Mars First Logistics, released last week in Early Access on Steam, is a game with a very simple setup. You drive little robot vehicles around the surface of Mars, do jobs for people, and those jobs require you to build your own cars (or whatever!) in a way that gets the job done.

Let’s say you get a contract where you have to transport a steel beam from one small Martian base to another. You open a nice little build screen – very reminiscent of LEGO instruction manuals – and, from a limited selection of parts, start building. You’ll need something to hold the steel, which can ideally transport it across the surface of Mars, and you’ll also need something to reposition the steel when you arrive for delivery.

So you do that – or at least something that you think will do – and you drive. And within 20 seconds you know you messed up. This little car is not going to transport anything anywhere, it’s a disaster, your wheels are spinning everywhere, the steel has fallen off and it’s not the first time in this game that you will come back and spend a lot of time at, the plank to drawing.

Mars First Logistics is, at its heart, a physical puzzle. If you’ve ever blasted a rocket off the Kerbal Space Program launch pad or driven a warped buggy off a cliff in Tears of the Kingdom, you’ll be right at home here. It’s not the challenge itself that you really want to master, but how that challenge is portrayed in a world that has an unforgiving awareness of its own gravity:

March First Logistics Steam Early Access Release Date Trailer

All that fuss, broken cars, and repeated failures could have been frustrating, but as the video above shows, Mars First Logistics is anything but. Thanks to a combination of its floating gravity, cheerful visuals, and – I can’t quantify this, so trust me – cute handling, playing it for periods of time is like being at the helm of a adorable little blooper reel, every jammed payload or spinning set of tires eliciting more of a “haha, we’ll get them next time” than a “fuck it, I hate that”.

Please note that I don’t mean to somehow belittle or dismiss the confusing Mars First Logistics references by just focusing on the fact that it’s funny (although, compared to the deeply unfunny standards of the game , it is a comic masterpiece). It’s funny because it’s so difficult, and that humor does a fantastic job of defusing the trial and error that could so easily have frustrated in a game like this. Even Tears of the Kingdom’s toughest boobies are a breeze compared to some of the challenges here, which don’t just take a lot of you to complete – delicately balancing an ever-staggering payload as you drive it over bumpy hills – but preparing for them in the first place.

You see, Mars First Logistics isn’t an open-ended sandbox game, it earns you that. You don’t start it with every tool at hand, every part available in unlimited quantities. You get money for doing courier jobs, and then you can spend that money to unlock more coins. So there’s an economy in play, allowing you to focus on what kind of vehicles you want to build and how fancy you want to make them.

I found myself spending most of my time not in the game’s open world but in its LEGO-like building screen, endlessly tinkering with wheels, control arms and servos that can be arranged just like you like them, or at least like you think you can do a job.

It’s fun to play with and can allow for immensely precise creations, but I think the real joy of Mars First Logistics is that it doesn’t need you to be perfect. You can shoot it, sure, but ultimately you’re here to do a job, and as long as you do, the game is happy.

Take the steel beam job I mentioned above. I could have spent an age agonizing over the most economical and functional vehicle possible, which the game definitely allows for and a path some players might feel compelled to force themselves. What I ended up doing after a few hilarious failures, however, was creating a buggy that could just drag the beam precariously through the countryside, which worked as long as I drove very carefully.

A good video game would have forced me to make an economical and functional one. A really good one would allow me to do whatever I want. A good video game lets me do what I want and makes it fun while I mess it up.

At Eurogamer Star Wars Jedi: Survivor Review, Chris Tapsell had a lot of fun picking out the ways in which various action games feature genre-standard mechanics, such as parrying. “In God of War, everything around you slows, warps, and your shield returns the blow with an almighty springy snap,” he wrote. “In Sekiro, a parry is a little chip on the enemy’s position gauge – Sekiro’s true health bar – one of dozens of quick, perfectly timed strikes you might have to land just right. ”

Death of a wish Developer: Melessthanthree Publisher: Syndicate Atomic LLC. Availability: TBA for To smoke And Itch.io

I love video game reviews that dwell on naughty little details like these. The most popular games rely heavily on a fairly small collection of commercially proven concepts and themes, making it easy to navigate the delicate touches that set individual works apart. Sometimes these little tweaks and flourishes are more functional and contained – a touch of slowing down your parry, to make the combat system slightly easier to master than its closest competitors. But in the right hands, they can give you the soul of the game.

Death of a wish by Colin Horgan, aka Melessthanthree, feels like such a game, a hack and slash that retunes the core mechanics of combos, dodges, and parries to advance a story about toppling a steamy metaphysical world. This is the sequel to Horgan’s LUCAH: Born of a Dream, which I got embarrassingly overworked about back in 2019.

