NOCLIP NOCLIP

There is surprisingly little use for the podcast block.

Welcome back to the podcast! Today, the dice have ordained we talk about Infinifactory. This is a game that has been on our list for many years at this point and the main reason we ended up putting it on the (now comical misnomer) Mystery May table was mostly out of fear. Fear of exposing our deep inability to play puzzle games with any kind of ability. Infinifactory is a game by Zachtronics, who are known for creating this sort of puzzle game in which you create machines to accomplish a task. This happens to be one of their most literal. Tasked with creating factories that create specific outputs from a never ending conveyor of inputs in the form of blocks. Using a litany of different tools including welders, rotators and pushers, you orient blocks and combine them together. This ramps up in complexity shockingly quickly and it’s both impressive and intimidating, as the objects you create become less abstract and more like actual things. This plays into the game’s thematic elements as you are creating these products for an alien race under duress. This plays into the visual and interstitial elements of the game, but also into a surprising narrative. Less surprising because of its content, more due to its existence at all. We’re going to be talking about our struggles with the game as it progressed, the relaxed atmosphere of the game, and how difficult it sometimes is to buy burritos.

Thank you for joining us again this week! We may have been slightly out of our depth in the second half of this game, but we wanted to play it because it is, at first glance, the most approachable of Zachtronics’ games. And this largely bore out. Are you a long-time Zachtronics fan, or do you find these games kind of unapproachable? Let us know in the comments or over on our Discord! Next time, we do not get to rest our brains, as we are playing Obduction, from the creators of Myst and following very much in its footsteps, so if you aren’t as mentally exhausted as we are, we hope you’ll join us for that.

Podcast.Mystery(1); wait(31)

Welcome back to the podcast, and to, shamefully, our first episode of Mystery May! Quadrilateral Cowboy is a part heist, part desktop simulation game in which you use a portable “deck” to hack into security systems and use gadgets to get into locations in a cyberpunk dystopia. And the thing that really sets this game apart from most other games in this genre is that you actually have to do all the hacking yourself. It’s not quite complicated on the level of something like Hacker Evolution, but the act of creating code yourself and then needing to execute actions in sync with it creates a really creatively expressive environment in which to solve puzzles. The game may add a few more things than were strictly necessary to be a satisfying collection of systems, but each of them is fun to play around with and get a hang of. On top of the strictly mechanical elements of the game, the game builds its world, one of skyscrapers and autoturrets, bombastically while setting up its characters in an exceedingly subtle way. The minimalist art style and lack of any dialogue betray how well the narrative elements are communicated by way of environments, character behaviors and gameplay setup. This is one of those games that, while definitely not being for everyone, shows how games can be used to communicate weirder concepts in ways few other mediums can. We’re going to be talking about how the crunchy mechanics are used to design novel puzzle concepts, issues we had both technical and skill, and we set you up with a DC 17 vibe check.

Thank you for joining us again this week! We know it’s been a long time coming on Mystery May, so much so that it is now June (“Mystery Summer Theater” as Andy has taken to calling it), but appropriately, this game has been on our list to play for seven years so it’s been a long time coming as well. Are you a fan of really finnicky mechanic sets like this, or did you look once at this game and say “maybe I’ll play the next one”? Let us know in the comments section or over on our Discord! Next time, Mystery May gives us one of the most “thing that’s not like the others” games on the list with Ecco the Dolphin, so we hope you’ll join us then, or the suffering will almost definitely not have been worth it.

Pod bless you, Andreas.

Welcome back to the podcast and somehow, despite it being the middle of the month, not our first game of Mystery May! Today, we’re going to be talking about Pentiment, an adventure game in which you play as an artist as he is thrust into the middle of murder mysteries, however unlikely that might be. In each act you collect evidence and talk to the people of the town to gather information and do so in a way that changes the narrative of the game and the other options available to you. One of the most impressive elements is just this, the number of different paths available to you and the often very minor things that can affect a playthrough and flesh out your version of Andreas, as well as the world in which he lives. Given the historical setting of the game, this world building is a major part communicating the themes and helps ease the player in the politics and other messages the game is trying to engage with. And it is really successful at this. You may not learn anything specifically new about the era in which the game takes place, but you will come out with thoughts about the peasants’ complaints against their governance, the relationship between a religious institution and the power of the state, and other pretty heady topics the game broaches surprisingly seamlessly. We’re going to be talking about how the game’s art style attempts to mimic the art that was created during that time period, the game’s surprisingly solid writing and also the length of time we can listen to chickens before we just give up and turn the sound off.

Thank you for joining us again this week! We’ll be slowly rolling through our next few episodes due to things happening in our lives outside of the podcast, but we will be moving through four Mystery May games before anything else, and the first of those is coming next week on Pocket. Next main episode, however, will be on Infinifactory, so we hope you’ll join us for that.

I can’t just hide here forever and podcast.

