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Similar but not the same: ‘Ocarina of Time’ vs ‘Majora’s Mask’



Ocarina of Time has such a soothing opening. Link is woken from his slumber by a hyperactive fairy named Navi who claims he’s been summoned by the Great Deku Tree. Still sleepy, the boy steps out of his treehouse into a bright and refreshing morning in Kokiri Forest, which is populated entirely by evergreen children and their accompanying guardian fairies. He spends the following hour practicing backflips and avoiding rolling boulders. Somewhere along the way, he finds a hidden sword, with which he trims shrubs and impresses bullies. He also buys a shield – a smart investment for the future. Meanwhile, around him float strange, translucent particles. It’s all so, so beautiful and peaceful. Yes, before lunchtime, he’ll end up fighting a gigantic spider-thing with a fluorescent eye. But the days off to a great start!

In Majora’s Mask, the sequel to Ocarina of Time, there’s no bucolic idyll. After vanquishing evil in the earlier title, Link sets out to look for Navi, who has fluttered off somewhere. He tracks the fairy down to the Lost Woods, where he instead encounters the mischievous Skull Kid, who leads Link down a hollow tree trunk, transforms him into a small plant urchin, and deposits him in the fantastic land of Termina, which, as luck has it, is about to be incinerated by an angry moon. What some video games call their tutorial or training stage, Majora’s Mask calls A Breathless Race To Prevent the Apocalypse and Regain Your Human Form.

Link had acquired many things in Kokiri Forest: rupees, weapons, respect. In the Lost Woods, he relinquishes all he has: his face, his body, his skills, his gear, his musical instrument, even his horse Epona. Majora’s Mask, more than any other video game, is committed to its role as a sequel. It assumes that players, veterans of Ocarina of Time, have already learned the controls and grown accustomed to the graphical engine, so it skips the throat-clearing and drops players straight into the drama. Unlike many Zeldas, it’s the immediate continuation of its predecessor, both in terms of narrative and technology. It looks the same, it moves the same, and it includes many of the same assets and characters. Reportedly, the development team had barely one year to complete Majora’s Mask, which might explain this degree of unapologetic recycling. Yet it also serves the theme: everything is familiar, save different. In short, the very definition of uncanny.

Take, for instance, the rhyming structures of both games. They begin in small villages or towns and, after a few hours, transition into vast fields. Yet these thrilling moments of discovery, apparently identical, are in fact rather unlike each other. Link stumbles into Hyrule Field in Ocarina of Time after traipsing about the cozy paths of Kokiri Forest and crawling in the entrails of the Great Deku Tree. When he leaves the womb of these claustrophobic areas and runs into the outlying grasslands, he glimpses the hints of future trials: a volcano to the east, a castle far ahead, a ranch. The horizon stretches into telescopic distances, the heart stirs. He’ll never really go back to Kokiri Forest. Oh, he might pass through it on his way elsewhere, like the Lost Woods, and sure, if players save their session anywhere other than a dungeon during the early parts of the game, Link will wake up in his treehouse – only to sprint back to Hyrule Field on the double. The endorphin rush of exploration, for a while, makes him forget his home until he returns years later and finds it cursed, no longer the little hamlet he remembers. What he leaves behind, more than Kokiri Forest, is his childhood. It’s the typical hero’s journey: the small-town boy who becomes a man by involving himself in the troubles of the planet or the galaxy at large, as seen in Star Wars, The Hobbit, and Princess Mononoke.


Termina Field is not nearly as meaningful for Link because it doesn’t mark a comparable turn in his life. Even after crossing it, he goes back, over and over again, to where he started out, to the urban hub of Clock Town. Not only will it be the stage of his final battle with the Skull Kid, it’s also simply a happening place: tragic love stories, drunken anecdotes, pickpocketing, organized crime, street music, political rivalries. You name it, Clock Town has it. Each narrative event is tucked into a precise time slot since Majora’s Mask revolves around a repeating three-day cycle. Players find an item or learn a tune, whip out their ocarina, play a few notes, and magically restart the count, before the plunging moon crash-lands at the end of the third day. Because of this conceit, the movements of all Clock Town denizens (and some outsiders) are meticulously scripted out. Noting down the intricacies of their daily schedules is one of the fundamental pleasures of Majora’s Mask. Alas, to savor it, players have to remain in Clock Town. Which is why crossing the city gates packs little emotional weight: Clock Town is never done with Link and Link is certainly never done with Clock Town. Kokiri Forest, by comparison, quickly subsides into a rose-tinted memory.

