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.

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.

Truffle Saga puts you in control of a dog named Truffle who must destroy mushrooms by throwing acorns at them. You throw acorns the same way you slingshot fowl in Angry Birds, except you don’t control how hard you throw them. You even get a white dotted line showing the path of your most recent throw. Unlike Angry Birds, which gives you multiple airborne critters to shoot your enemies into green bacon, Truffle Saga only gives you one acorn per level.

With all the weird stuff in this game, it shouldn’t be surprising that acorns are an effective anti-fungal agent.

At first the only obstacles are sticks and leaves, so all you need to make your shot count is good aim. After a few easy levels bouncing nuts off leaves, you’ll have to learn more tricks. There are flowers that eat your acorn and spit it out, bees that act as trampolines, and monsters that swallow your acorn, ending the level. Those of you who want games to make sense are not going to have a good time. These challenges add depth to the game, but unfortunately they also cause it to fall apart. Some of these extra elements require you to use awkward touch controls, especially the bouncy bees. To make matters worse, Truffle Saga suffers from a common AAA game trap and forgets what kind of game it is. There are a few levels that are solved by moving a bouncy bee around the bottom of the screen like in Breakout. Fortunately, you can skip levels by tapping an onion icon in the corner of the screen.

My other major problem with Truffle Saga is that its ads are really annoying. Paid versions on other platforms may not have them, but I played the Android version on my Droid Razr HD. There were many times when a new level had just loaded and I tapped the screen to throw my acorn, only to be thwarted by an ad that popped up just before I touched the screen. I eventually got sick of this and turned off my WiFi, but then the game kindly informed me that it had also fallen into the AAA trap of requiring a constant Internet connection.

Like most mobile games, Truffle Saga has a three-star ranking system to increase its replay value but with an interesting twist. Each level has three gems to collect in addition to the mushrooms, but after finishing the game you’ll be challenged to play each level four times, collecting a different number of gems each time for a crown. It’s a great design choice because avoiding gems is often trickier than collecting them.

Truffle Saga has some interesting puzzles and a clever way to add replay value, but I can’t recommend it because of its awkward controls, intrusive ads, and genre amnesia. If you can live with those things, you can get it on Steam, Google Play or the App Store.

Overall Rating: ★★☆☆☆ 

© 2014, The Indie Mine. All rights reserved.

Created by Finnish developer Timi Koponen, using the ever-popular Unity engine, RYO is a color-based puzzle game available for iOS and Android that uses simple one-finger swipe mechanics to match red dots with red dots, yellow dots with other yellow dots… and so on. This simple premise is evolved upon by adding different shades of colors; therefore, asking the player to cross colors in order to change them to the correct shade needed. Against a plain black background, it has a simple visual style that is effective and quite calming. There is no music other than simple sound effects, so a nice piece of ambient/shoegaze/post-rock seems to do the trick (full on thrash metal also seems to work – don’t ask why).

Pretty self explanatory

As far as puzzle games go, RYO never straddles too far away from its comfort zone. The slightly more complex layout of colors that exist later in the game are entirely achievable to solve through trial-and-error, and the comforting lull the game presents soon becomes a mad-dash swipe of fingers, as thought and a need for logical problem solving are thrown out the window. It’s a shame, as for about the first fifty of the game’s eighty levels there’s a nice groove of adding layers of difficulty that suit the limitations of the game’s mechanics. But without any sense of risk/reward, and with only a few times where it feels necessary to think about which colors to swipe across, the last third of the game does start to drag.

Also – and it is a minor thing in all honesty – if you swipe across but halfway decide that you’ve made an incorrect move, you can swipe back to the starting point, but the screen will still shake, thinking that you’ve swiped across to an incorrect color. It’s more of an irritation than anything else, but no one likes to be told they’re done something wrong when it isn’t valid!

