“Universe for Sale” Review: Zig Zagging through Spirituality

Universe for Sale is a science fiction “point and click” visual novel with a distinct, hand-drawn art style. It was developed by Tmesis Studio and published by Akupara Games.

Universe for Sale follows Master and, later, Lila. Master is an ascetic monk from the Cult of Detachment. The Cult believes that physically separating parts of their body also detaches negative emotions or experiences. By the time we first meet Master, he is little more than a skeleton with ears. He wakes up each day, having slept on the ground in the market, and seeks out Lila.

Lila is more human, although her hair consists of blue-green tentacles after an accident where she lost her father. She wakes each day to sell custom universes in the market or use the proceeds to decorate her home. At least, she did until Master came along.

Universe for Sale‘s gameplay consists of walking around, exploring, conversing with different people, interacting with objects, and completing minigames. Most minigames are straightforward, although some, like the Lila creating universes, can take some experimentation. The minigames’ purpose is immersion, not challenge or mastery.

Master stands in a dark basement of the church. Behind him, stands a bookcase full of confiscated artifacts.
Assorted knick-knacks, with a few pop culture references for the keen-eyed

Universe for Sale’s setting, the colony, is a wonderful fusion of fantasy and technology, hanging precipitously in the upper atmosphere of Jupiter. Powered by rusting windmills and protected from acid rain with hydrophobic fabric sheets, every scene reveals more about how such a fantastical world exists and functions.

The hand-drawn art style, apart from minimizing development costs, keeps the tone light by avoiding squalor and “cartoonifying” Cult members with detached body parts. It also allows for easy exaggeration of features, making the various characters larger than life.

The colony’s inhabitants push the boundaries of humanity, from intelligent orangutans to robots. Neither Lila, with her tentacle hair, nor Master, a walking skeleton, are out of place.

The colony’s juxtaposition of technology and poverty feels familiar, but every scene’s bizarre or technological oddity reminds you of the futuristic, alien setting. Only in such a setting could Lila’s profound ability to create and manipulate universes be so minimised.

A visual novel game like Universe for Sale hinges on its writing. Thankfully, it delivers, mainly via nonlinear storytelling. Lila’s daily grind, Master’s enigmatic task and a children’s fairy story weave together as Master tries to order events into something coherent. The slow emergence of relationships while learning more about the world is intriguing. Each day brings curiosity, excitement, and some trepidation.

Universe for Sale is a story about spirituality and recovery. There are many ways to tell a story, impart wisdom or heal emotional trauma. Each person’s journey is unique. Focusing on one religion or method blinds you to others.

Universe for Sale contrasts the rigid control and doctrine of established religion with self-actualization and fulfilment. The dominant “church” in the game is probably meant to be fictional. While the futuristic and imaginative setting helps de-anchor it from reality, the cathedral-like stained glass windows and pews are hard to miss.

The Cult of Detachment’s teachings, by comparison, are initially alienating but then softened by including them in a children’s fairy tale. Master’s patience, sincerity and compassion contrast with the preaching, control and dismissiveness of the church.

Master stands in an alley way, deserted except for a cat-like Lomri
Master shares a moment with Lomri

Meanwhile, some unspoken natural order or authority is patiently asserting itself. Plants continually grow into and infest buildings. The church cannot eradicate the cat-like “lomris” that nest near Lila. Lila’s octopus-like hair, her friendship with the colony’s animal-like inhabitants, and the Kraken gatekeeper between the physical and spiritual realms hint at animism. Metaphors and references abound.

Universe for Sale has limited replayability. There is a single ending and dialog choices only satiate curiosity. The game awards achievements for reaching story milestones, as well as for doing humorous or unexpected things, so a second playthrough may help fill any gaps.

For those intrigued with fantastical worlds, non-linear storytelling or unravelling mysteries, Universe for Sale is ideal. Universe for Sale is short, taking four to five hours to finish, but tells its story well within that time. Like the varied universes Lila creates, it encourages us to open our minds to myriad spiritual possibilities.

“Moonring” Review: Nostalgia in RPG Form

Moonring is a top-down, turn-based, retro, fantasy role playing game (RPG) developed by Fluttermind Games. It is the work of a small indy team led by one of the designers of the first Fable game. It is also free.

In Moonring, you play an unnamed protagonist in the eternally shadowy world of Caldera with little early guidance or direction.

Mechanically, you move your character around the world using up, down, left, or right. Moving onto items picks them up. Bumping into enemies attacks them. Bumping into doors opens them. Bumping into allies starts a conversation. Moonring highlights keywords or phrases when you speak to NPCs. You type them in to converse further.

