Indie games… are pretty cool! Now, math has
never been my strong suit, but last I checked, there are quite a few games out there. Some of
them are also pretty good, which is why I made a video a few months ago talking about six you
might not have played… and five before that, and five before that, and three— you get the
idea, there’s a nice backlog for you after this. But this time, I’ve increased the number
to seven, because with that many, I statistically doubt you’ve played all of them, but if you
have, by all means, leave a snarky comment. - Man, this guy never shuts up! It’s my turn… Let me tell you about the sponsor
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this video! Now let’s get to some games! - Alright, we’re starting with the most recent AND most video game-y video game
on this list: Go Mecha Ball! Twin-stick arcade shooter meets roguelike meets
fuckin’… pinball? I don’t know of many ball-type games... The gameplay is super simple and super
duper satisfying - roll around each room shooting a variety of weapons while repeatedly turning
into a ball that can boost into enemies to deal damage and cancel their attacks. Each area is
designed as a perfect little playground to utilize your spherical nature - bounce pads, pinball
bumpers, fans, boosts and ramps to facilitate incredibly fast-paced, hectic combat where
the guns mean nothing if you aren’t ballin’. Utilizing your ability to speed up, bounce off
of enemies and collide with them is essential to holding your combo, especially as you try
to conquer the game’s five difficulty levels, which give enemies more complexity through
added mechanics like shields that can only be broken through collision. The star of
the show here is the core moment-to-moment gameplay. It just feels so good to be this
ball. They fine-tuned this shit to perfection. Flying off ramps, blasting through
the air, bouncing on top of an enemy, coming out of the ball, pullin’ out
the shotgun, blastin a dude in the face, knockin another dude off the edge,
rollin’ back up and flyin off into the sunset… mwah! Magnifique! I’m doin’ the
chef kiss thing with my hand right now- What isn’t quite as strong is the roguelike
implementation. Don’t get me wrong, this is some of the most pure
arcade fun I’ve had in a while, and I clocked a respectable ten hours in just a
couple days, but “arcade shooter” is definitely the focus here. There’s a solid amount of
abilities and weapons to add some variety, but each area has exactly one boss for a
total of four, and the three unlockable characters don’t have any big differences
other than starting perks and stat spread. Realistically, though? It’s pretty
hard to find any actual downsides here, and if you’re looking for a game that just makes
you feel like you’re really good at video games, Go Mecha Ball is more than ready to deliver.
The mechanics are polished to perfection, the visuals are gorgeous, the sound design is
impactful, the music is dynamic and jammin’, and being a ball is just really fun.
That’s all I’ve got. If you’re here for any analysis deeper than “ballin’”
then I don’t know what to tell you. Laika: Aged Through Blood is a self-proclaimed
“motorvania” - a metroidvania on a motorcycle, where you play as a mother coyote
defending her daughter and tribe from an army of warmongering birds. As
an artistic experience, every aspect from visuals to audio to writing is incredibly
compelling. A gorgeous artstyle of cute, brightly-colored animals serves as a
stark contrast to the game’s bleak, post-apocalyptic world, with a gameplay loop of
shooting birds, watching their blood splatter all over Laika and her bike mid-flip as she collects
their guts to use as currency… like, holy fuck! When I picked up Laika near the end of 2023,
it had been quite a while since I’d played a Metroidvania, but when the trailer said
“yeah but what if the movement was like Trials and you shoot guns in bullet time
and do a backflip to reload?” I went: “ok uhh where’s my wallet” I wanna preface this recommendation with a
bit of a warning - I’m not trying to scare anyone off with some “insane” difficulty, but
Laika is a very precise and punishing game that requires patience, as a lot of the negative
reviews concern early frustration with the general control scheme and core mechanics.
