To those nerdy enough to know of him, Tim Schafer is widely accepted as a genius. Along with fellow programmer Ron Gilbert, Schafer fathered the point-and-click adventure game genre, creating classics like Full Throttle,  Day of the Tentacle, and my personal favorite, Grim Fandango.  Once point-and-click adventure games fell out of fashion, Schafer founded a new game studio called Double Fine, and pumped out Psychonauts, Brutal Legend, and smaller releases like Costume Quest and Stacking. Despite almost universal critical praise for their major releases, Double Fine has struggled to match commercial success with critical acclaim, making them a hard sell for publishers. With Broken Age, Schafer and Double Fine jumped the publisher hurdle entirely and raised over $3.3 million on Kickstarter – demolishing their goal of $400,000. With this money they set out to make something the world hasn’t seen in decades: a new (semi) big budget point-and-click adventure game. Now here we are, almost two years since the completion of Schafer’s hyper-successful crowdfunding campaign, and Act 1 of the game is finally upon us. And it’s good. It’s real good.

The game begins by giving you the choice of  two young characters: a boy in space, or a girl in the countryside. The two stories, which you can switch back and forth at will, seem at first to be connected only in theme.  Without ruining any surprises, both characters are in oppressive situations they wish to break out of, which basically makes the whole thing two parallel coming-of-age stories. The game’s sharp writing and quick wit prove up to par with Schafer’s legendary track record. The other characters you encounter intrigued me enough to make me want to talk to every single one until they had nothing else left to say; a process that almost always left me with a smile on my face. The voice acting shines throughout the game, thanks to the talent of A-list stars like Elijah Wood, Masasa Moyo, and Jack Black.

Not looking to be outdone, Nathan “Bagel” Stapley’s art design explodes with color and creativity, and Peter McConnell’s fully-orchestrated original score complements it beautifully. Regardless of whether I was eating part of an ice cream mountain or walking around on a cloud colony run by a cult leader, I always made sure to explore every inch with the volume cranked up. Broken Age may not be the first game to ever try the “hand painted” look, but I can guarantee that you’ve never seen any game that looks quite like this one. The sharp character designs range from adorable to hilarious, and the environments are vibrant and memorable. Enough good things can simply not be said about the art and sound design of Broken Age. It’s charming to an almost ridiculous degree.

Despite my gushing, the game isn’t perfect. Some of the animation seems a little strange and choppy. Characters handing each other items, for example, always looks pretty off. The puzzles generally offer very little challenge;  figuring out what to do shouldn’t prove too difficult as long as you’re willing to walk around and click on everything. In some ways, this problem just comes with the territory of the point-and-click adventure game, but it seems to go a little beyond that in my opinion. Maybe the puzzles were simplified to make the game more accessible, or maybe Double Fine simply didn’t have the money to do as much as they wanted with them. After all, $3.3 million may seem like a fortune, but it’s a drop in the bucket compared to most major game development budgets, which can get as high as $50 million. My hunch, though, is that Double Fine kept the puzzles simple enough to easily complete with a touch screen in preparation for the iOS and Android release of the game later this year. This gripe might be enough to turn off some hardcore fans, but it’s an easily forgivable sin for those looking for a unique game with a fantastic story.

The biggest problem with Broken Age is that it isn’t finished. In typical Tim Schafer fashion, Double Fine ran into budget issues and could not finish the game with the amount of money raised from the Kickstarter campaign alone. Instead of going to a publisher to get the cash to pay for the rest of the game, they decided to release the first part and use the profit to fund what remains of the second part. Don’t worry though, because if you buy Act 1 for the asking price of $25 you’ll get Act 2 as soon as it comes out, no extra money needed. After about four hours of playing, Act 1 ends satisfyingly enough; you’ll want more, but in an “I want to know what happens next!” kind of way, not in a “wait, that’s it?” kind of way, which is what I was concerned about when I heard about the split.

Despite its very few shortcomings, it’s easy to recommend Broken Age to just about anyone. It probably won’t revive the point-and-click adventure genre, but for those who have been waiting for a new Tim Schafer adventure game since Grim Fandango’s release in 1998, your wait is over. And for those who have never played a point-and-click adventure, get on your computers and get out your wallets, because you’re in for a treat.

Overall Rating: ★★★★★ 

What does this score mean?

