“Not now, McGonagall. I’m interrogating Harry.”

Flashback! You are entering a new grade in elementary school. It is the year 1998, and the backwards baseball hat is in style. The cool kids are talking about “Harry Potter” – a sweater clad orphan that rides a broomstick. Teachers everywhere are overjoyed to see their students take an interest in reading books instead of watching MTV and skateboarding. Suddenly, the Harry Potter wave spreads. Soon, everyone will be curious about the adventures beyond Platform 9¾. The Vatican will denounce J.K. Rowling’s work as witchcraft and every boy with brown hair and glasses will be told that they look like Harry Potter, which is actually quite a compliment in many ways. 

It is not surprising that the Harry Potter series has captured and maintained such a loyal fanbase. After all, the books grew up with the readers. As Harry began to discover what he wanted in life, so did we. As Harry developed everlasting friendships, so did we. As Harry went through periods of both joy and sorrow, so did we. As Harry got rejected by the Ravenclaw as his date to the Yule Ball, so did we. (That’s right, Wendy. I still remember.) So of course the books’ popularity spawned movies, videogames, comics, hundreds of fan sites, forums, and spin-offs. But it doesn’t end there. The world of Hogwarts has been (and continues to be) analyzed from Azkaban to the Zombie Trails. Readers of the books and fans of the films are determined to search every stone in the walls of Hogwarts for more information about their favorite wizarding world, and that’s where Boughey and Earnest step in.

“Hey Harry, what’re ya doin’?” I dunno, spyin’ and stuff.

Due to their extensive backgrounds in the world of spycraft, it should come as no surprise that this is a subject they hold in high regard. Harry Potter and the Art of Spying examines our hero’s growth as a young recruit to a top secret covert operative from his tenure at Hogwarts. It is apparent that the writers are experts on the subject, and the extensive contributions of Courtney Klein and Nichole Ellis certainly help make the case that Harry is a damn good secret agent. The Art of Spying begins with a chapter-by-chapter analysis of Harry Potter and the Order Of The Phoenix, the fifth book in J.K. Rowling’s seven book saga. This essentially means that the reader is expected to know all the major plot points of the series beforehand. While it may seem odd to immediately jump right in to book five without first examining the previous four entries, the concept works rather well. It is explained that Harry’s true talents as a spy don’t really hold much weight until Dumbledore’s Army and the Ministry of Magic enter the fray. The first 38 chapters (yes, 38) are littered with footnotes and endnotes, as well as personal quips from the authors; in many ways it reads more like a fun lecture than an actual textbook.

This does not necessarily mean that everything from Sorcerer’s Stone to Goblet of Fire received the axe, however. Notes are scattered throughout the text that provide insight, direct quotes, and even sourced page numbers for reference. In the early chapters we are told that Harry’s skills at reading facial expressions are an absolute necessity in the world of spying, and his interactions with the looming shadow that is the Ministry of Magic paint a pretty clear picture of how interactions between agencies in the wizarding world accurately reflect our own. The real star of the show is Professor Snape, however. Fans of the series are well aware that our grumpy Master of Potions turned out to be one of the greatest Double Agents in the genre. Without getting into the hows and whys, I can say that Boughey and Earnest’s explanations are certainly worth considering the next time you reread… Or re-reread, or re-re-reread the series. Seriously, I can’t tell you why. That’s classified information. (Get it? Classified? That’s a CIA joke.)

The Art of Spying explores more than just the characters, too. What really makes this worth reading is the detail into the actual world of Harry Potter. The Aurors, the Dementors, the Ministry itself, etc. all have a role to play. Each agency has its own rich history, and it is certainly refreshing to see a companion book that delves deeper into the witching well. Another interesting aspect to consider is that the authors are well aware that J.K. Rowling probably didn’t intend for Harry and the gang to become spies. There is a sort of mentality that “If you search hard enough, you can find anything” prevalent from start to finish and the honesty is quite welcome. Included in the pages are expansive glossaries, annotations, and appendixes that are worth looking to for further information. The text itself is very easy to read and it is written in a clear, concise manner.

ALL SPIES MUST HAVE GOOD HAIR. THIS IS THE LAW.

But let’s get to the nitty gritty, shall we? The Art of Spying Harry Potter would probably do pretty well in the CIA. The Boy Who Lived has been trying to blend with his surroundings since he first showed up in The Sorcerer’s Stone (Or Philosopher’s Stone, as it is known in the lovely United Kingdom.) He is a wizard in a Muggle world; he simply does not belong. Naturally there were instances where Harry had used magic before his enrollment in Hogwarts, such as his mishap with the Reptile House. Harry, unwittingly, learns he can communicate with snakes and helps a boa constrictor escape captivity.

Later on we see Harry blowing his cover again. This time, however, he is aware that using magic in the outside world is a big deal. It is hard to forget Aunt Marge’s Big Mistake from Prisoner of Azkaban. Here we see Uncle Vernon’s sister verbally abuse Harry, but she later learns that it may not have been a good idea to insult the boy’s dead parents. Long story short, Harry turns her into a giant balloon. While just about every single person would applaud such an act, the Ministry of Magic certainly did not find it funny. Using their shadowy influence across the realms, the Ministry reprimanded Harry and “dealt with” the matter at hand. Harry’s lesson? Don’t blow your cover.

Then there is the infamous trial scene from Order of the Phoenix. The judges are not exactly on board with Dumbledore sticking up for Harry, but the wizened old Headmaster instructs Harry that knowing your enemy and knowing who is ignorant are two very, very important keys to getting out of trouble. Harry must weigh the consequences of every word and every action. He must be subtle and observe the body movements of each inquisitor. By now, Harry has become rather adept at reading people. Perhaps he may not be a guard in Guantanamo Bay, but he is certainly an agent who can work in the shadows.

While The Art of Spying is not an approved or sponsored entity, it definitely belongs on the shelf of any Harry Potter fan. Those who are not acquainted with the series will have trouble investing time into Boughey and Earnest’s work, however. In short, if you’re interested in the world of Hogwarts and an in depth analysis of the Ministry of Magic, this is absolutely worth reading. It is a large book, ending at 576 pages, with an additional 42 pages of glossary, but it is very easy to read. Harry Potter and the Art of Spying can be purchased from Itasca Books and it is available on Amazon.

