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Oct 15th, 2025 at 16:25:14 - Crow Country (PS5) |
Bought a new TV (old one died two weeks after moving), ditched the aging surround sound system (waiting on a sound bar for replacement), and upgraded my HDMI cable so that the PS5 can output 4k at 120hz. So naturally, I subscribed to PS Plus to bask in my upgraded setup and promptly selected a PS1-style game that could probably run on a toaster.
Crow Country is better than it has any right to be, a totally adept and captivating survival horror game. You play as Mara, a woman investigating a derelict amusement park near Atlanta, Georgia. I was so surprised to see it set there that I thought the devs might have been from there, but no, they are British. I am still curious if they are familiar with the old (unfortunately named) Dixieland (now renamed "Fun Spot") in Fayetteville. Anyway, the park has been closed for a couple years and there are rumors of monsters. Mara discovers that, yes, there are monsters, and that there is quite the mystery to uncover.
None of this sets up Crow Country to be particularly great or anything, but every aspect of the game clicks just right. It's like a small-scale Resident Evil or Silent Hill. The story is interesting and leads you deeper and deeper into the park. The characters are intriguing, each with their own motives related to the story. The Crow Country amusement park itself is detailed, well laid out with several distinct areas, and creepy. The enemies are gross and dangerous. The puzzles are relatively simple yet clever (I got 8/15 secrets). The combat is very old-school-survival-horror, frustrating as that can be. Aiming can be a pain in the butt, but the thing I liked least about the combat was that enemies can corner you. I died probably 5 times, usually from getting cornered (though one time from ignoring a warning about pulling a book from a shelf that was titled something like "Sudden Death" and getting a spike to the face) and each time, you go back to your last save, which could have been a while ago, thanks to some old-school design.
I'm most impressed by just how tight everything felt. There are "staff memos" all over the park that give you clues as to how to acquire items or solve puzzles, and I was never truly stuck. If I thought I was, I'd go back to the collected staff memos and flip through them for a reference to something I hadn't done yet, then focus on that. A couple times, not knowing where to go after getting a new key, I stumbled on a room that needed that key. Locked doors are marked on the map, and unsolved puzzles are circled, but there is never any indication of what items are to be used where (i.e., all locked doors are red on the map; there is no differentiation between those that need a silver key or a gold key or whatever, even after you have discovered the doors). Luckily, the map isn't very big, and there is, if not a "fast travel" system, a "faster travel" system that you gain access to later on. So being stuck means there are only so many places you can look.
Definitely recommend for a short survival horror experience. It doesn't reinvent the genre or anything, but it's just so solid.
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Oct 15th, 2025 at 15:46:38 - A Highland Song (PC) |
I beat this a couple weeks ago and haven't sat down to write about it because I've been busy with the move. Long story short, it didn't really land with me. I like the premise. You play as a girl in the Scottish Highlands traversing the hills to meet her uncle. You have to reach her uncle in a lighthouse before Beltane (though I arrived one day late, and I don't know what would have been different had I arrived on time).
It's more or less a narrative exploration/platforming game. You run and climb through the hills, defying the rain, cold nights, and exhaustion. Occasionally, you discover objects or odd characters, and these piece together lore, a lot of tales of the mountains and the people who lived there. One reason the game didn't land with me is that these were small snippets of story, connected only through the fact that they relate to the Highlands. The narrator (the uncle) pipes up to speak for a few sentences to talk about whatever it is you've found, and then is gone again. These pieces of narrative feel disconnected.
The main reason the game didn't land for me though is the platforming and navigating, both of which I found frustrating, and are what you spend most of the game doing. Your character runs and climbs, but quickly loses stamina. You often have to stop and let her catch her breath. Running out of breath while climbing results in a fall and a hit to your health. Since you are racing the clock to arrive to your uncle in the lighthouse before Beltane, it is frustrating to have to stop all the time. But you do have to stop, at least to sleep, and it's often a good idea to wait out rain, especially if you are tired or it is dark. Pushing through exhaustion increases your chance of injury. If your health is depleted, you automatically rest and wake up the next day, which wastes time.