Using these, you piece together what to do. Your deceased father left instructions to continue unravelling a mystery. These involve a tutorialised exploration of your small farming community and then leaving to explore further.

As implied above, playing Moonring needs effort. No quest log or marker is pointing you in the right direction. No dialog tree reminds you what to say. The game helps a little. It captures notes with pertinent information and sometimes puts locations on the map. However, the player deduces what to do.

As you explore and converse, you learn that Caldera plunged into darkness centuries ago. Five moons appeared, each associated with a god. Unlike most, you have not had a god-enthralling dream. As one of the dreamless, is your destiny to become the new Archon and rule Caldera?

You also discover Moonring‘s mechanics are more complex than they appear. The game has a complex stealth system. You can make ranged attacks. Status effects overlap in interesting ways, such as water dousing fire. Ability’s energy costs change as different moons wax and wane.

Moonring has rogue-like elements. Saves are automatic, and there is a single save slot. You cannot save scum. The game generates dungeons when first entered. Dying punts you back to the dungeon’s start, losing your progress. The game randomises potion ingredients in each playthrough.

Moonring can be frustrating. I often felt stuck and had to review old notes or wander until I stumbled into something useful. I died to the end boss of a seven-level dungeon multiple times, having to repeat the whole thing each time.

However, the eureka moments when things clicked, or I finally beat a boss, were exhilarating. Sometimes, it is as simple as finding the one villager with a vital clue or bumping the right wall to open that secret door. Sometimes, it was new tactics and gear inspired by earlier failures.

These highs and lows are like those in the late 1980s RPGs that inspired Moonring. Moonring’s pixel graphics even use the old 16-colour EGA palette; the audio is reminiscent of the old IBM PC speaker, and the music is MIDI-like. There is even an optional blur mode to make the graphics look like an old, interlaced, cathode ray tube monitor.

However, there are conveniences and improvements found in modern games. As mentioned, Moonring takes notes for you. While Moonring intentionally does not explain its mechanics, the game has basic help. When crafting potions, Moonring tells you the potion that ingredients will create. The game explains new status effects each time.

Moonring treats advancement differently from most RPGs. Moonring does not reward killing creatures, discovering new areas, or completing quests. Instead, you earn devotion to one of the five gods. You spend it to gain god-themed abilities and raise that god’s attribute, which makes new items usable.

You earn devotion by using a rare item or fulfilling deity-specific tasks. These tasks can be as simple as a pilgrimage to their holy city or as complex as recovering a sacred relic. The tasks tie into each god’s themes. A god of strength may reward killing many enemies. A god of knowledge may reward discovering ancient artifacts.

This advancement system encourages exploration and discovery, which is the heart of Moonring. This is not just of the map but of mechanics, conversations, crafting, equipment types and even status effects. The game encourages stealth or working around problems. Grinding or clearing out every creature on the level is rarely rewarding.

How else will you discover whether becoming the new Archon is the only way to complete the game? How do I afford a ship deed at that price? Is there more to the fog-like amber? There is no magic system, right?

Moonring will appeal to those who played early RPGs or want a quirky, sometimes frustrating game. You can finish the game in about 10 hours, but most playthroughs will take much longer. It will not appeal to many. However, Moonring shows love and nostalgia for an RPG style long surpassed. Being free is just icing on the cake.

“Stray Gods” Review: A Musical Romp Through Greek Mythology

Stray Gods poster showing the cast jamming at the ruined Mt Olympus

Stray Gods: The Role Playing Musical, or just Stray Gods, is an interactive musical game, as its name suggests. Summerfall Studios developed it, the first game for this Australian studio.

You play as Grace, a leather jacket- and boot-wearing directionless 20-something. After sitting through uninspiring auditions for a new band member, Calliope happens by. The muse from Greek mythology inspires Grace, weaving the words from her mournful song into hope.

Later that evening, a wounded Calliope bursts into Grace’s apartment. She dies in Grace’s arms, gifting Grace her powers and catapulting Grace on an adventure to clear her name.

Mechanically, Stray Gods is similar to point-and-click dialog games. However, this mechanic extends to songs, where the player’s choice determines the subsequent words and music sung. This design alone puts Stray Gods in almost unique territory.

Some dialog and most song choices are associated with one of three traits: caring (green), kick-ass (red) or clever (blue). You select one at the start and another when you max it out. Choices accumulate. Some options may only be available with a sufficiently high score in its trait. 

