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A new dawn would be most welcome. Have you ever thought to yourself, “man, I wish I could boot up a game and do nothing interesting while constantly and consistently being hounded to enter my credit card information”? If so, you have come to the right place. Dawn of Ages  is a vapid, highly-monetized auto-battler with little in the way of creativity. A medieval strategy game with base-building aspects that never amount to more than busywork. While the soundtrack and visuals are mostly inoffensive, the gameplay itself is highly objectionable.  Publisher: BoomBit Games Developer:   Stratosphere Games Platform:  Played on PC, Android Availability: Released on May 8, 2024 for Android and iOS; April 28, 2025 for PC (Steam). There are multiple systems in place to manage, such as crafting equipment, collecting resources, equipping your soldiers with gear, and positioning them in advantageous areas on your field. Occasionally, you may command units through a series of battles, but a hefty majority of the gameplay centers around micromanaging equipment and buildings, rather than commanding your units in any real way. Unfortunately, this micromanaging of the environs is not engaging whatsoever, with everything handled with a single click, and set on massive timers — all in the hopes you will pay real money to speed things up.  The battles themselves are quite simple — you command a squad of 5 units, and place them in positions that are most advantageous to your current scenario. There is an effectiveness matrix to keep in mind while you equip and position your units. Swords are effective against light armor, spears are great for medium armored targets, and blunt weapons handle heavy infantry well. Once you place your crew on the field, you select a tactics card (which are per-battle bonuses to give yourself an edge). The battles then play out autonomously and unceremoniously, with drab soldiers flailing around until someone’s units go down — at which point a victory or loss screen just kind of pops up. PVP is another major part of this game. Unfortunately, as Dawn of Ages  is pay-to-win, any player looking to play without additional funds is out of luck. The game has a small userbase, so you are pushed into battles with whales and higher level players occasionally. Predatory shops, timers, and battle passes are constantly pushed to the player, with failures and quest objectives pushing you to interact with the monetized elements. Prices are absurd, but that’s par for the course in this type of mobile title.  These images are functionally the entirety of the experience. If the monetization was the only issue with the game, maybe we could wave the game off as just another mobile game port hoping to cash in on a drowning market. But the game is barely functional at times. I have run into major bugs throughout my dismal time with Dawn of Ages.  UI disappearing during play, units being lost mid-battle or disappearing from the screen; freezing when accessing warehouses, participating in battles, or interacting with other menus. I have encountered disconnection issues when accessing the workshop, and experienced slowdowns during combat, as well. At the end of the day, we have to ask ourselves what we want to leave in this world. Are these bland, uninspired projects the type of thing we want generations to come to remember us by? The type of thing  whose only purpose is to extract dollars from unwitting or susceptible people? I understand that this is the way things are now in the industry at large. Dawn of Ages is not the first game to do its best to mine its players for money. It won’t be the last, either. But it should be. It is a monument to the type of decision-making that has poisoned the well for video games as an artform. Is this the worst game I have ever played? No, but I hope it’s the worst game I play this year. I read A Minecraft Movie review recently that lamented how often we excuse bad products through the lens of "It's just for kids." In many respects, those same sentiments extend to mobile games just like this one. Excuse after excuse is used to prop up the worst tendencies in the space. But games like Dawn of Ages don't even have the one major positive that a film like Minecraft does — an ending. Despite being another pointless checklist of references, there is a release from the experience once the credits roll. Mobile games such as this have no such catharsis as they intend to keep you in perpetuity, fully on the line with your credit card in hand. Just one small purchase and you can finish the building. Punch in your Visa and that sword could be yours. A simple donation and you can finally gather enough resources to upgrade your armor. Maybe then you could finally play and enjoy the game. Verdict Dawn of Ages  is a vapid, highly-monetized auto-battler with little in the way of creativity. A medieval strategy game with base-building aspects that never amount to more than busywork. Riddled with bugs and offensive pay-to-win monetization, it offers so little of value that I came away offended that it exists at all.

The hull groans as your ship, the merchant ship HLV Herald , begins its long journey across the ocean. While the waves may be familiar to many onboard, for player character Devan Rensburg it is a new experience. As a man of mixed heritage, you are not afforded the same courtesies as those above your station. Nevertheless, you must acquaint yourself with the ship and its crew, finding your way in a hostile world, trapped by both circumstance and sea. Framed as the retelling of events that have already happened within this 19th century alternate history world, Herald: The Interactive Period Drama – Complete Edition  ( Herald )   is a tale of power; a tale of those who have and have not, a tale of those who do and those who do nothing. Outward appearances belie the true feelings or ideas harbored among your crewmates, many of whom are initially cordial or friendly. But this is a world ruled by and for white men, with The Protectorate (think British empire) standing as the only superpower after having conquered much of the lands abroad. Publisher: Wispfire Developer:   Wispfire Platform:  Played on PC (Steam) Availability: Released on May 1, 2025 on Steam and GOG. At its core a point-and-click adventure game, Herald: The Interactive Period Drama – Complete Edition has you move across the screen by selecting points within view, and you can examine objects in the environment to learn more about the ship and the people on it. But this aspect is a much smaller part of the experience than its more visual-novel dialogue and story structure. Not only is the story and text of Herald  well written, it is also a game where your choices in those dialogues can change the course of the story and alter the fates of those within it. But as this is ultimately a story about power — or powerlessness — it is more about navigating your relationships with everyone onboard.  As a servant of the empire in low standing, Devin has very little outright say in how things go. Instead, you manage your reaction to the events and asides of the narrative, making choices here and there — often with no clear indication of what the true end will be of each choice. Chastising someone may lead them to rethink their actions, or perhaps it just makes them angry with you, leading to a lost friend; being forgiving to another person may lead to someone’s untimely death. Ultimately, I find this to be quite refreshing. There are no easy answers, no click-to-win buttons. Instead, you must use your knowledge of the characters and the world at large to guide you — how you use that is up to you. These dialogues are presented using some absolutely stunning character portraits and accentuated by a fittingly beautiful score. The character models and environments outside of the speaking moments are much more simple, but they remain well-crafted. Individual rooms are especially interesting, as the items you can find in each person’s quarters will tell you about who they are and what they think. Even without Devan, or the person themselves, explicitly telling you what each person feels or thinks, you get a sense of the people aboard — and let me tell you: the vibes are way off. Herald lives up to the "Interactive Drama" part of its name. Herald does not shy away from dark subject matter, even early on, with the most prominent of these subjects being racism, sexism, and the oppression of any non-white male. And it is pervasive. From off-hand comments to finding a human skull with measurement tools attached lying among phrenology literature — the reality is that Devan and those like him are not equals here. Every injustice and inequality is normalized, bubbling just beneath a veneer of respectability.  