Ocarina of Time is about what’s out there, the exciting land of Hyrule; Majora’s Mask travels inwards, into Clock Town, into people. It’s no surprise that Link changes bodies and species. He puts himself in others’ shoes, literally and figuratively. He listens to their problems, helps them out, learns their backstories – or dons a mask and becomes another. His travels are circular: from Clock Town to the Great Bay or Woodfall or Ikana or Snowhead, and back to Clock Town. He’s always learning more about his point of departure, which is also his destination. In Ocarina of Time, he sets out to discover the world. Majora’s Mask is rather about self-discovery. Link regains and redefines his humanity and his skills by worrying about those he meets, which makes it self-discovery through others.


Among these troubled souls is his adversary. Both the Skull Kid and Link have suffered similar fates: the Skull Kid cannot accept that his old friends, the Four Giants, have left him behind; and Link -who, lest we forget, is an orphan- likewise despairs after Navi’s departure. If we were to condense Majora’s Mask into a single sentence, we might say “two lonely boys process loss in different ways. One tries to destroy a planet, the other to rescue it.” This happens on a physical as well as an emotional, psychological level. The endgame nominally takes place on the moon, except that where there should be a rocky surface there’s a grassy knoll ruled by trippy motion-blur effects and masked children. To quote Ben Kenobi, that’s no moon. It looks, rather, like something the Skull Kid might have conjured up; a manifestation of his imagination. In a sense, Majora’s Mask pointed the way towards another masterpiece about self-discovery and mindscapes, Psychonauts.

Termina, of course, is hardly less bizarre than its moon. If the latter could be the Skull Kid’s waking dream, then the former seems to be Link’s. Termina is a dream of Hyrule. For those who played Ocarina of Time – and this is why I wrote, before, that its sequel is so committed to its role – Majora’s Mask is filled with the distorted echoes of its predecessor. Malon in Lon Lon Ranch splits into Romani and Cremia in Romani Ranch. Guru-Guru, previously found brainstorming a magical tune inside a windmill, becomes, well, Guru-Guru, still cranking that infernal grinder organ in the Stock Pot Inn or by the laundry pool. His words in Ocarina of Time anticipate the clockwork universe of Majora’s Mask: “Go round! Go round and round and round! What fun!” The Twinrova Sisters, formerly terrifying bosses, become kindly old ladies offering potions and boat cruises at the Southern Swamps. Anju, a nameless lady who can’t keep her cuccos inside their pen, becomes, yes, Anju, looking for her missing fiancé in the most heartbreaking of all side-quests. The Skull Kid himself, a standoffish flute player in the Lost Woods who loathes adults, becomes a feared nemesis.


Most importantly, Link’s ocarina, his trusty portable DeLorean, warps time in both games, except in opposite directions. In the prequel, it allows him to skip forward seven years and transform his prepubescent self into a young adult. There, in a post-apocalyptic future riddled with zombies, he views the endless destruction wrought by Ganondorf. Link visits Hyrule before and after its fall. As for Termina, he can see only its fall, its cataclysm. Ocarina of Time, in Blakeian fashion, is about twin songs of innocence and experience. Majora’s Mask has just one tune- about coping with disaster. Some characters accept their circumstances and lie down to sleep. Others weep for their robbed tomorrows. Still, others embrace in the face of death, or drink their minds out, or keep delivering letters till kingdom come. In blogs and specialist sites, there’s a popular interpretation that suggests the boroughs of Termina represent the five stages of grief. But – to paraphrase Roger Ebert, who responded to a similar approach to Federico Fellini’s La Dolce Vita – that would reduce the game to a crossword puzzle.

If there’s one idea that both prequel and sequel share, it’s that Link’s deeds are inevitably forgotten because they – in a way – never come to pass. To beat Ocarina of Time is to reset the clock before the fall. No one (at least, no one mortal) will ever remember what Link has done. In Majora’s Mask, the same occurs when he restarts each cycle: whoever he helps cannot later remember his kindness. To save Termina, in the final round, he will have to ignore – because he can’t be everywhere at once – many of the little tragedies that will befall the citizens of Clock Town throughout the three days, and which Link knows must happen, when and where. To be a hero, he’ll have to pick his battles.

