Toejam & Earl: Back in the Groove Review

*Review based on the Nintendo Switch version*

Despite being one of the more fondly remembered games on the Sega Genesis, Toejam & Earl has had a rough time in the sequel department. Beloved for its originality and off-beat humor, Toejam & Earl saw its titular dup of funky aliens take part in an exploration-based adventure. In search of ten missing pieces of their crashed rocket ship, Toejam (the red one with the eyestalks) and Earl (the one who looks like a proto-Patrick Star) traversed a series of randomly generated levels, avoiding annoying humans, throwing tomatoes, and opening presents to get power-ups along the way. While just about everything else on the Genesis was trying to replicate Sonic’s sense of ‘cool,’ Toejam & Earl’s wacky originality stood out.

That’s why it stung a little when its sequel, Toejam & Earl in Panic on Funkotron (also on Genesis), was a simple 2D platformer in a time when such games were commonplace. Though it was decently remembered in its own right, Panic on Funkotron’s lack of originality made it fall by the wayside. It would be another decade before the duo would return in Toejam & Earl: Mission to Earth on the original Xbox. And while the series’ sole 3D entry attempted to recreate the gameplay of the original game, its mixed reception – combined with the very different tastes of gamers in the early 2000s – meant that Toejam and Earl once again faded into obscurity.

There they remained for another seventeen years. But after a successful Kickstarter campaign from series creator Greg Johnson, and some back-and-forth between publishers over the past couple of years, Toejam and Earl made their long awaited comeback in March of 2019 in the form of Toejam & Earl: Back in the Groove, bringing the gameplay from the original 1991 game along for the ride.

For fans of the series, there may be a wee bit of a double-edged sword in this regard. Back in the Groove is both a wonderful return for the series, and a refreshingly silly joy in today’s overly serious gaming landscape. But if you’re a fan of the original Toejam & Earl, Back in the Groove can feel more like a remake than a full-on sequel.

That’s not a terrible thing, of course. Not when Toejam & Earl still feels unique twenty-eight years on. But it does put Back in the Groove in a strange state of being unique among other games, but derivative of itself.

“A chunk of snowy land floating in outer space. Y’know… Earth!”

Just as in the original game, Toejam and Earl have crash landed on Earth, and must recover its ten missing pieces in order to head back home to planet Funkotron. As a bit of a joke, this time around the aliens borrowed their friend’s ship (because they didn’t want to risk crashing their own ship again, naturally). Otherwise, it’s basically the same plot.

Another difference is that, this time around, there are nine different playable characters, six of which are playable from the start: Toejam and Earl (obviously), in addition to the same duo with their classic designs (aptly named Classic Toejam and Classic Earl), as well as Toejam’s ladyfriend Lewanda, and Mission to Earth’s Latisha. Though it should be noted that the differences between characters are purely cosmetic.

“Gotta love the elevator cutscenes and their “Rocko’s Modern Life” backgrounds.”

Otherwise, the gameplay largely echoes the original game: You travel across different landscapes, looking for the elevator that leads to the next stage. Levels that feature a rocket piece are marked upon entry, meaning to beat the game, you have to track the piece down before heading for the elevator. Be careful, as you can fall off a stage and back to the previous one, leading to a tedious trip back up.

Toejam and Earl (and the rest) are normally defenseless against persistent earthlings. But our heroes can gain weapons and power-ups (such as the aforementioned tomatoes) by finding and opening presents. What’s inside of each present is at first a mystery to the player, until you pay a wiseman (an old man in a carrot costume, naturally) to identify them for you, with each type of present remaining identified for the rest of the current playthrough. Additionally, by opening presents and uncovering more areas of the map on each stage will give you experience points. Once enough experience points have been gathered, you can ask the wiseman to level you up.

“My name’s Poochie D and I rock the telly! I’m half-Joe Camel and a third Fonzarelli!”

While the leveling up feature was present in the original game, it was mostly just to see the joke of the next level’s title, here in Back in the Groove, each level will grant you a bonus such as improved speed or the capacity to carry more presents. It’s a nice touch of RPG character progression that makes the leveling system actually worthwhile this time around (don’t worry, the joke names for each rank are still present). The only issue with it is that the bonuses are received via roulette wheel, meaning the randomness prevents you from building your character how you want.