It’s ALSO a game where you die in one hit, whether that’s from getting shot, blown
up, or flipping your bike incorrectly. I mean it’s no Celeste, but still… Once you get over the initial learning curve,
doing flips and brakes and drifts and wheelies feels fantastic. Laika truly shines in its main
objectives and exploration: as you journey to sabotage Bird operations, you’re dropped in
a world filled with perfectly constructed loop-de-loops, ramps and platforms, alongside
challenging arrangements of birds and obstacles that play out like little room-based challenges
- think Katana Zero or Hotline Miami. Combat requires experimentation and deliberate action. As
you fly through the air, you have to consider how much ammo is in your gun, if you should backflip
to reload, which direction you should angle your bike to block or parry bullets, if you should
frontflip to reload your parry, and if an enemy’s corpse might block your shot when aiming behind
them. It’s a lot, but damn, is it satisfying! Unfortunately, the place where I feel the game
falters most is in its metroidvania elements, which is a shame considering it’s one of
the biggest selling points. Outside of the few side quests involving Laika’s mother
- which feel so important that I wish they were a part of the main story - almost none
of the additional content felt worth doing. 90% of side quests involve fetching an item
or playing telephone between two characters, with the rewards being crafting materials I
had way too many of by the end of the game. Re-exploring the world doesn’t feel as new or
exciting as it often can in other metroidvanias because there are only a couple major abilities
unlocked across the entire playthrough, the main one being a shotgun that can
double as an extra jump of sorts. Plus, the game’s intensity can also be a drawback.
Since riding the bike and killing enemies requires constant precision, backtracking can become
a bit of a pain, especially with how the fast travel points are placed. While I did find myself
enjoying the stories of the town’s residents, I lost interest in completing many of their
quests in favor of simply finishing the game. However, the area where Laika shines brightest is
its aesthetic. It doesn’t look to hold anything back, and uses its time to tell a dark and
violent story about the horrors of war, cycles of oppression and realities of womanhood,
backed by an absolutely beautiful soundtrack by Beicoli that serves as one of the standouts
of the entire game. As you explore the map, you’ll slowly expand your collection of mellow,
haunting vocal tracks that create a… just a vibe when paired with the brutal gameplay of tearing
through birds with shotguns and rocket launchers. In short, despite a few minor hold-ups, Laika was
one of the best indie games I played last year, and it has an incredibly bold vision
that I don’t see all that often, so definitely give it a shot if
any of this caught your attention. I wanna also end this review with a little note
about how I write these videos. I tend to get nervous that straying too far into explaining my
gripes with a game will make this “indie games you should try” series feel less like wholehearted
suggestions and more like critical reviews, but I definitely play more than my fair share
of games, and when something makes it into one of these videos, it truly means I enjoyed
it, and my criticism come from a place of genuine care. I hope the ideas I present serve
as an interesting addition or consideration to an otherwise one-dimensional recommendation,
rather than scaring people away from trying a new experience, because let’s face it…
the only perfect game is Rumbleverse. And you can’t disprove me…
because it doesn’t exist anymore… Bullet hells are sick as hell. I’m not good at
real bullet hell games - can’t even beat the second level of Ikaruga - but I love ‘em anyway.
They’re games that require such precise analysis and memorization of hectic situations that they
become almost relaxing in their transcendence of the gamer plane. But while a lot of bullet
hells are about memorizing the same fights or levels and perfecting them, what if we added a
bit of randomness into the mix? And by a bit, I mean a lot, because The Void Rains
Upon Her Heart is a roguelike, baby! Wait, hang on! I’m still looking for my wallet- As you may be able to tell from the title, genre
choices and overall aesthetic, Void Rains is a game that goes ALL-IN on its vision. You play as
a handful of alien girls who can fire hearts to “love” the dangerous monsters that attack them. At
times it is charming, and at others quite strange, but always boldly its own. Also, every character
portrait is “artistically” naked, which I decided to cover up with the game’s “fine mist” setting
for the sake of this video being monetized. Alright, so… where do I even
start? In each section of a run, you’re given a selection of bosses to
choose from with different mechanics, attacks and weaknesses. Despite being in early
access, Void Rains has an insane wealth of fights to learn and conquer - I’m talking over a hundred
since the game’s most recent update. What elevates these fights even further is the leveling
system: based on the difficulty of your run, the bosses will have different levels, which
changes the intensity of their attacks and can even add additional mechanics. It’s
really neat being introduced to a boss at level 1 and going “oh that’s not too bad”
and then fighting them later at level 12 and going “OH! THAT SHIT I SAID BACK THERE? WATER
UNDER THE BRIDGE! Can I get you anything-” The boss you choose to fight in each area will
also impact what rewards they’ll drop, spanning your standard roguelike gamut of healing, damage,
elemental attacks, defense, new shot types… you get the drill. The other interesting part about
the game’s combat is that it isn’t just focused on killing the boss as fast as possible. If you want