Score: [REDACTED]

This was written using an advanced review copy of the book.

© 2014, The Indie Mine. All rights reserved.

Zane: Let me start the formal interview process by thanking you for taking the time to have this chat. I really appreciate it.

Joe: I definitely appreciate your time.

Zane: Founding a studio and creating a game of this scope aren’t small tasks by any means. What made you decide to become an indie developer, and found your studio?

Joe: Well I basically learned to write code about 19 years ago or so and started with writing BBS door games and moving on from there. I’ve worked at a few studios here in Toronto and in San Diego but eventually found myself working in other industries. The core game and ideas for Empyrios is actually a design I’ve been toying with for probably 4-5 years before the actual start of development and something that I’ve wanted to build for a long time.

Zane: Ah! Admittedly, I was curious which came first: Empyrios, or Creoterra.

Joe: Creoterra was really born in order to focus attention on building the types of games that we really wanted to play, to be honest. The core ideas and gameplay definitely predate us striking out and founding the studio, and we had a lot of world design and gameplay mechanics to start with. Once we found Jove—our artist—and he came on board with the project, is when things really started to come together from both a design and aesthetic point of view

Zane: Your aesthetic does have that old-school fantasy game feel. There are a number of areas where you’re doing things differently. For instance, I notice you’re not going with the traditional fantasy races. Even the dvergar as ‘dark dwarves’ in concept are very rarely seen compared to, say, dark elves.

Joe: Well that was one thing that we really spent a lot of time on because we really wanted to create a new world for the game to take place in. We do have a human race, the Aduro, and then the Dvergar as you mentioned, but we really wanted to have a fresh feel rather than sticking with ‘old proven’ so we’ve tried to come up with a lot of different concepts. Jove was also a big part of this and we worked very well going between art and design. One example would be the ‘Shade’ race, which our original design had more as a traditional type of undead. Jove wanted to try something new and he took the backstory of them being outcast for refusing to stop playing with necromancy and other dark arts, and tied it into the overall race. So now instead of having, say, the usual skeletal minions you might see elsewhere, the shade are basically a humanoid spirit, but with various parts of different types of living beings kind of moulded together.

Zane: Even the Aduro have a unique feel compared to the tried-and-tested staple of Humans. It’s great to see all these unique options. I can’t resist, though: are there any races that are developer favourites?

Joe: We’ve really tried to give all races, and the entire world for that matter, a really unique feel both through art style and ability design. Regarding favourites I can say that the Lithos are quite popular and we usually feature the Brute character out of game, but beyond that everyone seems to have their own favourite to play. I play a lot of the Caelum (avian race) myself and would definitely say they’re one of my personal favourites. Some people like sticking mainly with one race in their team composition, but a lot of people actually like to select from various races in whichever faction they’re playing.

Zane: I’m glad that you came to the topic of factions. You probably get this question a lot, but what is the Prophecy of Flame, and how does it relate to the two factions and their agenda?

Joe: Well the Prophecy of Flame actually stems from the Aduro race but has ramifications across the world. The human race in this part of the world started to have visits from very strange humans from other lands. They spoke of Pyrios, the god of flame, and began to recruit others into their religion and follow their beliefs. This had huge ramifications as once the Aduro Nation became the largest sect, they went from a passive view to being more aggressive, and banning and outlawing various forms of magic. This is what led to the Shade, as they are actually exiled Aduro who wanted to continue their research and practice into the darker arts. Whether that was a good idea or not is yet to be seen. I can’t go into the actual prophecy itself, as I don’t want to spoil the plot of either campaign, but it encompasses the entire world and story.

Zane: No worries! We wouldn’t want to spoil any surprises. The two factions, the Mystic Covenant and the Shadowlord Pact, they’re then centred around the Aduro and Shade, and their positions regarding Pyrios and his word?

Joe: Well their battle is one component, but every race actually has their own goals in mind, and they the factions are alliances of purpose and convenience. One example is how during their exile a high mage of the Shade actually created the Lithos race through necromancy and spirit magic. This impacts the Dvergar as you now have these wild destructive creations born in the mountains who start attacking the mines and trade routes. On the other hand, you have the Caelum who have forged a pact with the Sylvan to protect the wooded lands, and by making it seem as if the Reptilis attacked them first they’ve drawn the Sylvan into their battle. The Prophecy of Flame also foretold of the ‘beasts from the desert’ which later emerge as the Az’Modai, something the story goes into in more detail. So really the factions are actually created out of necessity, trickery, or something in between. They are much looser than say a conventional alliance where different races are friends for no reason, and it’s always been that way.

Zane: Wow. Suffice to say, there’s been a lot of preparation and fore-thought. All of this no doubt creates a rich back-story to set the current campaign’s events against.

Joe: Each faction’s campaign story isn’t actually just a linear point A to point B narrative. Sometimes you might have 2-3 options open to you on the map and you have to make a decision. Do you help the Dvergar town or the Aduro town, or do you ignore both to support the Sylvan on the front lines in the forest? Each campaign is different depending on the choices you make and the outcomes of the battle.

Zane: Strategizing well is clearly a big part of the game, and using your environment to your advantage is a core component thereof. What are some of the key elements of Empyrios’ tactical combat?

Joe: Well you hit on one key component which is trying to take tactical advantage by using the environment. Some units can set traps or alter the environment in small ways. To that effect. map control and positioning is pretty big. Another is that each unit has a set of 3 skills that vary in power cost, so you have to decide on whether you want to use ability X now, or wait and use something that costs less until you can get into a better position for a larger ability. Ouside of the battles the units in your army gain levels, have a skill mastery tree, and even one additional customization system that we’re still working on. So just because an enemy is using a Lithos Brute, you can’t be sure if he’s using it as a traditional ‘tanky’ type build, crowd control, or focussing on raw damage. And of course setting up team synergy and combos and planning your strategy is something that gives a nice edge.

Zane: Wow. Multiple campaigns with non-linear story-lines and player controlled outcomes, and then full control in a tactical environment with a myriad of options…have to say, you guys have put a lot of thought, effort and passion into this project.