Based on an hour-long game, Death of a Wish continues Horgan’s explorations of religious or filial guilt and the journey to queer self-acceptance. It tells the story of a child tearing apart the cult that raised and subjugated him, and is set in an angry underworld of mortified bodies and quasi-Christian symbols.

Appropriately, the fight feels like a whipping, with arcs of energy rolling around the participants and giving the game a more decided visual pace than you’d get from simply swinging a sword. Impacts register as fizzy cracks and slaps, not thumps and booms – you can feel the main damage provider here is torque, rather than raw muscle power. There is a beautiful contrast between the almost dismissive and overwhelmed depiction of the characters themselves and the scale and flamboyance of their movements.

The fight is also a cautious act of violence against the environmental art, which is composed of stark but choppy outlines and the suggestion of solid objects – rocks, trees and people flickering like candle flames in a breeze. . These sweeping strokes seem to cut through the shifting substrate of the game, as if the landscape itself is a half-embodied ghost you’re trying to exorcise – or perhaps shape?

Open the menus and you’ll find a familiar but labyrinthine suite of upgrade options and positions beneath it all. There are drone-like creatures you can equip for ranged attacks that slice the screen in a variety of ways: the default laser cuts through mobs unceremoniously with minimal windup, breaking the tempo a bit in a way that I find it intriguing. There’s also a corruption bar that links skills to self-preservation in a less obvious way. The more skillfully you fight, the less your character, Christian, will succumb to the evil influence of the setting. Let the bar fill to the end and it’s game over.

Death of a Wish is shaping up to be a wonderful reminder that atypical “arthouse” games can tick the same boxes as Capcom’s finest creations, while pursuing their own sensibilities and themes. I often feel intense sympathy for any indie developer working specifically in hack and slash – the giants of the genre, Bayonetta and Devil May Cry, seem unattainable in terms of spectacle and finesse. But Horgan’s work is proof that you don’t need a full motion-capture operation and an army of animators to stage battles that snap and sizzle.

By the time you reach Final Fantasy XVIafter a minimum of 35 hours, protagonist Clive Rosfield can call upon the power of eight different magical beings called Eikons, each the guardian of a specific element. Phoenix fire offers several different ways to scorch enemies, and Shiva’s ice can freeze them solidly. But if you want to be ready for what awaits you in the endgame, you’ll need to prepare with a very specific build. In fact, it’s such a good build that you can take it in pretty much any encounter, whether it’s a high-level hunt or a side quest.

Some Eikon abilities are great for crowd control. Others are great for single target damage. Therefore, the best abilities for a given battle depend on what you will encounter. Without spoiling too much, the final gauntlet of battles is against a single target that’s roughly Clive’s size. It is therefore similar to the fights against Lord Commander Sleipnir of the Kingdom of Waloed or the battle against Odin’s Dominant, Barnabus Tharmr. As such, the best kit is going to focus on counter attacks and single target damage.

With all that in mind, here are the Eikons you’ll want to channel:

If you’ve upgraded all of the best Eikonic abilities enough, you’ll be able to equip them regardless of which three Eikons you channel (or equip). The only reason you would channel any Eikon is to take advantage of his Eikonic Feat, the innate feature like Phoenix Shift teleportation.

Channeling Titan is a must, especially against single enemy fights so you can take advantage of the innate Eikonic Feat Titanic block. Tapping the circle at the right time triggers a precision block that launches a three-hit counterattack that fills up Clive’s Limit Break gauge at an accelerated rate and deals a solid amount of damage.

Learn more: Final Fantasy XVI: 8 useful settings to adjust for the best experience

With Arm of Darkness, the circle button allows Clive to wield Odin’s sword. All attacks charge the Zantetsuken gauge to be an ultimate attack that slows down time and deals a lot of damage.

These are the Eikonic abilities you want:

PulseAir BlastRising FlamesRanging FistsGigaflareDancing Steel

Bahamut’s Pulse has great DPS bonus potential as it sends out multiple spheres that track targets and deal continuous damage, and it has a very reasonable cooldown. Whether you’re going up against a crowd of enemies or a boss, it’s a solid choice. Garuda’s airburst summons a tornado that deals a massive amount of Willpower damage, so it will stun enemies faster than anything else and stalk enemies…just like Impulse!

Phoenix’s Rising Flames is a must-have for any build at any stage of the game. Although its damage is lacking compared to most other abilities, it has one of the shortest cooldowns of any attack and is easy to land. Spam it as often as possible between regular attacks. Titan’s Raging Fists is a good game to pair with Rising Flames as it has a modest cooldown that is reduced by 50% if you execute a well-timed block against enemy attacks. In theory, if you time your blocks well, you should be able to spam both of these attacks. And that gives you a counterattack option on two of your three Eikon channels.