You have a map to navigate. You will find postcards and other things that mention various mountain peaks. You have some minimal zoom function to scan the surroundings to try and figure out where a particular peak from a postcard or whatever is. When you reach a peak, you can guess its name and have a wider view of the area to plan your next move. The goal here is basically to move from mountain range to mountain range, getting closer to the ocean (and the lighthouse) as you go. But you never quite know where you can move between mountain ranges. You are always looking for paths; sometimes, you'll think you see one, but you'll get there and there will be no path. Other times, you'll find a path but it takes you backward. I appreciate the exploration here, but again, doing this against the timer was frustrating, as was the fact that traversing the mountains can be so time consuming because there usually isn't a straight path left or right. You have to take higher or lower routes, winding through whatever mountain you are on, to try and get to where you are trying to go. You can see passable and unpassable routes on the map, so at least you can plan your route, though again, paths to the next range are something you have to discover.
The game reminded me of another climbing game I played last year, Jusant. I remember feeling in a flow state playing Jusant, focusing on the motions of climbing. There is one type of sequence in A Highland Song that did something similar, and I wish there was more of it. Those were the musical rhythm sections when you come upon a deer. The deer will run and you chase it. Rousing folk music starts playing as you chase the deer, and you time button presses to make the character jump. These sequences were engrossing. Honestly, I had thought that there would be more music in A Highland Song. I would have liked more of these sequences! Perhaps they could have been worked into navigation to make finding paths or reading the map clearer. Anyway, this is a short game, so I don't feel like I wasted my time. My least favorite inkle game, but still with its charm.
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Sep 8th, 2025 at 20:20:21 - Not for Broadcast (PC) |
Funny FMV game about working in a TV news editing room over nearly a decade during a period of political change. First off, I read somewhere that this game has the most recorded video of any game (at least at its release). It's impressive how much video content is here to watch. Well, to edit. You WANT to watch the videos, but your job is to edit. It sometimes takes away from the watching that you would rather be doing.
The game reminds me of something like a cross between Don't Feed the Monkeys, Orwell, and Papers, Please. You watch people on the TV screens (like Don't Feed the Monkeys) but in doing so can influence the political direction of the country (like Orwell). And since cutting the TV footage is your job, and you have to earn a wage, there's a little Papers, Please in here too because your decisions at work affect your family, finances, and home life. That home life part is more of a simple textual narrative and serves to pass time, connect you to family, and add additional social context to the news broadcasts.
So you work at this TV station manning an editing board. The various buttons and things on the control board engage you while the TV show is being filmed. You can switch between four cameras, play commercials, cue sound effects (laugh track, clapping, etc.), adjust volume, and you have to deal with various other distractions or problems (a political group trying to hack the station, power outages, wiring issues, maniacal dolls [in a bizarre dream sequence], etc.). The goal is to effectively edit the live feed to increase viewership. You do this by switching to the correct camera (general rule: focus on who is talking), by changing cameras (general rule: don't linger too long on one shot), by minimizing interference, by cuing appropriate audio (e.g., don't cue the laugh track when something serious is happening), and so on. Doing well increases viewership; doing poorly decreases it. If enough viewers leave the channel, you lose and start the broadcast over.
The live news TV show that you'll be editing is so well done. The writing and acting are excellent, the stars of the game. It's so creative. There are news anchors, special guests, recurring segments, and more. The devs have really created a whole universe here, a parody of real-world news, celebrities, and politicians. My favorite actors were the first news anchor and the guy in the first DLC (which was my favorite chunk of the playthrough). In that DLC, the network is airing an old telethon from the mid-20th century. Your job is to edit the broadcast live. The telethon host is this horrible man who is inappropriate with the women answering the phones. They don’t play along with him. When he makes sexist remarks, they roll their eyes, don’t laugh at his jokes, and seem to revel in the fact that his telethon isn’t raising any money. All the guests for the telethon are stuck on a bus in traffic, and so guests are improvised from the telethon staff on hand, including a deadpan Indian performer, a Chinese worker, and a little person. A lot of the jokes rely on the fact that this is race- or body-based humor that we would find offensive today, but was totally normal for the 1950s. So you have fun with the censor button and watching the minorities, man with a disability, and women completely undermine the white male host.