Guido Pellegrini was born in Spain. At the age of three, he decided that Europe would not be the only continent to endure him. He traveled to Argentina and spent his childhood there, confusing his classmates with his strange Spanish accent. Several years later, just when he was getting the hang of Argentinean, he set his sights on California, where he would annoy a host of new classmates with his awkward English. In particular, his classmates were stumped on Argentina's actual location, and estimates ranged from Europe to Asia and even Africa. Almost never, however, South America. As Guido became older, he finally began to master the English language, until he became nostalgic for emigration, of all things, and moved again, now back to Argentina, where Guido has continued to confuse and annoy his classmates and acquaintances, who now struggle with his Spanish-Argentine-American hybrid accent and word usage. At any rate, he's technically a journalist with an English major. You know, the worst.

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10 Years Later: ‘Mass Effect 2’ is An All-Time Sci-fi Classic

Mass Effect 2 didn’t just nail the formula for a successful sequel, it tied together one of the greatest science fiction tales ever.



Mass Effect 2

Mass Effect launched in 2007 as the boldest science fiction project ever conceived for consoles. The complex mythology, history and the many alien races, each with their own political/religious beliefs offered a depth rarely seen in the medium. Only a game as ambitious as Mass Effect 2 could not only match the pedigree of such a massive project but surpass it in every single way imaginable.

Released 3 years after the original, a full decade ago, Mass Effect 2 set the benchmark for not just sequels but for science fiction gaming as well. Few sequels are able to overcome the weaknesses of their predecessors with such perfect accuracy while also doubling down on what made them good in the first place.

The first task that fell to Bioware was to refine the combat. The original game had more of a strategic angle to it but that strategy meant the game was constantly stopping and starting, stuttering the action and ruining the flow of the game. By streamlining the combat into more of an action RPG experience (emphasis on action), Mass Effect 2 created a much better sense of tension in battle sequences. Aiming, using techniques and issuing orders also flowed more smoothly with these changes.

'Mass Effect 2' is An All-Time Sci-fi Classic

Another major change was the removal of the Mako, an exploratory rover the player drove around alien planets with. While a novel idea, the Mako often lead to aimless wandering as the player sought out resources on the many planets of Mass Effect. Instead of driving to their destination, players were now warped directly to the area they would be exploring. Resource collection was overhauled as a result.

While few players will talk about the thrill of spinning a globe around and aiming a reticle in order to collect resources in Mass Effect 2, the simple speed by which this process was streamlined offered a hefty margin of improvement over the original game. Resources that might have taken a half-hour to collect in the first game could now be found in 1/10 of that time. Resource collection, while a vital part of the game, was never meant to be the time sink it was in the original Mass Effect, and by speeding up this process, Mass Effect 2 allowed players to get back to the meat of the game: doing missions and exploring the galaxy.

Of course, these aren’t necessarily the most significant changes that players will recall from their time with Mass Effect 2. The story and character roster were also expanded considerably from the first game, and these are without a doubt the biggest improvements that this sequel is able to mount.

Mass Effect 2

While Mass Effect had seven playable characters, Mass Effect 2 expanded that to twelve. Not only was the amount of characters an improvement, though, the quality of the characters on offer was also much stronger this time around. A full nine new characters were introduced for players to utilize in combat, strategize with and get to know throughout the game. Among them were badass assassin Thane Krios, dangerous convict Jack, morally dubious Miranda Lawson, and hivemind robot Legion.

In fact, the cast of Mass Effect 2 is so good that it has rightfully become a benchmark for the creation of a compelling cast of characters in RPGs, and video games, in general. The sheer diversity on display in the looks, personalities and movesets allowed for the cast is awe-inspiring, and this is without even considering the trump card that Mass Effect 2 flashed throughout the experience of playing the game.

The monumental suicide mission to raid the Collectors’ base and save humanity is the impetus for the entire plot of Mass Effect 2, and the reason for which the player is recruiting the baddest mother fuckers from all over the galaxy in hopes of success. It isn’t just a suicide mission in name either, many, or even all, of the cast can die during the completion of this mission, adding a layer of suspense and finality to the final stage of Mass Effect 2 that few other games can match.

'Mass Effect 2' is An All-Time Sci-fi Classic

To this end, players were encouraged to get to know their crew through loyalty missions specific to each cast member. By undertaking these optional missions and completing them in a way that would impress or endear themselves to the character in question, players were able to ascertain the unquestioned respect and loyalty of that character, ensuring they wouldn’t go rogue during the final mission.

