Author: Game Infliction

There seem to be an infinite number of video game showcase streams these days, each one promising to be full of exciting indie games. Whatever my feelings about the entertainment value of these streams, I can’t deny I watch all of them, or that they introduce me to games I might have otherwise missed.

Next on the calendar is the Convegence games showcase on September 26th, which is a new event that – hey, what a twist – promises to feature exciting indie games. It does have some recognisable publishers onboard, including Secret Mode, Thunderful, and Kepler, among others.

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Earlier today, Nic covered the full release of Steam Families, a feature which makes it easier for families to share a game library and for parents to manage kids’ purchases and playtime on the digital storefront. It’s a neat improvement over the old system.

Unfortunately I can’t think about anything other than the Steam Families logo, which is pictured above and is clearly a shocked, possibly aghast face. Or so I thought at first. The more I stare at it, the more it seems to reveal.

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There are many reasons to play and write about Arco. The Mesoamerican pixelart landscapes, for example – radiant, cloud-hung platters of land with people and buildings reduced to daubs of paint in the foreground. The fact that it’s about witnessing and surviving colonial invasion, rather than the more familiar European or North American video game fantasy of searching a New World for plunder.

The ensemble storytelling, with four, successively playable characters setting their own lenses to thickly entangled themes of sorrow, vengeance and growing understanding. The sparse, expressive dialogue, each phrase carefully tucked inside its speech bubble. The music. And the little things at the level of how you move, what you do. When you pick a faraway destination on your map, your character makes the journey screen by screen, which gives you a second to lean back and be a passenger, watching the horizon, at least until you’re ambushed by a giant beetle.

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Oh, S.T.A.L.K.E.R. 2: Heart of Chornobyl. Mere weeks from release after years of delays, plopped in front of me at a cramped, lightly vibrating Gamescom booth, and you still won’t reveal your secrets. I did get to play a brief whizz through GSC Game World’s eerie FPS – enough to feel encouraged, even – but be it time constraints or the darkness of my nighttime raid into the radioactive Zone, I would have liked to have quite literally seen more.

Then again, keeping the mystery intact may have been the point all along. “As a game director, I want to hide everything from the player”, GSC’s CEO Ievgen Grygorovych had told me minutes earlier. “I’m fighting with the marketing team because they want to show as much as possible!”

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Hollowbody’s introduction is masterful, and not just for a sallow skyline that captures the life-sapping dreariness of British coastlines. The horror nous required to impart unease in the middle of the day are somewhat eased up on when you’ve got all that serotonin-begone drizzle to work with, sure. But this feels more poignant than that. There’s a soulful drearines and utterly heartbreaking inevitability to the vibe here, as your character and rubber suited activist pals try to get the bottom of a horrific incident. It’s got best British indie horror film of the year written all over it.

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