Joe: Yeah it’s actually been quite the undertaking! As I mentioned early the core game concept and ideas were coming together for years before development started (actually using HeroQuest miniatures on a cardboard map), and we’ve been in full production for quite an insane amount of time.

Zane: What have been some of the major challenges of going Indie and working on Empyrios?

Joe: Well the biggest challenge for me has been the switch over to production. I spent the majority of my career, both in and out of games, in software engineering and technical direction. So while I worked hand in hand with producers, artists, and designers, I was still heavily tech focused. I had a million and one things to learn, and a lot of mistakes to make, but having someone like Jove on the project was absolutely huge as he took care of the aesthetic direction and really helped bring this idea and story on paper to life. Also, scope was a huge issue as the amount of work was pretty staggering on all fronts, whether it be code, design, art, anything! Although on a positive note we knew going into the project that it wasn’t something we would be building quickly and that we were in for the long haul project… so it wasn’t like we were surprised or hammered by scope creep.

Zane: I can imagine with something like an RPG, where you have to cater for every individual player contingency, as well as test to ensure the combinations are compatible, that it’s a huge undertaking.

Joe: The testing is actually a major part, especially with the team composition and customization. I build a lot of in-house tools and we’ve basically had bots playing the game 24/7 against each other for over a year constantly collecting data. It was quite fun, actually, because the bots were building teams and combos based on statistical analysis. Quite a few times the AI created some monster teams where we immediately knew we had to go in and fine-tune some abilities. The bots came up with a few team compositions that we never would have dreamed of using… but if the AI found them, players definitely would have at some point.

Zane: In that case, mental note to self: only play against other humans. You mention a variety of game modes, including the campaign and multiplayer. What are the modes on offer for the release?

Joe: We have the campaign mode, which is has a full non-linear campaign for each faction individual faction. Then there’s online multiplayer, local multiplayer, and practice. With online games we have a full infrastructure and matchmaking system so you can play ‘ranked’ games or just friendly games against friends. There are even unlockables and achievements. Local multiplayer is just what it sounds like: multiple friends against each other, playing on the same device. Practice mode is essentially local multiplayer versus bots.

Zane: Whom we’ve just established might be much nastier than your friends, depending on your difficulty level (and friends).

Joe: Hehehe very true.

Zane: I know this is probably your least favourite question as a developer, but the journalist code of honour dictates that I ask. Without us forcing you to commit to it, do you have a rough release date in mind?

Joe: Well our target is Q4 this year, but depending on development we may run into Q1 of next year. We’re actually 100% art complete at this stage (and we’re working on the first update actually), and majority code complete. Right now a lot of the work is in continuing to work on unit balancing, story/campaign, and heavy polishing across the board. Of course no promises with time as we want to make sure everything is extremely polished and as perfect as we can build it in our view.

Zane: That’s exciting news! Is there any way our readers can help show their support or keep up to speed with the latest progress reports and news?

Joe: Well we always massively appreciate support on Twitter and Facebook which we’ll be updating with news much more often. We’ve been ‘working in a dark cave’ for the last about 5 weeks while trying to get our latest alpha build ready and in testing so we haven’t had the stream of updates I’d like to see but there will be a lot more in the coming weeks. Also we’re hoping to have both the empyrios.com website and steam green light page online within the next 3-4 weeks or so. And of course players can check our company site where there is more information on the game and will be continually updated

Zane: Thank you very much, Joe. Do you have any final words of advice or inspiration you’d like to share with any aspiring indie devs who might be reading?

Joe: Well for me I think the biggest thing is that if you have a great game idea that you’d like to realize, you have to build it. In some cases, like with Empyrios, the design morphed from tabletop gameplay builds over the years, and writing the backstory as a hobby, into building out the entire game in production. Just be very mindful that if you haven’t produced a AAA or indie title in the past, you are going to learn a million new things, your time estimates will be derailed, and you’ll probably hit a host of unforeseen problems. As we’re wrapping up development on Empyrios I am definitely really happy with the overall process and what we’ll have achieved in the end, and I hope that players will feel the same way.

© 2014, The Indie Mine. All rights reserved.

The British Invasion is back! Or at least it seems to be with the sampling of music that came our way in August. London must be a non-stop dance party with the volume of new releases hitting the internet and airwaves. We still received our fair share of music from all over the world, so be sure to check out all of the tracks and albums starting with our own staff picks for August.

Staff Picks

Single(s) of the Month:

“Good Morning” - Terracotta Blue

Kendrick

A lot of solo electronica artists either bore you with minimalism or assault you with too much noise. Thankfully, Terracotta Blue, of Maryland, lives in a market space called 'chillwave' and exercises careful restraint and learned curation. "Good Morning", the last single from his incremental Purple Summer releases, builds a deliberate groove not unlike the best symphonic themes. The song is exactly like a summer romance, getting your attention, winning your heart, and then breaking it because the summer's over and you just want more. How can this wordless courtship be only two minutes long? Listen over and over again above.

“I’ll Be Your” – Tallest Tree

Lux

Canadian music-makers (and July's pick of the month) The Tallest Tree have recently unveiled their second single, "I'll Be Your", a rollicking folk-rock track peppered with ukelele and just the right amount of intimacy. While I think the single could've done without the kazoo-like trumpet solo, it's nice to see the duo taking risks and incorporating a few more layers into their soundscape. A definitive step-up from their first release, the track turns the spotlight on Dawn's vocal abilities, but the song still retains the same Noah and the Whale-quality present in "Boat". Give the home-spun music video for "I'll Be Your (For You)" a watch on Youtube or have a listen via Soundcloud.

“Seaside” – Duke Evers

Brandon

I had an agonizing time making my single pick this month, changing my mind no fewer than three times. Oh So Quiet and Tankus the Henge were both in the running, but in the end I went with relative newcomer Duke Evers. The Seattle-based indie rock duo recently released single "Seaside" off their upcoming album Handful of Pennies. The song is full of energy and soul and gave off a bit of a Paul Simon feel, though influences from newer bands like Kings of Leon or Arctic Monkeys can be found. In any case, it's made me eager for the full album release in late September. Might we see another staff pick then? Check back in a month or so to see.