Odin’s Dancing Steel is an excellent ability that summons twin blades for a flurry of attacks that charge the Zantetsuken Gauge. So you’ll want to channel Odin so you can capitalize on access to Zantetsuken, part of his Eikonic feat which deals a huge amount of damage with two powerful slashes. Gigaflare is by far the absolute best Eikonic ability. Not only does it get top marks in raw damage, but it also has a slowing effect while Clive summons wings of Bahamut and blasts enemies in a straight line with a massive beam of energy.

Final Fantasy Gear You’ll Need Bahamut’s Mercy – Reduces Gigaflare cooldown by 6.0 seconds. Genji Gloves – Increases damage dealt to enemies by 5%. Berserker Ring – Temporarily increases attack skill with each precision dodge.

Gigaflare’s big downside is its long cooldown, so equipping Bahamut’s Mercy mitigates that significantly. It’s a reward for completing the “A Tail to Tell” quest, in which you find a flower for Harpocrates to give to Dion at the very end of the game.

Increasing all damage by 5% with the Genji Gloves is also better than pretty much any other damage increasing accessory. (Most of them increase the damage of a single ability by 10%.) This one is a reward for reaching 2365 Renown at Boss’s Whisper, so if you miss out, complete more side quests and hunts until so that you can earn it from the NPC Désirée in the mess.

Learn more: 15 critical tips to know before playing Final Fantasy 16

The Berserker ring is also a great choice, as it improves attack skill with each successful precision dodge, something you’ll want to do constantly anyway. This is the first Patron’s Whisper reward at 85 fame. If there’s one item you can swap for something else, it’s this one.

The strategy to bring it all together in FF16

Always start with Aerial Blast then Impulse. This will deal a solid amount of Willpower damage that will cause the enemy to stagger. And, if necessary, use Titanic Block against any attack that comes your way.

Then it’s time to switch to Phoenix to use Rising Flames and go for a Raging Fists block. But as soon as that’s done, go straight to Odin and unleash Dancing Steel. This will recharge Zantetsuken a lot. If you were successful in staggering the enemy, now is the time to start blasting with Gigaflare. Otherwise, you might as well use Odin’s Arm of Darkness for a while, focusing on the Flash of Steel precision dodge counterattack and Steel Counter parry. (That’s where that Berserker Ring will come in handy.) Pop Zantetsuken as soon as it’s ready. And keep going through your abilities in this way.

You’d be hard pressed to find a more effective combat flow than this to handle just about anything Final Fantasy XVI can throw at you.

rubber duck games, the famous game developer known for its original and humorous titles, recently announced the release of its latest action RPG, Evil Wizard. Scheduled to launch on Switch, PlayStation 5, PlayStation 4, and PC, this game promises to bring raw humor, Metroidvania elements, and pixel-art environments to the gaming community. With its initial release on Xbox Series, Xbox One, and PC via Steam, Evil Wizard has already garnered attention and positive reviews. Now, players on other platforms can look forward to this once-in-a-lifetime adventure in the months to come. Evil Wizard offers players a humorous and entertaining experience in the realm of action RPGs. Players assume the role of a defeated villain who has survived a grueling battle and must now face off against an army of would-be heroes in order to reclaim what is rightfully theirs. The game combines Metroidvania-inspired design with carefully crafted pixel-art environments, creating a visually appealing and engaging world. Prepare to rediscover your powers, infiltrate your own castle, unleash devastating spells, and rid your ancestral home of those miserable excuses for enemies. In Evil Wizard, it’s time to embrace your inner villain!

The premise of the game revolves around revenge and reclaiming what has been lost. As players battle hordes of enemies, they’ll encounter deadly traps and solve tricky puzzles in the hallways of their castle, which are now inhabited by heroes. Evil Wizard is inspired by the Metroidvania genre, allowing players to explore complex levels, interact with the game world using their skills and items, and unlock new paths. Combat in Evil Wizard is fast-paced, skill-based, and satisfying. Players have complete control over battles, inflicting devastating melee blows, unleashing powerful spells, and employing strategic moves to defeat their enemies. One of the unique aspects of Evil Wizard is the ability to control various elements including fire, ice, void, lightning, and earth. Players can mix and match these elements to unleash devastating attacks and exploit their enemies’ weaknesses. The game encourages experimentation and strategic thinking, allowing players to customize their playstyle and adapt to different combat situations. As players progress, they’ll encounter an array of unique enemies and challenging boss fights, each with their own unique skills and fighting style. Upgrading gear and character fine-tuning become crucial to overcoming these increasingly difficult encounters.