Broken Age will be available on PC, Mac, and Linux via Steam on January 28th. You can pre-order the game here. Android and iOS versions, along with Act 2 of the game, are due out later this year. 2 Player Productions documented the development of Broken Age. The entire documentary series is currently only available to backers of the Kickstarter campaign, but episode one can be viewed on Youtube for free.

© 2014, The Indie Mine. All rights reserved.

The ongoing development of this game is unique, even when compared to other crowdfunded point-and-clicks. The episodic adventure began with a Kickstarter campaign that raised about $7,400 from 285 backers. This funded the first episode of the game which can be enjoyed free of charge on the game’s official website. The second episode then began its crowdfunding initiative, this time straight from the game’s web page as opposed to somewhere like Kickstarter or Indiegogo. Once an episode is fully funded, developed, and becomes playable, the episode before it transitions to free to play. Assuming this intriguing model continues to find success for The Game Kitchen, the process will repeat until at least four episodes complete development.

But enough talk of funding and development, what about the game itself? We start with a simple and very disturbing prologue that instantly draws you in and forces you to wonder what in the hell is going on. Without ruining too much, I will say that things begin masterfully. I knew immediately that The Last Door would be a cut above the average web browser-based game and closer to the type of storytelling found in horror adventures like Amnesia: The Dark Descent. The unnerving tone is heightened by an impressive fully orchestrated soundtrack, something I did not expect from such a low budget title. Like Amnesia, the strange story unfolds slowly by exploring and finding letters and clues left in the mysterious house you find yourself in.

The mechanics of the game don’t break any new ground for the genre, but they do their job. Just as you might expect, the player uses the mouse to click around and explore the game’s surroundings. When the cursor hovers over something of interest, it turns into a magnifying glass. Whenever an item can be picked up for use later, the cursor turns into a hand. To use these items, simply click on the one from the inventory you want to use, and then click on the part of the game world you wish to use it on. Again, no surprises here, not that everything in the game needs to surprise its audience. One point of minor annoyance, though, is that whenever an item can be picked up you must first examine it (magnifying glass), and then pick it up (hand). When I first began playing I quickly got stuck because I had examined everything I could find, but didn’t know that I could click certain items again to pick them up. Since there doesn’t appear to be a reason to not nab anything you can, examining and picking up collectable items could be completed in one click, but they aren’t. Again, a very minor problem, but it did cause some headaches for me early on.

The game sports a low-res style that some will find endearing and others off-putting. Personally, I enjoy the sharp contrast of the spooky tone, haunting music, and flat, blurry, blocky visuals. It feels endearingly nostalgic while not feeling overly retro. I imagine the simple look of the game was a necessary choice given the limited budget and small number of developers, but the game does a wonderful job of flourishing within the confines of the style. At first glance things seem primitive, but after spending just a few minutes with the game it becomes apparent that the game’s sensibilities are much more modern than one might expect. I suppose the look of the game might detract from the creepiness for some, but it didn’t for me. I enjoyed more than my fair share of genuinely chilling moments while playing through the released episodes.

In some ways, the appeal of The Last Door is incredibly niche. After all, it’s an old school style point-and-click adventure horror game that you play in a web browser. However, if you hear that string of descriptive words and aren’t immediately turned off, I highly recommend giving it a shot. It’s a brilliantly-crafted, disturbing mystery that deserves to be experienced. The first chapter is free to play, so why not try it out? You won’t regret it.

Overall Rating: ★★★★☆ 

Chapters one and two of The Last Door are available from the game’s official website, and chapter three is currently in development. That’s something you can help along, if you’re interested in that kind of thing.

© 2013, The Indie Mine. All rights reserved.

On September 5th, an update rolls out that adds two new difficulty modes: light (easy) and shadow (hard). Each mode will include new graphical styles, soundtracks, and leader boards. Check them out below.

If you haven’t bought it already, PUK definitely deserves your dollars. Grab it on the Google Play Store or for iOS. You can read a little more about the update on Laser Dog’s blog.

© 2013, The Indie Mine. All rights reserved.

Before I talk too much about the game, I should mention that Episode 4 picks up directly where the third episode left off, and while the game does provide you with a recap of Episode 3, I would definitely recommend grabbing the previous installment in addition to this one. (It’s only a few bucks extra for the bundle on Steam.) The first two episodes are completely different in style and enjoyable in their own right, but for the sake of these games you won’t miss much by skipping them.