Album(s) of the Month:

EP2 - Honeyrunners

Kendrick

Let's get this out of the way first: Yes, their bassist is really named Michael Bolton. The Honeyrunners, of Toronto, are peeking out at you from behind self-declared love for southern rock, affection for Motown and the energy of funk. What they completely fail to hide is the amount of craft and skill that goes into a nearly perfect set of songs on their second barely-titled EP. Seamless four-part harmonies make way only for Marcus Bucci's lyrical, conversational guitar, and everything is held together in a warm gospel embrace by Dan Dwoskin's earthy keyboards. I dare you not to listen to the track "Hold Me" without looking for someone to pull close. Search on the text string 'EP2' if you go looking for this record electronically, because mere language doesn't seem to handle the lazy labeling.

Lux

Toronto rockers The Honeyrunners have just released their second album, EP 2, which probably deserves a less generic title. The five-track pseudo-soul/blues rock EP, rife with radio-quality hooks and clean-shaven harmonies, harkens back to alternative rock predecessors like The Raconteurs or Jet, but with a little less attitude. Like most works of the genre, the soul comes off a little put-on to me, and I think the album would benefit from a little less twang and little more grit. That said, EP 2 certainly doesn't lack energy nor production value, and The Honeyrunners' EP 2 is a shining example of modern blues-influenced alternative rock. The full album can be streamed on Soundcloud or purchased on Amazon, iTunes, or Bandcamp.

From Now On - Azwel

Brandon

In what turned out to be another tough choice, Kye Alfred Hillig's wonderfully folksy and humorous album The Buddhist was barely edged out by From Now On from Azwel. Azwel is the project of home studio musician Jason Perillo, a veteran of 10+ years. The album is a delightful blending of pop and rock influences from the last few decades including a strong draw from the British pop scene. The tracks tend to alternate between an upbeat and low-key feel, and that push and pull helps keep the album entertaining from start to finish.

Other Music

Singles:

Londoners Tankus the Henge release multi-genre-inspired single “Recurring Dream”

Punk/grunge band The Dirty Nil continue a prolific 2014 with new single “Cinnamon”

London-based, indie rock sextet Oh So Quiet follow up debut album with new single “Collided” and B-side “Inure”

English alt rock band The Mcooleys release single “What Happened Tonight” off album Empty Blue Skies

Singer-songwriter Scarlet Baxter unveils new single “Backsliding” from upcoming EP Stuck

Indie rock act Vagabond Flag release lo-fi, politically-motivated single “Not Afraid”

Dance single “Music With You” featuring O-Dog released by Tech Warriors

Pop act Oxford Style returns with stylish single “Halcyon Days”

The Emsee releases new hip hop single “Rap Squared”

Debut single “Blue Tempest” released by dream-folk duo AERS

Leo and the Tolstoys release single “Casablanca” off upcoming “vintage rock” album

New York-based The Cabana Kids release retro-filled new single “Just Let Me Know”

Albums/EPs:

Juicebox releases Assorted Flavors EP blending neurofunk soundscapes and techstep drum work

Electronic musician Chris Kaz releases self-titled, debut album

Post-hardcore/alt rock band Pavilions release new album The Futures Mine to Make

Pop/rock artist Lettie partners with Dave Barbarossa to create new 3-track EP Crossroads

Former Indie Mine staff pick and folk musician Kye Alfred Hillig releases 2nd album of 2014, The Buddhist

Baltimore Club musician Might Mark releases first official EP Mighty

Scranton, PA indie rock band A Social State release second full length record How to Get to Heaven

Russian Winter Records announce release of 10-artist compilation The Alternative

Experimental pop artist Jessica Chase releases debut EP Coming Down

Alt rock/soul artists Black Lady Soul release self-titled debut album

Debut, self-titled album released by London acoustic duo Fireflies

80s-influenced act DigitalNativeDance releases full-length 4-track EP Los Canerreos

Acoustic singer-songwriter Liam McClair releases EP Honey

© 2014, The Indie Mine. All rights reserved.

In this quirky indie title, you play as a caveman named Ergaster who must escort these odd creatures called lemmings the habilis to safety. You start alone in a cave with drawings on the walls that tell you which buttons do what, provided you’re playing on an Xbox 360 controller. This game hates keyboards. If you play on a keyboard, you must look up both the keyboard and game pad controls and memorise the corresponding buttons so you know what the walls are telling you, and don’t even think about rebinding the keys while you’re in the option menu. The options menu isn’t for rebinding keys; it’s for switching between a full screen mode that doesn’t work and a windowed mode that doesn’t work.

You can see my wallpaper and task bar peeking through even in full screen mode.

Like most escort missions, walking the habilis through stone-age Afro-Eurasia is more frustrating than hard. Ergaster can smack a habilis to make it sit down, stopping other habilis from walking past it. If you’ve played Lemmings, think of this as the block skill. Unfortunately, timing it is finicky. I’ve had many a habilis walk past their appointed protector and into a wall of spikes as Ergaster’s outstretched palm came down like a hammer upon the savannah grass. It also necessitates more waiting than I like in anything other than a stealth game because you have to wait for a habilis to show up before you can smack it. To make all this worse, there are no checkpoints, which means doing the easy and boring parts of the level over and over again until you make that jump you keep dying on. This increases iteration cycles, which is bad game design.

Despite all this, there is some fun to be had here. There are silex to collect, and it’s a lot of fun air dashing about to collect them all. It’s also surprisingly satisfying to air dash through a wall of prehistoric crates. It’s also interesting to play such a unique platformer. Unfortunately, Ergaster isn’t executed well enough for me to recommend it over other platformers like The Fourth Wall. If the idea of playing Lemmings as a caveman instead of a benevolent god appeals to you, go ahead and check out Ergaster and the Habilis.

Overall Rating: ★★☆☆☆ 

What does this score mean?

This game was reviewed using a copy provided by the developer for that purpose.

I got you here safely. Now get in the giant mouth.

© 2014, The Indie Mine. All rights reserved.

