Loved the unhurried, human-scale structure & the lurking horror of the story. It's such a generous piece of work, one could (should!) spend a lot of time here.
This game is so well-crafted -- the animations, voice work, music, & just the rhythm of everything.
Loved the formal economy of this game's staging -- snapping characters into new positions when you're out of the room, details like that. It's a game about artists, so it's full of interesting metatexts + fictional artworks-within-artworks. Got my number!
So many good bitsy games full of great surprises. This one is such a clever use of the tool, and the art is great.
One of two Turnfollow games from this year (the other is 4Ever Transit Authority). Like their earlier game, Little Party, it's gentle, honest, and sort of melancholy, like a fond memory.
This game is like a cellular automata remix of Robotron. I'm happy just to try to stay alive while it plays itself.
This game is pretty remarkable on a lot of levels -- David's talent as a composer+writer, the conceptual constraint of using found materials from the unity asset store (pointed this year when a lot of gamers were losing their shit about "asset flips" in Steam), and of course the politics of this piece are part of a crucial conversation right now around labor in the games industry and its weird margins.
Actually this was from December 2016 ... Anyway I'm a big fan of Grace's work, which I found thru this game earlier this year. It's of course really charming and the art+animation+text has a distinct voice that I appreciate, but also this quality of warm+welcoming alienation really clicks for me right now. A lot of her work is about being a stranger in a strange land, in a positive way -- the strangeness is a foundation for future friendships rather than confusion/fear/xenophobia.