Devan doesn’t have to sit idly by. You may speak back or try to change the way things are in the course of the game, but you’re faced with the reality that this is fundamentally a world that does not give a shit about you beyond your usefulness and subservience to the collective aims of the empire. To that end, Herald  does manage to pack a wild variety of crewmates for these ideas to be borne by. Characters from the Netherlands, Brazil, India, and beyond all occupy the space, allowing the player to engage with their perspectives and see firsthand the effects of The Protectorate. There’s also a journal to help you along with the material. In it, you can examine documents you find or get some of the world’s history and comments from Devan on it. It’s a nice refresher tool while also adding some more flavor to both the world and Devan as a character himself. It should be pointed out that there does not seem to be anything you would only see within the journal that is necessary for advancement. You could just power through the game, but I do think it’s worth examining this for the details. With the story being broken up into four separate acts, the game starts out really strong, bringing both worldbuilding and drama in equal measure. Events at the end of Book I spur things in motion, and the game takes that momentum and runs with it. Herald  shuffles you from one scene to the next, with very little in the way of freedom of how you move about the ship, but this helps keep things focused so you’re not spending much time trying to figure out where to go. Each individual room or scene has a lot to examine already, so this prevents the player from becoming overwhelmed with items or tasks. This basic structure holds true for the first three books, but the fourth book changes things pretty dramatically in every sense of the word. As the resolution to all of those threads laid out earlier, Book IV does away with the interactive elements, functioning mostly as a story delivery sequence. Its execution mostly works but the lack of exploration does make the final book feel much shorter than the other three. While this act serves as the culmination of your choices and the events of the game, on repeated playthroughs it is my least favorite to retread. Varied camera angles and lighting choices set the scene. Generally speaking, for a visual novel or for games made on the idea of ‘choice and consequence,’ you would expect more agency or for your actions to have greater effect on the events of the game. Herald doesn’t really do that, but it’s not a mistake. There is a true marriage of the narrative structure and the themes and plot of the game. That lack of agency is key to understanding the messaging within Herald: The Interactive Period Drama , and makes all of those moments throughout the game even more powerful. In this sense, the game leverages both the video game medium and the players’ expectations to drive home its intent. The journey on the HLV Herald was a perilous one, fraught with danger and mystery. And while the journey loses a bit of the wind in its sails by the end, it was still one worth making. With absolutely stunning artwork and spectacular characterization at the helm, Herald: The Interactive Period Drama – Complete Edition  passes muster with ease. Verdict The final two books in Herald: The Interactive Period Drama – Complete Edition  stay the course, and deliver upon the promising narrative laid out when the first two books were released in 2017. The artwork, characters, and writing got their hooks into me immediately, and kept me on the line through the entire trip. While the lack of clear and distinct agency or choice may throw some overboard, the design serves the broader narrative and drives home many of the underlying themes, crafting a powerful tale about agency and oppression. Image Credits: Wispfire and Taylor Rioux Disclosure: I received a free review copy of this product from the publisher.

We spoke to Wispfire's Art Director Aïda de Ridder about her process and work Herald: The Interactive Period Drama – Complete Edition and beyond. Initially containing only the first two parts of a four-part story, Herald: An Interactive Period Drama released on February 22, 2017. Just over eight years later, this vibrant point-and-click adventure finally gets the chance to close the book on its tale with the release of Herald: The Interactive Period Drama – Complete Edition on May 1, 2025. Herald  features some absolutely stunning artwork, particularly the painting-esque portraits of the diverse cast of characters. As the art itself immediately grabbed me, I reached out to Art Director Aïda de Ridder to learn a little more about her artistic journey, and Herald’ s part in that. Can you tell me a little bit about yourself and your role on Herald: An Interactive Period Drama? I am a self taught visual artist who was primarily focused on illustration before taking up the role of Art Director at Wispfire. What was your path as an artist like? Did you draw or paint from a young age, or take it up later in life? Did you go to school for your art? I was basically always drawing or crafting things from a young age. Before I really got into drawing, I was writing stories that I would draw pictures for. Eventually I enjoyed the drawing more than the writing and continued doing that for a long time until I got into working on games. Drawing has always been a hobby for me, and art school was more a way for me to collaborate with others rather than hone my personal craft. Right now I really enjoy the entire production of making games to satisfy my creative itch. Some of Aïda's illustrative work on Herald: An Interactive Period Drama . When did you start working on video games, and what drew you to it? My love for games really started very early, but really engrossed me once I realised the powerful potential of it as a multidisciplinary medium to create larger experiences. I’ve always enjoyed designing the entire experience of an entertainment product, to fully immerse the viewer or player into its world building. I also really enjoyed working together with others to create an experience. Was the art style shown within Herald core to its initial concept, or was that something that came along later through development? One of the reasons we started our own game studio was really to focus on our own strengths as artists. So I always relied on my own skillset and art style to bring our projects to life. I did do many sketches to see how stylized or more naturalistic I would draw the characters in, but the overall color scheme of Herald really came from my own personal feelings regarding the project and the world we were creating. "My love for games really started very early, but really engrossed me once I realised the powerful potential of it as a multidisciplinary medium to create larger experiences. " How closely do you work with the other members of Wispfire in developing the concept or visual identity on a game like this? My team members trust me with the art direction, and give me a lot of freedom with it. But we do always discuss everything and I work with their feedback to tweak things to better match the story. But every part of this production was very collaborative and all our ideas mingle together to create a final product. What influences (within or beyond games) did you draw from? My drawing style was influenced by both 90’s Disney classics and my later fascination with Anime and Manga. I also read a ton of European comic books growing up. I’d like to think all of this mixed together to create a style that uniquely appeals to my own tastes (and hopefully others!) I am very focused on 2D art and try to incorporate its appeal into our games. Since Herald has a 3D world, we ended up going with hand painted textures for everything, to match the 2D animated portraits. What was working on the art for Herald like? How did you work in tandem with modelers for the assets beyond the portraits and textures? I had a pretty clear vision for the 3D style of Herald, I worked closely with our 3D artists to direct the type of stylized models we wanted, and then we used our large hand painted texture library, to create an uniform look between the models. I am still quite happy with the end result! What were some of your inspirations for the UI and other elements like the journal? What type of considerations did you have to make between usability and style, if any? We all had a rather minimalistic and diegetic vision for the UI, and then the idea to create a 3D journal came rather naturally from that. We wanted the main focus to be on the world and story, so we made an effort to try and keep it fairly simple. The hardest part was combining the visual novel style dialogue panel with pleasing looking 3D camera angles. We always had to make sure the 3D characters were visually smaller than the 2D portraits laid on top. This was often pretty hard to pull off, especially in some of the very small rooms on a ship! "We all had a rather minimalistic and diegetic vision for the UI, and then the idea to create a 3D journal came rather naturally from that. We wanted the main focus to be on the world and story, so we made an effort to try and keep it fairly simple." It has been over 8 years since the original release of the first two books. How has your process changed, if at all, leading up to the release of the Complete Edition? I find this hard to answer because my process is always evolving with each new project. It’s fun to be challenged so our newest game project, while having similar elements as Herald, is a wildly different type of production. What sort of lessons or ideas were you able to take from Herald into your other work, like Acolyte and The Talon Moon? The big discovery for me during the production of Herald, was learning how to rig and animate 2D portraits, and really enjoying that. This is something I hope to keep incorporating into many future projects! I’m sure it’s tough to choose, but do you have one particular piece or element within the game you are most proud of? If so, Why? I am proud of the visual cohesion we managed to pull off within the 3D game world, despite working with many different 3D artists over Herald’s production. I enjoy walking around the world we created and I hope others will feel immersed into it as well! Herald: The Interactive Period Drama – Complete Edition Releases May 1, 2025 for PC on the Steam and GOG storefronts.