Bernie is a young man just finished with school and starting out in the business of universe creation. Life hasn’t been plain sailing up until now, though. He’s the only child of a single working mother, his father having walked out on them after achieving fame for his universes. Despite being absent, his father’s shadow is quite large; he’s the only god to have ever won three awards for universes that he’s created. As if all this weren’t enough, Bernie is one of those gods cursed with a powerful Cloud – a chaotic force, much like a poltergeist, that vents his subconscious frustrations out on the world. Despite all these odds against him, working for The Business may just be the opportunity he needs to prove himself to his father and give his mother the life she deserves.

Events don’t go as planned, however, and working soon turns out to be plagued by the same sort of problems that occurred at school. It turns out that his first commercially constructed universe is not only plagued by problems with his technique, but that an old school rival is actively sabotaging his efforts. Due to his rival’s seniority and his own problems with authority figures, Bernie is forced to try and undo the damage on his own. So begins a guerilla war between gods to destroy or save a just-created planet. The stakes get upped when Bernie discovers the unthinkable: intelligent life has flourished on his world, without him creating any or even setting events in motion for life to flourish by itself. He’s no longer just fighting to save his family’s future, but also the lives of thousands of thinking, breathing bronze-age beings.

LeBel’s style is fluid and sleek, making it easy to devour this page-turner. Bernie is a likeable underdog protagonist and manages to attract a cast of outsiders and free-thinkers to his cause that are each as well-developed as he is. Lenny is an old school friend who has a fascination with the technology and superstitions of the civilizations the gods create, and is always seen carrying a primitive charm or piece of advanced technology to give him an edge. Then there’s Alcandor, one of the people on Bernie’s world who correctly works out that there’s a powerful being trying to protect them. He manages to contact Bernie, and together they make plans to save Alcandor’s world.

Another of Bernie’s allies is an old school friend, Suzie. She is the personal assistant to the head of human resources, and uses her charm to get Bernie as many second chances as he needs to succeed. She has a passion for worlds that challenge the inherent patriarchy in the Gods’ societies. Unfortunately, Suzie and the other female characters in the novel feel as though they exist solely as motivations for the protagonist or to further romantic subplots. Despite that, they’re still given defining traits and stay within character.

No mention of characters would be complete without talking about Billy, Bernie’s rival. He’s a cruel god who takes pleasure in inspiring his creations to war with each other, treating their lives and worlds as games for his own amusement. Bernie’s cloud left a scar on his face when they fought during school, something he’s never forgiven Bernie for. His uncle is Bernie’s departmental head, a fact that’s earned him many cronies. Even with all his friends at his side, Bernie has his work cut out.

The action is exciting and fast-paced. The narrative alternates between Bernie and the other gods, and the lives of the people on his besieged world. This helps establish a context to the consequences of Billy and Bernie’s actions. It makes for fascinating reading, and succeeds in making you wonder whether or not we have our own Bernie. If you’ve ever played any simulation or strategy games, it also makes you hanker to get back into one of those while simultaneously making you question whether or not all the soldiers you send to their doom had families and lives outside of your dictates.

The plot experiences minor repetition towards the third quarter of the book. By then we’ve seen Billy create problems, and Bernie fix them several times. There are enough new developments along the way to keep the story fresh, but this point in the plot is a no-man’s land between old and new developments, where we see much of the same thing happening.

Even with the above, this is a read that’s sure to please and guaranteed not to disappoint. If you’re looking for a great new indie book to sink your teeth into, it’ll be this one.

You can buy The Universe Builders on Amazon, or follow further details about the universe at Steve’s website.

© 2014, The Indie Mine. All rights reserved.

Every now and then you get something that eschews the normal rules of traditional gameplay. A game that doesn’t really care how you decide to operate within its world, instead opting to present you with a room of doors, and it’s entirely up to you which one you open.

Hohokum represents this perfectly. Its hands-off approach to gameplay means you can take your time to search through each level, probing your surroundings for the tiny details of flair that give the game a sense of innocence and charm. Everything you see is doused in a beautifully vibrant aesthetic, and the world itself is populated by wondrous creatures that look like they’ve been ripped straight from your wildest dreams. Strange towers with eyes, U-shaped bees, and large-headed people playing violins are just some of the sights that can be found within the game’s picturesque dream world. There’s always the feeling that for every elephant creature or hat-making villager you find, you still have more to see, and there’s just no way of knowing what creation will appear next.

Perhaps the weirdest creature of them all is you. Your involvement with the world comes in the form of a giant snake-like creature with one singular beady eye placed at the head of its long, twisting body.  You are, for lack of a better word, a magical flying Cyclops. And as a magical flying Cyclops, you have the freedom to weave through the world, exploring its features and completing tasks along the way. The creature controls as you would imagine, with the thumbstick used to control the direction of the head and the body propelling it forward. Using the Square button slows you down for precision movement; whilst holding X lets you build up momentum to travel much faster across the landscape. Neither function is relevant to any of the game’s tasks, but they go a long way towards helping you experience the world at your own pace. Slowing the speed down can be especially helpful if you’re trying to examine some of the finer details of the world, as the creature is in a constant state of momentum, which can make it hard to get a good look at the environment and its inhabitants.

As for what the goal of the game is, well that’s somewhat debatable. There’s a large emphasis on exploration within Hohokum which is made clear from the lack of guidance it gives you. When the game starts, you’re shown a delightful display of several creatures that fly alongside you as they playfully weave across your screen. Eventually you reach a middle point in the world, and the creatures disperse in all directions leaving you all alone in this unknown dreamscape. From what I can gather, this is the start of some crazy inter-dimensional game of hide and seek, but the game never really gives you any explanation or prompts about what is happening, instead leaving you to your own devices in the hope that you’ll figure it out in the end.

At one point, I entered a world full of hollowed logs that seemed to go on forever. Each log was just like the last, and despite being able to go through them, there didn’t seem to be any real interaction to be had with these scattered pieces of timber. And so I searched, across the edges, and throughout the middle of this forest of logs, at first quizzically and then desperately, struggling for a revelation as to what it was this zone actually wanted me to do, only to go away empty handed and frustrated. And to this day I still have no idea what the goal of this room was, or just what I had missed so blatantly.  Unfortunately this issue persists throughout several of the worlds, and what at first feels like a whimsical canvas to explore soon turns into a hastily wrapped tussle as you desperately scan the horizon for a hint or a clue as to what the game actually wants from you.