Still, even passing these prerequisites with flying colors wasn’t a guarantee for success. Players also had to pay attention to the strengths and weaknesses of the characters when assigning tasks and making split-second decisions. Who you would leave to recon an area, repair a piece of equipment, or lock down a path, could make the difference as to who was going to survive the mission. Further complicating things, the characters you wanted to take with you to final branches of the mission might be the very people best suited for these earlier tasks.

Mass Effect 2 isn’t just one of the greatest science fiction games of all time, but one of the best science fiction experiences in any medium, full stop”.

Getting everyone out alive is a truly Machiavellian task, requiring either a guide or multiple playthroughs in order to get it precisely right. To that end, my feeling is that it’s better to go at it honestly the first time around, dealing with the requisite losses that this experience entails. After all, it isn’t really a suicide mission without a couple of casualties right? Even with all of my preparations and foresight, I lost Tali and Legion in the final mission, but for the fate of the human race, these losses were an acceptable cost.

Mass Effect 2

Even outside the strength of this fantastic cast and the monumental undertaking of planning and executing this final mission, there were other key characters and elements introduced as well. The Illusive Man, voiced by the great Martin Sheen, emerged as a necessary evil, saving Commander Shepard from death but asking morally complex decisions to be made as the cost of doing business. The relationship with, and the choices the player makes, in regard to The Illusive Man have far-reaching consequences for the remainder of the series, and as he emerged to become a primary antagonist in the final game of the trilogy, the considerations to be made were vast and insidious by their very definition.

With so many factors working in its favor, Mass Effect 2 is the rare game that is so perfectly designed that both its predecessor and sequel suffer by comparison as a result. While the improvements of ME2 make it hard to go back to the original game, the scope and ambition of an entire cast that could be alive or dead at the end of the journey also neutered the third game, causing many of the best characters in the trilogy to be excised from the final leg of the trip.

Truly, Mass Effect 2 isn’t just one of the greatest science fiction games of all time, but one of the best science fiction experiences in any medium, full stop. Like The Empire Strikes Back before it, Mass Effect 2 is the best exemplar of its universe and what makes it compelling and worthwhile in general.

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PAX South 2020 Hands-On: ‘Speaking Simulator,’ ‘Iron Danger,’ and ‘Wildermyth’



Iron Danger

PAX South brought an extremely diverse lineup of games to San Antonio, and in this next roundup, it’s time to look at another diverse assortment of titles. These include Speaking Simulator, the surrealist take on the art of speaking, Wildermyth, a beautiful new RPG based on D&D, and Iron Danger, a surprisingly player-friendly take on roleplaying.

PAX South

Speaking Simulator

When asked why he was inspired to develop Speaking Simulator, the developer promptly responded, “I don’t know!” That was exactly what I felt while playing its demo at PAX. It left me mystified, amazed that it exists, overwhelmed by its complexity, and delighted with its absurdity. Speaking Simulator follows a highly advanced android tasked with assimilating into human society in order to gain world domination – and to do that, he’ll need to learn how to speak first. Players are thus tasked with controlling every aspect of this android’s face and guiding it through increasingly difficult social situations.

Speaking is an awkward art for many people (including myself), and Speaking Simulator is just that: awkward. You can control nearly every aspect of the android’s face. You can move its tongue with the left stick and its jaw with the right, while manipulating its facial expression, eyebrows, and more with other buttons. This leads to a delicate balancing act where complete control feels just barely out of reach so that you must always be alert and able to sufficiently direct your mechanical face.


During each conversation, you’ll have so many different moving parts to consider. You’ll have to follow prompts about where to move your tongue, how to adjust your mouth, how your face should look, and so on. The more complex the conversation, the trickier it is to speak. Scenarios during my demo included a date, a job interview, and the most normal social situation of all, speaking to a man while he’s using the toilet. And of course, if you don’t perform adequately in these conversations, then your face will start to explode – which is only natural for awkward conversations, after all.

Speaking Simulator is the definition of controlled chaos. It shows just how difficult it really is to be a human – controlling the face alone was far more than I could handle, as my frequent face explosions during my demo showed me. Playing Speaking Simulator was an equally hilarious and surreal experience, one that I can’t wait to experience in full when it releases on Switch and PC at the end of January.