This freeze extends to all Microsoft-related gaming. After weeks of rumors and speculation, Bethesda shadow-dropped The Elder Scrolls IV: Oblivion Remastered  today on April 22, 2025, much to the delight of many long-time fans of the Elder Scrolls series. While such a large RPG would generally be right in our wheelhouse, we’re going to sit this one out. Normally, such an omission would not necessitate an announcement from us, but things are a bit different now. On Thursday, April 3, the Boycott, Divestment and Sanctions (BDS) movement made Microsoft a priority target, calling for the boycott of all products whenever possible, due to Microsoft’s ongoing complicity in the Palestinian genocide. As part of our efforts to show solidarity with the Palestinian people and their right to exist, we will abide by the BDS recommendation to boycott Microsoft’s gaming products.  The simple fact of the matter is this: I, personally, cannot in good conscience support Microsoft so long as they aid and profit from the ethnic cleansing and murder of the Palestinian people. And while reviews are not necessarily an advertisement, they do sometimes lead to sales or further engagement on a topic. I do not want to be a part of that. I hope you understand, and I hope my readers also consider divesting from Microsoft products and holdings where possible. Thank you, Taylor J Rioux Owner, JetsonPlaysGames

Kaya’s Prophecy  does not shy away from its influences, positioning itself as a mash-up of Slay the Spire  and Stacklands . However, by explicitly naming them, it does open itself up to direct comparisons. While it may not reach the highs of Slay the Spire , the comparisons are not at all disastrous for Kaya’s Prophecy , which manages to blend the village management mechanics quite well with the card-based battles.  Publisher: Yogscast Games Developer:   Jérémie & Thibaut Platform:  Played on PC (Steam) Availability: Released on April 10, 2025 on Steam. Developed by Jérémie & Thibaut, Kaya’s Prophecy  starts off with the destruction of a nearby village by a malevolent god. As the sole survivor of the event, you must rebuild the village and repopulate, all while checking off the boxes the game gives you in your checklist. There is a story here, but it’s not particularly substantial — you just get snippets here and there after major checkpoints, as well as dialogue between the villagers and whichever boss you encounter at the end of the area. Once that basic plot groundwork is laid down, the game hits the ground running, putting you into the village management portion of the game. Building up your village requires you collect and stack cards to craft recipes you either buy or find, which in turn allows you to check off the list of objectives to progress further. Items you don’t need or have too many of can be turned into Evil Blood, which can then be turned into booster packs to provide you with another set of resources or locations that you can use to craft what you need. The RNG nature of these booster packs adds a bit of tension, as each day in the village is on a timer and you need a specific number of food items in a day to appease the god who torments you. This may lead to frustration early in the game, but by the later stages of a run, you’ll have more resources and food than you know what to do with. Explorable locations can be purchased from an in-game shop once it is crafted, and this is where the game brings in the Slay the Spire  aspects all the marketing alludes to. Starting on a map with multiple pathways, you work your way through card battles and randomized events to collect resources which can be brought back to the village to help in advancement. Some resources are only available through the exploration and card battling portion of the game, so venturing out is necessary — it is also the most fun aspect of the experience. I love these card battler games, so there’s just going to be some bias there, but Kaya’s Prophecy  nails the battles, even if they’re on the easier end. The attractive art and clear visual indicators make Kaya's Prophecy easy on the eyes. Each battle consists of your exploring villager taking on 1-3 enemies using hands of cards dealt to you 5 at a time. Your villager has 3 energy, which can then be spent to use those cards, with each card having a specific cost tied to it. Card types are split between armor cards, utility cards, and attack cards. Attack cards do damage to enemies, armor cards give your villager armor to resist attacks, and utility cards do things like draw additional cards, heal, or give your villager additional energy to use on a given turn. While this is extremely similar to Slay the Spire , this game differs in the fact that armor is carried over between rounds and it is not as difficult. Building your deck in Kaya’s Prophecy  is extremely easy and I would say a mostly passive endeavor. You gain powerful cards through equipment you craft within the village sections of the gameplay and you can occasionally swap out abilities here and there when you traverse through locations. Not a ton of customization, but you do get noticeably more powerful as you advance — to the point where later stages of combat feel mostly inconsequential. The art style is simple-but-effective, with easy to read icons and text, and pleasant backgrounds and UI elements. It clearly draws major inspiration from aboriginal cultures, using similar body paints and even leaning into the Australia/Oceania connection by using cassowaries as recurring entities on the currency and other iconography. Whether those cultures are well represented is not really something I can speak on, but I do not feel like there’s any hint of negativity in the portrayal. However, the stylings being so obviously drawn from traditional aboriginal imagery was immediately obvious to me, a random American across the planet, so I do wonder how this lands with people within those cultures or spaces. I’m not sure that I would consider Kaya’s Prophecy the most original game — it is blatantly and intentionally not so. However, the concepts and ideas it draws from Slay the Spire  and Stacklands  are well executed, with great balance between the two disparate gameplay sections. While the two elements themselves are quite different from one another, they are married beautifully together, with each feeding into the other to create a fun, varied experience. Verdict Despite not being wholly original by design, Kaya’s Prophecy succeeds in marrying the two disparate ideas of card battler and village management. A simple, yet distinct art style, combined with timeless deck building mechanics makes for an endearing and addictive experience. Image Credits: Yogscast Games Disclosure: I received a free review copy of this product from the publisher.

