or not, you definitely won’t get bored while diving into Hell Dive.

Review copy provided by the publisher

2.8

The post Hell Dive – A haunting past of an ocean first appeared on IndieGames.

The Horror Game Awards 2024 winner in Best Narrative and Player’s Choice categories. The Indie Game Awards 2024 nominee for Game of the Year and Best Narrative. IGN Awards 2024 nominee for Best Horror Game. And last, but not least, nominee for Outstanding Story-Rich Game at The 2024 Steam Awards. That’s quite a lot achievements for a 2-hour long indie game that Mouthwashing is, especially considering the fact it is only second game from developer Wrong Organ (the first one being How Fish Is Made, which later got an expansion titled The Last One And Then Another).

Mouthwashing triggered movement in the gaming industry, getting praise from both critics and gamers, even outside indie games bubble. Now that almost half a year has passed since its release, looking back at the heated reactions and discussion caused by the game, the important question starts to pop up: was the hype for this title deserved? I decided to see for myself once the dust settles, so that I could experience the game with a fresh perspective. Here are my thoughts after playing Mouthwashing twice in 2025.

Trapped among the stars

In Mouthwashing we follow the story of five crew members of the Tulpar space freighter. After the tragic crash leaves one of them in miserable state, they are forced to deal with starvation, isolation and slow descent into madness. Soon their artificial sun gets eclipsed by hallucinations, despair and the dark secrets of each employee of Pony Express.

Mouthwashing is the type of game that is best experienced with as little knowledge about it as possible. We get to discover the story by jumping between three different moments in time: days before the crash, months after the crash and hours before the final events. It’s up to the players to piece fragmented narrative together – it can be done by inspecting different places on the ship, talking to other survivors and searching for ways to increase the chances of survival.

For the most time then it kind of feels like a “walking simulator” focused on traversing the ship back and forth in order to complete another task – given that many times it requires walking through long corridors and going back to previous locations, it can be seen as a deliberate solution to prolong the gameplay, which can be rather annoying. Then again, I cannot say that it made the game completely boring, since it could also work the other way: by letting the players’ guard down the scares and anomalies leave even greater impact on them.

Another strong feature of the game is the cast of characters. Each one of them has been given a remarkable personality, hidden struggles and an unique role to play in the story. While both their designs and traits are memorable, I wish we could get more focus on their individual fates and backgrounds, which are remotely mentioned mostly as a mean to move the plot forward.

Extremely graphic vivisection

The game greets players with a bright, reddish sunset accompanied by calm, yet melancholic synth song. This combination right at the start instantly manages to capture the unique and mesmerizing style of Mouthwashing: low poly, retro graphics resembling the designs from the PS1 are skilfully utilized to turn gory and dark moments into surreal psychological trip. The industrial interior of the ship unexpectedly turns into ocean in space, abandoned cemetery or labyrinth of absurdly large organs, each time presenting something brand new, yet kept in the same distinctive, pixelated fashion.

Mouthwashing is a first class game not only when it comes to visual, but also auditory design. The music plays crucial role in indicating the emotions players experience during different passages: setting casual melody to release the tension, playing warning rings to alert players about incoming threat or causing chills during disturbing moments. Sounds are even more salient when the visuals are blocked or completely removed, leaving the most gruesome and distressing stuff to our own imagination. Needless to say, it happens quite often.

Well, that escalated quickly…

Mouthwashing is an intense experience, although it takes its time to prepare a build up for the reveal of major twistst. From my point of view, it definitely deserves the recognition not only for the story alone, but also for the way it is told – the plot and short duration make it feel like an interactive movie, but choosing a video game format for presenting its plot opens up a whole lot of storytelling possibilities.

Although the events are set in space, the horrors of Mouthwashing doesn’t come from alien creatures or unexplored areas – the real terror is centered around the characters and their interactions. The game tackles very sensitive and severe issues through metaphors, symbolic dialogues and actions, as well as frequent foreshadowing (though not the “subtle” one), which makes the story feel genuine, raw and fascinating to unravel.

The narrative presented in nonchronological order, as well as with a thick layer of mystery, accounts for a great replay value of this game. First playthrough is mainly about fully experiencing haunting and bonkers events, while next replays help to better understand the complexity of the story. Although I enjoyed my second time playing Mouthwashing as much as the first, I finally wrapped my head around shortcomings that were bugging me during these two playthroughs.

