RE:BIND

Browsing category: Indienoculars

The original Moon Patrol was a 1982 arcade game from Irem, likely best known for introducing parallax scrolling [1]. The player operates a buggy, which drives through a sidescrolling landscape while jumping or shooting from its dual cannons, simultaneously firing above and in front of itself. Between jumping and shooting, the player is equipped to take care of myriad lunar dangers, such as UFOs, boulders, or pits. It’s quite fun (and readily playable to this day anywhere from the Switch to MAME), although, being an arcade game, it’s obviously designed to be hard in a way that extracts maximum coinage from patrons.

Rather unremarkable as a still, though you can see parallax scrolling in action here.

As with many arcade titles of the time, it found its way onto just about every 8-bit home computer, including the Apple II, the Commodore 64, the TI-99/4A, the TRS-80, and even the IBM PC. However, again, just like its arcade contemporaries, every single port was awful. 37 years later, however, thanks to video gaming’s rich culture of nostalgia, it now has a good home computer release! Enter Yok‘s Moon Patrol.

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Long ago, in the era of Netscape and Internet Explorer, I would spend hours surfing the net trying to find any sort of MMO that, A) could run on my brick of a computer, and B) was free. World of Warcraft and Everquest were the biggest thing around, the novelty of online communities uniting so many around common goals. I would pore over articles on Asheron’s Call, Star Wars: Galaxies, Final Fantasy XI, Ragnarok Online… For every game out there, it had another ten beside it, veritable hydras housing universes inside of them.

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In a far-flung future, cyber-laden Vapor Trails from developer sevencrane (@sevencrane) presents a sidescrolling action game oozing with style. Weaving a plot of intrigue and mystery, the player fills the shoes of Val, part of a robotic line known as Valkyries, thrown out to waste away in The Deeps for being too adaptable. Your abilities take you far, though, as you find yourself working your way back to the surface for revenge.

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ARE YOU A RUSHER, OR ARE YOU A DRAGGER?

Haunted Garage from Games for Ghosts is a short prototype still in development, but it’s already a fun little diversion, full of character.

The basic premise thus far is that you pan around a single-area point-and-click environment, looking for characters or artifacts, ultimately in the service of acquiring musical instruments. You then go through the magic door in a free-standing wall, back to your boundless isometric white room, where you set down these instruments and configure them. Some allow you to write a melody. Others are droning instruments where you just select a pitch; others yet are drums, which let you tweak their sound and step-sequence them. They all sync up, and the general course you take is finding one instrument, setting it how you like, and returning to the point-and-click environment, where the means to uncover yet another instrument have just been unlocked. You go back to your room, make your loop a little more interesting with another instrument, then repeat until you’ve found every instrument the game offers thus far.

The instruments themselves sound quite pleasant, although the granularity of sequencing is a little limited if you’re trying to do anything rhythmically complex. Then again, this is just a toy, and a truly charming one at that. Beyond the fun that can be had composing, and nearly anything with a little thought put into it sounding decent since the instruments are almost all in the same key, it’s such a delightful world to poke around on the other side of the door. The way interactable elements animate under your cursor, the strangeness of the conversations and of the characters’ desires for trades, the faint hint of your loop that you can hear coming from the door when you’re outside, and the stylistic contrast between the grayscale “outside” and the stark monochrome “inside” all make for an experience that’s candy for the eyes as much as it is for the ears.

It’s a great little prototype so far, and I look forward to what may come of further iteration. If I had to give one piece of feedback, it would be that it could do with some optimisation, as even natively it has a tendency to lag, which can really suspend disbelief when the animations of the instruments desync from the audio.

To that effect, a point of advice – give the Web version a miss and download the native executable for your platform instead. Even a modern browser on a fast computer can’t help JavaScript to keep up with the audio side of things, and audio is crucial to this lovely little thing.

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Oblique et coupant l’ombre un torrent éclatant
Ruisselait en flots d’or sur la dalle polie
Où les atomes d’ambre au feu se miroitant
Mêlaient leur sarabande à la gymnopédie

Slanting and shadow-cutting a bursting stream
Trickled in gusts of gold on the shiny flagstone
Where the amber atoms in the fire gleaming
Mingled their sarabande with the gymnopaedia.

J. P. Contamine de Latour, Les Antiques.
Excerpt published alongside Erik Satie’s Gymnopédie No. 1.

Modus Interactive has a way with destructive architecture, with digitized runoff and detritus left over from the transmutation of deterritorialized cityscapes. With A Broken City comes yet another imaginative vignette of comfortable desolation, where Satie’s Gymnopédies haunt you distantly as you traverse urban esoterica.

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When I finally encountered Chet, he was a walking demonstration of why you should never skip leg day.

Networking, whether you do it consciously or as a side effect of enduring social work events, is something we’re all familiar with – or at least the concept is. Often seen as a necessary evil, it has routinely demonstrated that it doesn’t have to be so craven. Our complacency with common structural vulgarities like crunch, poor planning, and fearful avoidance slowly and gently acclimates us to unsustainable modes of being. The industry is, and has demonstrated that it is, capable of doing better. When used tactfully, jaded dark humor can be the very signal flare we need to draw our attention to the desperate need for change.

@corpsepile‘s Networking Event Simulator takes that idea and warps it into a deliciously hellish liminal space. One part cynical piss-take on mundane repetition and one part exhausting omnipresence of cookie-cutter social behaviors, it’s a game that puts you in the position of climbing your way to the top through one of the most passive-aggressive sports known to humanity.

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Approaching exit velocity, my tiny body spirals wildly as I desperately hope I can catch the orbit of the platform across the void. Mice have it rough out here in space, unable to travel the stars properly any longer, they resort to flinging themselves from destination to destination, floating the gaps alone. mouse sector has the player tackling the minutiae of this, showing the player a sliver of the galaxy that they can delve into, jam-packed with secrets.

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Oldest-looking version found, but bear in mind: this looked far less detailed, and was still the most fun a certain sort of kid could have.

Need For Madness is the brainchild of one-man Egyptian studio Radical Play (Omar Waly). Simply put, it’s a cartoonish driving game where every stage can be won as a race or as a demolition derby, at the player’s discretion. Its current iteration is grand and ambitious, a comprehensive single-executable package including the original game, the sequel, multiplayer functionality, car and stage designers, and updated graphics. This is all well and good, but today we’re focusing on what kicked this all off: the 2005 original, in all its low-poly, childhood-forming glory.

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Staring down the gargantuan beast, you only have one sliver of health left. You’ve gone through several phases now, but you aren’t sure how much longer it’s going to keep clinging to life. You bait the first attack, then the second; you roll in and go for the kill. Two swipes, and it starts winding up its next attack. Barely dodging out of the way, you land the final blow, and the monster falls. A victory chime sweeps over the scene, and you pump your fists into the air. It only took 16 tries, but you’ve finally overcome it.

This is the sense of accomplishment offered to you by FAR BLADE, a title currently in early access from solo dev @BcubedLabs. Presented as a boss rush, the game is controlled from an isometric perspective, allowing the player to sweep the camera 360º around the character, roll, block, and swing their blade. A small hub area gives grounding to the world, taunting you with several tantalizing routes to take, each one leading to a new monster for you to surmount. There seems to be a bit more to the exploration of the world than most boss rushes, allowing the player time to wander a somewhat expansive space between monsters.

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