Bailing on the high seas Don’t let the cutesy art and cheerful tunes fool you — Seafrog  is brutal. A hybrid platformer and skateboarding game, Seafrog  lures you in with its intuitive controls and fun animations, then hooks you by making sure there’s always just one more thing to collect. Using your trusty wrench to ollie your way across gaps and grind your way over spikes, the crux of the game lies in collecting objects to advance the story and repair your ship.  Publisher: OhMyMe Games Developer:  OhMyMe Games Platform:  Played on PC (Steam) Availability: Releasing on April 15, 2025 on Steam. While the basic mechanics are simple, with only a single button used to skate or perform tricks, the real challenge comes from navigating the levels using the tools available to you. Levels, separated by ships and broken down into sublevels or rooms, get progressively harder and more intricate as you advance through the game, with many challenges or sub-objectives available for you to participate in as you play. While the first few levels may only include a ramp and a rail to navigate, you’ll soon find yourself under threat of sawblades, freezing temps, and acid pits — forcing you to get creative in how you traverse the landscape. These platforming puzzles are brutally difficult at times, requiring split-second precision and specific gear to conquer.  The frustration can be exacerbated by the game's checkpoint system, which sees you returned all the way to your main ship upon death. Failing a task could set you back minutes at a time depending upon what you have unlocked or where you are trying to get back to — and that’s just getting to your destination. Still, despite any frustration, the level and puzzle design is great overall. I found myself admiring the ways in which I could use my various tools or gear to navigate sections in myriad ways. For example, a room may look like you need a specific tool to advance, but smart use of boosts or rail-grinding can deliver you safely to your destination. That creativity is aided by the availability of upgrade pathways (chips) provided to you. These chips can serve as flat stat boosters (extra health, boost speed or fuel, and even increased trick points) or provide the necessary function of being able to utilize specific environmental pieces (mag walls, bumpers, etc). You can mix and match these chips to give you whatever specific boosts you might need in any given moment, although many are either outclassed by other available options, or rendered obsolete when you finish a ship. It feels a bit like the Mega Man games, in some respects. If the level design and puzzles are the peaks of Seafrog , the progression is the valley. There’s an absurd amount of backtracking to be done within the game in order to progress or collect many of the items. With four main ships (themed zones with specific gimmicks), you will progress part way through one at a time, hopping through several (or all of them) before ever being able to complete any individual ship. In order to finish the first ship in its entirety, you’ll need equipment and items from the second and third ships, which you won’t know until you arrive in a room you do not have the tools for. This ship-hopping takes away from an otherwise arresting rhythm of tricks and ollies that are so much fun to pull off. The game’s fast travel or navigation systems make this more of a slog than a joy, as you’ll need to travel to specific rooms in order to teleport back to your main ship. Once there, you can choose to change your next destination to various limited other rooms on each ship.  Seafrog ’s unexpected difficulty is heavily contrasted by the playful and whimsical vibes of the story, dialogue, and music. So much of the text is joking and tongue-in-cheek wordplay, all while the characters are vocalizing complete gibberish. Chipper tunes blare in the background as you splatter rats or exorcise ghosts; each animation from your frog is cute and stylized, enhanced by the vibrant pixel-style graphics. It’s family friendly in all the ways that matter, and it’s a joy to play most of the time. While the story is sparse and by no means laugh-out-loud funny, it’s worth a smile.  Despite the seeming identity crisis,  Seafrog is undeniably fun. Doing trick combos is entertaining, even if extremely simple, navigating the ships through inventive application of your abilities is rewarding, and I can skateboard on top of rats to extend my combos. Which is where the disappointment comes in for the fast travel system, I suppose. When I turn on Seafrog , I just want to keep playing it, and sometimes the game seems like it doesn’t really want me to. Verdict Surprisingly difficult, Seafrog  is at times a joyous experience and at others a bit of a bore. Creative level design lends itself to navigating through inventive use of your abilities, but failure is punishing in all the wrong ways. Contrasting that brutal difficulty with such cheeky dialogue and light tunes is, in a way, a bit of a laugh. Image Credits: Taylor Rioux Disclosure: I received a free review copy of this product from the publisher.