Iron Danger

Iron Danger was one of my biggest surprises at PAX South. When I arrived at the Daedalic Entertainment booth for my appointment with Iron Danger, I didn’t expect to enjoy it half as much as I did. As a western-styled, point and click RPG, Iron Danger was outside my comfort zone. Yet the game is explicitly designed for players like me, who can feel intimidated by the immense amount of strategies and decisions that the genre requires. This is thanks to its core mechanic: time reversal. Perhaps this mechanic isn’t entirely unheard of in RPGs (Fire Emblem: Three Houses comes to mind as a recent example), but the way it’s implemented in Iron Danger makes all the difference.

It begins simply enough for an RPG. Your village is under attack, and as you attempt to escape to safety, you have the misfortune of dying. But death is only the beginning: just as you fall, a mysterious being blesses you with the ability to rewind time at any moment you’d like. That means that if you ever make a wrong move during combat, then you can reverse that decision and try something else. Time is divided up into “heartbeats,” which are measured in a bar at the bottom of the screen.  If you want to go back in time, simply click on a previous heartbeat. There’s no limit on how often you can use this ability: battles become a process of trial and error, of slowly rewinding and progressing as you discover what works. If you end up walking into an enemy trap, simply click back to the heartbeat before the ambush, and try a different strategy.

Iron Danger takes the stress out of roleplaying. RPGs are all about making decisions, and typically, making the wrong decision comes at a high price. But thanks to the time-reversal mechanic, Iron Dungeon gives you the room to experiment without consequence. As the developers at the booth explained to me, the ability to undo your actions turns Iron Danger into more of a puzzle game than an RPG. It’s all about evaluating your situation, the abilities at your disposal, the locations and actions of different enemies, and so on. And if everything goes wrong, then there’s nothing to worry about.

That doesn’t mean that Iron Danger will be too easy, however. Current indications point to the opposite. After I played through the tutorial, the developers took over and showed me an advanced, extremely complex level from later in the game, filled with deadly enemies and dynamic environments to consider, with fields that can catch on fire and explosive barrels to throw at enemies. You’ll have to constantly skip forward and backward in time only to survive. This combination of player-friendly mechanics and hardcore roleplaying combat is an exciting mix, extremely appealing for someone like myself who loves RPGs but doesn’t enjoy the stress that often comes with them.



In addition to video games, PAX South also had a substantial portion of the exhibit hall devoted to tabletop games – including, of course, Dungeons and Dragons. But if you wanted to experience D&D-style action without leaving the video game section of the expo, then Wildermyth perfectly fits the bill.

This new RPG is a hybrid between DnD storytelling and worldbuilding with XCOM-esque combat. Like D&D, it allows players to forge their own adventures and stories. Decisions during story events can impact everything from the way the larger story plays out to the weapons your character can use in each battle. Story sequences play out randomly, with events occurring differently depending on which enemies you’ve faced, which characters are in your party, which regions you’ve explored, and so on. It’s an extremely variable story, but with such adaptable writing, each story sequence feels natural, despite its apparent randomness. Instead, it should encourage replayability, to experience every possible story beat there is.


Combat plays out in a grid-based strategy style, similar to games like XCOM. Each character is decked out with unique abilities of their own, and can interact with their environment dynamically. My favorite ability to experiment with was with the mage character, who can imbue environmental objects with magical abilities, such as attacking enemies who get close or inhibiting nearby enemies with status debuffs. I loved exploiting my surroundings and constructing the best strategies during my demo, and cleverly using special abilities like these will likely be key to strategically mastering combat later in the full game.

Like so many other games at PAX, Wildermyth also boasts of a visually distinct art style. The entire game is framed as a storybook; narrative sequences play out in comic book-like illustrations, and environments and characters consist of flat paper cut-outs in 3D surroundings. Pair this with a muted color palette and a simple, hand-drawn style, and Wildermyth has a quaint, comfortable art style that really supports the fairytale feel of the whole game. Currently available on Steam Early Access, the full game is set to release later this year.

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Indie Games Spotlight – Pastels, Parenting, and Pedestrians

Check out five of the most creative and compelling upcoming indies in the second Indie Games Spotlight of 2020.



Indie Games Spotlight

Indie Games Spotlight is Goomba Stomp’s bi-weekly column that shines a light on some of the most promising new and upcoming independent titles. Though 2020 is already scheduled to have several of the most anticipated indie releases of the last few years, this time we’re going to focus on games coming out in the immediate future. From vibrant brawlers to daughter raising simulators, you’re bound to find something that tickles your fancy in the coming weeks.