In Rain-Slick Episode 4, our heroes find themselves in “Underhell” which is separated into two groups of two. Each group quickly discovers that the bad guys of Underhell vastly overpower them, so in order to survive they must send creatures out to battle for them. So, basically a goofy, demonic version of Pokemon. At first I was a little dismayed to discover that the battle system would work this way. I felt like the main characters might take a backseat to the creatures and that the story would suffer because of it. Luckily, my fears turned out to be unfounded, and the change to the battle system actually adds more strategy compared to the previous game. Creatures all possess different move sets and you can alter your party before each battle (and during, once you unlock a certain item), which you’ll want to do based on your enemy’s strengths and weaknesses. In Episode 3 losing a battle only means that you must try again – the game bestows no lasting punishment for death. If you fail, you simply begin the battle again armed with the knowledge you gained from the previous attempt. This allows the player to experiment with different creatures and moves without worrying about making a wrong choice.

You control each estranged group separately, which allows the game to meander into completely different directions at the same time. While I quite like Episode 3, I do think it plays in somewhat of a straight line, and splitting up the main characters works perfectly as a solution to that problem. You get to explore more of a variety of environments because of the split, so you never get bored of your locale. You’ll get to check out a haunted train, a crazy zoo with weird animal hybrids, a jungle, and more. Having two stories run parallel to one another also makes the writing feel sharper and more interesting. While playing, you’ll find yourself wondering how what you do with one group will affect the other, and when and how your groups will manage to meet up. Splitting up the party makes the game feel much bigger than its predecessor.

Scope and writing aren’t the only improvements from Episode 3, though – the music deserves special mention. Like the gameplay itself, the music manages to feel classic and contemporary at the same time. It’s “chip” music sounding without feeling overly simple. The title screen song reminds me of something you might hear at the beginning of one of the SNES Final Fantasy games, which is obviously a high compliment. Sometimes with RPGs, I prefer to turn down the volume in game and listen to my own selection, but that thought never crossed my mind while I played Rain-Slick.

Every time I play a game by Zeboyd, I’m impressed with how much better it is than its predecessor. Rain-Slick Episode 3 was a wonderfully enjoyable old school style RPG with a sharp tongue and a great battle system. Episode 4 takes everything good about Episode 3 and improves it in just about every way. It’s much bigger in scope, the combat offers more opportunity for strategy, the environments are more varied and interesting, and there is more to do and see outside of the of the primary storyline. I would have been completely satisfied if the game was simply the last half of the story that started in Episode 3, but it ended up being much more than that. If you enjoy classic RPGs and you’ve got a sense of humor, I can’t think of any reason why you wouldn’t want to pick this one up. And go ahead and grab Episode 3 while you’re at it.

Overall Rating: ★★★★★ 

What does this score mean?

Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness Episode 4 is currently available on Steam for $4.99, or bundled with Episode 3 for $7.99. It is also available on Xbox Live Arcade.

This review was conducted using a copy of the PC version provided by the developer for that purpose.

© 2013, The Indie Mine. All rights reserved.

By the end of the 1970s Stanley Kubrick had established himself as a brilliant director, having released acclaimed films like Lolita, Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, and Barry Lyndon. But when The Shining came out in 1980 reviews gave the impression that Kubrick’s love affair with critics had ended. Even Stephen King said he hated it and that it failed as an adaptation of his novel. It failed to earn a nomination for a single Academy Award or Golden Globe, but did land a few Razzie nominations. Since then viewers and critics alike have grown to love The Shining. Roger Ebert, for example, pulled a 180 on his original opinion of the film and ended up slapping it on his list of “Great Movies”. Today, most seem to consider The Shining just as much of a classic as anything else Kubrick made during his celebrated career. Some obsessives, though, think of it as more than just a great horror flick and insist that the film hides secret messages and meanings. But, does it really?

Room 237 is a “subjective documentary”. It basically consists of just over one hundred minutes of clips from Kubrick’s The Shining with various narrators doing their best to convince the watcher that their understanding of the movie is the correct one. I have always enjoyed film analysis. To me, staying up until the early hours of the morning reading pages and pages of reviews dissecting movies to ridiculous degrees sounds like quite an enjoyable evening. In fact, I have spent more than one evening doing that very thing for The Shining. Needless to say, I thought I was exactly the kind of niche audience Room 237 aimed for, so I watched it the first chance I had.