You cannot extinguish the fire within us. * THERE ARE BIG STORY SPOILERS FOR PYRE  IN THIS REVIEW . Please leave if you do not wish to read them. The year Pyre  came out (2017) feels like a lifetime ago. While many of us saw Donald Trump for the lying, manipulative, and vile bastard that he is, we were barely into his first term as president. It felt like we could still claw back some semblance of a soul, like America could still be healed, and that we would find ourselves in a better place once this monster was excised. Of course, this was fantasy. As the onslaught of fascist rhetoric and Nazi salutes across the U.S. over the last decade have worked to normalize what would have once been considered an abhorrent ideology, Pyre feels like both a warning of what awaits us and a call to action to stop it. Publisher: Supergiant Games Developer:   Supergiant Games Platform:  Played on PC Availability: Released on July 25, 2017 for Linux, Windows PC, and PS4. Released August 3, 2017 for Mac OS. The Reader, our protagonist, is found alone and dying in the desert by three companions, known as the Nightwings, who then bring The Reader in and provide reprieve. It is here the lovely Reader reveals their ability to read — a crime in the Commonwealth from which they hail.  Having been exiled from the Commonwealth for undisclosed crimes, The Reader now finds themselves in a desolate landscape full of desperate folks trying to find their way — in more ways than one. Most are simply trying to escape this exile in The Downside (the realm the exiles have been banished to); some may have lesser motives like simply causing havoc, while others harbor more grandiose plans. In order to escape, one must participate in a series of rites handed down by an oppressor on high. Taking the form of a sports competition that plays a bit like a mix of basketball and rugby, the rites serve as a way for the participants to prove themselves worthy in the eyes of the scribes — revered entities which at some point created the rites themselves. Each participant has their own abilities and functions within these rites (determined by the race of the particular participant) and you must use them to douse the opponents flame by bringing the ball into the goal until the target score is achieved. Aside from the different characters having different playstyles, there are many amulets and character upgrades to mess around with that can alter the way moves work or increase their potency. There are also shops where you can buy upgrade materials to increase the levels of the amulets you already own, or you can buy new amulets, crystals that provide temporary buffs, and even consumables to reset your characters talent tree. While the rites and supporting systems are extremely fun to mess with, and each rite holds a lot of variety in how you might approach the encounter, I find myself thinking very little about them upon reflection. They feel nearly inconsequential in how I evaluate what this game has to offer.  Pyre is one of the most consistently breathtaking games I've ever played. Whether or not Supergiant foresaw where we were headed, there remain a number of parallels between the events and entities of the game and the political realities of 2025 America. The exiles, cast down by their own fascist overlords, are not entirely unlike those poor souls kidnapped and violated by the current US administration, forced to endure humiliation and pain in labor camps abroad in order to entertain a class of people who wish for nothing more than to harm those they cannot control. It’s a bit depressing to look back and see a century of American media, art, and literature explicitly telling us that this kind of thing is very bad, yet we managed to plunge headlong into the pyre. Of course, it’s not all doom and gloom. In spite of the pain and misery that permeates the Downside, there is also hope. Throughout the conversations you have with your crew (all of which are displayed beautifully by the magnificent artwork by Jen Zee, and punctuated by the phenomenal score from Darren Korb), you learn more about what drives each of them. People they want to go home to, friends and family they wish to reconcile with, or even finding the courage within themselves to stand tall in the face of adversity — each companion has their own reasons for their participation, but throughout it all they remain steadfast in support of each other. The bonds develop over the course of the game, yet as people come and go from your team, they always remain steadfast in that support, uplifting and assisting even when not present.  Please, just play this game. As you progress through the story, you get bits and pieces of information about how the Commonwealth is struggling to deal with the brewing revolt your team has spurred on, but you never see the whole picture from your side. Instead, the game relies on the player and The Reader having faith. Not faith in the sense of praying to the Scribes or some outer being, but faith that those whom you have helped along the way will do the same for you — and for the people of the Commonwealth. In the end, The Reader and some (but not all) of the crew are freed, thanks to the sacrifices of those they travelled with. When The Reader arrives on the other side, they discover that those they have helped have also   done so for others. That so great was the collective action undertaken by the revolutionaries, the ruling class submitted without a fight. The voices of the oppressed rang out in unison and shook the heavens, creating change without bloodshed. It may feel like a pipe dream to some, but I have hope that we can achieve much the same — that through our support and love for one another, through our collective voices and actions, we too can create a better world for ourselves and future generations to come. Verdict While elements like the artwork and music are truly exemplary, the real value in Pyre lies in the tale it tells and the characters who shape it. Dealing with themes of fighting oppression, redemption, and hope, Pyre  remains a poignant piece nearly a decade later. Perhaps especially so, now.  Image Credits: Taylor Rioux and Supergiant Games

Leisure may be the end of labor, but there’s no end to space. IXION  is a game that is mostly what you make of it. This city building survival simulation starts pretty slow, guiding you through tasks on a space station before eventually unleashing you into a journey focused on the preservation of humanity. Beyond the complex building mechanics, or choices you encounter throughout the story, the game is dripping with subtext and leaves empty space in the narrative for you to draw your own conclusions. For many players, this sort of storytelling may never land, but for anyone paying attention, there are signs all around the mostly empty reaches of space. Some obvious ones hit you right off the bat, such as “DOLOS” — the name of both the company who created the space station Tiqqun, and the name of the company’s CEO. If you are familiar with Greek mythology, you may recognize Dolos as the spirit of deception and trickery; the names in general are sometimes a dead giveaway for the characters or places they represent, but they can serve a further purpose — obfuscation. If you take every event or person at face value, you’re going to get a completely different understanding of the events of the game than someone who tries to read into every name or event beyond what is given explicitly in text. Exactly just how much of what the players may imagine in their mind is true remains unanswered, with gaps purposefully laid out in the text for your own interpretation. Many names are references to famous people or characters, but just how many of those names mean anything is a bit up in the air, as well.  Publisher:  Kasedo Games Developer: Bulwark Studios Platform:  Played on PS5 Availability:  Releasing on April 8, 2025 for PS5, and Xbox Series X/S. Released on December 7, 2022 for Windows PC. Unfortunately, that open-ended writing does not translate well to all aspects of IXION, particularly its main gameplay, and its supporting tutorials and text. While the base-building is certainly deep, and there are a number of systems to engage with, things like the tech tree remain a bit too obtuse, with no clear explanations or expectations of the types of benefits you may receive. For players who are not intimately familiar with the genre, I suspect the overall development pathways and orderings will also remain unintelligible — a fact the game seemingly makes little effort to rectify through its opening tutorial section.  On top of this, the speed of the events and timelines in any given scenario have a deleterious effect on the overall experience. By having building timers of double digit cycles, and resource transportation also taking some in-game time (depending on distance to your factory), any error becomes a profound waste of time — one you may not see the effects of for long periods. For example, say you are building along and everything seems fine, but a new objective appears that requires a resource you have no easy means of getting at this time. You will then have to shift your focus to developing this new project to the detriment of others, and if your earlier building introduced inefficiencies, you might be out of luck. While there is technically no timer pressing you, it adds up to be a frustrating endeavor.  