Indie Games Devel

“BrokenLore: UNFOLLOW is a psychological horror game that does not try to please everyone, and that may be its greatest strength. It is a title focused on atmosphere, meaning, and reflection rather than action or immediate impact. Despite structural limitations and a pacing that demands patience, it stands out thanks to a clear creative vision and sensitive themes.”

“HORSES is a deeply author-driven horror experience that uses the language of videogames to portray a world where violence does not appear as an exceptional event, but gradually integrates into everyday life. Through an essential structure, restrained narration, and a strongly symbolic staging, the game builds a subtle and persistent form of horror that works through habituation, impotence, and the growing difficulty of distancing oneself from an internalized system. The experience does not aim for immediate shock or spectacle, but for a constant sense of unease that moves through bodies, gestures, and spaces. HORSES observes violence from within, showing how it can become accepted, managed, and sustained over time through roles and routines, without the need for explicit justification. The result is an uncomfortable, coherent, and courageous work that rejects traditional entertainment in favor of a disturbing and self-aware reflection, one that leaves a lasting mark precisely because it avoids compromise.”

“Ayasa: Shadows of Silence grows from a sincere intention and a clear love for a genre that has reached a high level of maturity. From the very beginning, the game shows a strong desire to tell its story through images, silence, and symbols, alongside the ambition to build a dark, melancholic, and reflective experience. The problem lies in the lack of adequate support for this ambition within the game’s ludic and technical structure. The gameplay, built around stealth, environmental puzzles, and a completely defenseless protagonist, demands precision, rhythm, and consistency that the game fails to provide on a regular basis. The result often feels frustrating, not because of an intentionally demanding challenge, but due to structural limitations. Even on an artistic level—arguably the game’s strongest aspect—Ayasa struggles to truly stand out. The atmosphere works and the imagery leaves an impact, but the identity remains weak and heavily derivative, especially when compared with titles that have defined this visual and narrative language over the past years. The final outcome leaves a sense of bitterness rather than outright anger. Players can perceive the heart of the project, but they can also feel how the game reached release before achieving sufficient maturity. Ayasa does not represent a complete failure, but rather an immature debut that shows how, in this genre, intention alone cannot replace solid execution.”

“Daymare 1994: Sandcastle marks a significant step forward from its predecessor while retaining the strong stylistic identity that defines the series. Technically refined and narratively focused, the game demonstrates how modern survival horror can evolve without abandoning its roots. New tools, refined gameplay mechanics, and a tighter emphasis on controlled action broaden the experience, creating a more structured – and at times more accessible – entry, without losing the dark, claustrophobic tension at the heart of the series. One of the game’s greatest strengths is its sustained sense of tension. Rather than relying on cheap jump scares, Sandcastle builds unease through layered atmosphere, careful pacing, and a rhythm that alternates intense sequences with quieter investigative moments. This approach reinforces the game’s identity, engaging players both emotionally and intellectually, and restoring the vulnerability and uncertainty that define survival horror. World-building is another standout element. The Sandcastle facility feels almost alive – a mutating, oppressive organism whose architecture, props, and scattered documents narrate a story of secrecy, scientific hubris, and past catastrophe. Exploration feels meaningful: each recovered document, unlocked room, and environmental detail adds context to the larger mystery, strengthening the player’s connection to the setting. The Frost Grip weapon is a bold, highly effective addition. It enriches combat and puzzle-solving, integrating seamlessly with the game’s resource-management mechanics and forcing players to make strategic decisions about when to freeze, fight, or flee. While additional enemy variety and more unpredictable encounters would have expanded the sense of danger, these points are refinements rather than critical flaws. Ultimately, what lingers after the credits is the game’s careful balance of narrative, atmosphere, and mechanics. Daymare 1994: Sandcastle is a mature, self-aware, and technically accomplished survival horror experience. It appeals both to fans of classic horror and to those seeking a modern, atmospheric take on the genre, while hinting at the series’ promising future.”

“Total Chaos is a survival horror that treats fear as a constant condition, rejecting immediate shock and spectacle in favor of atmosphere, silence, and psychological tension. The game keeps the player in a permanent state of alert through oppressive environments, empty spaces, and distant, ambiguous sounds, making subtraction its primary expressive tool. Its identity emerges most clearly through its aesthetic, which reworks a retro visual language into something grimy and corroded: visual distortion, grain, and decay turn Fort Oasis into a hostile, decomposing place, closer to a diseased organism than a simple setting. This sense of alienation carries over into the gameplay, deliberately slow and punitive, built around limited resources, heavy combat, and constant choices between confronting danger or avoiding it. Despite some technical roughness and a deliberately stretched pace that may divide players, Total Chaos stands out for the coherence of its vision and for an audiovisual presentation with strong impact, supported by fragmented and ambiguous environmental storytelling. It is not a game designed to appeal to everyone, but it leaves a lasting impression on those who seek a more introspective, oppressive form of horror, focused on atmosphere rather than spectacle.”