That random element is of course present in other areas as well. Though the items in each different present will be consistent during the same playthrough, the items and presents will swap with every new playthrough. That’s fine. But less tolerable is when a level spawns a second, fake elevator, which will take you back to the previous stage (though you do have a small window of time to exit the elevator before its door closes, saving you the tedium). Certain random elements such as that probably won’t sit well with some players.

The one random element the series does best, of course, are the randomly generated stages. When the original Toejam & Earl hit the Genesis in 1991, it was rare among games at the time for being different with every playthrough. While the goal of collecting ten ship pieces may have always been the same, each stage provided a new challenge, and oftentimes you never knew when another ship piece would show up.

That’s still true here, but with an unfortunate caveat: you have to unlock the randomly generated playthrough option. Before you can play Back in the Groove the way it was meant to be played, you have to give a pre-set adventure a go. Granted, this was probably done to ease newcomers in, but it would be nice if Toejam & Earl veterans had the option to play with the randomly generated stages from the get-go.

“Also the game is executive produced by Macaulay Culkin.”

Ultimately, these aren’t major complaints. As stated, Toejam & Earl remains a pretty unique game, so Back in the Groove’s overt reminiscence of it isn’t a deal-breaker. Nor is the act of unlocking the random stage layout (albeit it is a little bummer). The gameplay is still fun, with the game being at its best with its multiplayer co-op mode (another feature from the surprisingly forward-thinking original, but now with the modern benefits of playing with up to four players online). The graphics are vibrant and cartoonish, with a kind of “90s Nicktoon” appeal. And true to the nature of the funky rapping aliens, the music is as cool and funky as ever.

Perhaps the biggest takeaway from Toejam & Earl: Back in the Groove, however, is its utter charm. In the modern gaming world where AAA and Indie titles alike feel like they’re made more to earn awards from critics than to entertain, Toejam & Earl: Back in the Groove is refreshingly silly and innocent. Spend a few hours as Toejam or Earl (or one of the other characters) as you run from teens pre-occupied on their cellphones, throw tomatoes at evil dentists, seek refuge with Ghandi, roll a D20 with a group of nerds, and jam out with some alien buddies, and you’re bound to have a smile on your face.

 

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Tetris 99 Review

Tetris really is the eternal video game. No matter how gaming evolves and advances, no matter how quickly it makes progress, Tetris remains one of the medium’s few constants. While many critically-acclaimed titles prove to lose their luster in the long term, Tetris will always be one of gaming’s quintessential titles.

Tetris 99 – the completely free Nintendo Switch exclusive – is just another example of Tetris’s uncanny ability to adapt to any gaming landscape. As the battle royal genre has quickly come to prominence thanks to PlayerUnkown’s BattleGround and Fortnite Battle Royal, Tetris 99 throws the classic puzzler’s hat into this ring. Somewhat poetically, the simplicity of Tetris translates so easily into the battle royal genre that it’s currently the best product of the genre on the market.

To put it simply, Tetris 99 is exactly what it says it is: Tetris with ninety-nine players. Simply start up a game, and soon enough you’ll be paired with ninety-eight other players from across the globe, experiencing the classic Tetris gameplay as you aim to be the last player standing.

The core gameplay remains as it always has: the flawless combination of different shaped ‘Tetrominos” fall from the top of the screen, with the player needing to fit them into rows, thus eliminating them, earning points, and preventing them from reaching the top of the screen. Like in most competitive Tetris titles, clearing rows will also send “garbage blocks” to your opposition. Garbage blocks rise from the bottom of the screen, and bring the player closer to defeat.

Of course, with ninety-nine players, things can get chaotic really quickly. Players control the Tetrominos on their board with the D-pad, while they target other players using the joysticks to aim at any of the other players on screen. The chaos begins once players start getting eliminated, and their are fewer and fewer targets on the board. As you may have guessed, this means that multiple players will soon start to target the same opponent. And if you happen to be that opponent, you can kiss your hopes of victory goodbye.

Admittedly – perhaps due to the battle royal genre still being in its infancy – the translation of Tetris to the genre isn’t quite perfect. Given that there are ninety-eight miniature boards representing the other players on the screen, it’s hard to make out the details of what they’re doing, which means you’re mostly targeting other players at our random or, at its worst, forgetting to change targets at all and just let the cursor move on its own as players are eliminated. Of course, compared to the bugs, glitches, and technical issues that still plague PUBG and Fortnite, the sometimes rough translation of Tetris 99 isn’t so bad.