These issues are exacerbated by things like the game's decision to have dismantling bases take just as long as building them, and I would sometimes run into issues where buildings I was trying to dismantle would refuse to come down, no matter how close I placed a workshop or how many roads I had coming in and out of the buildings. From the technical side, there remain several standout issues. Right off the bat it's obvious this game is not well suited for console as the UI is extremely busy, and elements are small. Icons like the directional input you use to inspect an element often blend in with the background, and using the control sticks to navigate such an intricate game is difficult. Some of this comes with the territory on a port of a base building game — there’s no easy answer for a game as mechanically complex as this. Text for the tutorials is also extremely small. While there is an option to increase text size in the menus, it does not seem to apply universally as UI text is still small and tutorial entries, which require heavy reading and inspection, are difficult to discern beyond a few feet from the screen. IXION has many systems to play with, and a story that keeps things moving in interesting directions. That’s not to say this is a bad port. The game runs quite well, so no crashes or graphical issues, and I never experienced slowdown or other performance-related problems. I have not played IXION  on PC, but as far as I can tell, the actual mechanics of the game have not been pared back in any way from the PC version. If you are a fan of this game from PC, but just want to experience it on console, you‘ll be relieved to learn the game is still fundamentally the same through the porting process. And while some elements can be hard to discern, the ability to jump to specific areas or UI elements at the press of a button does help with navigation. Despite some qualms I may have, the game does land with me in many ways. I like the music, the base building and re-building is extensive if you like fiddling around with things like that, and the layered story is deeply interesting to me, even if I was unable to draw hard answers from elements here and there. I think there’s a lot here to engage with, but I am hard-pressed to draw major conclusions on so much of what exists. Some of these gameplay issues are exacerbated by my own failures to understand or engage with the mechanics in the intended ways, but without a guiding hand from the game, I’m a bit lost on where to begin.  It’s a shame that so much of the core loop didn’t hit for me, as I do find the story and overall narrative to be endearing. I kept notes as I played, trying to find the truth of the matters at hand, suss out who was lying, guessing motivations and outcomes — all of this was fun . I think a lot of this does come down to my own fascination (especially recently) with philosophical works. I will say that if you are at all familiar with works such as Aristotle's Rhetoric or really any Socratic era philosophy, things might take a bit more shape for you in those empty spaces left by IXION’s narrative design. These things are not required reading, of course, but just something to keep in mind if you’re interested. The overarching plot is also pretty heavy-handed in the way it takes shape as an allegory or commentary on our own budding technocracy (and the technophiles who proselytize it), as well as its inherent failures or shortcomings. If real life circumstances are weighing on you regarding these issues, keep that in mind, as well. I would like to add the caveat that I have not completed the game at this time. Not ideal for review purposes, so I’m gonna keep this one unscored. For now, these are my impressions of the incomplete experience. A score will be added once the game is finished. Verdict IXION  is a bit of a mixed bag. Complex and vast systems at play often veer on the edge of tedium, all while being somewhat obtuse. Music is good, but there are not very many tracks, so you end up with repetition. The highlight might be the story for me, with layers of storytelling woven throughout, but as the events of the game may not be extremely straightforward or obvious, how this lands for each person is going to vary wildly. IXION may be what each person makes of it, but I’m not positive the ingredients ever coalesce into something greater than the sum of its parts. Image Credits: Kasedo Games Disclosure: I received a free review copy of this product from the publisher.

True surprise is rare to come by in this age — at least with respect to media like video games, film, or TV. The internet, as terrible and powerful as it has become, has flattened the landscape in its wake; spoilers abound on social media or message boards, guides that provide every solution — impatience is rewarded with answers. But what of discovery? What is to be said of the journeys we share, or the pathways we  create in our wake? Blue Prince  offers a glimpse into a world that was, and one that could be; an ever-shifting den of possibility whose features and purpose are determined by the players themselves. Publisher:  RAW FURY Developer: DOGUBOMB Platform:  Played on PC (Steam) Availability:  Releasing on April 10, 2025 for Windows PC, PS5, and Xbox Series X/S. You are Simon P. Jones, heir to an impossibly vast mansion, courtesy of your now-dead great-uncle, Herbert S. Sinclair. The prize on Mt. Holly does not come without some stipulations, however, as you have been tasked with finding the 46th room in the 45-room estate. If Simon is unable to find the secret room, he will forfeit the right to inherit the property, so he must make his way through the ever shifting halls to find the keys and clues necessary to reach his objective. There are a few key pieces of this puzzle that are given to the player right away: rooms are generated in sets of 3 and made via blueprints when you interact with a door for the first time, you must go north to reach the antechamber marked on your map, and the rooms within the mansion reset on each given day. There are various other constraints to hinder your journey as well, such as limited steps to explore, or currency like gems, keys, and coins that are used throughout a run. As the player, you will have to plot and plan your way through the abode, managing all of your resources wisely — all whilst fighting the randomized nature of the house itself. To be honest, the game flat-out kicked my ass for a lot longer than it probably should have (or at least it felt that way at the time). Early on in the game was particularly frustrating because I would run into too many dead ends, never find a room facing the direction I needed, or even prematurely ending a day because I simply did not have the keys or gems required to advance. Some of this was my own fault, of course, but much of it felt like it was out of my hands, as if I were heavily relying upon RNG to advance. But as you explore the mansion things really start to open up for you, in more ways than simply having more rooms to walk through. Many rooms have puzzles, which can sometimes lead to items or keys, but many also contain notes or images — clues to help you solve other puzzles, or portions of the overarching story there for you to put together. Yes, advancing does still require a bit of luck, but as you play you’ll discover new room types, get permanent upgrades, or uncover solutions to puzzles that can be carried over to future runs. Resource management is key as you make your way through the manor. The way the story and the puzzles themselves are presented is truly brilliant. Blue Prince  makes excellent use of space and color to tell a story in each room. Hidden meanings in the details may help you solve one of those puzzles you stumbled upon earlier, or they may simply illuminate the minutiae of the lives that were lived here in this building. There are traditional cutscenes, but most of the story is told through these visual details and through the notes and letters you find scattered across the demesne. Eventually, all of this riddle solving and room hopping will lead you to your destination, and the credits will roll, but that’s not where the game ends. Myriad secrets lie in wait throughout the estate on Mt. Holly, many of which have very little or nothing to do with the main mission of finding room 46. Rooms that seem to serve no real purpose early on become essential to unlocking the true mysteries of Blue Prince . Puzzles become increasingly complex the deeper you go — requiring information from many rooms, or even multiple other multi-step puzzles to be solved beforehand. I have not worked everything out yet, myself. There seems to be so much left to uncover, and it’s all a bit mystifying for me as a person who does not regularly play or enjoy puzzle games. But that might be why I loved this game so much. Unveiling hidden levers or getting a lead and working it out over time (all of which was unassisted by guides or other players) took effort, but everything I needed was right here in-game. There was no need to look online for solutions, or have knowledge outside of the scope of the notes I’d find, so those “AHA!” moments became all the more rewarding for me. It was also revealing.  Cutscenes are sparse, but are very effective in their delivery. In many respects, Blue Prince  held a mirror toward me, and allowed me to see aspects of my own habits, tendencies, and thought processes that I had not actually given much thought to prior to playing. Despite my lamentations of the instant gratification culture that permeates gaming in general, I am not immune to those same thoughts. I found myself hitting walls, unable to really figure out what I was doing. Was this puzzle one that my notes could help me solve, or did I just not have all of the information yet? Could I just brute-force it? Under normal circumstances, the answers to those questions would be just a few clicks away and maybe they already are, but I stuck with it and I was rewarded — not just with gems, keys, or cryptic notes, but with a sense of pride. Pride in that I had done it myself. A sensation that my own impatience may not have allowed me under normal circumstances. It has also revealed that I just may not be cut out for puzzle games in the same way I am for other game types. It seems that, as the years have gone by, my patience and curiosity have waned. Where as a child or teen I could spend days on end banging my head against a wall until I had an epiphany, now even small obstacles could make my hands tighten up a bit. I’d like to think that by working through this game I have reclaimed some of those virtues for myself, and maybe as I continue to work through it, I can hone them a bit more. Verdict One part puzzle game and one part roguelite, Blue Prince is a beacon of creativity and mystery. Masterful use of space, color, and the video game medium itself have concocted a beautiful blend of storytelling and puzzle solving. In many respects, Blue Prince is a collaborative effort between the game and its players, with each run feeling unique by handing the players the keys to the manor — figuratively and, for Simon, literally. I have not uncovered every truth within Blue Prince , and maybe I never will, but not knowing might just be the best part. Image Credits: Taylor Rioux and DOGUBOMB Disclosure: I received a free review copy of this product from the publisher.

