Recent reviews by racl

Bloodwash is a brilliant ‘Giallo-style’ mystery game; which is to say that it combines a gory murder mystery and 1960s–70s style—through bright colours, retro design and nostalgic technology. The low-poly graphics and visual glitches inhibit the player's view, making it a tense climate throughout. The world feels highly immersive and the places the player inhabits feel almost real but not quite. These liminal spaces are able to generate fear in us due to a negative association with preconceived ‘safe’ spaces of nostalgia. This is very effective in the final chapter of the game. The uncanny locations combined with a mystery serial killer makes for a very enticing and fresh narrative which I enjoyed immensely.

Great game!

MiSide is a single player adventure game with a twist. Released towards the end of 2024, it’s been compared to ‘Doki Doki Literature Club’ for its aversion to ‘cutesy’ generic anime tropes. I tend to prefer games with memorable soundtracks, MiSide however, does not contain ‘memorable’ music as such. The soundscape in the game can set the mood but isn't noticeable when it cuts to silence. This adds to the game's horror aspects, by building tension.

The menu music is simple but effective. It opens with a combination of computer synths and light-hearted guitar. This is a kind of ‘sonic-foreshadowing’ as later in the game your character can watch as Cappie plays the guitar. The second part of the menu music is played on staccato flute emphasised by light percussion — setting the scene for a playful misleading mystery game.

Praying for you 🕯️ O, Great Mita 💝

Truly an immersive game from start to finish. The NOexistenceN of you AND me is a visual novel that breaks away from genre stereotypes. Despite the twists in this game it never feels forced or cliché. The music lends to the somewhat limited art panels throughout the five chapters. My only gripe with this game, is that there is no chapter select function :'(

Omori is a two-dimensional RPG with psychological horror elements. The game portrays concepts such as anxiety, depression, trauma and suicide. If you’re looking for an adventure game to pass the time and you’re not easily triggered I highly recommend this game.

The player assumes the role of a teenage boy whose alter-ego is called ‘Omori’. The game is more or less split into halves, in two different settings, Headspace and Faraway Town. In simple terms, Headspace is essentially Omori’s escape from reality. The two polarizing visual settings are improved upon, by the soundscape being that of juxtaposition as well, reinforcing the mood!

The plot of this game is elaborate and is expanded upon throughout the lengthy gameplay. Despite its length the game never feels boring due to the elaborate, colorful, expansive and polarizing score. The music has great success in making the player feel immersed in the dream world, Headspace, at all times; it is able to relay darker and more sinister tones when necessary.

The first sound cue ‘Titel’ is played whenever we load the game. The music sounds empty, there is a continual, soft white noise under a solitary piano making it sound sparse. This white noise is not in the same key as the piano making it dissonant, adding to the feeling that something is wrong.

The Piano sounds cold in this particular setting as the instrument has no vibrato, the melody is discordant and we are in a minor key. There is a lack of any richness, denying the listener, all hope from this passage of music. The notes are also disjunct, making them unpredictable and unsettling. To further this atmosphere, the cue contains no perfect cadences, the music cannot resolve, perhaps relating to how the characters in the game cannot resolve their emotions and/or traumatic experiences they've endured.

The game talks about the importance of friends and family, being there for one another. The tune is played on the left hand and the lower chords, that reinforce that melody, are in the right hand. The right hand could represent Mari, Omori’s older sister, while the lost-sounding melody represents Omori.

The next cue we will be looking at is called ‘White Space’. This cue plays when we are present in White Space, which occurs often. White space appears in contrast to the rest of the game as it is an abstract plain, devoid of all colour and life. We travel to white space usually after a traumatic event in the game. The cue is simple and effective, as the short repetitive musical patterns work in tandem with the stark atmosphere of the white setting. The use of an electronic synth works well with the striking white visuals and the computer found in white space. The melody’s pattern is descending but ends on a note that is higher than the first, making for an ambiguous melody line. This pattern plays twice in a major key and twice in the minor key. This gives the player a sense of unease knowing that despite our isolation, we are not safe. The descending patterns and minor key sound alarming. In contrast, the high note at the end of phrases and major sections sounds positive. Overall, this bit of music leaves us in suspense.

The last cue we will be looking at plays in the dreamland, Headspace, and is titled ‘Three Bar Logos’. It is a memorable, light-hearted, heroic piece of music. This music plays as you fight off ‘baddies’ in Headspace. The heroic melody is created by the intervals that sound reassured and are whole-tonal. The cue is polyrhythmic and frantic, making it sound like a fight. The main tune is then punctuated by a rhythmically augmented syncopation, they are short punch-like sounds, ideal for the fight element of this game.