A musical lives and dies by the quality of its music. Thankfully, Stray Gods’ music is excellent. One would have expected no less from Austin Wintory with help from Tripod and Montaigne.

“Adrift”, the first song, is probably the best. It sets the game’s moody, elemental tone. Its waltz-like triple time gives the feel of constant motion or bobbing, reinforcing Grace’s relatable malaise. 

“Old Wounds”, another memorable song, is an argument between Persephone and Apollo. Its chorus is a welcome respite between the angry words, and the verses tear open millennia-old wounds. It is almost uncomfortable to hear. It reinforces how the Idols are divided, self-righteous and entrenched.

However, Stray Gods also surprised me with its writing and voice acting. Its story is deceptively deep and intelligent, reminding me of the musical Wicked. Instead of subverting The Wizard of OzStray Gods reinterprets the Greek gods and how they would function in modern society. 

It is not just Grace who is adrift. For example, burdened by history and the guilt of his prophecies, Apollo has receded into himself. He has become a meek, softly spoken shadow, whispering most of his lines. He is the opposite of what a sun god should be.

Persephone embodies rage and resentment, often depicted with her back to Grace or the world. Every word seethes and resents her injustices, like losing her underworld.

Pan is more faithful to himself, revelling in chaos and mischief. He copes by living in the moment and seeking advantage where he can.

The game’s writers also showed love and attention to detail. I spent twenty minutes chatting with Apollo as he mournfully whispered the Idols’ history and current challenges. There is also a bit of humour, such as with Apollo’s or Hecate’s unease with modern technology.

The art style is dreamlike and stylised. The main characters are cell-shaded, with minimal animations between poses. The backgrounds vary. Some are detailed. Some, like Calliope’s apartment, are merely pencil lines over patches of colour.

My criticisms of Stray Gods’ are few. Despite a patch intended to fix this, the sometimes inconsistent dialog volume can be jarring or make some lines hard to hear.

Stay Gods also has superficial libertarian or “woke” undertones. Some romance options are same-sex. It hints strongly that one idol is transgender. Some characters have piercings and tattoos. None of this should matter. However, some will read too much into it.

If you like musicals, Greek gods, murder mysteries and a bit of romance, Stray Gods has you covered. It is short and sweet at about six hours. However, multiple playthroughs are required to see all possible outcomes and get all achievements.

“The Artful Escape” Review: A Rock Fairytale

The Artful Escape is a rock opera masquerading as a musical platforming game from the Australian development studio Beethoven & Dinosaur. 

The Artful Escape follows Francis Vendetti, a teenage guitar prodigy bristling under others’ expectations. An improbable encounter catapults him into a universe-spanning, mind-expanding adventure. Francis sheds his past and discovers who he wants to be.

The gameplay shifts between three loops. The first is exploration and conversations with NPCs. The second is light platforming. The third is playing music by copying button presses, emulating playing different notes.

However, the gameplay is almost unimportant. It is more something to do while gawking at the supersaturated visuals and basking in the music. Holding “X” on the controller allows Francis to improvise on the guitar (“shred”) as he runs, leaps and slides through alien landscapes. I could not wipe the grin off my face from the sheer joy and spectacle. 

The Artful Escape‘s universe has a Douglas Adams-like absurdity and comedy. For example, Francis Vendetti flies a warp turtle through the cosmic extraordinary to a starship called The Galactic Lung. He visits the Hyperion Wailzone, where the danger level is “dolphin”. 

The game’s music is a love letter to the 1980s, particularly psychedelic rock. Much of the inspiration and music come from Johnny Galvatron, one of the developers. He fronted the band “The Galvatrons” in Australia and the UK in the late 2000s. The Artful Escape is part celebration, parody and critique of the music industry.

Unfortunately, The Artful Escape is short, taking about five hours to finish. Those looking for challenges or meaningful choices will be disappointed. Sometimes holding “X” while jumping or moving is awkward.

However, The Artful Escape is bursting with spectacle, absurdity and glee. Its message is hopeful and empowering. It is a fairy tale for the rock era, a monument to the joy of music and self-actualization.

“Diablo IV” Beta Review: Having It Both Ways

Lilith holding Diablo’s skull next to the Diablo IV logo

The recent free “server slam” weekend was an excellent chance to experience a late beta version of the upcoming Diablo IV. After my Path of Exile foray, I wanted to see Blizzard’s forthcoming offering and how it compared.

Action Role Playing Games (ARPGs), a genre that the first Diablo practically founded, has come to be dominated by live service, “forever games” aimed at hardcore players. The story, characters, and world-building take a back seat to optimising character progression and end-game power, like in Diablo III and Path of Exile.