better rewards and more tetrid pieces for unlocks and upgrades, you have to balance not taking
damage with dealing constant damage to maintain your combo while also breaking off specific
pieces of armor or killing additional spawns. The aspect of Void Rains that stood out to me the
most is the sheer amount of content: hundreds of bosses, pickups and upgrades, special encounters
and events, seven unlockable characters, and four additional game modes, including a mode where
you design builds to fight bosses in quickplay, challenge towers with special mechanics, an
endless mode, and an extended version of the regular story runs. It’s the kind of design that
makes for a deep roguelike experience once it all starts to click, but the way progression
is presented can feel a bit overwhelming, especially with numerous tutorial dialogues
during the early hours of gameplay. My one major complaint is that it takes a long
time to truly understand what’s going on and feel even slightly in-control of how your build
develops during runs. In the early game, you might as well just throw yourself at the boss with the
highest level items, because you can’t see what said item drops are or what bosses are weak to
until you spend tetrids to permanently reveal them. While rushing down enemies and unlocking new
content was still a blast, I didn’t enjoy having almost zero agency in the early stages, and I
struggled with the higher difficulties I kept brazenly attempting, as it took me 10-20 hours
before really being able to consider my options. While unlocks are mostly in the form of
horizontal progression - which I prefer for roguelikes - tetrids are required for everything,
from minor character upgrades to bosses to five types of gifts to encounters to event descriptions
to backgrounds! With all this content, Void Rains becomes a completionist’s dream…or nightmare.
If you like fighting bosses over and over again at different difficulties without getting hit to
earn rainbow medals or grinding tetrids to unlock every card or fighting bosses in specific ways to
earn the whopping 697 ACHIEVEMENTS - and probably more by the time you’re watching this - then Void
Rains’ll be your jam! It’s the kind of game where you beat it for the first time and your save file
says 2.2 percent completed, and you go “oh shit…” I’ve dropped nearly thirty hours into Void
Rains and my save file isn’t even at 40%, but the fact that I’ve logged that much time as
is despite the million games in my backlog means I very much think it’s worth your time
- and money! Dude, it’s thirteen bucks! I also saved my favorite detail for last: at least
with the info I was able to find, this is a solo dev project. Music, art, game design, everything.
When you roll credits, it shows a single name: Angel Polanco. Void Rains has been in early
access for six years, and all that time, he’s been updating it constantly, with patches every
2-3 weeks and bigger updates every month or two. Like… wow! Holy fuck, even! I’ve talked
about this before in my video about Spark 3, but I just find it so inspiring to play a
niche passion project like Void Rains - a game with under a thousand reviews - and be
absolutely blown away by the sheer amount of creative output born from even just one
passionate developer. They went “yeah I’m gonna make a shmup bullet hell roguelike
about hope and love with naked aliens, put it in early access and just add
shit for six years.” And to that I say… You want a unique string of words?
How about psychedelic bullet heaven breakcore roguelike with a surreal
transhumanist horror story straight out of an RPG Maker game… priced at
five bucks. Did that wake you up? Passionately dedicated to its aesthetic,
Picayune Dreams feels like its own soundtrack given physical form: an aggressively unsettling
and hectic experience that drills into your brain until you’re so in the zone that you don't
feel like playing anything else until you’ve seen it through to the end. Menus where you
can’t understand how any given upgrade will improve your modified robo-human body
until you analyze their corresponding lines of code. A nightmarish journey through
space where you shoot at 3D models of talking burgers and floating hands and fight wacky
bosses like a bunny and a rad biker dude. After the breakout hit that was Vampire Survivors,
more than a few devs have attempted to grab a small piece of its breakout stardom, but Picayune
Dreams is the only other bullet-heaven horde-survival-type-game to have really caught
my attention for a handful of different reasons. As for the gameplay, it’s pretty simple:
move around while shooting at enemies and collecting the experience numbers they drop
until you level up, allowing you to choose from one of three random upgrades, which can be
weapons like saws, yo-yos and lock-on missiles, or more passive augments like speed, knockback
and a regenerating shield. Continue shooting, continue upgrading, and continue gaming. Every
five-ish minutes, you’ll be confronted by a boss as they engage you in a bullet hell barrage
where you try to survive against one very strong enemy rather than hundreds of tiny ones. Each
boss has unique mechanics and bullet patterns that demand quick thinking if you want to
survive. Which, at first… you might not. Thankfully, there’s a permanent progression
system that helps add variety to further attempts, and I do enjoy this skill tree being a lot
more situational than your usual vertical progression. Instead of flat upgrades like
damage, health and money, you can repeatedly respec your limited skill points to experiment
with different builds, from crit damage explosions and status effects to rerolling health pickups
or dealing extra damage while standing still. However, I don’t feel like the core builds
manage to stack up to something like the evolution system in Vampire Survivors.