“Ferocious stands as a striking example of a project that attempted to sprint before learning to walk. Its ambition to emulate AAA-scale design has resulted in an overengineered architecture that constrains rather than enriches gameplay. With careful simplification, system refinement, and combat rebalancing, the title could still evolve into a cohesive and rewarding experience. As it stands, however, it remains disjointed, often exhausting, and frequently frustrating – demanding a level of patience few players are likely to tolerate.”

“INTI CREATES CO. with Majogami definitely did a good job. The video and sound are well inspired and of good quality, the level and game design are interesting and intelligently placed. An unexceptional and predictable narrative but still enjoyable and the use of really fun and interesting combat system ideas. The feel of power that Setsuna gives you is strong, as well as being very fun to watch and play. However, everything is still immature. Majogami seems like a game with good potential but still with numerous microflaws. An experiment that, if cleaned up, can give rise to a good sequel. There are no macroscopic defects but many small stumbles and naivety which all together undermine the experience in the long run. For example the Jpop rock soundtrack that accompanies the player when transformed which, honestly, is intrusive. Another is the exhausting static narrative or the choice to tell the end of the story relegated to a new game plus. Last but not least is the ecchi element, inserted in context with even crude themes and especially with some characters who seem anything but of age. I understand those who may also feel uncomfortable although I repeat: there is no explicit sexual content for adults.”

“Midori no Kaori does not target players who seek complex challenges or deep management systems. It offers a slow, intentional, and deeply relaxing experience, designed for those who enjoy cozy games, automation, and the act of building spaces meant to be lived in rather than optimized. Its greatest strength lies in coherence: every design choice works to reduce pressure and support personal engagement. If the idea of building a zen Japanese restaurant, letting it run almost on its own, and returning to it whenever you feel the need appeals to you, this indie title deserves attention.”

“Project Nightmare Case 36: Henrietta Kedward is a standout experience, drawing players into a meticulously crafted, eerie world rich in detail and atmosphere. Exploration, environmental interaction, and the uncovering of clues and symbols are central to piecing together Henrietta’s story and understanding the complex psychology of the characters. The game sustains a constant sense of tension and intrigue without resorting to cheap tricks, prioritizing immersion, narrative coherence, and high-quality art direction. Every environment feels authentic, every object narratively significant, lighting is carefully tuned, and dynamic sound design heightens the emotional and psychological impact of each moment. Its deliberate, reflective pacing rewards careful observation, deduction, and the thoughtful connection of fragmented details, offering a deeply satisfying investigative experience for fans of psychological horror. Each discovery matters, turning exploration into a meditative journey that engages both intellect and emotion. The seamless integration of world building, narrative, and gameplay ensures that every player action feels meaningful, reinforcing the story while enhancing the sense of psychological tension.The game tackles complex themes such as trauma, memory, and isolation with subtlety and depth, weaving them naturally into the story and environment. Henrietta’s narrative becomes more than a mystery to solve – it is an exploration of human emotion, motivation, and vulnerability. Even approaching the game with cautious expectations, players are quickly captivated: first by its striking visuals, then by a narrative that fully immerses and engages. In conclusion, Project Nightmare Case 36: Henrietta Kedward is a game of remarkable artistic and narrative achievement, delivering a cohesive, immersive experience where exploration, investigation, world building, art design, and sound design converge harmoniously. It is highly recommended for players seeking a title that combines psychological tension, narrative depth, and meticulous attention to detail – transforming gameplay into an emotionally charged, reflective, and unforgettable journey. In a crowded and increasingly formulaic gaming landscape, it feels like a fresh, exceptional breath of air.”

“Without completely reinventing the formula, Reus 2 represents a refined and deeper evolution of its predecessor. It’s a game that encourages creativity,experimentation,and wonder, always maintaining that unique charm that has made the Reus series beloved by fans. Perfect for those seeking a management experience that is different from the usual, meditative yet full of possibilities.”