Diablo IV aims to put the “role playing game” back into “action role playing game”. It delivers Blizzard-standard fantastic cut scenes. It promises a long campaign with biblical, mysterious, dangerous antagonists and prophetic dread. Those wanting immersion in atmospheric and sometimes squeamish gothic horror will not be disappointed. Memorable and relatable characters are back. Saving the world (again) gets old. Saving someone you care about means more.

The success of Diablo IV will likely depend on how you measure it. The buzz created by a large existing player base, previous goodwill, social media-friendly cut scenes and copious beta programs will likely ensure significant initial sales. 

However, Diablo IV‘s longevity and long-term player counts depend on appealing to the hardcore crowd. Those focused on the story will play through the campaign and then move on, perhaps revisiting occasionally. MAU (Monthly Active User) or DAU (Daily Active User) targets require people to keep playing (and paying). 

Thankfully, Blizzard is trying to create a game that appeals to both story-driven casual and optimisation-driven hardcore audiences. The server slam demonstrated the appeal to the former. Unfortunately, the server slam’s level 20 cap makes judging late-game content, important to hardcore players, harder. 

The potential is there. Diablo IV promises a huge paragon progression path after level 100 and seasons. Adventure mode allows players who have completed the campaign to bypass cut scenes and the main quest line for new characters.

However, Blizzard also needs to get the basics right. Many have written about Diablo IV‘s uneven class balance. Sorcerors were considered overpowered, barbarians underpowered, and necromancer pets were both at different times. 

The classes shown in the server slam are unlikely to be their final versions. Balance adjustments will continue before and after the release. However, resource limitations and risk prevent the designers from changing much before the June release date.

Many other design changes since Diablo III are both good and bad. For example, automatic enemy scaling always ensures an appropriate challenge. This auto-scaling means players can advance through the content at their own pace. Yet, not having the opportunity to be over- or under-powered can reduce the feeling of achievement or challenge.

Diablo IV procedurally generates dungeons like most ARPGs, but the above-ground world is fixed. This decision allows incidental player interactions, whether cooperative, social or PvP, instead of just at hubs. However, these interactions may not be always welcome.

The designers then leveraged this fixed, open world to facilitate and reward exploration. They hid temporary events or dungeons in corners. The reputation mechanic rewards focusing on particular zones. This decision, at odds with recent ARPGs, appeals to the less mechanically-focused players. However, it forces mechanics-oriented players or speed runners to waste valuable time.

Some design decisions make mechanical sense but threaten to break immersion. Limiting healing potions to four helps the designers balance fights. It simplifies healing and inventory management for newer players. However, boss fights broadcasting when they will drop potions on their health bar seemed too convenient. Non-boss creatures dropped health potions like rain, too, which seemed excessive.   

What I enjoyed most during the server slam were the little things. Revisiting Tristram, hearing its spine-tingling motif and being chased by the Butcher reminded me of the best bits of early Diablo games. The reveal of Inarius after ascending the long, ivory-coloured staircase was wonderful. I loved Sanctuary’s (literal and metaphorical) cold and unforgiving nature. 

That probably puts me in the more story-driven audience, focused on the lore and the world. Diablo IV may not be a “forever game” for me. Diablo III‘s early focus on the auction house and repetition put me off. However, the server slam made me impatient to see Diablo IV‘s story unfold. I hope Blizzard realises the game’s potential for both audiences, not just me.

“Path of Exile” Review: An Optimization Challenge

Path of Exile is an action role playing game and a proud Diablo II clone. At almost ten years old, Path of Exile has ballooned from its original three acts. It now groans under the weight of ten acts, different game modes, seasons and crafting. It is “free to play” but, thankfully, not “pay to win”. 

Path of Exile is not the typical game type I play or review. I prefer role playing or adventure games with dialog, characters, settings and stories that I can analyse and deconstruct. However, as an old-time Diablo player and with Diablo IV on the horizon, it was time to hark back to a genre that I sank many hours into years ago.

For those unfamiliar with the Diablo formula, Path of Exile‘s setting is a magical fantasy world consisting of connected, randomly-generated maps. You control a single character’s movements and abilities via a fixed, isometric camera. You kill monsters and upgrade gear, occasionally levelling up, allowing you to defeat more powerful monsters and equip better gear. You play online to mitigate cheating and allow optional interactions with other players.