After experimenting with every upgrade and trying out a handful of combinations,
I quickly discovered a “best” setup to the point that I just kept running the same
build in my pursuit of the true ending, which requires you to beat the four main boss
fights without taking damage in a single run. But while this game isn’t some
infinitely-replayable time vortex, it isn’t necessarily trying to be - and to me,
what it was aiming for is even more compelling. In addition to each boss having fun pre-fight
banter, when you defeat them for the first time, you’re given a little interactive RPG-esque
cutscene that provides cryptic backstory and insight into your mission. While I had no idea
what to expect going in, Picayune Dreams told an engaging story that I definitely understood
without having to look some of it up afterwards. While the 10 or so hours I logged in pursuit
of experiencing all the cutscenes is a bit shorter than you might expect from
a game with bullet-heaven design, I still had a blast, and the overwhelming
artistry is more than enough for a strong recommendation on its own. Honestly… I’d buy
this shit again just for the soundtrack. You wanna hear a three-phase final boss culminate by
throwing vocaloid lyrics into the breakcore? Then just buy Picayune Dreams already. ‘Cuz
I’m not gonna show you the song. Jeez. Brace yourself, buckle up, strap in, do whatever
you need to do, because it’s Rain World time. Rain World is a 2D platformer where you play as
a slugcat, a small but agile creature struggling to survive in a hostile, mechanical world. The
game teaches you very little, as in the basic controls and how to rest in hideouts after eating
food, and the rest is up to you. What to eat, what to avoid, where to go… while there are subtle
hints scattered across the map, Rain World is not a game with a clear objective. Make one wrong turn
while trying to follow the game’s cryptic hints, or simply in the pursuit of non-linear exploration
(like I did) and you might find yourself lost in what feels like an impossible series of challenges
and dead ends. Early on, I was talking to some friends who had already beaten the game, and I
said “yeah I’m in the Chimney Canopy, got there from the Industrial Complex and I’m gonna climb
The Wall next” and they fucking LAUGHED AT ME! Rain World’s unusually cryptic exploration
paired with its dynamic regions that can range from serene to bullshit unfair is not a
common experience in the world of video games, which is why it can be such a tricky game
to discuss and recommend. Rain World was an experience unlike anything I’ve ever
played - and that alone is worth a lot - but it isn’t memorable because it
was easy, or even enjoyable at times. It is both fascinating and extremely frustrating
to play a game that does not care about you. A game with a complex ecosystem, with creatures
that you hunt and creatures that hunt you alongside other creatures that will hunt those
creatures or try to steal your limp body out of the mouth of the creature that originally
hunted you. There are monkey dudes that trade and communicate and bugs that bait you into
traps with food. It’s a game where sometimes, RNG will just fuck you over, because hey, that’s
life, and it just so happens that this lizard was lookin’ to grab a slugcat burger from the
drive-thru the second I went through a pipe. “Wh- oh my god…” Upon looking back, much of what makes Rain World
feel rewarding is the constant sense of discovery as you explore, rather than measurable progress
towards a goal. How to efficiently gather food in each new area, how to escape an enemy using
the various plants and objects at your disposal, or how to look and listen for threats before
it’s too late. You can’t just “gun it through the story” of Rain World - you have to develop
an understanding of the world around you. Over the past couple years, I’ve given
Rain World a shot for an hour or two, but never really stuck with it until now. It
is a trial you have to want to understand, and a lot of the frustration during my playthrough
came from the weight of expectations I felt after my friends gave it such glowing reviews. I tried
powering through the confusion and deaths to find “what makes the game so good.” “Surely I’m just
not there yet,” I told myself as I explored the world for hours upon hours. And then, at a point
- sure, might’ve been ten or fifteen hours in, but better late than never - I realized that I
was in the midst of what I was searching for. I noticed the stunning artistry of every area I
explored: visuals of rusted machinery against a wide-open sky, wildlife thriving even in the