Unfortunately the majority of the film feels more like a sit down with a group of conspiracy theorists as opposed to a serious work of film analysis. One narrator, for example, talks at length about how the film parallels the myth of the Minotaur. Her theory seems based entirely on a poster of a skier in the background of a scene that kind-of-sort-of-but-not-really looks like a Minotaur. Another narrator, perhaps the looniest of the bunch, attempts to convince the viewer that The Shining proves that Stanley Kubrick helped fake the moon landing footage. The only analysis of the bunch that I think holds any water whatsoever asserts that the movie has an underlying theme that deals with the slaughter of the Native Americans by European immigrants. Plenty of imagery throughout the film supports this notion, and the dialogue makes pretty direct references to it a few times. The owner mentions that the hotel stands on an Indian burial ground, and the ghost butler talks about the “white man’s burden” to Jack Torrance previous to Torrance going on a rampage and attempting to kill his family. But even the man presenting this interpretation goes off the deep end by spending way too much time talking about cans of baking powder and promotional tag lines used on movie posters in Europe. What is it with these people and posters, anyway?

To director Rodney Ascher’s credit, he does not endorse any of the interpretations presented in Room 237. Based on an interview he did for Complex magazine, he seems to think that the subjects of his film reach way past that which Kubrick originally intended. If you take into account that the subjects of the movie are closer to being obsessive lunatics than serious film critics, Room 237 changes dramatically and becomes much more intriguing and charming. Shortly into the film I stopped wondering whether Kubrick really meant to plant any of the ideas presented by the narrators and instead started thinking about the narrators themselves. Do these people constantly talk about their Shining-based conspiracy theories to their friends? Do they have any friends? What do they do for a living? Do they seem normal most of the time, or do they come across as just as strange at work as they do in Room 237?

Even though I think just about everything presented in Room 237 is rubbish, I enjoyed watching it. At first I found myself disappointed in the lack of quality analysis, but I ended up having a good time listening to the crazy conspiracy theories. If you want to delve into some quality critical dissections of Stanley Kubrick’s The Shining, you should probably skip this movie. But if you find yourself in the mood to put yourself in the head of a handful of crazy people all obsessing over their strange takes on a horror movie that came out in 1980, Room 237 is the perfect movie for you! I don’t foresee many films on the horizon that will fill that niche better than this one does, so you should probably go ahead and watch this one.

Room 237 is available to rent or purchase from a number of different places, including Amazon Instant Video and Google Play Videos.

© 2013, The Indie Mine. All rights reserved.

Learning to play takes a total of about ten seconds. The developer, Laser Dog, has designed a game so simple that apart from the title screen not a single line of text exists. To play, you simply fire pucks from the bottom of the screen at big circles on the top of the screen to destroy them. The really big circles might take more than one hit to destroy. (Hmm, sounds familiar.) Often objects will obscure the shot and you will have to bounce off or around them. If your puck finishes bouncing around and fails to hit its target you can shake your device to fling it from its stationary position to try to complete the deed. To complete the stage all this must be done in a matter of seconds, which creates a pace similar to the Wario Ware titles (Side note: it’s too bad Nintendo doesn’t make games for Android or iOS, Wario Ware would kick ass as a phone game).

Some levels prove easy to defeat, others trickier. I have yet to run across any single stage that seemed too difficult, but PUK is not a game about difficulty. It’s about endurance. Sure, completing a stage only takes a few seconds. But PUK boasts 1,000 levels, and you don’t play the levels in the same order every time. To advance you need to be quick, alert, and consistently accurate. I have no idea what happens at the end of 1,000 levels, and I will never know (my average game lasts somewhere between 30 and 50 levels before I screw up and lose), but I don’t think the end game matters. I keep picking the it up and trying to top my old high score – a number that gets harder and harder to beat almost every time I play. But that only makes me more determined.

The minimalist style of PUK perfectly matches the simplicity of its game play. The visuals are sharp and functional. For example, the pucks (puks?) that you sling all have arrows pointing up, which gives you the hint that those things are supposed to move in that general direction. Smart design choices like this help to push this game from an average casual app to something much more polished and special. The sound design also shines. Destroying one of the big circles with your puck results in an oh-so-satisfying crunchy thud noise, and completing a stage rewards you with an organic sounding “bing.” Destroying the last circle on a level is the best, because you get both the slap crunch and the bing all at once. The ambient music fits wonderfully and the tempo increases just enough to make you nervous when your time starts to run out.