Path of Exile follows not just the Diablo formula but its style. Few games will match that haunting musical motif and unmistakable gothic vibes from the town of Tristam back in Diablo I. However, Path of Exile comes close, whether it be the claustrophobic shadows revealing maze-like passages or the pseudo-Christian iconography.

That said, Path of Exile is also distinct from Diablo. Different upgrade items are used as currency instead of gold. Potions refill with damage dealt instead of being consumed on use. Abilities, represented as gems socketed in items, can be easily swapped out. The number, type and connections for item gem sockets are almost as significant as the item’s various enhancements and bonuses.

I initially approached Path of Exile as I would an RPG. I took my time to explore each randomly generated map, making sure I missed nothing. I collected and sold all the dropped gear. I spoke to each NPC and absorbed the lore. I often spent too long in lower-level areas, trying to ensure I could handle whatever the game threw at me next. 

However, there are better ways to approach Path of Exile. Like most RPGs, many will say Path of Exile is a power fantasy about defeating endless swarms of creatures while saving the world. That is only superficially true. Death is a temporary setback outside hardcode mode, respawning you a short distance away without losing life or equipment. Quests are few, and bosses serve only to gate progression. The names of NPCs and the various opponents matter little. Most gear dropped is trash. 

Instead, Path of Exile is closer to a factory game like Satisfactory or Factorio. You construct a factory (your character) to convert raw materials (gear, abilities and skills) into increasingly complex processed goods (better damage and survivability). In both game types, players are motivated by speed and efficiency and enjoy tinkering with new tactics to eke out increasingly small improvements.

The only actual failure state in Path of Exile is a character that cannot progress due to poor skill and gear choices. While you can refund some individual skills purchased via level-ups or some quest rewards, the designers intentionally made rebuilding difficult, if not impossible. Perhaps better factory game analogies are those less forgiving of early mistakes, like Frostpunk or Ixiom.

Path of Exile also suffers from many of Diablo‘s inherent problems. Items are randomly generated and dropped liberally, often filling the screen with useless gear. Creatures, spell effects, and darkness can devolve fights into indistinguishable chaos, making important details hard to discern. The game does not explain its mechanics, relying on experimentation or third-party guides. Its randomly generated maps provide some exploration opportunities but do not increase replayability.

Path of Exile also often introduces side content in the early or midgame, like Delves or Heists. This timing means players can only progress through them a little, and their rewards are unclear. It sometimes requires metagame thinking to distinguish them from the main quest.

These problems make Path of Exile challenging for new players. For example, the passive skill tree and the number of interacting mechanics are meme-worthily huge. The choices can paralyse novice players. Creating an underpowered character whose progression grinds to a halt midgame is easy.

However, that challenge is just the way that hardcore players like it. Path of Exile is a game unapologetically designed for players that enjoy creating new characters, spending ever-decreasing hours to speed them through the game and test them against the end-game challenges. The designers aimed at those who enjoy spending hours farming rare drops to find that minor upgrade.

You can still play Path of Exile as a power fantasy, at least until the last few acts, and it is worth the price, considering it is free. The game can be fun for a quick, meditative play session or longer, such as when starting a new character. 

However, Path of Exile is due for an overhaul. Its systems need streamlining, and its plot is straining under the weight of numerous expansions. Path of Exile II, currently in development, will likely address these.

“Greedfall” Review: How Focusing on Strengths Creates a Great RPG

The silhouette of a tricone hat wearing, saber wielding figure overlooking a misty Celtic forest with a volcano in the background

Greedfall is a third-person, action role playing game set in a unique world reminiscent of colonial, magical-filled seventeenth century Europe. You, de Sadet, accompany your cousin to Teer Fradee, a newly discovered island. You act as an ambassador, investigator and troubleshooter to help him manage and expand the colony while dealing with other factions and native inhabitants. You also seek a cure for the Malichor, a disease ravaging the continent’s populace.

The standout aspect of Greedfall is its setting. Beyond the tricorne hats, flintlock pistols and galleons, colonial Europe is a time of contradictions. Great advances in science and technology promise much, but religious and social views evolve much slower. Greedfall embraces this contradiction instead of safely shying away from it. 

Greedfall‘s world contains several main factions. These include the Bridge Alliance, a mix of Arabia and India that pursues science above all else. It wars with the highly devout Theleme, which has clear influences of Spain and Italy. The Congregation of Merchants, de Sadet’s faction, is a pseudo-France, sitting politically between and trading with each. Teer Fradee is an England-like island populated by natives with a Celtic-inspired language. 