Welcome back to the podcast where this week we’re going to be talking about Pseudoregalia! This is a metroidvania platformer that was originally developed as part of a game jam. The game is set in a castle and tasks you with navigating around to discover new abilities and, eventually, keys to end the game. The method by which you do this is some absolutely badass movement tech. I think it’s safe to say that for the majority of people, this movement is the major selling point of the game. You are very fluid, being able to chain different moves together to cover huge distances and scale walls, turning most rooms into something of a puzzle, but one with many interesting solutions. You can string together wall jumps and slides and kicks and et cetera in a number of different ways to traverse the world and it is pretty much always engaging to do. There are certainly ways in which the game doesn’t excel, but it is nonetheless a really fun way to spend a few hours, especially if you are the kind of person who likes to master these kinds of mechanics. We’re going to be talking about the necessity of the map, an addition in an update, to navigate without going completely insane, the game’s interest curve as you progress toward the end, and we codify the misty castle aesthetic.

Thank you for joining us again today as we close out our time doing soulslike games with the least soulslike of all. Still a fun time and one that did become strangely popular. How did you hear about this game, if you had at all? Let us know in the comments below or over in our Discord. Next time, we’re going to be talking about Pentament in our constant struggle to make every non-themed game as different as possible from the one we played before. We hope you’ll be back for that!

Grand Covenant’s Fourth Law: A podcast cannot lie.

Welcome back to the podcast! Lies of P is definitely a game that turned some heads when it was announced, given that it’s based around Pinnochio. Set in a city overrun by automatons, stylized as puppets, who have broken their safeguards and begun attacking people, Lies of P takes its themes and ideas from Pinnochio, along with some of its characters, but not necessarily its plot. In fact, the way it manages to weave this inspiration into the rest of the game is probably its most impressive narrative feat. This is particularly notable that the thing it’s weaving these elements into is just a Dark Souls game. More so than any other game we’ve played, on- or off-air, this really feels like a FROM designed Souls game, or at least very close to it. The combat takes heavy cues from Sekiro and Bloodborne with the healing mechanics and stats from Dark Souls, you can tell the developers have been taking notes. And this can be both good and bad, because the game feels familiar and also very good to play most of the time, but it does also call attention to elements from the games (upgrade materials, consumable items, a prosthetic) that feel more or less necessary for this game specifically. It’s a strange experience to some extent, but still a very good one if this style of game is something you already enjoyed. Is this game derivative? A little, for sure, but there is still some novelty to be found, particularly in its aesthetics. This and the combat mechanics that combine the weapon variety of Dark Souls (as well as a unique weapon recombination mechanic) with the satisfying defensive options of Sekiro, mean that as much as this makes you think about where its inspirations came from, as weird as the theme of the game is on its face, and as difficult as the game can be at times, it’s still a very good time. We’re going to be talking about the integration of the source material into the mechanical identity of the game, how auxiliary mechanics complicate the game both for good and for bad, and how they really should have just called the game Pinnochio.

Thank you for listening this week! As you can probably tell, we’ve been doing a bit of a Soulslike run recently, which we’ll be finishing up on pocket next time, but I think it’s shown just how diverse this subgenre can be. Lies of P stands out less for its own identity but more for its devotion to the identity of the games that inspired it, and it’s a complicated topic to discuss. Do you think this impressive adherence to FROM’s catalog will be a positive change for these types of games going forward, normalizing the base gameplay and allowing for more diversity in how those mechanics are utilized and twisted to fit the game at hand, or do you think this is just one direction for the genre to go, with the other elements taking center stage as in games like Lunacid? Let us know in the comments or over on our Discord! Next time, we’re going to be sprinting as far as we possibly can in the other direction and talking about Pentiment, so we hope you’ll join us then.

Banished into the depths of the Great Podcast.

Welcome back to the podcast! Today, we’re talking about Lunacid, a game that is in its own words, inspired by old FROMSOFTWARE titles like King’s Field and Shadow Tower. And while you can definitely feel the influence, the game does enough to stand out on its own that it’s definitely worth playing. You play as someone cast into the Great Well, essentially an enormous dungeon, with escape being your only goal. This goal is pretty emblematic of the game, as well, as it is extremely vague and leaves the player mostly just exploring each area in hopes of finding clues to help them progress. This is a massive strength in that it preserves the mystery inherent to a lot of FROM’s catalogue while forcing the game’s exploration elements to the forefront, which the design is obviously very focused around. It also results in the game being a bit aimless, which depending on who you are can be a little frustrating, but with enough meaningful rewards to find to keep you playing. Weapons and spells are extremely plentiful, offering a lot of ways to interact with both combat and the world itself, with some specific interactions like unlocking paths as well as more player-driven things like being able to skip some obstacles and reach strange locations. Lunacid is nostalgic, thanks to its aesthetic design, but it is also a captivating world to explore that folds in more recent design trends to make something more transcendent than just a copy of its inspirations. We’re going to be talking about the games by which Lunacid’s design is influenced, the presentational choices from character designs to the music’s genre and style, and we discuss whether we were or were not in “the know.”

Thank you for joining us again this week! This was a game I knew I wanted to do pretty much as soon as I’d heard about it, so while we aren’t exactly day and date with its release, it was one we scheduled as soon as possible. Did you play this game in early access or since it’s been out in full? Did you find it to be more or less similar to Dark Souls? Let us know in the comments below or over on our Discord! We’re sort of continuing on a trend for the next episode and we’re going to be talking about Lies of P, the Soulslike that features Pinocchio for some reason, so we hope you’ll join us for that!