Primarily, the ending – in my opinion it’s strong and thrilling, but it drags on for too long. There were few sequences that required stealth and precaution, which broke the fast pace and intensity of the gameplay, stalling the further progress. Also, I really admire the attention to detail and diverse methods to increase the tension, but really: you don’t have to distort my screen every few seconds to get the message across. Especially when it interrupts crucial events of the story.

Ending thoughts

Despite its apparent and inapparent flaws, Mouthwashing is a game that legitimately deserves to become an instant indie horror gem. It’s quite extraordinary that each time I stumble upon something related to this title, I learn some new facts and characteristics that show how well-thought-out this production is. While there are many motives to point out and analyze, the greatest advantage of this title is emotional charge it carries – it’s impossible to go past it indifferently. So to those who didn’t get a chance to experience it yet, I highly recommend to go into it with an open mind and heart, as there is a lot to discover. After all, it is a story that may or may not have happened – and not only in terms of video games.

Review copy provided by the publisher

4.8

The post Mouthwashing – A story that may or may not have happened first appeared on IndieGames.

Dreamcore offers a unique and surreal gaming experience that prioritizes atmosphere, exploration, and a sense of unease over traditional gameplay mechanics. This first-person adventure takes place in a fragmented dreamscape, where your main objective is to piece together its eerie world and cryptic narrative. While Dreamcore excels at crafting an unsettling atmosphere and vivid, otherworldly environments, its unconventional design may not appeal to players seeking a more structured or action-driven experience.

At times, Dreamcore feels less like an immersive, interactive art piece. There are no enemies, no tutorials, and no challenges in the conventional sense. It’s just you, the eerie atmosphere, and your task of finding the exit as you wander through disorienting corridors. The pacing is deliberately slow, with environmental storytelling taking center stage. The game currently features two distinct areas: Dreampools and Eternal Suburbia, with additional zones planned in future updates.

Two maps, two haunting experiences

Dreampools is a sprawling labyrinth of surreal swimming pools, twisting corridors, and disorienting spaces. Inspired by the Liminal Space and Backrooms aesthetic, this area offers one of the largest maps in the game. To progress, you’ll need to locate a flashlight, which becomes essential as you venture deeper into the pitch-black basement corridors. The lack of clear direction heightens the sense of unease, leaving you to uncover the world’s secrets at your own pace.

This second area, Eternal Suburbia, contrasts sharply with the enclosed, maze-like feel of Dreampools. Instead, it presents a sprawling and haunting suburban neighborhood. The seemingly endless rows of identical houses hide subtle, eerie details: a flickering TV in an empty room, an abandoned tricycle on a foggy street, or distant whispers echoing through the night. The map is more open, and the transition between day and night happens quickly, adding to the surreal atmosphere.

I initially expected enemies to appear, or at least something to keep me on edge, but they’re not part of the experience. Running through the same-looking corridors and doors does start to feel bland after a while. There aren’t even jump scares or similar elements to break the monotony. To me, Dreamcore feels like a movie you’re supposed to watch blindfolded. It perfectly captures that sensation of expectation, something you’re sure is coming but never arrives. You feel unsettled, even spooked, but nothing explicitly scares you.

Visually, this game is stunning

One of my favorite features in Dreamcore is the ability to customize how the world looks. The visuals lean heavily into nostalgic degradation, mimicking the fuzzy, grainy aesthetic of early ’90s VHS tapes. VHS Tape Mode adds a slightly blurry, aged effect, while CRT TV Mode offers a cleaner yet still retro-inspired look. It’s entirely up to the player to choose the visual style that best complements their experience.

The sound design is another standout aspect of Dreamcore. Subtle environmental audio, like the sound of dripping water, distant footsteps, or the faint hum of fluorescent lights, builds a sense of unease during quieter moments. Occasionally, orchestral or jazz music cuts through the silence, creating a stark contrast that adds a layer of surreal unpredictability to the game’s atmosphere.

There are also several puzzles to be found, such as finding a key or a statue, but they do not have a significant impact on the gameplay itself; rather, they mainly serve as part of achievements. Additionally, Dreamcore's environments are filled with cryptic and unsettling moments. One particularly striking scene is a large yellow ball with a cheerful emoji, placed in an otherwise empty hallway. Such moments do not pose a real threat during gameplay, but they leave a strong feeling of discomfort.