The setting and factions create a stage for Greedfall’s cutting commentary. The Bridge Alliance grapples with the ethics of its research, Theleme struggles with zealotry and the Congregation with bureaucracy. Watching Theleme’s Ordo Luminous slaughtering innocent people under the false accusation of heresy, the Bridge Alliance comparing human test subjects to lab rats, and wealthy merchants from the Congregation dismissing laws as obstacles bypassable by modest bribes are all confronting.

Greedfall is also clever and respects its inspiration. It depicts organized crime as intelligent and insidious, not something solved by defeating the nearest “bad guy”. The native inhabitants of Teer Fradee have different reactions to the newcomers. Some fight them. Some ignore Some trade with them. Some use them as pawns in their own political games. This pluralism creates interesting dynamics between the various tribes and factions.

Greedfall also knows that constructing emotional investment in characters and a setting takes time. It takes time to build relationships and drip-feed exposition. When the game finally asks you to care, it feels natural and not forced.

Many play RPGs for their tactical combat. You control persistent characters through multiple combat encounters who improve over time. The enjoyment comes from mastering the mechanics and overcoming the challenge.

Unfortunately, Greedfall does not deliver in-depth combat. It hints at a more action-oriented parry and riposte-style melee combat. However, at least when playing as a magic-wielding character, abilities like Stasis and Storm quickly relegate most fights to mere speed bumps — fun but probably not what the designers intended.

The exceptions are the fights against Nadiag (“guardians”). These add an unexpected, welcome, but initially frustrating challenge. When you first encounter one, none of the fights beforehand prepare you for discerning telegraphed attacks, careful positioning and resource management. 

A higher difficulty setting will likely flatten the difficulty curve or increase the challenge. A melee-oriented character might have been a different experience, too. However, those seeking a combat-oriented RPG should look elsewhere.

Between quests and fights, you spend much time exploring Greedfall‘s world. Teer Fradee is split into discrete areas, unlocked as you reach the edge of known ones. Crafting ingredients are spread liberally around the map. Alleys and scaffolding in cities reward the curious. 

Your character, de Sadet, is joined by several companions. Each hails from a different faction and fulfils a combat archetype. Each also has a unique quest line and can be romanced. You can have up to two at a time but can switch them when fast travelling or at camps. However, their perspective and hints are most useful, especially when taking a companion on their faction’s quests.

Non-combat skills, or talents, provide multiple ways to solve most quests. For example, you may rescue someone from prison by using your “lockpicking” talent to pick the lock, “intuition” to convince the jailor he should let the prisoner go or by using your “science” talent to brew and place an alchemical mixture to blow a hole in the wall. 

However, talents are all about early- and mid-game trade-offs. While some items, upgrades, and befriending companions help, you obtain talents slowly, and not every one is helpful in every situation. Otherwise, you may be forced into reputation decreasing threats or violence.

Graphically, Greedfall is no Cyberpunk 2077. It lacks ray tracing and DLSS. A 4K display resolution is unkind to some models and textures. Looking down on grass reveals three flat surfaces arranged like an asterisk.

However, for a non-AAA RPG initially released in 2019, Greedfall is still a pretty game. The game uses light/dark contrast heavily, such as the moment it takes to adjust to the dim lighting indoors or the pale shards of light illuminating caverns. I often stopped to admire the detailed rigging on the moored tall ships. Sunbeams shone down from the golden afternoon sun through the trees or buildings, shedding a warm red glow between the shadows or reflecting from puddles.

Greedfall‘s music is ambient and atmospheric. The encounter music with Teer Fradee’s native inhabitants focuses on percussive and woodwind instruments, giving a musical shorthand to help identify who and where you are. The voice casting is excellent, and only a few strange pronunciations using native accents mar the collective vocal performance.

Some have complained about Greedfall‘s glitches and bugs. Post-release patches may have fixed these, but I counted only a few in my playthrough. Most were low-resolution textures or an NPC struggling to walk around an obstacle – nothing significant or immersion-breaking.

Some have also complained about the lack of animations for minor events. Instead of an NPC drinking a potion or a magic seed growing into a tree, the game fades to black and then shows the result. I do not see this as significant. There needs to be sufficient cost benefit for a small studio to animate these.

For a non-AAA RPG, Greedfall focuses on its strengths to punch above its weight. Greedfall will not satisfy those seeking boundary-pushing graphics, a thumping soundtrack or consistently challenging combat, at least not at the normal difficulty level. However, the novel setting, meditative exploration and great quest design made my sixty hour playthrough thought-provoking and reflective.