The sometimes confusing interface prevents Tetris 99 from reaching its full potential, but it’s still the most easily accessible and fun battle royal title yet. It takes one of gaming’s greatest classics and uses it to help polish up a contemporary genre. And as a free download, there’s absolutely no reason why every Switch owner shouldn’t have it in their library.

Plus, come on, it’s Tetris.

 

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Donut County Review

Donut County is an indie game by Ben Esposito. Released in 2018, Donut County was one of the pleasant surprises of the year, and can be described as something along the lines of an inverse Katamari Damacy. While Katamari saw players bundle up as many objects (and people) imaginable to create one giant mass, Donut County sees players take control of a hole in the ground to engulf everything (and everyone) in sight.

“Sometimes the gameplay takes a break and sees the characters texting each other. You can select the duck button to send a quack to the person on the other end. Just because.”

Taking place in the titular county, the primary characters of the game are employees at the local donut shop; Mira, a human, and her boss, BK the raccoon. Whether or not this shop sells actual donuts is up for debate, as most of their business (unbeknownst to Mira at first) is that BK uses a cell phone app to deliver “donuts” to customers…except that these donuts are actually holes in the ground the slowly increase in size as they swallow more objects, and have ultimately been trapping people underground along with their homes and all of their stuff.

The majority of the game is told in flashbacks, as Mira and BK have been sucked down a hole themselves. The other residents of Donut County recount the events of how they got sucked underground, and their stories are then played out as the game’s stages. All the while, the residents of Donut County try to help BK come to the realization that what he did was wrong (he simply wanted to build up points with the app to purchase a drone). It’s a delightfully bonkers game that really does feel like a little love letter to Katamari Damacy.

As stated, the player doesn’t control any characters, but the hole in the ground. The hole always starts out small, and increases in size with the more objects it swallows. You’ll begin stages sending pebbles and flowers down the hole, and gradually work your way to larger objects, before the hole becomes so large it can overtake houses. It all sounds simple – and truth be told it is – but it’s a whole lot of fun and will keep a smile on your face.

Donut County does find ways to keep the concept fresh, with puzzle elements introduced early on, which continue to grow as the game progresses. For example, an early stage sees the player guide the hole to swallow a campfire, which results in smoke emanating from the hole, with the player then guiding the hole under a hot air balloon so the smoke can help it lift off. And later on in the game, BK purchases a “catapult attachment” to the hole, which can launch specific items out of the hole. You can catapult these objects to knock down out of reach items, which may be necessary to increase the size of the hole. Donut County takes its simplistic concept, and finds fun and inventive new ways to utilize it throughout.

The entire campaign of Donut County should take roughly two hours. So it’s a very short game, which isn’t a bad thing (give me a compact but complete game over an overly long one filled with padding any day). The downside, however, is that there’s not too much incentive for replay value other than to complete the ‘Trashopedia” (the collection of objects you’ve sent down holes, with each item having its own humorous description), but chances are you’ll already have the Trashopedia nearly complete after your first playthrough anyway.

There may not be a whole lot of content to make up for the short campaign, but everything that is present in Donut County – simple though it may be – is undeniably charming and fun. Similar to Portal or (you guessed it) Katamari Damacy, Donut County introduces an innovative gameplay concept, and presents it in so many playful ways it will continuously pique players’ interest to see what’s around the next corner.

There are few things in gaming as satisfying as the combination of fun, original gameplay and a unique, quirky charm. Donut County is a terrific example of just that.

 

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Inside Review

Playdead became one of the premiere indie gaming studios upon the release of their first game, Limbo in 2010. A monochromatic platformer, Limbo was a stylistic little adventure that spanned about an hour of playtime. Though the atmosphere garnered Limbo immense praise, I was in the minority of people who found Limbo’s gameplay far too shallow to make it worth the praise. Six years later, Playdead released their second title, Inside, a spiritual successor to Limbo which garnered even more critical praise than its predecessor. While Inside does suffer many of the same faults that plagued Limbo, even I have to admit it’s a step in the right direction for Playdead.