“Form without function is as meaningless as an empty prayer” Bombastic and beautiful, SONOKUNI bursts onto the scene with a wholly unique visual flair. Starring the vengeful Takeru, it is a tale of two clans — the Sonokuni and Wanokuni — who are simultaneously at odds and collaborating. Taking inspiration from Japanese mythology (including some famous names such as Susanoo and Tsukuyomi), it explores themes of extreme violence and their moral implications. While the implementation of these mythologies may not be particularly interesting, the game itself is. Publisher: Kakehashi Games Developer:   DON YASA CREW Platform:  Played on PC Availability: Release on March 24, 2025 for Windows PC, and March 31, 2025 for Nintendo Switch. SONOKUNI was created by DON YASA GROUP, a 7-person hip hop group who took up game development during the height of the COVID-19 lockdown in Japan. The pandemic made live performances impossible, so the team decided to take their talents and apply them to a new medium — infusing their game with energetic sound and a distinctly Japanese neon visual style. The entirety of the game is very explicitly Japanese-inspired. Beyond the sights and sounds, even the story is borne of the culture. At first presented as a history lesson, the game starts by revealing some history on a chalkboard, but soon sends you back in time and places you in the shoes of Takeru. You are tasked with killing enemies in the vicinity, with glowing red footsteps showing your path through the building. There’s a shield, which only protects against projectiles, and an attack which is used to slay enemies, but can also deflect certain red projectiles. The enemies are quick and you die in a single hit, but luckily you have a bit of time-slowing at your disposal to help you get through the day. The game is quite difficult — the time-slowing ability is in short supply and enemies are fast, but the game does give you hints after death as to what was needed to survive. As you also get checkpoints after each encounter, you’ll never feel like you lost progress when you fail. Truly, each encounter is a puzzle, and you’re meant to at least have some ability to view the pending fight beforehand as the game uses a top-down perspective for the combat. The top-down perspective would normally allow for a better view of the battlefield, but in SONOKUNI your ability to distinguish objects against the background is not a priority, it seems. As the game’s defining fault, visual clarity is at a minimum; Backgrounds are busy, enemies can feel indistinguishable from the background or other objects, and the bounds of the areas in which you are confined are sometimes unknowable. Despite the visual confusion, it does have a unique style unlike anything I’ve really seen in a game.  All of this comes to a head during the boss fights. Tough as nails, these ferocious foes force you to use every tool at your disposal. Planned movement, pointed shield use, and timely attacks are integral to getting through these encounters. While it’s difficult to determine what needs to be done on the first run of each boss, they always follow the same exact pattern, allowing you to learn the moves and improve as you go. Combat sections are presented from the top-down, and are visually busy. Once you have escaped the confines of a combat section, you’re plopped into the Sonokuni village, where all of your people live. Here you meet characters like the village chief, your brother, and many Wanokuni citizens. This change of scenery also comes with a change of perspective, moving to a side-scrolling view that is reminiscent of older games like Zelda II: The Adventure of Link or Faxanadu . Those perspective shifts evolve even further in these non-combat areas by frequently changing where your character is coming from on-screen, or using character sizing changes to give the illusion of a 3d space. Perspective is not only important to the visual identity of the game, it is integral to understanding the story itself; It is a portent of events to come, and a message to the players beyond what transpires in text. First impressions of the Wanokuni are poor. These tree people all look alike, do not understand the Sonokuni, and want to assimilate the Sonokuni into their lifestyle by offering a pill that will transform them. There is a question as to whether this transformation would come with the loss of the self, and debate between the characters regarding such, but the Wanokuni themselves do not seem to display any individuality; whether that lack of individuality of spirit is a part of the transformation process or something more is unknown, at first. Takeru does not want to assimilate, and thus begins her quest for vengeance, aided by Susanoo and Tsukuyomi. While the mythology aspect of the game is underwhelming, the game does explore some deeper ideas beyond ‘good’ and ‘evil.’ The events of the game are punctuated by the almost hypnotic beats of the DON YASA GROUP’s music that permeates throughout. Japanese rap is not necessarily my forte, but it’s high-energy and succeeds in setting the mood in any given scene. Unfortunately, the songs are very short, and loop endlessly. In combat areas it seems to repeat the same 15 seconds ad infinitum, which becomes grating after failing an encounter or boss for the umpteenth time. These songs are so short that you can often reach the end of them during a conversation with another character, at which point the tune will abruptly stop, filling the room with only silence before once again beginning. All of this being exasperated by the repetitious gameplay loop and high difficulty of some encounters. Sonokuni is one of the most visually unique games I've ever played. The overall difficulty can be quite frustrating, as your character is terminated after only a single hit — even one small mistake means entire encounters need to be replayed. While for most enemy groups this becomes only a minor annoyance, there are a few bosses that really wore on me — most notably the final two. In these cases, the fights are very long and the screen is entirely too busy, which makes it much harder to keep track of all the moving parts. While players who are used to such visual noise might not have much issue, it's worth noting there are no settings available to alleviate this concern for anyone else. While it may be inspired by the events depicted in Japanese mythology and it may have mechanical similarities to games like Hotline Miami , I can’t help but feel I experienced something wholly unique. With its blend of art, music, and combat, SONOKUNI is sure to stick with me in the days to come. Verdict While SONOKUNI  doesn’t break barriers or have the most moving story, the visual style and music create a memorable experience. Combat is fast but measured, allowing you to correct your mistakes and make incremental improvements and progress. For anyone itching to try a new spin on the Hotline Miami  formula, this game has a lot to offer. Image Credits: Taylor Rioux Disclosure: I received a free review copy of this product from the developer