Super Crush KO; Indie Games Spotlight

Be John Wick for a Day in Super Crush KO

The neon-tinged shoot ’em up Graceful Explosion Machine quickly became one of the best indies on the Switch in 2017. Almost three years later, the same crew at Vortex Pop is back again with Super Crush KO, a fast-paced brawler set in a vibrant, near-future city. Despite the change in genre, however, it’s clear that Vortex Pop haven’t lost their design sensibilities in the slightest.

Super Crush KO plops players into a pastel world full of evil robots and cat-stealing aliens. Such is the situation of protagonist Karen when she’s rudely awoken to find her fluffy, white-furred pal catnapped. Thus, she embarks on a mission to punch, kick, juggle, and shoot anyone trying to keep her from her feline friend. Just like with Graceful Explosion Machine, the goal here is to clear levels with style, rack up high scores, and climb the leaderboards to compete with players around the world. Super Crush KO is out now for Switch and PC.

LUNA: The Shadow Dust Rekindles Lost Memories

Luna: The Shadow Dust is an absolutely stunning, hand-drawn adventure that follows the quest of a young boy who must restore light and balance to an eerie, enchanted world. This lovingly crafted point-and-click puzzle game originally began as a Kickstarter and is finally seeing the light of day after four long years of development.

Beyond its frame-by-frame character animation and appealing aesthetics, LUNA also promises to offer all manner of environmental puzzles to keep players engaged. Control will be split between the boy and his mysterious companion as the two gradually forge a bond and try to uncover the boy’s lost memories. With emphasis placed on emergent storytelling and atmospheric mastery, LUNA should be well worth investigating when it releases on February 13th for PC. Don’t miss trying out the free demo either!

Georifters – An Earth-Shattering Party Game

Genuinely entertaining party games are shockingly hard to come by in a post-Wii world. Georifters looks to fill that gap by offering a multiplayer-centric platformer centered around spontaneous terrain deformation. Players will be able to push, flip, twist or turn the terrain to overcome challenges and battle competitors in hundreds of stages in single-player, co-op and four-player multiplayer modes.

Of course, multiplayer will be where most of the fun is had here. Each character boasts a unique terrain-altering ability to help them attain the coveted crystal in every match. This makes character selection a serious consideration when planning a winning strategy against friends. To drive this point home even further, there will even be dozens of unique themed skins for players to customize their favorites with. Just like the original Mario Party titles, get ready to ruin friendships the old fashioned way when Georifters launches on all platforms February 20th.

Ciel Fledge; Indie Games Spotlight

Master Parenting in Ciel Fledge: A Daughter Raising Simulator

To say the simulation genre is ripe with creativity would be a massive understatement. Ciel Fledge: A Daughter Raising Simulator takes the Football Manager approach of letting players manage and schedule nearly every aspect of their daughter’s life; classes, hobbies, time spent with friends, you name it. The week then flies by and players get to see how their decisions play out over the weeks, months and years that follow. To keep things engaging, extracurricular activities and school tests are taken via a fascinating blend of match-three puzzles and card-based gameplay.

Just like in Fire Emblem: Three Houses, it’s easy to imagine the strong bonds that’ll form after investing so much time and energy into Ciel’s growth into an adult. Better yet, Ciel Fledge is filled out by what Sudio Namaapa calls “a cast of lovable characters” for Ciel to befriend, learn from, and grow up with. Prepare to raise the daughter you always wanted when Ciel Fledge: A Daughter Raising Simulator releases on February 21st for Switch and PC.

The Pedestrian; Indie Games Spotlight

The Pedestrian – Forge Your Own Path

The Pedestrian puts players in the shoes of the ever-recognizable stick figure plastered on public signs the world over. From within the world of the public sign system, players will have to use nodes to rearrange and connect signs to progress through buildings and the world at large.

The Pedestrian is a 2.5D side scrolling puzzle platformer, but the real draw here is the puzzle aspect. The core platforming mechanics are on the simpler side; players can jump and interact with different moving platforms, ladders, and the occasional bouncy surface. The possibilities of where this novel concept can go will all depend on how inventive the types of signs players can navigate will be. The character is also surprisingly charming; it’s inherently fun to guide the little pedestrian man through buildings and environments he wouldn’t normally find himself in.

Whether you’re a puzzle fan or simply appreciate the aesthetics, be sure to look out for the full journey when The Pedestrian launches on PC January 29th. Get an idea of what to expect by trying out the free demo too!

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