Like Limbo before it, Inside is a side-scrolling platformer with puzzle elements. Though it is visually distinct from its predecessor, abandoning the 2D silhouettes of Limbo in favor of 3D character models that have more color, but are often masked in shadows. It’s a more varied aesthetic than Limbo, and it, combined with its minimalistic music and ambient sounds, gives Inside a greater sense of atmosphere than its predecessor.

The player controls an unnamed boy, who has recently escaped from a mysterious government/scientific facility. The agents/researchers of this facility are on the prowl for the escapee, so the boy must elude them at all costs. All while solving puzzles and obstacles in order to completely escape from the facility’s reach.

The boy only has basic actions, such as running, jumping, pushing and pulling objects, swimming and climbing. Immediately, the game sounds like a retread of its Limbo, but Inside rises head and shoulders above its predecessor with two simple improvements: better level design, and better puzzle design.

While one of my biggest complaints with Limbo was how the puzzles were too simple (push this, pull that, and go right), Inside has learned from its predecessor to make puzzles that require a bit more thinking and exploration. Yes, it still uses the same game mechanics, but they feel far more creatively utilized this time around. While Limbo’s puzzles often felt spelled out for the player, Inside’s will actually give you a sense of “eureka” every now and again.

Among the game’s best puzzles are those that see the boy take control of the many, zombie-like victims of the facility. At various points in the game, the boy can attach psychic helmets to his head, which allows him to animate the seemingly lifeless bodies lying about the facility. These ‘bodies’ can help the boy reach new heights, rip open doors and gates, push and pull heavy objects, and operate machinery. In some of Inside’s best moments, the boy can lead a body to an additional helmet, thus the boy controls a body controlling more bodies. This element alone gives the game a much deeper gameplay element than its predecessor, and comes across like a dark and dreary version of Pikmin.

There are other key elements that make Inside a vast improvement over Limbo. Namely, that the puzzles and obstacles of the game keep building upon themselves, and each “chapter” of the game continues to introduce new types of puzzles to solve, and obstacles to overcome. There are underwater sections where the boy pilots a submarine, and in a section that feels inspired by similar stages from Retro Studios’ Donkey Kong Country Returns and Tropical Freeze, the boy has to continuously hide behind objects to survive being blasted away by deadly shockwaves. The shockwaves have a timed pattern, so the player has to make sure to time everything just right to make sure they have enough time to make it behind the next object. And, without giving too much away, Inside’s finale becomes something of a grotesque version of Katamari Damacy.

In essence, Inside is pretty much a superior version of Limbo in pretty much every regard. Though it does still stumble in a few of the same areas as Playdead’s original title. Like Limbo before it, Inside is a very short game, though it has added an additional hour or two to the proceedings. That isn’t a bad thing in of itself (short games are a refreshing change of pace in this day and age), but there isn’t a whole lot of replay value to the game to make up for the brief campaign. There are hidden orbs to be found that – once all of them have been deactivated – will result in an alternate ending. But that’s about it. Perhaps more alternate secrets and endings could have extended the lifespan of Inside. Those who are engrossed in the game’s atmosphere and vague narrative may seek out the alternate ending, but everyone else may find the roughly three hour journey to be enough as it is.

Unfortunately, some of its predecessor’s control issues have sneaked their way over as well. Though it feels a little more polished, the boy of Inside often suffers from the similarly finicky physics and controls. The jumping still has that LittleBigPlanet-esque sense of imprecision, which makes some platforming feel more annoying than it should.

Similar to Limbo, it seems a few sections of Inside require a trial-and-error approach, forcing you to die in order to solve problems bits at a time with each respawn before figuring them out. This isn’t too big of a deal, since you  regenerate at the start of the current puzzle/problem, but it still makes some obstacles feel cheaper than others.

However, I can’t stress enough how much of an improvement Inside is over Limbo. Even these complaints, while still present, aren’t nearly as bad as they were in Inside’s predecessor. Limbo often felt hampered by its issues, as though Playdead’s confidence in their game’s atmosphere and visuals lead to some complacency when it came to their puzzle and stage design. With Inside, the game feels creative and well constructed enough that whatever issues it does have feel more like inconveniences in an otherwise exceptional effort.

It’s much easy to see how Inside garnered its praise than it is to see what all the hubbub was with Limbo. Pretty much everything about Playdead’s debut effort has been substantially bettered with their second go. Those who loved Limbo lavished Inside with even more profuse praise. And even someone like me, who considers Limbo to be an empty game, can consider Inside to be something of the “good version” of Playdead’s work thus far. Doesn’t that just say it all?