“Dungeons & Dragons: Honor Among Thieves” is Finally a Good D&D Movie

"D&D Honor Among Thieves" movie logo

Dungeons & Dragons: Honor Among Thieves is a comedy and action fantasy movie based on Dungeons and Dragons (D&D), the tabletop role playing game. You follow Edgin and his adventuring band as they attempt to rescue Edgin’s daughter. They are betrayed, then drawn into something larger and more insidious that threatens the whole city of Neverwinter within the Forgotten Realms.

One challenge with bringing D&D to the screen is that D&D is a game system upon which different locations and characters are built and played. It is not a single place with known characters. Even the game’s themes vary with different settings, such as Dark Sun’s post-apocalyptic rebuilding, the pseudo-Middle Earth of Greyhawk and the intrigue-filled Forgotten Realms.

Another challenge is what makes D&D successful and enjoyable, like the many tabletop role playing games that followed it, is active participation. While there is a Dungeon Master that guides play, D&D is about cooperative storytelling and spontaneity over fixed character development arcs and well-developed plots. It is camaraderie. It is living popular tropes, not just passively consuming them.

By comparison, fantasy and science-fiction movies and novels usually adopt the setting to disarm the reader for some form of social commentary. For example, J. R. R. Tolkien’s The Hobbit was about conflict between the English upper, middle and lower classes. Robert E. Howard’s Conan warned against the evils of unrestrained technology. Characters develop and events occur to support that aim, all under the director’s or author’s strict guidance. 

Previous D&D movies and many novels failed because they took the settings or signature creatures, spells and classes from D&D and put them in heroic and epic but themeless fantasy stories. They inherited the disadvantages of both D&D and movies or novels without either’s advantages.

Thankfully, Honor Among Thieves learns from these mistakes and recent successes, like the Marvel franchise. It works for four reasons.

The first is respecting the soul of D&D. D&D is about heroic fantasy, where inspiring good and terrifying evil exist. Players raise sword and spell to defend those who cannot.  

However, the players or audience need to feel emotionally invested. It has to be personal. Without emotional grounding, gravitas becomes self-importance and the solemn becomes cringeworthy. Honor Among Thieves starts at the most basic, with a husband pining after his wife and daughter, routes through betrayal and only then ups the ante to something epic. The movie has heart.

The second reason is respecting D&D as a beloved, forty-year-old IP. Players will recognise iconic spells, classes and creatures. Those familiar with the Forgotten Realms setting will enjoy the references, from the overt, like Baldur’s Gate and the Harpers, to the subtle, like Selune’s Tears. The adventurers from the 1980s Dungeons and Dragons cartoon appear in the arena. There are not one but two dragons.

Honor Among Thieves feels like a D&D “campaign” or sequence of play sessions. It is long at around two hours but keeps the pace moving, jumping locations quickly without labouring. Locales include medieval cities, the Underdark and eponymous dungeons. The swerving plot gives the feeling of spontaneity and improvisation. The special effects and fight choreography are on point, giving each character a chance to shine. The final climactic battle demonstrates the power of the adventuring group at its satisfying culmination.

To be fair, Honor Among Thieves is not always faithful to the D&D rules. Paladins making Handle Animal skill checks and druids wild shaping into The Incredible Hulk-like owlbears will leave D&D rules lawyers shaking their heads. Under the guise of a relatable audience surrogate, the movie strips Edgin’s bard of his magic and combat prowess. However, these transgressions are minor and forgivable.

The third reason is not taking itself too seriously without being disrespectful. Often, an unexpected joke or an Instagram-worthy lousy dice roll can be a highlight of the session. Honor Among Thieves contains plenty of humour, from accidentally setting off traps, underestimating the literal wording of spells or the questionable tastes of intellect devourers. Without it, this movie would be a sequence of action-heavy fights having to one-up itself each time. It keeps the tone light.

For example, Xenk, the Paladin, could easily be overplayed to the point of ridicule. He literally and metaphorically does not swerve from his path of righteousness. However, his misunderstanding of irony is endearing. His aloofness opens room for forgiveness. He simultaneously contrasts the more chaotic nature of the rest of the party and inspires them toward greatness. Edgin, his adventuring band and the audience want to make fun of Xenk but cannot.

The fourth reason Honor Among Thieves works is its themes. Like Guardians of the Galaxy and The Avengers, it deals with family and self-realisation. You know the good guys are going to win. The question is how and whether they can overcome their relatable self-doubt and dysfunction to realise their potential. Seeing heroes struggle with the same fears as us brings the audience and players closer, humanising the heroes and subtly suggesting that we can all be heroic.