Swiping through different colors will, unsurprisingly, change colors

The game is very short: around ninety minutes is more than enough time to see it through to the end. But for the asking price of $0.99/£0.69, it’s the smallest of gripes to have about an otherwise enjoyable slice of touch gaming. There is certainly room for improvement; obstacles, extra colors, variables – there is a multitude of things that could be done, but for a first attempt, RYO is a great concept that is worth checking out.

Overall Rating: ★★★★☆ 

What does this score mean?

This game was reviewed on an iOS device using a copy provided by the developer for that purpose. 

© 2014, The Indie Mine. All rights reserved.

There’s lava at the bottom of this pit, but it can’t hurt me because it’s not on screen.

If I were a sarcastic person, I would say there is a dearth of indie 2D platformers like The Fourth Wall and Four Sided Fantasy with unique and often-clever gimmicks. The Fourth Wall‘s gimmick is that pressing CTRL locks the screen in place and allows the hero to walk off one side of the screen to emerge on the other side, fall through the bottom of the screen and reappear at the top, or jump through the top of the screen and pop out of bottom. The game is filled with puzzles that are solved by using this gimmick, and I encourage you to download The Fourth Wall for free because because playing it for yourself will give you a much better idea of whether you like it than reading about how much I enjoyed it. Four Sided Fantasy‘s developer, Ludo Land, will build on The Fourth Wall by adding multiplayer, more ways to use screen wrap, and a new art style.

Four Sided Fantasy is scheduled to be released on PC for $10 next year. You can vote for it on its Steam Greenlight page.

© 2014, The Indie Mine. All rights reserved.

I’m not sure what kind of animals those are.

Hilomi is the opposite of a 2D platformer. In a platformer, you are given a character and an environment. You control the character to navigate the environment, collecting items and completing objectives. In Hilomi, you are given a character named Hilomi and an environment, but now you control the environment to help Hilomi collect pictures of animals and reach the gate to the next level.

The mechanics of Hilomi are pretty simple. The environment is made out of Minecraft-like blocks that Yamago repainted with better textures. There are different materials like earth, stone, sand, water, totem, wood, ice, and fire. All of them are good for something except stone. You can create and destroy blocks of earth, and you can turn materials into other materials. Making and destroying earth takes one mana per move, and converting materials takes two. My first problem with Hilomi is the contrived nature of this Minecraft alchemy. It makes sense that you can turn wood into totems because totems are often made of wood. It makes sense that these wooden totems can be turned into fire because, as any pyromaniac who’s received something from a Hawaiian gift shop knows, wooden totems burn quite well. If anyone understands the logic between being able to turn fire into sand, please, I implore you: leave me a comment and explain it to me.

Hilomi has a variety of environments, so you won’t get bored of the scenery.

The other contrived bit is the way you get more alchemy powers. In the beginning of the game, all you can do is make and destroy earth. Your alchemy powers are introduced one by one as you need them, with no explanation as to why you just learned a new trick. In fact, I don’t know who is helping Hilomi navigate these areas to take pictures of the wildlife. Hilomi is introduced in the opening cut-scene as a young, probably French girl who likes to take pictures of animals. I really like her as a character, but I have no clue who I am playing as. Am I some kind of benevolent god? Am I Hilomi’s subconscious, controlling a dream she is having? Am I a vampire who is working to gain her trust so I can eat her later?

That last one would make me feel better about the art style and music choice. In my preview of Forward to the Sky, I made a distinction between the kind of cheery that makes me feel like I’m going on an epic adventure and the kind of cheery that makes me sick. The art style of Hilomi is the latter.

My other problem with Hilomi is its loading times. My phone is a Droid Razr HD running Jelly Bean, and it took an average of 27 seconds of loading time to be ready to play. After that, there is a 5 second load time between worlds. This won’t be a big deal to some people, but when you’re waiting for your grandfather to get his hair cut, 27 seconds feels like a couple of minutes. The development team is currently looking at the issue.