Overall, the music enriches the player's understanding of this already plot-rich game. It also helps enhance all elements of the game, whether it’s setting pace, combat segments, and emotional or pinnacle hit points in the game. It’s a musical rhapsody full of colour and excitement as well as masterful horror elements and suspense.

Doki Doki Literature Club Plus was released in 2021 as a console supported re-release of the game ‘Doki Doki Literature Club’ originally released in 2017. (This review will be a continuation of my last review on DDLC.)

At first, when I purchased this game I thought it lacked content. It wasn't until I dug deeper into the array of additional easter eggs and images that I was proved wrong. If you are a fan of the first game and want to dig deeper into the lore then I would suggest you play this game.

The game is now accessed through a simulated faux-desktop. At your desktop you have a number of options: files, wallpapers, mail, side stories, pictures and music. All of which are unlockable from playing the base game.

The aim is for the player to gain as much ‘data’ as possible. By collecting all the data you will obtain all achievements. Along the way you unlock images, wallpapers and also the ‘Side Stories’ ; these are the most noticeable new element added to the game. The side stories reveal more about each of the four girls present in DDLC. There is a disclaimer however that the side stories are“not canon to the main story”.

The email function explains the purpose of the game. We find out there is another name for the base game, which is VM1. We also learn that there is a VM2. If you thought VM1 had dark themes then VM2 will blow your mind. We learn that in VM1 the game creators have given Monika a heightened conscience to see how it affects the game and see how she reacts. This results in her deleting Sayori, Natsuki and Yuri out of jealousy. When you reset the game through the files function it says ‘Monitor_Kernal_Access] ’ which is how Monika got her name. Moni from ‘Monitor’ and the ka from ‘Kernel Access’ Monika. This also explains why her name is the only name in the game that doesn't sound japanese.

An email titled ‘Issues caused by unprotected memory’ states that “My best guess is that memory being freed from VM2 isn't getting zeroed out, which technically gives VM1 access to it”. This means something horrific when you look deeper into the lore of VM2. Monika has memories of VM2 while being present in VM1. We get a picture that VM2 is some sort of cult-like reality where people are experimented on to find their “third eye potential”. People are theorizing that Sayori, Natsuki and Yuri are the ones being experimented on and Monika is a nurse in this reality, in VM2. Also it seems likely she will be called ‘Marla’ here as the email about VM2 aka ‘Project Libitina’ reads “Monitor Adjacent Runtime-Level Access”

This would explain why monika asks for our help. At one point in the game she ends her poem with “delete her” she is making this in reference to Yuri who is becoming evermore unhinged by this point in the game. Then a box appears saying “please help me.” and we have no choice but to click ‘ok’. This could be in reference to many things but after the poem asking us for help with deleting Yuri I feel that's what it is referencing.

I mentioned before why she might be deleting these characters files. I said she might be jealous, however with this new found information about VM2 it could change Monika’s ulterior motives entirely. Motives could be far removed from any jealous attack that the last game has given Monika a reputation for. We know that Monika is very smart and this is shown throughout the game; she writes in a mature way, she changes the game files of the game, and it is even theorized that Monika has found a way out of the game. We know she is able to access memories from VM2 and that could very well be why she wants these character files gone because she doesn't want to see any more harm coming to these three individuals, her friends. There is an email that reads “Monika’s meddling is less clumsy than we think” all I can say is that I don't think anyone should underestimate Monika.

Monika knows not to speak about VM2 because in the third chapter of the game she begins to speak about the book Yuri was reading but then stops herself, as she knows better than talking about the book with us, as it is about the world of VM2. This reaffirms how clever she is. How she knows she is being watched. This also impacted her attitude when Yuri and Sayori died because she doesn't want the game makers to suspect anything. She wants them to believe she wants attention from us the player, Insead of what she really feels, that she doesn't want her friends to be experimented on.

This game breathes new life and lore to a game that was released 4 years prior. I highly recommend it!
{ Thanks for listening } <3

Doom is an action packed rip and tear first person shooter game. Players take the role of an unnamed space marine, known as the "Doom Slayer", as he battles demonic forces from hell that have been unleashed by the Union Aerospace Corporation within their energy-mining facility on Mars. The music captures the gritty horrors inside the game as well as retaining the momentum through the fast-paced fight sequences.

The Doom soundtrack, composed by Mick Gordon, is arguably one of the best gaming soundtracks of all time. It is no surprise that it is popular with so many due to the simple but very well executed concept. Who wouldn't be in the mood for massacring hundreds of demons from hell at the click of a button…

Doom metal is a subgenre of heavy metal, and it’s hallmarks are having a slower tempo and low tuned guitars, this gives it a thicker heavier sound to the overall sonority.