bleakest conditions, paired with a hauntingly quiet soundscape that gives an almost meditative
quality to the calmer moments of exploration. I wasn’t struggling to get to an experience -
the survival, the journey, the backtracking, the failures, the atmosphere, and the struggle
itself were all part of the experience. Y’know how we usually say “I beat the game!” when
we finish something? Well, the difference between most games and Rain World is that while most games
are carefully nudging you towards the finish line, Rain World is a game that has no problem kicking
you into the dirt. When I beat it… I really felt like I “beat” it. I think a healthy dose
of frustration is another piece of what makes the experience feel so unique. It’s what
makes the calm moments feel like a true reward rather than a walk between objectives. Like,
if I just put this area on screen for a sec and say “Unfortunate Development” I know it’ll
send shivers down at least one person’s spine. During each and every play session, I could
only stomach Rain World for an hour or so. I would die one too many times to some bullshit, go
“maaaaaan fuck this game,” and quit for the day. But then… curiosity would build. How far away
is the next hideout? How can I overcome this challenge? What surprises might I find next?
And before I knew it, I’d be right back in. Rain World is an uncompromising experience
filled with so many unique ideas and secrets that it isn’t hard to understand why it’s
developed such a cult following. It’s a game designed to make you contemplate your own
insignificance amidst an unforgiving landscape, but it also gives you space to adapt and
appreciate your surroundings as it evolves from a typical “video game” to something
that resembles a living, breathing world. There’s also a bug that doubles as a grappling hook so maybe that’s the part
everyone was raving about! Alright, how about we calm things down a
little? Sometimes, games are… too active. Sometimes you don’t wanna fear for
your life every five seconds or be hard-focused on landing every shot mid-backflip.
Sometimes, you just wanna click on some stuff. The Gnorp Apologue is a lovely little
idle clicker strategy game that gives me a faint glimpse of what Cocomelon feels
like for the developing brain of an infant. The plan is simple. The gnorps want to break
the rock. Click on the rock to break off shards, and click on them again to move them into
the collection zone to use as currency. But repeatedly clicking on stuff is lame!
Let’s build some houses for the gnorps and put them to work as rock slammers and
shard collectors to do the job for you! Once things get rolling, you’ll start unlocking
all sorts of buildings and gnorp specializations, along with a slew of upgrades to maximize damage
and collection. As you deal enough damage to the rock, it will compress, making the shards more
valuable and the next compression event more difficult, to which you can respond by
resetting your progress to earn talent points, unlocking additional traits that
further gnorp the shit out of the rock. This isn’t a game that simply progresses from
being left running in the background for hundreds of hours - there’s a surprising level of depth
that requires strategizing and combining the right synergies and talents for prime optimization.
You might start with slammers and collectors, but you will quickly discover the might of
time traveling bombers, explosive gatling guns, ice arrows, Zygnorps and rockets. And I
mean a lot of rockets. Like, a lot of them. For the true enthusiasts, once you beat the game,
you can also try your hand at Speedrun Mode, where your strategies will have to be further
refined to reach the end as soon as possible. The Gnorp Apologue is so simple and enjoyable
that there isn’t really anything else to say. I love watching these little dudes
go to work, and maybe you will too. When people talk about the greatest indie games of
all time, there are a handful of usual suspects: Celeste, Hollow Knight, Hades, Outer Wilds… but
I’d like to add another that not as many people have heard of: CrossCode. Because it’s
really, really, like, it’s really good! I’m far from the first person to make
this discovery. After all, you guys have been asking me to play CrossCode for a while
now, and by a while, uhm, I mean… FIVE years! Sorry, I was busy that day. It’s kinda hard to write a simple
elevator pitch for this one, because there’s a lot going on!
Set inside a fictional MMO called “CrossWorlds,” CrossCode is an action-RPG with
a robust combat system, heaps of exploration, and massive 2D Zelda-inspired puzzle dungeons.