Other than that, the game is really good. It’s easily the best mobile game I’ve ever played. While the cute art style annoys me, I like that the animals smile when Hilomi gets close to them. It has a rating system similar to the three-star system in games like Angry Birds, Cut the Rope, and Ten Second Ninja. Each level has three or four animals, and you must take pictures of all of them in order to get the highest rating. It’s incredibly satisfying to come back to a level that’s been troublesome and finally get all of the pictures. It also amuses me that Hilomi takes no fall damage but dies instantly in water like Cole McGrath from inFamous. Once you get past how contrived the game is, it’s incredibly fun. It has minor flaws that keep it from being perfect, but if you have an iOS or Android device, I strongly suggest you at least download the free version.

Overall Rating: ★★★★☆ 

What does this score mean?

This game was reviewed on an Android-based device using a copy provided by the developer for that purpose.

© 2014, The Indie Mine. All rights reserved.

Forward to the Sky stars a little girl who runs around in a castle-like environment in the sky and kills reanimated skeletons that I like to imagine were once little boys. I had some gripes about the controls; whenever you attack, you attack in the direction the camera is facing, not in the direction the character is facing. It’s also a bit awkward to manoeuver using WASD and the mouse as in a typical first-person shooter, but that’s mostly just the result of using a keyboard and mouse to play a game designed for a game pad.

I had to smack a couple of those red switches to get the platforms in place.

In addition to smacking undead things about with a giant sword, Forward to the Sky has puzzles and platforming, and the two interact quite well. There was a part that involved hitting the right switches to move platforms around so I could get to a new location, although I hope the puzzles get more complex than figuring out which two of the three switches I need to hit. Whenever I hit a switch, I can clearly see what it does because it happens right in front of me. It’s amazing how many games frustrate me by making me flip a switch or press a button and then wander around through the level trying to find the secret door it opened.

The platforming has all the polish of a game in alpha, but when it works, it works like a simplified version of the greatest PS2 platformers. There are no double jump or mid-air attack to stay in the air longer, but it is also devoid of annoying magnetic assistance features and invisible walls. Speaking of walls, all of them seem to be weak against gigantic swords. If I wanted to see what was on the other side of a wall, I smacked said wall a few times and jumped over the pile of rubble left in its place. It was a refreshing change after all the games populated by buildings and furniture that seem unaffected by rockets and grenades.

Forward to the Sky has a bright, cheery, cartoonish art style and soundtrack, but it’s not the kind that makes me sick and long for a darker, grittier game. It gives the impression that you are a young adventurer at the beginning of an epic tale in which the sky is the limit. With its platforming, combat, and bright music and visuals, Forward to the Sky reminds me of a 3D version of Maplestory without the bugs, hackers, fetch quests, and pretty much everything else that made Maplestory suck. I’d like to see different environments because grey stone seems like it would get old fast, so hopefully Magichnology adds some grass, bricks, trees, and more natural-looking stone to change it up. Despite that, the game looks promising.

Forward to the Sky is scheduled for release late this year for Windows, Mac, and everyone’s favourite penguin-endorsed OS. If you’re interested, please check out its Indiegogo page and consider contributing.

© 2014, The Indie Mine. All rights reserved.

Gravity sucks. Like that annoying kid on the playground who likes to trip you because he thought it would be funny, gravity is always there waiting for its time to strike. A silent guardian of physics, gravity is the cause of every dropped biscuit wasted, every painful trip you’ve taken, and every pen that’s escaped your grasp.  I hate you, gravity.

0RBITALIS is all about gravity, or perhaps more accurately it’s about figuring out how to exploit the forces of gravity to get a small red ball to stay in orbit for as long as possible. If you’ve ever played Angry Birds: Space, you will already have a good idea how the controls work.

Each level presents itself as its own unique puzzle, with large red stars and smaller white asteroids liberally dotted around in their own orbits. Changing the angle and force of your shot can yield wildly different results, and by using the gravitational pull of each celestial body you’re able to pull off some crazy ‘skill-shots’ that leave your projectile soaring through the stars for what seems like a lifetime.