 

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Super Smash Bros. Ultimate Impressions

Super Smash Bros. Ultimate is finally here, and it’s yet another jewel in the crown that is the Nintendo Switch. Although it may be premature of me to say this, given I haven’t tried out all of its modes yet, but Ultimate may very well be the best Super Smash Bros. title yet.

Like any sequel to a multiplayer title, the gameplay hasn’t exactly changed much, but something about it definitely feels smoother. It just feels right to control. It’s hard to explain, but it seems like every returning character I’ve tried feels more fluid to control than they did in past games, and the newcomers are just as smooth. The gameplay may be the series’ trademark “sumo rules” take on the fighting genre, but it just feels so polished.

Another big improvement over past games is the Classic Mode. As much as I appreciate Super Smash Bros for 3DS/Wii U trying to make Classic Mode into something bigger, it never really enticed me to try it out with every character. But here in Ultimate, I find myself wanting to complete Classic Mode with every new character I unlock. The beauty lies in its simplicity, as Classic Mode sees each character go through six fights, a bonus stage and a boss enemy, with each character’s opponents being vague (or literal) little callbacks to their own games.

For example, Ryu’s version utilizes stamina rules to reflecting the traditional fighter nature of Street Fighter. Meanwhile, Mega Man’s journey ends with a battle against Dr. Mario who, once defeated, becomes Mewtwo, subtly referencing the final fight against Dr. Wily in Mega Man 2). And in perhaps my favorite example, Dr. Mario’s fights are against triple opponents, with each bearing a red, blue and yellow color scheme in reference to the viruses from the classic puzzler. It’s just simple, fun and addictive.

Admittedly, the Adventure Mode, dubbed ‘World of Light’ is one I have yet to play. I’ll get around to it, but honestly, Brawl’s Supspace Emisary story mode was kind of a glorified means of unlocking every character. So I’m not exactly rushing into the story mode when everything else is already so much fun. So no opinions on World of Light for now.

Much to my pleasant surprise, it was actually really easy to play against my friends online! I know, that seems shocking considering this is a Nintendo game that isn’t Mario Kart, but playing against friends is actually accessible. That alone gets huge brownie points from me. I also haven’t experienced any lag issues when playing against opponents on a broader online scale, so that’s also an improvement from its predecessors. I have heard some people say the specific searches for quick online matches aren’t very accurate (one-on-one proponents experiencing repeated multi-man matches and such), but I haven’t tried that myself yet so I can’t comment. But the sheer easiness of playing against friends alone feels like a godsend, given all the hoops you usually have to jump through for such features in Nintendo games (I’m looking your way, Splatoon 2).

Then, of course, we have the characters. The title’s main selling point is that every past fighter from Super Smash Bros’ history is present. And with a small batch of newcomers, as well as ‘echo fighters’ we have about 70 characters (depending on how you count Pokemon Trainer). That’s a pretty hefty lineup of characters. And while the roster isn’t perfect (Geno isn’t in it), there really is such a wide variety of characters that, no matter what your play style is, you’re bound to find multiple characters you like. I personally have quickly become a King K. Rool man (hey, if Super Mario RPG isn’t represented, I’m going with my other favorite SNES title, DKC2).

All in all, I find myself having trouble putting Super Smash Bros. Ultimate down. In a weird way, it doesn’t feel quite as “massive” as the past few entries in terms of what it adds compared to what came before, but it does feel better. It takes the best bits and pieces of past Super Smash Bros. games and makes something that feels like one of those ‘special’ Nintendo releases on par with Breath of the Wild or Super Mario Odyssey.

But seriously, can we please get Geno?

My Thoughts on Persona 5’s Joker in Super Smash Bros. Ultimate

Super Smash Bros. Ultimate is finally out (and it’s pretty great). A day before its release though, it was revealed that the first of the five upcoming DLC characters for Nintendo’s brawler is none other than the protagonist of Persona 5, Joker.

*And yes, I am aware that by internet standards this news is old by now. But guess who doesn’t care and is going to write their thoughts about it anyway….. Me, obviously. I can’t very well write other people’s thoughts.*

To sum up my feelings about Joker being added to Super Smash Bros. Ultimate, I direct you to this classic prequel meme.