Ending thoughts

At this stage, Dreamcore feels like a work in progress. The current content offers about two to three hours of gameplay, centered around exploration and discovery. While the fragmented narrative invites you to piece together its meaning, the lack of depth leaves the experience feeling incomplete. Those expecting a more cohesive or expansive story may find themselves unsatisfied.

Future updates promise additional areas and expanded story elements, which could address some of the current shortcomings. Players who value replayability or clearly defined objectives may find the absence of traditional gameplay mechanics frustrating.

Review copy provided by the publisher

3.5

The post Dreamcore – Atmosferični simulator hodanja inspiriran Liminal Spaceom first appeared on IndieGames.

Once Alive is an impressive project, especially considering it was developed over three years by a beginner solo developer. While it may not deliver a spectacular experience, the game offers a solid foundation with a clear sense of direction. It’s a walking simulator with a few minor puzzles, primarily following a linear structure where players gradually unravel the story. That said, it’s best to approach the game with lowered expectations.

At the center of the story are two brothers. The younger brother is trying to find their missing father, while the older brother later decides to join the search. It is in his role that you embark on a journey that leads you to a hidden place called HaustVille, filled with secrets. Besides the linear narrative, the game occasionally introduces elements of mystery that further enhance the atmosphere.

Simple gameplay focused on narration

The gameplay in Once Alive is straightforward and minimal. You navigate through various environments, ranging from rooms to houses, while exploring letters and texts. Occasionally, shadowy fragments of past events appear, interpreting key moments of the story, often tinged with sadness. The primary objective is to uncover what happened to the town’s vanished residents, understand the mysterious disease plaguing them, and determine if a cure exists.

While the story is interesting, it sometimes feels shallow, as if certain sections were hurried to maintain momentum. Unfortunately, the gameplay lacks depth. The only truly thrilling moment, a tense escape from crows early in the game, is memorable but fleeting, leaving a sense of missed potential for similar adrenaline-filled scenes. Although the map is richly detailed with impressive décor and architecture, it feels empty due to the absence of characters.

With a completion time of about two hours, the game is ideal for fans of walking simulators seeking a laid-back experience. In this genre, game length is less important than the narrative, which here occasionally wavers. At times, you’ll find yourself reading letters; at others, solving small puzzles like uncovering a door’s password. Later, more intricate mysteries emerge. The game doesn’t dwell too long on any single element, offering casual yet effective explanations of its key aspects.

Technical Difficulties and Visual Impression

Once Alive uses Unreal Engine 5, which despite all its capabilities, shows certain imperfections. The graphics are very good, but suffer from occasional performance drops, stuttering, and even game crashes. Although the developer continually updates the game to optimize it, it is not fully executed in the best way, so if you do not have a very good computer, it will be very difficult to maintain a stable fps.

On the other hand, the animations are minimalist and often unfinished. Cut-scenes and conversations between characters feel unnatural – the synchronization of lip movements and subtitles is inaccurate, and technical issues such as the disappearance or sudden appearance of objects further diminish the impression. Also, from the player's perspective, the lack of hands or interaction makes the game feel more static than it should be.

The technical imperfections of the game can be tolerated, but the optimization problem, which is not at the desired level even a month after release, raises the question of whether Unreal Engine was the right choice in this case. An additional challenge is the voice acting – although the voice of the main protagonist is well done with a good balance of sound volume, the dialogues among other characters, particularly the shadows, are often quieter, which diminishes the overall gaming experience.

Ending thoughts

Despite this, as a debut project, Once Alive can be considered a success. Positive reviews on Steam attest to the game, while the fact that it belongs to a niche genre further highlights its contribution. However, the game is not ambitious – the developer did not venture into experimentation, but rather stayed within safe boundaries. The result is a solid, yet average title that, despite technical difficulties, justifies the time spent on its creation and play.

Review copy provided by the publisher

3

The post Once Alive – Impresivan projekt solo developera first appeared on IndieGames.

Go Home Annie left mixed feelings. Certain aspects of the game are well thought out, but if you're expecting a horror game, you're in the wrong place. Although the atmosphere contributes to that feeling, it is a puzzle game and walking simulator that follows a story with various plot twists, and there are also SCP creatures we encounter during gameplay. The game can be divided into two parts: in the first, we meet Annie, the main protagonist, and the SCP Replication Division where she works, while in the second, the story takes on a completely new shape to reach a certain climax.