These worlds are what Hohokum is made up of, and each one seems to serve as its own separate puzzle. In one instance I entered, I was greeted with a trio of elephant men wearing water tanks. As I sailed past them, they boarded my snake body and began to collect globs of honey that was floating across the skyline. Below them rested a giant mechanical labyrinth of pipes and tanks, and the goal of this world was to gather up enough of this honey to fill the main tank, which in turn gave me access to climb inside the machine and reach a blocked off area. After accomplishing my task, a creature like me – one of the several we saw at the start of the game – emerges, and I’m treated to a mini cutscene of strange creatures doing strange things. This world is seemingly complete, though I’d never know for sure.

The portals are an intertwined series of pathways; each one offering access to another land with each one representing its own distinctive motif. On one occasion I found myself stumbling across a water park filled to the brim with partygoers. There was excitement and life as far as you could fly, and the entire zone was alive with activity. That is, until I travelled below the platforms and festivities. Passing through a seemingly unimportant gap in the rocky underside of the structure caused the world to pulsate, and all of a sudden things took a strange turn. The party was over, and the once active water slides lay in ruins.  The platforms that were so alive moments ago had now been reclaimed by nature, and the overall tone had instantly shifted to something more serene. It’s these moments, of sheer intrigue, that carry Hohokum above the leagues of a simple puzzle game. In the blink of an eye, the simple act of passing between two rocks revealed a new world, and as far as I’ve seen this mechanic is unique to this specific zone. And there’s plenty of other seemingly unobvious triggers scattered across the game that offer these charming little nuggets for you to experience, and it’s fair to say that this is the true heart and soul of the game.

To say that Hohokum is a puzzle game would be doing it a disservice. While it is true that there are goals to achieve, these are not strictly the main aim of the game. Instead, you’re given this colourful playground full of imaginative creatures and interactions, and you’re simply told to go and play. However, when the time comes to progress through the game, some of the puzzles present themselves in the most obscure ways imaginable, often leaving you flying around in circles wondering just what the game is trying to tell you. Those of you who like a clear cut challenge should probably avoid this title, but if exploration and colourful dream-creatures are your thing then I would strongly recommend diving in.

Overall Rating: ★★★★☆ 

What does this score mean?

This review is based on experiences from the PS4 version of the game.

© 2014, The Indie Mine. All rights reserved.

When’s the last time you bought a rock album, lay down with the lyrics, and were moved? Check Google to see if there’s a record store still operating in your town and pick up Heal, the latest album from Strand of Oaks…because it just may be a masterpiece.

Tim Showalter is the musician behind the project, and has delivered in Heal a frighteningly emotional album, bare-souled and full of tremendous, joyous pain. Strand of Oaks has put out good tunes before, but something is markedly different here.

The album’s central themes of regret, alienation, and lost youth may have been sparked, at least in part, by musician Jason Molina. In the song “JM”, Showalter sings directly to the midwestern rockstar.

I was just an Indiana kid
Getting no one in my bed
But I had your sweet tunes to play

Molina died in 2013 due to extreme alcoholism. Showalter can’t seem to shake that dreadful truth, his homage laden
with dark, dead end memories. Even the guitars seem to be crumbling, and then crashing down, all around him.

The album serves as a memoir, with candid and relatable recounts of rocky relationships. This is negative nostalgia, stark and accessible. Even upbeat songs lack the optimism that could drive this album anywhere close to pop.

Lyrics are complex and unsettled. In “SHUT-IN”, Showalter is stuck in a solitary depression, almost with pride.

I ain’t talkin’ about money
I don’t wanna talk about love
I hate thinking’ I’m not the same as I was
I lose my faith in people
Why even take the time?

Musically, the album spans several rock sub-genres. “SHUT-IN” has moments that evoke Springsteen at his best. “WAIT FOR LOVE”, the album’s closer sounds like a Coldplay of an alternate universe, raw and evocative. Some moments are folksy Americana, and some approach classic heavy metal. A front-and-center synthesizer on “SAME EMOTION” conjures a retro 90′s vibe in the closing solo.

Long considered a folk act, Strand of Oaks may have just delivered the rock album of the year. One hopes that Showalter was able to experience catharsis after bringing it to the public with such urgency. He has here proven himself a capable songwriter and frontman, deserving of the attention of the rock world.

© 2014, The Indie Mine. All rights reserved.

The science fiction genre has always been a source for creativity to flourish. Dangling just beyond our reach, the idea of bizarre space anomalies and strange new life forms hangs within the realms of the great void of space, and it’s through this mysterious veil that we cast our focus. For every story involving verdant new worlds or highly civilized lifeforms, there will in turn be the tales of the infinite emptiness of space and the malignant creatures that want nothing more than to invade your body.

The Swapper sits firmly on the latter of the two options mentioned above, with its emphasis on maintaining an aura of confusion and unease acting as a backdrop for the puzzling elements that drive the gameplay. You play as a stranded survivor on the Theseus, a once functional spacecraft that has since fallen into disrepair. With the crew unexplainably missing, you’re expected to discover just what has happened whilst looking for a way off the ship.

The game is heavily focused on the mechanics of the ‘Swapper’, a peculiar device gained near the start of the game that allows the user to create clones of themselves at both short and long range distances. What’s more, they are then able to swap their own consciousness between the active clones, so long as they have a clear line of sight to them. You can only have a maximum of five instances of yourself active at any given moment, including your original self, and many of the game’s puzzles derive from this restriction, forcing you to think logically about where you place your clones when trying to complete each obstacle.

To complicate matters, the game slowly introduces several other obstacles to restrict progress even further, by way of coloured lights. The blue lights allow you to fire your swapping beam through them but restrict any chance of spawning a clone inside the field of light. The red beam has the opposite effect where clones can be spawned, but no swapping beam can pass this field. While it may seem odd that a superior piece of technology that’s able to produce matter out of nothing can’t penetrate the altered hue of a beam of light, the mechanics behind this are sound. Each puzzle requires you to approach the situation of what you can and can’t do with a logical mindset, and whilst the way at first may seem unclear, stopping and analysing the options that are available to you will eventually yield the right answer.