Honor Among Thieves is fun. It is fast and flashy enough to keep the audience’s attention and sassy enough to be credible without disrespecting D&D. You will enjoy Honor Among Thieves if you like the recent Marvel movies, heroic fantasy or play any tabletop role-playing game. If not, it will continually imply that you are missing something. Honor Among Thieves will not win any awards but is a solid cross-over that players have been waiting decades for.

“The Legend of Vox Machina” Review

While I did not watch or follow it, I am familiar with Critical Role’s phenomenally successful live stream Vox Machina like most gamers. Amazon Prime’s animated adaptation promised to bring the familiar characters and adventures to a different screen while remaining faithful to its light-hearted but adult premise.

I find using the term “adaptation” strange. It acknowledges that what works for a Dungeons and Dragons (D&D) live stream may not work for an animated series. They are different media.  

For example, D&D’s combat mechanics have always been abstract, focusing on die rolls and points systems to represent to tos and fros. Any narrative is emergent, like a lucky high dice roll or a string of unlucky low ones. D&D’s mechanics for hitting secret weak points or fighting internal struggles, both present in the show, are absent or poor.

The enjoyment of D&D comes from the interplay between friends sitting around a table. The players inject modern attitudes and sensibilities into a medieval-like fantasy world that lacks real repercussions for the players, if not their characters. D&D allowed players to be superheroes before superheroes were cool.

Unlike traditional media, D&D players save the world not because the story demands it but through agency and collaborative story-telling. While D&D’s designers biased the mechanics toward the players, failure is often only a single dice roll away. Real-life intrusions also mean players sometimes need to be absent, like Pike’s pilgrimage.

That said, Vox Machina‘s live stream was always partially scripted. Preparing songs or inter-player interactions is, otherwise, difficult. 

These factors put the show The Legend of Vox Machina (or just Vox Machina) in an enviable and challenging position. Enviable because its huge audience will enjoy the new perspective on familiar characters and events. The group’s adventures already contain narrative highs, twists and lows.

However, its position is challenging because combat in most media is a narrative tool, not the central focus as in D&D. Narrative twists in D&D, like betrayal, need to be simple and telegraphed to see them amongst distracting banter. Players relish tropes at the game table that can be tired and overused in traditional media.

On the whole, Vox Machina delivers. The players, an extended “five-man band”, work through two story arcs, with the Briarwood arc being the longest. There are enough turns to keep the audience guessing and subtle nods to the live stream for long time watchers to feel nostalgic, like problems with opening doors.

Vox Machina has had to divest itself of anything potentially trademarked or copyrighted. Gone are the signature D&D spells and abilities and Scalan’s lewd songs. However, the show suffers little for their loss. Divorcing it from pop culture and D&D’s rules make the show more accessible and timeless. Compressing forty hours of D&D down to six also forces the show to focus. 

The main problem with Vox Machina is its contemporary fantasy animations, like Arcane, offer far deeper thematic treatment. While humanizing the Briarwoods and Percy dealing with the overwhelming desire for revenge are notable, the show’s roots in D&D keep it superficial. It mainly falls back on the milquetoast “strength of friendship”.

Vox Machina’s D&D roots also constrain character development. Percy’s revenge arc and a short, shallow romantic plotline notwithstanding, the characters exist as escapist fantasy – the tabletop equivalent of sports stars – and not tools in a storyteller’s toolset. Other tabletop role playing games have better mechanics to capture and tell these stories.

However, Vox Machina heralds a new acceptance of tabletop role playing games like D&D. Gone are the 1980s when special interest groups ignorantly decried it as a bastion of satanism and witchcraft. Several unmemorable D&D movies came and went. With the increasing “nerdification” of popular culture, D&D has gone from lounge rooms to Twitch streams to standing shoulder-to-shoulder with more accepted media. 

As someone that has enjoyed tabletop games for over thirty years, I would have loved to share many of my adventures. While many fantasy tabletop adventures resemble Monty Python more than Tolkein and science fiction tabletop adventures resemble Douglas Adams more than Asimov, they are still communal experiences in popular culture.

Vox Machina gets to the heart of what makes D&D great. It is not using signature spells or characters from published settings. It is channelling the camaraderie and humour of friends sitting around a table without degenerating into farce. Vox Machina teases fourth wall breaks without doing so, having fun without self-deprecation. 

Vox Machina is a good show and a great adaptation. Its D&D roots both propel it with momentum and enthusiasm and constrain it from anything too deep. Existing fans will find it enthralling, non-fans possibly less so, but its fast pace and accessibility will enamour it to many.