“Charon’s Staircase is an experience that leaves a mark – not through spectacle or shocking plot twists, but through the depth with which it explores universal and timely themes. It is a game about power, obedience, memory, and, above all, lost humanity. Its deliberate, unhurried pace reinforces this message: every step through Oack Grove is a step into the mind of someone confronting uncomfortable truths. What impresses most is the harmony between form and intent. Visuals, sound, gameplay, and writing all serve a unified vision: horror not as an event, but as a psychological condition. Charon’s Staircase does not chase jump-scares; it prefers to unsettle, to provoke reflection, and to push the player toward their own confrontation with evil. While the game has its imperfections, these are easily outweighed by its ambition. Its strength lies in suggestion rather than exposition, in evocation rather than explanation. It moves with a measured, deliberate pace, leaving behind a rich trail of images, sounds, and ideas that linger long after the credits roll. I approached it with scepticism, half-expecting little beyond standard indie horror fare. What I found instead was a work compelling not for its technical polish, which can feel dated, but for its storytelling, tone, and subtle approach to fear. Free of common genre clichés, Charon’s Staircase draws the player into a quiet, introspective journey that reminds us how confronting uncomfortable truths can unsettle us – and change us – if we allow it. For horror enthusiasts who value mood, psychology, and thematic depth, this is an easy recommendation. Its brief two-to-three-hour runtime leaves an impression far larger than its length suggests.”

“Shooty Shooty Robot Invasion is the kind of chaos that, on paper, shouldn’t work – and yet, against all odds, it absolutely does. It’s an explosion of unrestrained creativity: a whirlwind of sharp wit, surreal destruction, and mechanical madness, all held together by a surprisingly sturdy technical backbone. Beneath its colorful, comic-book shell lies a game that knows exactly what it wants to be – fast, loud, and gloriously absurd. Its shooting mechanics are tight, responsive, and immensely gratifying, with weapons that deliver punchy, satisfying feedback worthy of the genre’s greats. Every encounter walks a fine line between skill and delirium, featuring bullet-hell moments that push reflexes, timing, and composure to their limits. Mistakes are costly, but the rush of victory carries that unmistakable taste – the pure, hard-earned flavor of triumph. Visually, the hand-drawn, cartoon-inspired aesthetic infuses every frame with personality, transforming chaos into language and excess into art. Performance remains impressively smooth, with flawless optimization ensuring that every visual and technical element moves in perfect sync – even at the height of the madness. The sound design, bursting with irony and energy, keeps pace effortlessly, amplifying the game’s surreal, self-aware humor. Of course, it’s not without its quirks: the occasionally disorienting level design and lack of adjustable difficulty may leave some players momentarily adrift. Yet, in a sense, those imperfections only enhance its charm – because Shooty Shooty Robot Invasion isn’t chasing perfection; it’s chasing personality. And in its brilliantly orchestrated chaos, it finds exactly that.”

“Mai: Child of Ages marks a turning point for Chubby Pixel and for the Italian indie scene. It blends dungeons, puzzles, and combat into a journey where time unlocks themes of identity, growth, and memory. The game may not escape challenges and rough edges, but its vision and courage make it a work worth following, one that claims a place on the international stage.”

“Schedule I is an original, deep, and remarkably well-balanced sandbox management game. It masterfully blends strategic complexity with freedom of action, placing players at the center of a rich and dynamic criminal ecosystem. While the game exhibits minor shortcomings – including an occasionally overwhelming volume of information and sporadic dips in performance – the game’s robust core ensures a coherent and engaging experience, with significant potential for refinement. It is now up to TVGS’s young development team to fully leverage these strengths, elevating an already distinctive title into a polished, comprehensive experience capable of leaving a lasting mark on the sandbox management genre.”

““Little Problems: A Cozy Detective Game is a cozy detective adventure released on September 9, 2025, for PC. Developed by Posh Cat Studios and published by Amplified Games””

“Long story short, Warhammer 40K: Dawn of War – Definitive Edition is a remaster that doesn’t do complete justice to what the title is. The title has the great value of encompassing all the experience that the title offers. The nostalgia effect is strong, thanks also to gameplay that is still solid and has aged very well. The real strength of Warhammer 40K: Dawn of War – Definitive Edition is precisely the gameplay left intact. It alone saves the remaster from a perhaps serious insufficiency, although it is impossible to evaluate the quality of a remaster as if it were a remake.”