Evil Wizard has already garnered positive praise and feedback from gamers who have experienced the game on Xbox and PC. With the upcoming release on PlayStation and Switch, even more gamers will have the opportunity to embark on this exciting adventure filled with humor, challenging gameplay and delightful pixel art visuals. Rubber Duck Games continues to push the boundaries of creativity and entertainment with Evil Wizard, delivering a fresh and enjoyable experience in the action RPG genre. To get a taste of what Evil Wizard has to offer, check out the trailer below. Get ready to embrace your wicked side and embark on a quest for revenge like no other!

Rubber Duck Games’ Evil Wizard features a unique blend of humor, Metroidvania-inspired design, and fast-paced combat. With its upcoming release on PlayStation 5, PlayStation 4, Switch, and PC via the Epic Games Store, players across different platforms can look forward to an entertaining and challenging action-RPG experience. Whether you’re a fan of pixel-art visuals, crude humor, or engaging game mechanics, Evil Wizard is ready to deliver an adventure that will have players laughing and wanting more. Evil Wizard demonstrates Rubber Duck Games’ commitment to providing unique and enjoyable gaming experiences.

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Starfield director Todd Howard has revealed that Starfield will have a wide policing mode and no space fishing.

Howard shared these details and more in a podcast with Funny gamesin which he answered questions from the hosts and sent in by fans.

Here’s a summary of everything Howard confirmed for Starfield during the podcast.

Official Starfield Gameplay Trailer

When it comes to accessibility, Bethesda “really relies on” a large font mode, and it’s been considered across different monitor sizes and handheld devices. Steam Deck compatibility will be discussed “later”.

The background selected during character creation will add flavor to the role-playing game and not only affect numbers and stats. Starfield doesn’t have space fishing (defined as using a rod to catch alien fish in a lake and then cooking or selling them), although that’s a big trend in games. in the open world.

There are a variety of handcrafted places. Some will be placed on specific planets in a set position, others will be randomly generated or placed when a player lands on a planet. In terms of creating the over 1000 planets in the game, there will be procedural generation. About 10 percent of them will have life.

Some planets that players will find will be barren. Howard cited Buzz Aldrin’s “magnificent desolation”, saying that Bethesda wanted to give the abandoned empty planets a sense of beauty so players would feel like they were one of the only people who had ever seen it. He also said that having too many abandoned bases or items on a planet was too “game-y”.

A single planet can have multiple biomes. Scanning planets for traits will earn players money, so it’s worth doing. Environmental effects such as temperature and radiation can give the player a hard time if they don’t prepare properly before exploring on foot. There is no ground transportation (vehicles or animal mounts). Instead, players can use the boost pack and take advantage of low gravity to travel great distances.

Companions are not required, meaning the game can be completed without ever having a party. A companion will not leave on its own if it gets angry with the player, but the player can choose to send it to an outpost forever. It’s not clear if you can completely exclude a companion. Constellation’s four main companions are the only ones with full quests and romances.

Technically, you can have a fully robotic crew on your spacecraft. Aside from Vasco, it looked like there might be other bespoke robot NPCs you’ll encounter, though Howard couldn’t confirm that. There will be an interior design of the ship using modules.

All ships can be modified, even if it is a stolen ship. The modification system requires players to spend credits to register the ship. Howard said it’s a system he expects players to fully commit to in the late game because it’s expensive. The ship’s gravitational drive is technically called a graviton loop field network. Howard said Bethesda worked hard to create a fictional story about the scientific developments made and the lore behind its FTL technology at Starfield.

Like modding ships, Howard said he expects outposts to be an endgame system as well. To create a large network, players will need to collect many resources and develop their character skills. Players will be able to shuttle between planets and outposts. Outposts can be an economy generator.

The music was done very early in development. Once the concept art was completed, Inor Zur created the soundtrack. There is a radio station that can only be accessed locally on a particular planet, so players won’t be able to tune into it while exploring the universe.

Players can have “dozens” of active quests at a time. “It obviously creates a lot of chaos sometimes in our games, we realize that,” Howard said, “but it also creates those magical moments that we love and our players love.” Bethesda wanted to focus on consistency, Howard said, on a performance mode. He thinks it’s the “best thrill game” the studio has ever produced.

Howard said he can “guarantee” that Starfield will have generic side quests (things like fetch quests). Some of them can be randomly generated when the player lands on a planet, but Howard said the game also has many specific quests with greater depth.

Starfield will be a “modder’s paradise,” Howard said. He also said it was important for Bethesda to make modding accessible to gamers, either as a hobby or a career. Vasco can’t wear a hat (like, but Howard said he was sure this would be one of the first mods made for the game.

Howard also referenced Digital Foundry’s deep technical dive into Starfield, in which the team explains why Starfield runs at 30 FPS.