Now, I’m not going to pretend like I’m a major fan of Persona who knows the series by heart. Persona 5 is, thus far, the only Persona game I’ve actually played. And even then, I didn’t get very far as I was intimidated by the game’s sheer length (though I guess I really have no excuse for not going back to it now that I’ve trudged through the campaign of Red Dead Redemption 2. I’ll get back to it). However, Joker’s addition to Super Smash Bros. not only showcases how far Persona has come as a franchise, but also can give Smash Bros. fans a collective sigh of relief, as all our concerns over the fact that Nintendo chose all the DLC characters were maybe a bit misplaced. That is, assuming Joker isn’t a one-off and the rest of the DLC characters don’t end up middle finger-y towards fans in the same vein as Piranha Plant (yes, I’m still salty about that).

Not only are third-party characters still in the cards, but so are fresh character ideas that are unexpected and different. Granted, I still (obviously) expect some of these DLC characters to be from Nintendo franchises (why wouldn’t they be?), but it’s kind of nice that the first one announced is so promising, and not just another random Pokemon or Marth clone. Maybe we can finally get Dixie Kong as an expected (and well overdue) character, and then get a bunch of surprises for the rest of the DLC (because, honestly, aside from Dixie, what major recurring Nintendo character isn’t in Smash already?).

Basically, Joker’s presence in Super Smash Bros. – like Snake’s all those years ago – opens the door to seemingly anyone. Especially seeing as Persona 5 isn’t on Switch (though I assume that his inclusion could mean a port is in the future), it feels like all the gloves are off. And that’s awesome.

Most importantly, let’s hope this means we can finally get Geno.

Minit Review

Because of their limited resources, indie games often have to rely on a specific ‘hook’ to compensate for their smaller scale. Minit is one such indie game, and one whose charm stems from its particular gameplay hook which, in a weird way, seems to be a parody of indie games with said hooks. Though it’s mostly modeled after 2D Zelda adventures, Minit also feels equally inspired by WarioWare. That’s because the aforementioned ‘hook’ of Minit is that the player character dies and returns to a checkpoint every sixty seconds, keeping whatever items you claim in a given life, meaning that you’ll make incremental progress at a time.

It’s a fun and charming little gimmick, as you rush to get even a single objective done within the allotted minute. Your house is your initial checkpoint where you’ll respawn after every minute, though there are other houses (as well as a hotel and a trailer) that become your new checkpoint when entering, thus serving as shortcuts to different objectives.

As stated, Minit works like a bite-sized Zelda. The player character (who resembles a Tamagotchi creature) travels the land, completes puzzles, and helps others to gain items. The ultimate goal of the game is to stop a factory from producing cursed swords, which are the cause of the “one minute of life” curse. With your own such cursed sword, you fight off enemies, but the character can only equip one primary item at a time, so for certain lives you may have to replace your sword with another item (found right outside your current checkpoint once collected) in order to solve a particular puzzle. It makes for some fun puzzle-solving as you try to use every last second effectively.

Perhaps the game’s greatest strength is how the setup allows for players to tackle it in different ways. Only a handful of items need to be acquired in order to stop the factory, but others still exist out in the game’s world to be collected, along with additional hearts and gold coins. Basically, even though the game is already served up in bits and pieces, it works in such a way that should really appeal to speed runners. On the downside, while Minit may be fun while it lasts, it doesn’t last very long, with most players probably able to complete the whole thing in about two hours. And unless you are really into speed running or are a completionist, I can’t imagine Minit would have too much replay value.

“The game features some fun (but necessarily brief) dialogue.”

While it may seem like unfair to criticize the graphics of an indie game of limited resources and budget, the fact that Minit’s graphics lead to me dying more than any enemies seems to be a bit of a problem. Although the character designs are charmingly simplistic, the black and white graphics can often lead to objects blurring together, and I found my clock hit ‘0’ quite often simply because I couldn’t tell where I could and couldn’t go. Even the puzzles themselves can, at times, be pretty vague with what you’re supposed to be doing.

Minit may be something of “Zelda meets WarioWare” in concept then, but it lacks the depth of the former, and the latter’s instant communication. Minit could be better polished then, and it may not have enough substance to it to make up for its short playtime. But all things considered, Minit is a fun little experiment that strips the Zelda template to its barebones minimum, and should leave those with the interest finding scurrying to find ways to save every precious second.

 

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