One such puzzle greeted me with a room full of vibrant colours. A mixture of blues and reds cast liberally against a large portion of the chamber, with a few seemingly meaningless pockets of unlit space to fill in the rest of the area. A large chasm spanned the gap between me and the shiny token I had to acquire, and any attempts made to clear the gap by jumping were met with a swift and undignified death. After a few minutes of repeated dying and head scratching, the way became clear. In order for me to pass the challenge I had to create several clones inside the empty spaces and carefully manoeuvre them in sync as they traversed the areas I could not reach, triggering the necessary pressure plates scattered around and deactivating the lights that blocked me from swapping over the gap. There’s an odd sense of satisfaction that comes with completing a puzzle room, and it comes as a stark contrast against the otherwise bleak atmosphere of the derelict spacecraft.

Along with the puzzle-driven progression, the game features a large portion of the derelict ship for you to explore. Similar to that of a Metroidvania, the world is spread across a flat 2D canvas, and you’re expected to navigate throughout in your search for the various puzzle rooms. Fortunately, backtracking through previous areas of the ship isn’t very difficult as there are plenty of teleportation devices that allow you to fast travel between key points on the ship, helping you go back to any rooms you may have passed on previously.

By just focusing on the puzzles, you’re likely to miss out of the underlying story that surrounds the game, which is a shame as there’s a narrative hiding under the surface that makes for interesting reading. By exploring the expansive halls of the ship, the tone of the game becomes much darker than it first seems. There’s an eerie presence that lingers throughout, and as you clear more of the game’s puzzles, it becomes clear that the story is as morbid as the gloomy visuals of the game lead you to believe, with topics of ethical practises sitting at the forefront of the narrative.

Since The Swapper started life as a PC title, it was always going to be a challenge to see just how a controller could handle the dual input of movement and aiming. Since your cursor is always relevant to your player’s character, it was perfectly suited to that of a keyboard and mouse. Movements that required quick reactions we’re easily achievable with the freedom afforded to the PC control scheme. On the PS4, the controls are tied to the twin thumbsticks, with the clone creation and swap ability tied to the trigger buttons accordingly. I never had any issues playing with the default settings, but for those who do the game features the option to let you adjust the sensitivity of your aiming reticule, which should help those with issues acclimating to the controller layout.

As far as console ports go, The Swapper is a solid entry to the PS4’s indie catalogue. The game remains true to the PC version, excelling in deliverance of a compelling and atmospheric sci-fi horror story. The puzzles are well paced and engaging yet rarely stray past a high level of difficulty, meaning you’re unlikely to be stuck on the same puzzle for days on end. Top that off with an intuitive set of controls well suited for the console and it’s easy to see why The Swapper got ported to begin with. Those of you who’ve already completed the game might not have much reason to play through again, but for newcomers this is definitely one to pick up.

Overall Rating: ★★★★★ 

What does this score mean?

This game was reviewed using a copy provided by the developer for that purpose.

This review is based on experiences from the PS4 version of the game.

© 2014, The Indie Mine. All rights reserved.

After the inbox-breaking month that was June, July almost seemed bereft of music by comparison. Thankfully, that wasn’t actually the case. Although we didn’t see the same diversity of musical genres that we’re accustomed to, there was still a bunch of great music to catch our attention. Staff editor Kendrick and staff music writer Lux join me in making our single and album picks this month. Agree or disagree with our selections? Leave a comment and let us know which releases tickled your earholes. Be sure to check them all out below.

Staff Picks

Single(s) of the Month:

“Venture” - City and The Sea

Kendrick

We like City and the Sea here at the Indie Mine, and this Hamilton, Ontario group last got our attention in February 2013. Their new single, the summer anthem "Venture", answers the bizarre question of what a super group would sound like if Neil Young and Bob Seger got together with all the members of Weezer. City and The Sea acknowledge their many inspirations and influences openly and proudly, which is weird because nothing they record actually seems stale or derivative. Their sound is a direct reflection of each member's individual contribution across decades of experience. Like a trusted auto repair shop (or a successful porn studio) their appeal is intergenerational, speaking to both the young and the not-so-young. "Venture" is one of those songs that you'll hear again after a few years that will strike you with a new realization you wouldn't have had as a younger listener.

“Boat” – Tallest Tree

Lux

Canadian indie rockers and married couple The Tallest Tree have recently released their debut single, “Boat”, an upbeat, grungy romp of a folk-rock tune. The track has a lazy, Noah and the Whale quality to it, with harmonic flourishes and production value that convey a sense of maturity unusual for a first release. “Boat” is solid in its simplicity, and, although I think the song begs for more complexity and a greater dynamic arc, it definitely shows promise.

“Bible John” – The Sea Kings

Brandon

"Bible John" is the debut single from Glasgow artists The Sea Kings. The catchy track combines elements of pop, new wave, and smatterings of a few other genres. The single is part of the band's album Woke in the Devil's Arms which released in early August (just a little late for July's Roundup). Have a listen to the track above and then head on over to SoundCloud to hear the rest of the album.

Album(s) of the Month:

High Noon – Arkells

Lux

Indie Mine veterans Arkells are set to release their third full-length album, High Noon, on August 5th, and I think it's safe to say they're on track to be making plenty of so-called “Fake Money", as the leading track deems it. Teetering in between the Canadian indie scene and pop stardom, Arkells are a capital P Product, and their newest release is, at its core, pop with flair. Tracks like “11:11”. with somewhat cut-and-dry pop hooks and Katy Perry quality bass riffs are accented by wispy 80's synthesizer and fuzz filter, and Kerman's drawly, sometimes talky vocals are always energetic. Repeated themes lend the nostalgic, romantic lyrics some believability, although it still comes off a little trite. High Noon is high-quality, radio-friendly pop-rock (a la Imagine Dragons), and it's certainly worth a listen if you're into the genre. The album is available for purchase on iTunes or directly through the band's website, and you can listen to the tracks “11:11”, “Come to Light”, and “Never Thought That This Would Happen” via Soundcloud or Youtube.