And that’s just the tip of the iceberg. Let’s start with exploration: in addition
to its bustling towns filled with NPCs, side quests and trading stalls, the
various regions of CrossCode are kinda like huge outdoor dungeons - a bunch of
inter-connected rooms filled with enemies, items and parkour puzzles that can span half
the map. Every time I reached a new area, I found myself exploring for hours at a time
to uncover as many little secrets as I could, even though it would’ve only taken a few
minutes to run straight to the next town. As you progress through the main questline,
you’ll encounter the main source of puzzles: massive temples that test your skills with a
new element before gifting it to you for use in both puzzle-solving and combat. These dungeons
have some incredibly satisfying brain-busters and often took me several hours to get through,
culminating in fantastic boss fights that turn into real-time action puzzles as you incorporate
recently discovered elemental mechanics. Plus, even when the combat isn’t being clever, it’s just
good ol’ edge-of-your-seat shrimp mode gaming, carefully aiming ranged shots and blocking
attacks, then dashing around to initiate powerful melee combos or cast a huge
variety of skills unlockable through the game’s giant upgrade tree, with branching
paths and abilities unique to every element. I feel like Radical Fish Games’ Twitter bio is
a more apt description of the experience than I could ever write myself. It reads: “We are a small
group of game developers that somehow managed to create CrossCode.” I looked at their website and
it lists like… twelve people? And the amount of content this game has is unreal! And when I
say content, I don’t mean meaningless filler, I mean boundless creativity and good side
quests! Like, you aren’t just fetching items or conveying messages, you’re rescuing
hostages from flying birds with machine guns, or setting up turrets to play a tower
defense, or riding on a giant cannon across the ocean. Before I started the DLC
- which is also fantastic - it took me over fifty hours to reach the end credits, and
I definitely didn’t experience everything. During each and every play session, I was
re-baffled at how well the team was able to construct that vibe you feel in an MMO,
where you can gun it through the main quest, but you also have the option to dig around for
side content, harvest plants, craft equipment, or spend literal hours solving parkour puzzles to
open chests. And when it comes to storytelling, while “well-written silent protagonist” is a
bit of an oxymoron, Lea is my new favorite, hands-down. Even with an incredibly limiting pre-programmed
word bank - we’re talking like hi, Lea, and bye for most of the game - she manages to not
only boast a strong personality through facial expressions alone, but also establishes herself
as a determined and compassionate character, even as she struggles to remember her past
and establish a connection with those around her. Alongside Lea being the star of the show,
there is a fun, gripping sci-fi storyline with a strong emotional core rooted in identity and
friendship - two of the key elements that make MMOs special - and when you toss that into
a game already bursting at the seams with crafty puzzles and fantastic combat… I get why
everyone’s been telling me to play CrossCode! I also just wrote the word “yes” under my notes
for this game’s music, because like… phwaa! As is fitting for the role of an MMO, there
is something deeply human about CrossCode. Not just in the herculean effort of its development
team, or in its strong theme of human connection, but in every detail of its world. CrossCode never
forgets its inspirations, and it understands that the “Massively Multiplayer” part is what gives
these games life, so even though you’re the only one actually playing CrossCode, it
never really feels that way. There’s an invisible feeling that shifts based on whether
or not you’re questing alone or with friends; a slight sadness when your party members log out
or a smile when you get a call from them while you’re racing through a dungeon. Everywhere
you go, there are players jumping, exploring, chatting or just taking in the sights together,
and the result is something really special. Alright, that’s seven indie games,
recommended! What are you gonna do now, patiently wait until I put out another
video where I recommend EIGHT indie games? Wait, how did you even play all of them that fast? On a more serious note, I wanna quickly thank all
of you for continuing to support this series. I love talking about indie games, but after the
first few episodes, I wasn’t super confident about the long-term success of these videos.
After taking a break for almost two years and pivoting my titles and thumbnails, I’ve been able
to reach a lot more people, so as long as there’s gamers on the hunt for hidden gems, I’ll be down
in the mines diggin’ em up! In the meantime, if you wanna protect my canary from carbon monoxide
poisoning, consider supporting me over on Patreon. Thanks again for watching, and I’ll see you next time for EIGHT
indie games you need to try or else! Actually, is that too many? ‘Cuz
eight is a lot, that’s like… one, two… one-