The music is a fusion of industrial/tech metal. A good example of this is ‘Flesh and Metal’ with its hard core industrial percussion and alienating tech soundscape. There are glitches and robotic sounds throughout which sounds futuristic. Given the game takes place in the year 2149 this is an extremely effective choice. The name itself is a juxtaposition, ‘Flesh’, being humanistic and soft and 'Metal', being robotic and cold.

A similar example of this futuristic sound is in the cue ‘Bfg Division’ any doom player will know the Bfg stands for the “Big ♥♥♥♥♥♥♥ Gun”. This cue combines acoustic high hats and jolting synths. There is a rising and falling synth that gives an impression of impending doom. Alongside this melodic material is the relentless slow rock passages mimicking the anger built up in our character ‘Doom Slayer’.

‘Rip & tear’ is one of the cues that plays when we, the player, are in a fighting sequence and is one of the most aggressive cues in the game. With its hard core drums and low guitar it is a very memorable cue and typical of ‘Doom metal’. There is a homophonic melody played by the guitars and punctuated by the drum kit. The percussion is repetitive and the higher ascending countermelody from more guitars gives it more suspense. Oddly enough this higher melody is the countermelody, normally the highest tessitura takes the first melody line but in this case is the countermelody. This only makes this piece evermore aggressive, tense and strident.

The game is very true to its purpose throughout as it never fails to keep the recurring enraged climate and works effortlessly in tandem with the fast pace gore gripping gameplay.

The game at first seems to be a lighthearted, anime game, and is even advertised this way on the steam store. If you're looking for a sinister horror and you're not easily triggered then this is probably a good game for you.

The game-play consists of scenes with static two-dimensional images of characters in a first-person perspective, accompanied by occasional choices the player is forced to make in order to advance the plot. The game's opening theme ‘Doki Doki Literature Club!’ encapsulates the audience into what seems to be an innocent and fun game.

Monika has moments of breaking the fourth wall. This makes it hard to tell if she is addressing our character or us, the person behind the computer. Sayori, Natsuki and Yuri all face to the side while speaking. Monika however, goes from looking straight forward to looking sideways, between lines. This sets her apart from the other three and shows how she is looking at us, the player, rather than our character.

The soundtrack at first seemed simple, but it's extremely effective.

The first shocking moment of the game is Sayori’s suicide. There is little that prepares us for this. We get the feeling that something is wrong when she doesn't come to school, the lack of music right before leaves us on edge. The suicide is shown after a dark screen. It is underscored by the cue named: ‘Sayo-Nara’. We hear a manipulated version of the original theme music. The pitch is unstable and sounds broken. It’s almost as if the game is making fun of the player, by lulling us into a false sense of security and then showing us this shockingly sad scene. This cue exploits vocalisation which sounds eerie. There being no lyrics adds an impression of mystery. Perhaps the voices are trying to tell us something? We wouldn't know. We just have an empty feeling. The use of humanistic sounds also creates a sentiment in the accompaniment, now that Sayori is gone it emphasises the emptiness once more.

After Sayori’s Tragic death the game becomes subtly different in many ways. This is disconcerting to us as the player. The camera angles which before where straight and consistent, are often tilted or zoomed in. Less noticeable, each of the girls' facial expressions become evermore expressive - perhaps this shows the characters deterioration through the rest of the game.

By the end of the game we know that Monika has been tampering with the character's programming and the game files. This explains the glitched visuals further perpetuated by the eerie music that sounds broken as well.

The music ‘My feelings’, is of a slow tempo and contains piano and guitar. We are led to believe the piano is Monika as there are references to her practising the piano through the dialogue in the game. There are imperfect cadences that make it sound depressing, symbolising her unrequited love.

In Monika’s later song ‘Your Reality’ she sings the lyric “when I can’t even read my own feelings”. This confirms that the cue ‘My feelings’ is about Monika’s internal struggle with her feelings of unmet love as she makes a reference to the song. We can assume this is her playing the same song on piano but changing it ever so slightly at the end of the game. The song ‘Your Reality’ is more conventional in harmony as it resolves. The melody resolves but the lyrics leave us feeling like nothing has been resolved, only intensifying the sadness more. The song ends with the lyrics “If I don't know how to love you, I’ll leave you be”. It feels as if everything has been in vain, though the melody has resolved, everyone has been removed from the game files including Monika. The lighthearted melody in contrast with the dark lyrics only makes us feel more on edge than ever before, ending the game in complete feel of unrest.

I loved the soundtrack and the game!