Anyway, that is a DLC…the main game is set over like 8 years and has a political story; it’s not a single event like a telethon (which is, for the record, related to the political story, in a way that I guessed about 5 seconds before it was revealed!). Because of that difference, after the main game the DLC felt cohesive and concise. Broadcasts in the main game will regularly occur a year after the previous broadcast. I’d definitely be curious to buy more DLC when it goes on sale. Broadcasts were usually like 30-45 minutes long, so it’d be a couple bucks for a long episode of funny, interactive TV basically.
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Aug 29th, 2025 at 08:02:10 - Chrono Trigger (PC) |
A classic, completed! I never had an SNES or a DS, so I never found my way to Chrono Trigger. It's one of Sasha's favorites, and a classic JRPG, so I found the Steam port and played over the past several months, most of which was concentrated in the past few weeks. I know it's 30 years old and was revolutionary at the time for the multiple endings, time travel, side character-focused side quests, detailed sprite work, and so on.
I'm playing in 2025 around the time I'm playing JRPGs like Clair Obscur and Persona 5. Chrono Trigger doesn't hold a candle to those games, but those games wouldn't be possible without decades old games like Chrono Trigger paving the way. So, my playthrough of Chrono Trigger was one of trying to appreciate something classic rather than thinking, "This is going to be a great [by today's standards] game!" Indeed, I was often frustrated or bored, going through the motions of leveling up or grinding, making liberal use of the auto battle option, and following occasional walkthroughs to speed things up.
The story and characters were less serious than I thought they would be. I was thinking that this would be more on par with FFVII, but the "silliness level" of this was a middle ground between FFVII (which could be profound) and Earthbound (which was often funny). The characters and story weren't that interesting to me. Chrono could have been a jug of milk. The 65,000,000 BC cave woman (whom I so creatively named "Wolfy" because she wore animal skins) made me laugh because of how dumb she talked, and at the end because she basically says she's ready to have a lot of sex with her boyfriend. The frog was over-dramatic. I named him Queen (I don't remember why), which became really confusing because there are actual queens in the story. Characters also often referred to the frog with his original name instead of what I selected for him.
But what was cool was the centrality of Lavos, this ever-looming threat across time. I liked that you could challenge Lavos whenever you wanted. By the time I was ready to give him a serious attempt, I was around level 50 and he annihilated me with a magic attack right off the bat. I changed my party composition and used the three characters with the highest magic defense, which worked like a charm...until he used a massive physical damage attack. Turns out characters with high magic defense often have low physical defense. I only had two characters who were fairly balanced with defense (Chrono and the frog), so I figured I should do some of the side quests that the game offered me. That would get me some more levels and probably some better gear. Turns out I had done a few of those side quests already, and I did almost all the rest. Yes, better gear and a few more levels. Now we're around level 55 and have significantly improved defense and attack, having gotten ultimate weapons for most characters.
I annihilated Lavos and saved the world. Hooray!
This is something very "classic JRPG" about Chrono Trigger. If a boss defeats you, you can just go grind away for a while, come back, and smack it to death. I did this two or three times during the game. And given that you can turn on auto battle, the grinding feels almost automated. I would just sit by Sasha, watch an episode of something, and run back and forth through whatever area auto-battling my way to higher levels. It took no thought. I think that's a larger critique of this game for me, is that I didn't have to think much. Sure, some enemies have strengths and weaknesses, and bosses often had a trick to figure out, but that was such a small percentage of battles. I'm comparing it to something like Clair Obscur where EVERY battle could go horribly wrong, where you could parry and dodge. Or something like Persona 5 where the combat system is predicated on enemy strengths and weaknesses that you need to pay attention to (plus 10 other combat mechanics).
Chrono Trigger (understandably) feels basic in 2025. It was really cool getting to experience a classic, basic as it feels today. Next time I play a game with time travel, I'll compare it to Chrono Trigger! Next time the hero's mother steps through a time portal at the end of the game (cue laugh track), I'll also think of Chrono Trigger! And the next time someone refers to Chrono Trigger, I will confidently say that yes, I have played Chrono Trigger (instead of being shamed for having no gamer cred)!
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