PUK is basically the perfect mobile game. It’s simple to learn and play, lends itself wonderfully to short burst gaming sessions, and is fiercely addictive. The minimalist visual style looks great and the sound design shines. With most games I find myself selective with who I recommend them to. If you like puzzle games maybe you should try this, if you like arcade style games maybe you should try that, if you like RPGs maybe you should try this, etc. But not PUK. Everyone should play PUK. Your brother should play PUK. Your sister should play PUK. Your mom should play PUK. Your Grandpa should play PUK. You should play PUK. Now.

Overall Rating: ★★★★★ 

What does this score mean?

PUK is available on Android and iOS for about a dollar. The Android version was used for this review.

a Rafflecopter giveaway

© 2013, The Indie Mine. All rights reserved.

O’Leary’s Luck, written by Teel James Glenn, falls somewhere between short story and novella. For this kind of story brevity works fantastically. You want something easy, fast, exciting, and a little grimy. The first pages of the story give the sense that the author will deliver on these points. You have a New Orleans race-yard junkie loser in the wrong place at the wrong time gunned down for overhearing something sinister. There to witness this, of course, is our protagonist: Jon Shadows. Shadows makes his living as a body guard and has become world-worn in the process. In this case, Shadows has dropped by the town to enjoy Mardi Gras accompanied with a beautiful performer he met previously named Flora. She turns out to be tangled up in the drama they witnessed and Jon’s vacation quickly tuns into a job. A murder, a mystery, a manly protagonist with a silly name, and a damsel in distress – this is getting good.

Some well executed characterization can be found in O’Leary’s Luck. You get a sense of O’Leary’s life and motivations which makes him a pretty sympathetic character when he’s killed in the first few pages of the story. The violence feels less random and pointless, and makes you root for Shadows to get to the bottom of the whole ordeal. A little background on Shadows himself makes him somewhat more interesting than the typical protagonist in these kinds of books. You learn a bit about his looks, his family, and how he feels about himself, which influences how you feel about him. Little moments like these are wonderful and essential for an indie book to become something that sticks out from the crowd.

Unfortunately, things start looking down a bit from here. The amateurish writing starts to become painfully apparent as the story progresses. The author, Teel James Glenn, has a tendency to not only break some basic rules of grammar – like getting it’s and its confused a handful of times – but to repeat the same word in a sentence or paragraph until you almost feel like you’re getting slapped in the face by it. Take, for example, this line from the story: “I wasn’t sure if I should try to make myself invisible or just flat out run for my life but that’s never how I’ve run my life; I generally run toward the sound of gunfire.” The run-on sentence combined with the repetition of the word “run” is enough to give the reader whiplash. If these issues only popped up in the story occasionally looking over it would be easy. But this line reads the way most of the book does. Not horrible, but strange enough to be a off-putting and to slow or stop the flow of reading.

The tone of the book is also somewhat of a mess. Everything feels a little too PG for a hard boiled pulp. Throughout the fifty three page story Shadows says “heck” instead of “hell,” talks about feeling like a kid at Disney World, and tells his date, Flora, about how he was a full grown man before he could grow peach fuzz on his lip. He also spends some socially awkward time with Flora’s mother. Nothing is inherently wrong with these things, but it certainly does not work well in a genre associated with violence and exploitation. Characters from the book talk like the forties or fifties even though the story takes place in modern times, which adds to the weirdness. No one calls anyone a “songstress” or uses the phrase “dandy of bygone days” anymore.

The Coup de grâce for O’Leary’s Luck occurs when enjoyable campiness evolves into bizarre cheesiness. For example, Shadows describes a fight in the book as “impromptu breakdancing,”. I had to set down my e-reader when Jon Shadows – the books supposed lead badass – says, “Some things are better the old way and some the new. At least that’s what my mom would say as she made me do traditional Ninja workouts when I wanted to play baseball.” I was dumbfounded when I first read it, and I remain so now. That line, and a few like it throughout the book, left me with the impression of Jon Shadows as a Napoleon Dynamite type character.