Bulbs of Held - Bulbs of Held

Kendrick

While it's not true across the whole genre, a disturbing amount of electronica is made by annoying meatheads. Almost any idiot can drop a beat armed with a Macintosh and a sense of privilege, ending the night with the sole worry that the groupie in passenger seat isn't entitled to a voter registration card. That's why the debut EP from Bulbs of Held is such a breath of fresh air, because it's legitimately cool. This educated Manchester duo doesn't crave your praise or your devotion, not when they're making tracks in 7/4 time and playing guitar harmonics with the edges of a pinky finger. The opening track is also the stand-out, a breathy vamp called "Soulenalle" that the group gleefully identifies as disco without feeling any need to be constrained by the label. It's worth your time to check out this risk-taking, boundary-pushing music.

The Lost Weekend - Sean Flinn & The Royal We

Brandon

I agonized over my album pick for a few days, flipping back and forth between two worthy contenders. While I thought that Jeen O'brien's Tourist hit higher highs, I felt that The Lost Weekend was more solid from start to finish. Sean Finn & The Royal We's indie rock album is a showcase for Flinn's singer/songwriter talents, and the 3-piece backup band lulls the listener in with each easygoing track. Highlights for me included "City Lights", "The Ravine", and title track "The Lost Weekend".

Other Music

Singles:

London-based electronica band Ooberfuse release “Different Drum”

One-man band Feexer releases debut single “Diamonds and Defects” off upcoming album of the same name

In advance of second new album this year, Zebracore band Postcode releases music video for single “This Day Will Come”

Split single “BRIDGEBURNER” includes surf-punk thrasher “Liar Liar” and classic rock track “Gold Star”

Derbyshire rockers The Four Fours release double A-side with tracks “Count to Ten” and “Messing With History”

Dave Rave and Heads Up Lincoln release holiday-inspired track “4th of July”

Indie Mine veterans Illitry release black and white short-film for latest single “Runaways”

Mother Leads release second single, “It’s a Feeling“, off upcoming debut album Myriad

Indie pop artist Pale Green Things releases upbeat single “Pink Flamingo”

Albums/EPs:

Blues rock artist Jeff Bell releases album Songs From No One in Particular

St. Helens trio The Bordello follow up 2013 release with new albums Will.I.Am, You’re Really Nothing and Extra Smooth

DJ and producer Headman/Robi Insinna releases 4-track set 6 E.P.1

Minimalist punk duo Ed Schrader’s Music Beat generating buzz with new album Party Jail

Debut album Simple Things released by UK pop/rock group Felt Tip

San Francisco shoegaze duo My Red Dress release album Out There/Cave

Canadian musician Jeen O’Brien releases solo, indie pop rock album Tourist

Toronto rock group Jay Pollock self-produce and release 11-song album Sunflower

Another Man’s Poison release self-titled album full of 60s rock and 70s punk inspiration

Gimme Some Lovin’ is a mix of live and studio cuts and marks the latest album from musician Marcus Singletary

House/techno musician and producer Jeton Gjidoda creates new EP Possum

Mike Cykoski and A is for Atom release latest indie rock EP Song For You

Texan indie rock band Young Ones release new EP A to B

Folk singer/songwriter Matthew Oomen records album Where the Valley is Long

Indie dance / nu disco artist Mikael Fas releases EP Mesosphere under new label

© 2014, The Indie Mine. All rights reserved.

Mount Your Friends is a game in which you control several half-naked bodybuilders by taking control of their arms and legs individually. When a limb comes into contact with another surface the limb will latch on, affording you an anchor point with which to pivot the rest of your body around. Those familiar with games like QWOP or Surgeon Simulator will easily recognize the mechanics at play here, in which the entertainment stems from the sheer difficulty involved with controlling several appendages at the same time, and the aftermath that usually follows when you inevitably fail to do so.

After the first few matches, manoeuvres will start to become more aggressive as you learn how to manipulate your clingy muscle folk in a way that would make Spiderman blush. Since everything you do is affected by gravity and momentum, it’s possible to swing across large distances using the perfect combination of timing and thrust. Of course, these advanced and hugely rewarding tactics come at the cost of being somewhat risky. One false move or misaligned vault across the chasm of man-thighs could cause you to take a tumble down the beef fortress, sealing your fate in the process. All of this combines to make a dynamic of risk vs. reward play, and the resulting successes or failures are what make each match entertaining.

There are a slew of modes included within the game to keep potential ‘mounters’ busy, but the main draw and indeed the focus of the title itself is the concept of mounting your own friends. Available for both local and online multiplayer, the standard mode will see you battling against your opponents as you clamber on top of one another. Each player takes turns adding to an ever expanding tower of oiled men until it gets to a point where the man-statue is so large that you or your opponent cannot scale it within the 60 second time slot granted per turn.

Other modes are on hand to offer alternative objectives, like sprints across great distances and duels with head-mounted swords, and whilst they are entertaining to try out it’s disappointing to see that most are locked to either single player sessions or local multiplayer. It’s worth noting that whilst the single player modes are entertaining to try out, they soon offer little motivation to play again after the first few sessions. The game is at its best when played against other players, and the sense of collective shambling and limb jiggling just doesn’t manage to translate over to any of the solo game modes.

Mount Your Friends is nothing short of a master class in small scale multiplayer mayhem. It takes full advantage of the sexually suggestive nature created from its own image and name, and it runs with it as a consistently entertaining gag throughout the game. While this humour may not appeal to everyone, the game itself has a solid foundation built upon the intentionally obscure control scheme that creates as many victories as it does failures. However, the game is better experienced when playing in the company of friends, either online or locally. The sense of competitiveness that spurs on each match is sorely lacking within the single player modes and you’re not likely to be playing for long if you don’t find any friends to mount.

Overall Rating: ★★★★☆ 

What does this score mean?

This game was reviewed using a copy provided by the developer for that purpose.

This review was based on the experiences with the PC version of the game.

© 2014, The Indie Mine. All rights reserved.