It may be the cutest Slay the Spire clone you’ll ever see, but how will it differentiate itself? Nif Nif is a cute and cuddly take on the roguelite deck builder genre with a bright and colorful art style. Development was inspired by the game director’s autistic son, opting for a more welcoming and violence-free take on the genre. Despite the aesthetics being more family-friendly, it’s easy to see where it draws inspiration from, especially Slay the Spire ; but how does Nif Nif  differentiate itself? The premise is simple, both mechanically and plot-wise. The story starts out with the forest Nif Nif (the pig) lives in becoming dirty and the animals of the forest succumbing to that same grime. Nif Nif must clean his way through his neighbors in order to save the forest. Not much else can be said for the plot — not that there needs to be much more than that simple impetus. Publisher: Springfox Games Developer: Springfox Games Platform:  Played on PC Availability: Released on April 1st, 2025 for Windows PC (Steam). Mechanically, this is a near carbon-copy of Slay the Spire . I do wish there were more to differentiate it, honestly; I would love to highlight major differences or key takeaways in that direction, but every single important design decision is a one to one clone. For example, the map structure is the same — branching paths that you choose put you into a fight, event, campfire, elite, shop, or boss enemy. The icons themselves are also reminiscent of Slay the Spire , sharing question mark icons for the event (known as ‘story’ in Nif Nif ) stages, and an eerily similar campfire icon for resting spots. All of the same hallmarks make an appearance, as well: cards are gained after a battle, sometimes you get one-time use consumables (soups), and shops sell you cards and soups to bring into future battles. The battles themselves are also nearly identical, only swapping health for ‘cleanliness.’ Get too dirty and you lose. You have cards for damaging enemies (swipe cards), and cards that give you armor to protect you from an enemy getting you dirty. Luckily, it is a tried and true formula. Deck building is fun, and the light difficulty plus colorful art keep the game a breezy jaunt. It is a game designed with less experienced players in mind, so I wouldn’t go into it expecting a challenge, but for teaching the basics of the genre it may be a useful entry point. If you have played roguelite deck builders before, this will look very familiar. I do want to highlight a few things that set this game apart. There are skins for the two playable characters that are unlocked as you level up, and you can equip hats (earned by first leveling up and then by completing a run wearing each subsequent hat) which function as stat boosts for your character. Once you reach level 5, you unlock the ability to farm for veggies, which can then be made into soups; soups can be brought with you from the start this way. The game also offers the powerful ability to upgrade cards after each fight, and presents the opportunity to thin your deck out much more frequently than any other deck builder I’ve played. On the technical side of things, Nif Nif  does not offer any display options beyond Fullscreen or Windowed modes. There are no accessibility options, and no graphical tweaks of any kind to be made. That said, it did function in fullscreen on my 1440p monitor, and looked nice enough. It also boasts 11 different languages: English, Spanish, French, Italian, Portuguese, German, Japanese, Korean, Russian, Chinese (simplified and traditional). Each run of the game is incredibly short, with only one area available to traverse through, so you'll only fight a single boss fight. There are several different boss fights it cycles through, so replayability is there a little bit. If you’re looking for a deck builder to introduce younger audiences to the genre, this might be a good choice due to its light difficulty, and inoffensive visual identity and themes. Verdict Light in subject matter, content, and difficulty, Nif Nif doesn’t do enough to stand out from the pack for adults, but might just be what you need to introduce the genre to a younger audience. Its bright and cartoony visual style is a safe but effective tool in easing people into the game. As a nearly 1:1 clone of other games in the space, it is definitely derivative, but it is a tried and true formula that remains fun today. Image Credits: Taylor Rioux Disclosure: I received a free review copy of this product from the developer via https://www.keymailer.co .

Minnesota, rise up. March 25, 2025 — Six days after a series of social media teasers turned heads in the gaming sphere, Game Informer has officially announced their return to life — now as an entity independent of the GameStop brand. The initial teaser push had some (including myself) briefly worried about the new direction — would the old staff return? Would the scope of the magazine remain intact? These concerns were quickly alleviated on my end when many of the old staff posted teasers of their own. Game Informer was abruptly shuttered in August, 2024 after 33 years in publication, which came as a shock to many others in the industry, but was even more of a shock to me, specifically. As a Minnesota boy who grew up reading Game Informer, I always looked forward to getting those issues in the mail, and always felt a more personal connection to Game Informer due to our shared Minnesota roots. I got my first Super NES at FuncoLand (the original owners of the magazine), spent years reading the reviews or features in the magazine, and took pride in knowing that GI was based right here in my home state. In a landscape dominated by media and outlets from NYC and LA, you might be fooled into thinking that the only places (and voices) that mattered were there, but Game Informer was proof positive that this was not true.  All of which is to say that I was deeply saddened by its eventual end in 2024. I no longer subscribed to the print magazine, but I did continue to read their articles, and they maintained a level of quality rarely matched in the field. We lost a pillar of the games journalism industry that day. Now they’re back and promising some changes going forward. The first major point to come out of this return announcement might just be the best one — all of the staff initially laid off last year are back; 100% of the team who worked there last summer have returned. There is a promise of making Game Informer bigger and better than ever, but the exact details of content changes have not yet been revealed. Instead, the announcement was used as an opportunity to elaborate on some of the structural changes that have occurred since GI first went dark. Per their own announcement article , the Game Informer brand was purchased by the team at Gunzilla Games. As far as their independence goes, EIC Matt Miller writes: “From the start, the new owners insisted on the idea of Game Informer remaining an independent editorial outlet; they felt just as strongly as our team did that the only path forward was with an editorial group that made 100 percent of the decisions around what we cover and how we do so, without any influence from them or anyone else.” EIC Matt Miller details the changes and updates coming for Game Informer. Also returning for public view are the old articles that were lost during the shutdown. Thousands of articles from their storied history are back online, with new articles and features ready to read alongside them. While there is currently no way to obtain print versions of older issues of the magazine, they do offer the ability to view archived digital versions of more recent issues. Full glad am I to see GI back on its feet, and I’m ecstatic to see they’ve maintained some level of editorial independence in the process. Miller has promised a continued focus on highlighting the latest and best games, celebrating gaming’s history, and to spotlight the creators and players that make gaming so great. I can’t wait to see where GI goes next. Image Credits: Game Informer