“Having experienced Ad Infinitum, it becomes clear that the game is a remarkable example of how video games can combine history, psychology, and horror into a unified, immersive experience. One of its most striking strengths is its ability to immerse the player in the protagonist’s mind. Paul is not just a soldier on the battlefield; he is a man overwhelmed by trauma and anguish, and the game conveys the deterioration of his psyche through the very world around him. This level of psychological immersion is rare in traditional horror titles. Equally impressive are the worldbuilding and art design. Every trench, bunker, destroyed village, and open field is rendered with meticulous realism, while the visual language heightens tension and unease. The environments are not mere backdrops – they are active narrative instruments, capable of telling stories without words and influencing gameplay, allowing players to truly live the experience. The sound design is outstanding. Spatial audio and meticulously crafted ambient sounds create a deeply immersive atmosphere, where every footstep, creak, and indistinct noise becomes a tool of suspense and emotional engagement. This careful attention to audio ensures the game generates tension even in moments of relative calm, delivering a memorable audiovisual experience. From a gameplay perspective, the survival horror mechanics – blending stealth and psychological elements – align perfectly with the narrative. While some moments may feel challenging for players unaccustomed to slow, tension-driven pacing, the game rewards patience, observation, and exploration, making it particularly satisfying for fans of immersive horror. A key feature is the balance between story and personal interpretation. Surreal events and distortions of reality are not mere scare tactics; they serve as narrative tools, allowing players to reflect on the trauma of war, the fragility of the mind, and the subjectivity of perception. This makes the experience complex, layered, and intellectually engaging, appealing to those seeking a thoughtful psychological horror. In conclusion, Ad Infinitum is an ambitious and accomplished title that stands out in the survival horror genre for its combination of historical authenticity, psychological tension, and meticulous worldbuilding. While not flawless, its strengths – immersive storytelling, art direction, sound design, and emotional depth – make it a truly memorable experience, especially for those seeking intense, reflective horror that leaves a lasting impression. On a personal note, the team’s closing message is profoundly moving, highlighting how collective tragedy can deeply impact a family. Truly touching. This is a game that leaves a mark and demands full attention and total immersion.”

“House of the Dead 2: Remake fails to establish itself as the triumphant return fans had hoped for. Stylistic choices, toned-down violence, limited accessibility, and technical problems weigh down what could have been a great revival of a classic. Even so, it remains an experience that can entertain those who want to rediscover the arcade flavor of the series—though in a different, less faithful form.”

“One-Eyed Likho is a first-person horror adventure that takes the player in pursuit of a legendary creature from Slavic folklore: the Likho.”

“After an immersive and sustained engagement with Pneumata, it becomes clear that this is far more than a conventional survival horror – it is a compelling invitation to inhabit an intense, meticulously crafted experience. The choice to set aside the traditional action-first approach in favor of a contemplative, deliberately paced gameplay feels not only bold, but essential in shaping the singular atmosphere that saturates every moment of the game. Its fragmented, symbolic narrative demands active participation: this is not a story one can passively absorb, but rather a path that asks the player to piece together fragments of meaning, to interpret elusive signs, and to surrender to an inner journey that can at times disorient, yet ultimately rewards with moments of genuine revelation. We found this especially praiseworthy, as it reflects a clear intent to push boundaries and deliver more mature, intellectually engaging content than what is often found in the genre. From an artistic standpoint, the art direction is both evocative and ambitious – a tapestry of intricate environments and a color palette steeped in alienation and melancholy. Its masterful interplay of light and shadow, together with a meticulously engineered soundscape, conjures a palpable atmosphere that resonates deeply on an emotional level. That said, this is not an experience designed for everyone. The deliberately cryptic narrative risks alienating players in search of a clear, linear storyline, and may frustrate those unwilling to engage with its interpretive demands. For this reason, Pneumata is best suited to players who seek more than entertainment – those drawn to artistic and narrative experiences with thematic depth and broader scope. From a personal perspective, my judgment on Pneumata is unequivocally positive. It enriches the contemporary gaming landscape with an original and daring vision of what an authorial video game can achieve. Its greatest strength lies in its ability to transform the act of traversing physical spaces into a metaphorical descent into the human psyche – delivering an intense, melancholic, and indelible journey, punctuated by bursts of raw survival horror action that harken back to the genre’s most enduring roots. While not without minor technical and audio imperfections, Pneumata stands as a work that dares to challenge convention, invites reflection, and advocates for an aesthetic and narrative vision that feels both distinctive and daring. A title well worthy of a place in any discerning player’s collection.”