Of course, getting a trajectory that lasts longer than a few seconds isn’t always easy. If you apply too much force on your shot, you’ll end up flying straight off the map and into a world of failure. Shoot too softly, and you’ll be sucked straight towards the closest object. It’s all about finding that sweet spot for each level.

There’s little to dislike about 0RBITALIS. It scratches an itch for physics puzzling without overcomplicating things. The levels are varied enough to keep you occupied for a good while and the leaderboards can help create healthy competition between you and your friends. The game is essentially feature complete despite launching as an Early Access title, and if you’re in the market for a new puzzle game you can’t go wrong with shooting things into space for fun.

0RBITALIS launched on the 16^TH across Steam Greenlight as an Early Access title.

© 2014, The Indie Mine. All rights reserved.

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.

Khaba at first seems like a simple enough puzzle game. Using statuettes and mirrors, players reflect and direct a beam of light onto a door which leads to the next level. It is a simple and logical concept that would probably become boring after a while if not for all the little tricks and additions Hello There pulls off. There are other doors acting as obstacles in your path that can only be opened by directing light towards certain orbs. Some of these doors remain open, while others close up again if the direction of the light is changed.

A few levels in, another type of light is introduced as well: dark light. The beam of dark light can only be activated if the beam of sunlight continually hits a blue orb. Both of these kinds of light must be used in tandem to reach the final door, but there are a few conditions. There’s only a limited amount of reflecting statuettes and mirrors, and the dark light and sunlight cannot use these objects simultaneously. What at first seems like a simple game ends up offering a satisfyingly cerebral challenge as players have to test out different set ups and figure out in what order to open certain doors and other obstacles. Unfortunately for some, the sheer level of challenge might put them off. Khaba has a few tutorial levels followed by some levels with a fairly reasonable difficulty curve, but then suddenly ramps up the difficulty to a point that might end up causing a lot of frustration. A few levels definitely forced me to walk away for a bit and try to come back later with a different perspective. This isn’t exactly conducive to quick bouts of gaming on the go, but might appeal to someone looking for a hard puzzle when they have a meatier chunk of time available to them.

Besides its difficult and cerebral puzzles, what sets Khaba apart from a lot of mobile puzzle games is that it features a fully voic-acted narrative tied into the puzzle mechanic. Players take the role of Michael, an explorer seeking vast treasures and excitement within the pyramids. Mysteries abound as Michael ventures deeper into the pyramids, and it actually ends up being a neat little story. Besides small “cutscenes”, collectable scarabs are introduced which not only add another element of challenge to the puzzles, but also give up more tidbits of the overall narrative. These aren’t mandatory to collect, but offer an extra reward for players that find interest in the story. Probably my only nitpick story-wise is that Michael’s voice acting is a bit cheesy, but not so much that it really detracts from the game.

However, my biggest issue with the game is its touch controls. I have small hands and I still found myself getting frustrated when the game would misinterpret my finger touches and I would end up moving statuettes entirely when I just wanted to change the direction of the light beams. Certain parts also required an amount of precision that had me re-doing things so many times because objects would move when I lifted my finger up from the screen. This is mainly a problem with playing Khaba on a mobile device with a smaller screen though–playing the game on a tablet was significantly easier. Nevertheless, I found myself wishing there was also a desktop version as the idea of playing this game with a mouse really appeals to me.

So, while not for folks looking for a lighter puzzle game to play on short car rides or on quick breaks in between other obligations, Khaba does provide for folks looking for something with a little more substance in their mobile gaming needs. If you can get past the sometimes frustrating controls, Khaba is a real treat. The game is available for both iOS and Android tablets and mobile devices, and more information about it can be found on the developer’s website.

Overall Rating: ★★★★☆ 

What does this score mean?

An Android review copy of the game was provided by the developer for that purpose.

© 2014, The Indie Mine. All rights reserved.