O’Leary’s Luck is disappointing not because it stinks, but because it falls just short of being a marvelously enjoyable pulp story and instead succumbs to the common pitfalls of indie books. With some stringent editing and a little rethinking of a few story elements I would not hesitate to recommend the purchase to fans of the genre. As it exists now, though, O’Leary’s Luck stands just a little above average in the giant heap of self-published books.

O’Leary’s Luck is available for both NOOK and Kindle for $2.99, as well as in paperback from Amazon for $6.99.

© 2013, The Indie Mine. All rights reserved.

The slimes protected by the blue bubbles require an extra hit to destroy.

How much are you willing to pay for a quality mobile game? A dollar? Three dollars? Ten dollars? How about buying items in the game you already purchased? Profit through micro-transactions has, for better or worse, proven itself to be a mainstay in the app age. If executed properly, micro-transactions can be a good way for developers to give consumers a little extra something for a small fee. If executed poorly, it can leave the consumer feeling annoyed. Hungry Slimes falls into the latter category, which is unfortunate, because the game has a lot going for it otherwise.

Like most good mobile games, Hungry Slimes (developed by Annahid Games) plays relatively simply. A bunch of green blobs slowly work their way to the bottom of the screen from the top. The player attempts to keep them from achieving this goal by slinging exploding green blobs at them in order to destroy them. If too many get to the bottom, game over. Think of it as a mixture between Angry Birds and Puzzle Bobble. To make things more interesting, an explosion too far away to destroy an approaching blob but still relatively close to it will push the blob away from the explosion. While simple, this mechanic creates some serious challenges and opportunities in game. For example, if you sling an exploding blob too far and it ends up behind the approaching blob, the explosion will blast the blob closer to the bottom of the screen – obviously something you do not want. Alternatively, an explosion below an approaching blob will push it upwards. Not as good as destroying the blob outright, but it buys you some extra time to finish the job of blowing it up. In later levels you’ll begin seeing more blobs, obstacles that make aiming and shooting more difficult, and giant blobs that eat your exploding ones to become bigger and more dangerous.

The game plays nice and smooth. Plenty of thought obviously went into balancing challenge and fun, which makes for an entertaining way to pass the time on your phone or tablet. As a bonus, the online leader boards work well and add to the replayability of the game. In my first few game sessions I found myself determined to play “just once more” in order to live longer or best an old score, a sure sign that the developer did a lot of things right.

Want to use some neat power-ups? That’ll cost ya.

Sad to say, some aspects of Hungry Slimes are not as polished as the gameplay itself. I find some of the menus a bit confusing, and the sound does get a bit repetitive. The biggest issue with the game, however, lies within the way in which the developer attempts to monetize it. Let me make it clear that I am all for a developer making money off his or her creation. Over the years I have sunk an embarrassingly large amount of cash into apps for my phone and tablet. But the approach taken with the game simply does not make sense. In addition to having the standard approach of offering both a free ad-supported version and a paid version of the game on the Google Play store, Hungry Slimes uses an in-game currency (golden slimes) that allow the player to purchase power-ups, trophies, and an extra game mode. The player can earn golden slimes by playing, but it accumulates slowly. Very slowly. Of course, the player can skip all of that pesky playing and plop down real money to purchase some golden slimes.

One dollar buys 400 golden slimes, which is enough to purchase the extra game mode and still have 200 golden slimes left over. Purchasing part of a game that has already been paid for, either by buying the game or viewing ads, seems strange to me. But things get worse. The player also has the option to buy two trophies in the game. I do not exactly know what buying a trophy does, if anything, but buying both of them it will put the player back 3500 golden slimes, or about nine US dollars given the current exchange rate of dollars to golden slimes. Power ups are the final slap in the wallet. The player can select one active power up at a time, which do anything from make your explosion larger to changing the explosion into a laser. The most expensive power up is fifty golden slimes, which equals about twelve cents.

My experience with Hungry Slimes started out great. Slinging little green exploding slimes at approaching non-exploding slimes entertained me far more than many mobile games I have tried. The mildly confusing menus don’t stand in the way of the enjoyment, either. What might rub some players the wrong way, unfortunately, are the in-app purchases. With a few minor changes, Hungry Slimes would be an absolutely easy to recommend time waster. In its current state it falls just below that.

Overall Rating: ★★★☆☆ 

What does this score mean?

© 2013, The Indie Mine. All rights reserved.