Yes, it is a game that features pronounced Croatian motifs, such as sausage and kulen, and even includes stickers you receive during a house blessing. The setting is located in the Žumberak, and that environment is quite prevalent. Unfortunately, the game does not utilize the rich potential of the SCP universe enough, which is otherwise extremely intriguing. However, Go Home Annie manages to present diverse anomalies in an interesting way, from a bathtub and water that communicate with you, to a red bucket that causes chaos, a mutilated deer, and a machine that transforms objects.

If you are not very familiar with the SCP universe, Go Home Annie can serve as an interesting introduction to its secrets. The game manages to show how SCP can be anyone or anything, but, as already mentioned, the limited number of creatures presented is not enough to satisfy curiosity. If the game had gone in the direction of a more detailed exploration of SCP anomalies, focusing on the first three hours to get to know them, as well as a deeper development of Annie and her friends who have too few scenes, the overall experience would have been significantly better.

Excellent voice acting, but the story gradually loses quality as the game progresses.

The detail in the description of these creatures is truly impressive, encouraging us to explore every corner of the world. However, interaction with the anomalies themselves is limited, except in the case of the bathtub and its water, which play an important role in the story. As in the demo version, the game begins by exploring your own house, while the director repetitively harasses you to uncover something obvious. Although Annie initially doesn't seem special, that soon changes when visions of her father begin to surface.

The beginning of the story offers meaningful and coherent development, but after leaving the SCP base, the narrative begins to lose quality. The plot accelerates and becomes increasingly incoherent. From initial research and maintenance of anomalies, the game is reduced to solving puzzles inspired by other games. The driving sections are particularly problematic – long, tedious, and exhausting, which easily makes you question whether it all makes sense. Go Home Annie also at one point takes on an emphasized supernatural tone that abruptly shifts the direction of the story by 360 degrees.

What certainly stands out throughout the game is the voice acting, which is at an exceptionally high level. It is incredible how well it is performed. Graphically, the game looks very appealing – the ambiance and details are carefully designed, creating a chilling visual atmosphere. However, the animations sometimes do not keep pace with the rest of the game, especially when entering and exiting the car or climbing the radio tower with ladders. In those moments, it gives the impression that the budget has run out, as the quality varies in several instances.

Puzzles are interesting, but the quality of the animations is inconsistent

The focus of the game lies in the mystery – who is Annie, what is the purpose of the camera, and why is it where it is? This sense of the unknown enhances the interest in the story. Puzzles particularly contribute to the development of this theme, and their full significance comes to light in the second part of the game. For example, you will need to find an identical childhood picture to unlock the path to the puzzle you need, assemble holograms of memories, and face less inspiring obstacles, such as sliding a card through a wall opening to navigate more easily through the SCP facility.

The camera also plays a crucial role – it opens dimensions from another world and helps solve certain mysteries. However, the game also has a short stealth segment that is disappointing. It lasts about 20 minutes, during which you need to avoid cameras that move in specific directions. Crouching, you can pass by guards who won’t notice you even from a distance of 10 meters, which further undermines the sense of tension in those parts of the game.

It is already known that Croatian studies often resort to puzzles to encourage players to think. Although they are fundamentally well-designed, Go Home Annie feels somewhat scattered due to the variety of elements it tries to incorporate. The story would have a greater impact if it progressed gradually, rather than suddenly bombarding the player with information about the main protagonist. Annie as a character is well-developed, but the rest of the narrative seems abrupt, for example, entering a house that suddenly opens up the possibility of changing dimensions or transitioning from a warm room to a space filled with water where you float.

Ending thoughts

Overall, Go Home Annie is not a bad title and has many positive aspects. The puzzles are particularly impressive and provide satisfaction in solving them, paving the way to the game's conclusion. However, due to the constant changes and mixing of the story, it is difficult to maintain continuity and a deeper connection with the narrative. If you decide to play, you probably won't regret it, but don't expect a classic horror experience; the game is more focused on mystery and puzzle-solving than on creating tension and fear.

Review copy provided by the publisher

3.6

The post Go Home Annie first appeared on IndieGames.